why compose when you can blog?

composer FAIL #44

2012-01-26T10:00:00.000-05:00

It's time to come back down to earth, huh.

We all knew this was coming; however, there is a bright side: I don't have to write a string quartet. In fact, I can continue to write the opera I started over a year ago—once I'm done with the orchestra piece. (So close…so close…)

Also, I do have a couple of performances this weekend. If you happen to be in Vermillion, South Dakota on Friday or Ottawa, Ontario on Monday, be sure to check out the University of South Dakota's 60/60 Recital* and/or** the Ottawa New Music 60x60 Project.

———

*This is the piece I wrote on my birthday, and I'm dubbing this Composer WIN #7.
**AND/OR?!?! I can't even fly across the country to attend both. Yes, this makes me sad.

composer WIN #6, baby

2012-01-24T10:00:00.000-05:00

That's not butter, it's mayonnaise. Grosssssssss.

Well, hot damn. After pulling an all-nighter (I rarely do them, I swear), my librettist Vynnie Meli and I wrote a pretty funny opera entitled Krispy Kremes and Butter Queens in twelve hours. Holy Cow. We did it. And then we submitted our somewhat complete opera about Paula Deen trying to get into heaven (complete with an aria about butter) to the stage and music directors, Michael Nutter and Paul Tate,* who completely got our story idea and coached the singers** (Christine Lyons as a most magnificent Paula Deen; Sondra Collins and John Elliot Yates and hilarious cooking assistants/angels) and produced (along with stage manager Rebecca Yan) the winner (and audience favorite!) of The Atlanta Opera's 24-Hour Opera Project.

Thanks, guys. We rocked.

For those who missed it, here's the video of the performance. Enjoy!

*Mr. Tate added tiny genius musical ideas in the score (since I may have left out stage directions and, oh, DYNAMICS) that I swear added another half-hour to my tiny compositional window.
**They were OFF BOOK. They had the opera completely memorized. I am amazed: they were that dedicated.

road tripping to atlanta

2012-01-19T10:00:00.000-05:00

If I played my cards right, I should be picking up my rental car and heading out to Atlanta right…now. As I've mentioned before, I'm participating in Atlanta Opera's 24-Hour Opera Project.

Can't make it to the performance? The final performances will be webcast LIVE on Ustream, Saturday, January 21, 2012 at 7pm EST. You can even vote for your “Audience Favorite” via the Ustream Chat feature, Twitter, or on Atlanta Opera's Facebook page.*

Next week I'll have a scrapbook of the 24-Hour Opera Project, but until then, be sure to watch!

*That's me, you know that, right? Because, if you don't vote for me, we can't be friends anymore.

31st birthday scrapbook

2012-01-12T10:00:00.000-05:00

The Birthday Cake. It was sitting here the day before my birthday and all I could do was look at it. Seriously Paula Deen? You want me to wait three days before I can slice that thing?!

~~~

What did I do on my birthday? I slept in a little because I wasn't feeling completely well, taught a private theory lesson, and later that afternoon I drove to Diana's Dancewear because I decided I was too old for the full-sole ballet shoes that they give eight-year-olds to wear.*

HE-LLO new Gishko shoes!** I constantly sing the praises to these fantastic Russian shoes that magically mold my flat sad feet into something pointed and etherial.

And then I broke them in. While composing a piece in an hour.

See my ballet shoes?

Eh, why not compose a piece in an hour? I did this for New Music Hartford, and Nolan Stoltz, the guy who curated the previous concert, was doing it again at the University of South Dakota.

Do I write a birthday song? Maybe. I thought I'd stretch out the tune that was at the top of the Billboard charts when I was born, then added a trumpet tune over that. What I have below is the tape part.

starting over by jenniferjolley

Then it was time for cake.

Then baby octopuses.

Then sushi.

And…maybe a CCM Percussion Ensemble concert.

~~~

*Apparently I overcame my caterwauling over wearing pink tights and have been going to ballet class for over a year now. Who knew? I love it.

**I'm saying this the way Anne Burrell would.

the new year (2012)

2012-01-05T10:00:00.000-05:00

All in all, 2011 wasn't a bad year. I turned 30 (finally) and was able to visit some friends in Austin, Vermont, New York, and Ottawa. (Yes, finally made it to Ontario, and not the city in California.) Even though I weathered a total of twenty-four composer FAILs (yes, that's quite a number), I had a couple of composer WINs, which included my participation in the MATA festival and my current adjunct gig. I truly can't complain.

What do I hope for in the new year? BALANCE. Also, finishing my orchestra piece on time would be great too. (My countdown widget currently says I have twenty-seven days and one hour until I'm toast.)

le monde de la procrastination

2011-12-29T10:00:00.000-05:00

There it is: the orchestra board that lists my untitled future doom directly above Bruchner's magnum opus. Since this project was announced in March, I've successfully worked on two opera arias, completed a violin duo, studied for a music history qual that no longer exists (yes, I'm serious), and started adjuncting. So I've totally had lots of leftover time to work on my magnum opus.

Whoops.

Not that I haven't been trying—who says that score study can't be done during your twice-a-week, twenty-minutes-each-way commute? (Do you know what fits perfectly in that time frame? Ravel's La valse.) Or, why can't you cram all of your orchestral research during your two weeks off between semesters/quarters? (In my case, I've had to deal with both.)

So, while normal people have been overdosing on egg nog or cheesecake or See's Candies* or other holiday delicacies, my sketches now show the aftermath of gorging on Impressionist orchestral works and holiday tunes.**

But seriously, I have been doing some research for months. I thought maybe I should expand my piece "The Silent World," which has a bit of a sea-theme.

The Silent World (2010) by jenniferjolley

And then I remembered this ride from my childhood.

And I finally watched Jacques Consteau's Le Monde du Silence. If this film inspired Wes Anderson, why can't it inspire me?

The thing is, we live in the twenty-first century, and we can no longer romanticize our journey through liquid space, especially when we have footage of this.

Or even this.

I wonder how this piece will turn out, and I hope I complete it on schedule.

-----------------------------------------------
*How happy was this California girl when she saw a little See's Candies stand in my local Cincinnati mall? Unfortunately, they're not going to be back until next November, so I may have stock piled some gourmet lollypops.

**I'm not gonna lie: I polished off those food items too.

composer WIN #5

2011-12-23T10:00:00.000-05:00

It's a Solstice/Christmas/Hanukkah/Chrismukkah miracle. Just when I woke up a tad crummy due to (1) not waking up in time, (2) gaining a few extra pounds, and (3) realizing my orchestra piece wasn't writing itself (I might start crying if my ideas keep sucking so badly), I received this in my inbox.

I was so bummed yesterday morning that I didn't quite grasp the subject heading of "Invitation to the Atlanta Opera's 24-Hour Opera Project." I mean, I've been rejected before and I thought I'd received something similar to last year.

BUT NO—I didn't.

It looks like I'll be in Atlanta January 20–21 cramposing an opera in twelve hours with a librettist whom I've never met. The Fine Print:

"Compositions must be 7–10 minutes in length, written and performed in English and scored for 4 singers with piano. They will be composed around a specific theme (top secret until January 21!). Pre-existing compositions will not be eligible. Composition teams will be paired randomly, compositions will be assigned to stage directors randomly, and participating singers will be selected to perform through a singer “draft.” Submission of an application in any category does not guarantee participation. Artists may apply in more than one discipline, but will be invited to participate in only one discipline."

I have to work with my librettist between 6 p.m. on Friday (January 20) to 6 a.m. on Saturday (January 21). Hm…you know, I've only pulled off one all-nighter in my life (in Blonay of all places), so I'm crossing my fingers and hoping I survive this. In the meantime, I'll remain quietly excited.

Here are some videos from last year's inaugural 24-Hour Opera Project.

gray goo 1.01 at the CAC

2011-12-22T10:00:00.000-05:00

Well, I hope you all had a good solstice and enjoyed riding the F train YESTERDAY, not tuesday. (I kind of messed up the date when I announced it on my blog.)

Oops.

Anyway, here's the last video from my "They Came…from the FUTURE!!!" concert at the CAC. With Zach Larabee, Mike Lunoe, and Ty Niemeyer. And me.

Enjoy! And happy holidays!

take the F train TODAY

2011-12-20T10:50:00.000-05:00

Sorry this post is up a little later than usual: I was delayed by my grade submission duties and a McSkillet sausage burrito. Mmmmmmm…burrito.

But if I weren't sidelined by a burrito or stuck here in Cincinnati, I'd be in NYC taking the F Train TODAY between 7–8 p.m. Jim Holt, a composer I met earlier this year who curates the "My Ears Are Open" series has an installation called "Thru-Line," which will be performed today during this time. Says Jim:

"For this piece, 44 musicians will set up with their instrument at every subway platform along the Coney Island-bound F train line. They will all continuously perform the prelude from Johann Sebastian Bach’s 'Cello Suite No. 1 in G major.' Commuters will hear music while waiting on platforms, then hear snippets of the same music from inside the train, every time the doors open."

How cool is that? I'm a bit jealous of you New Yorkers right now, because this is an awesome way to celebrate winter.

the #armada ship has arrived

2011-12-15T10:00:00.000-05:00

What began as a small Twitter exquisite corpse game in July turned into this: a piano sonata completed by twenty-nine composers.

How did this work?

"#Armada (pronounced 'Hashtag Armada') is a collective of composers and performers from all over the world engaged in a ludicrous game of exquisite corpse via Twitter. Each game starts with a set of parameters, such as 'solo piano, 4/4, 140 bpm.' A composer writes one measure, then tags someone to write the next one. He or she can describe the measure they have written to whomever they have tagged, but their description is limited to a single tweet."

Do you know how crazy this was? Here's an example of a Tweet sent by @dennistobenski.

Tag! 4/4; syncopated B/C# in lh; descending chromatic triplet-sixteenth in rh, ending on D-natural. #armada

You must also include the composer's Twitter handle in the tweet, and all of this cannot exceed one hundred forty characters. I ultimately don't know how the piece will sound, but it was a lot of fun—when I wasn't overly busy and swamped with work or composing or receiving a tweet on my Blackberry while I was at a concert.

Curious? Here's the score. Also…is there a pianist out there who wants to play it?

press play at the cac

2011-12-05T09:00:00.000-05:00

I finally received all my videos from the CAC event. Yahooooo! And here is a performance of "Press Play." Guess what? You can see it! And you can see the tape players! And, honestly, this is the best performance of this piece yet.

So a question to you folks: is this a fixed-format piece, live performance, or a sound installation? I haven't quite decided the format of this piece. I had a friend suggest that the tape players should be on display in a room so people can have the freedom to walk around and hear it. I also think it's fun to have a vintage tape recorder on your lap while you "perform" your part. Thoughts? Suggestions?

david lang's piano competition

2011-11-18T11:00:00.000-05:00

What? David Lang has a piano competition? I found this in my inbox.

"On November 15, David Lang releases a CD of works for solo piano, this was written by hand, on Cantaloupe Music and announces a piano competition — pianists will upload videos of their performances for judging to YouTube. The winner will perform on the CD release concert at New York City's (le) poisson rouge on May 6, 2012. To get more information about the piano competition, watch the video here. To download the sheet music without charge from competition co-sponsor, G. Schirmer, click here."

Um, I'm sorry, did you say free of charge? And then I watched this video.

So I think I'll enter. I won't win but it will be good…publicity for my blog…

highlights from pasic

2011-11-17T09:00:00.000-05:00

I had this trip planned out: I would teach Thursday, eat lunch, pack, pick up the rental car, then drive to PASIC for the first time and see what's up. And then I'd eat at The Tamale Place, a place I've been wanting to try for years.

Unfortunately the rental car place had suffered from two accidents the day before, so they were short on cars and told me I wouldn't have a vehicle until 5 p.m. that day. Not cool.

So, long story short, I drove my own car (sans satellite radio) to Indianapolis in record time to catch the Innovations in Multiple Percussion Solo session. This was my favorite session at PASIC; here's what I heard.

Here is Allen Otte performing "Touch and Go, computer graphic for solo percussionist." I barely made it in time for this performance, and it was totally worth it.

And Ayano Kataoka performing "Rebonds."

(Dear Vic Firth Percussion, your multiple snare drum lick at the end of this preview just killed it for me.)

And here's John Lane performing "Nana and Victorio."

video excerpt of easter egg

2011-11-11T09:00:00.000-05:00

It looks like I'm at it again, creating another sound art installation despite my composer title. I wonder if my stints into the art world will turn permanent; at this rate, they may.

Chris Reeves of Museum Gallery–Gallery Museum asked me to contribute to their phrenological map makeover show where the layout of the gallery floor turned into a map of the brain. I was assigned the "moral" section of the brain, which includes the subsection "spirituality;" here's a description of the project.

“Easter Egg” (2011) explores the relationship between gamers and religious spirituality, blurring the lines between ritual and play. In this installation, three gamers play the violent video game “MadWorld.” Instead of controlling the main character onscreen using the traditional Wii Remote and Nunchuk attachment, the gamers’ execution of certain musical codes performed on percussive religious instruments control the attacks and movement. Through their ritualistic practice, the gamers conjure actions that will achieve a common crusade. Their practice of video games fills their spiritual void, thus replacing the spirituality that religions would normally provide.

After researching the top ten violent video games and different religious percussion instruments (all while grading orchestration homework simultaneously, not a good idea), buying sweatshirt hoodies, and asking a friend of mine to play three hours worth of MadWorld (it can strain your eyes), here's the result.

There were three performances at the gallery opening. At the beginning of the first performance, people were intently staring and listening to the performance for about fifteen minutes, and then they dispersed. (Maybe that's how long our attention spans last?) During the other two performances, gallery attendees chatted with each other and looked at other artwork throughout the piece.

Will this piece be performed again? I hope so.

All images are by me on Flickr, Creative Commons License v. 2.0

composer FAIL #43

2011-11-02T09:00:00.000-04:00

I know, right?! I haven't received one of these in a while!

Actually I didn't plan on applying to this competition until my friend Nate called me right after I finished my ballet class. He said he just submitted his conductor application, and that I should enter it also. I mean, wouldn't it be cool if both of us got selected to work as a conductor-composer team?

Bummer.

Unfortunately I didn't submit my most current orchestra piece because their orchestra only has double winds. Which makes me wonder—since I will be writing an orchestra piece soon (and if you are Mark Gibson reading this, I've totally started it! Really!), should I write for double winds (instead of triple winds) so more orchestras can play my piece?

monday morning heifetz

2011-10-24T09:00:00.000-04:00

I'm still working on the violin duo, and there is nothing that encourages me to write virtuosic violin music more than the words "paganini" and "videos" inputed in the Google search engine box.

Is the YouTube cache of amazing instrumental videos too tempting for today's composer?

Nah…unless they stream the score in real-time.

more scenes from the opera

2011-10-21T09:00:00.000-04:00

Here is Ryan C. Connelly singing "The Electronic Buzz of Vending Machines," another aria from my upcoming opera Building a Better Joshua.

Here, in the opening scene of the second act, Joshua rejects the reflection of what he could be, the new Joshua clone that came home to him and Chloe, as too far distant from the shell of the man that he has become with her. The ensuing identity crisis combined with the complicated stirrings of lust he felt for his own clone lead him to take a darker path. He goes to a less scrupulous cloning doctor, Dr. X (Name Redacted), to undergo a procedure to transform his own body into a duplicate of his wife, Chloe, and make another Joshua clone to complete the coupling...

video from the double concerto

2011-10-19T09:00:00.000-04:00

As I've mentioned earlier on this blog, I've been asked to write a violin duo for Nick Naegele and Joshua Ulrich, and I've actually found time to work on it! (Probably because I decided not to grade any assignments last week…)

And, I had a violin duo read through the sketch of the piece, now titled "Double Concerto for Violin and Fiddle." (NOTE: This was a reading.)

first glimpse into new opera

2011-10-17T09:00:00.000-04:00

I know what you're thinking—whatever happened to the event at the Contemporary Arts Center? Well, it did happen, and now I have videos to prove it! I'm slowly posting them up because I haven't had much down time between my teaching gigs and composing, but here they are. And to start us off, I'm showing you the world-premiere performance of one of my arias I've written for my opera.

Are you excited? I certainly am. Here is Kelly Ballou singing "A Woman of Stature," an aria from my opera Building a Better Joshua. Based on a short story by librettist Kendall A, this opera is a comedic near future science fiction retelling in two acts of the Narcissus myth, in which a woman decides to clone her husband for an upgrade, only to suffer the consequences when the old version falls in love with the new.

Enjoy!

songs for the cure '11

2011-09-30T09:00:00.000-04:00

A few months ago my friend Josh Whelchel asked me and a few other composer and artist friends to contribute to his Songs for the Cure '11: REIKI, which features 15 art, electronic and classical tracks by notable composers and musicians.

"Bullet Time" is part of this project. You can download the single digital track for $1 OR order/download the entire album.

Either way, all proceeds go to the American Cancer Society.

old-time music

2011-09-28T09:00:00.000-04:00

Instead of studying for my qualifying exam or working on my orchestra piece, I've decided to stall by writing a piece for violinists Nick Naegele and Joshua Ulrich.

I don't know if postponing my exams and my orchestra piece is a wise decision, mainly because my mother wonders when I'm graduating and Mr. Gibson already wants to see some orchestra sketches, but all I have to say is…

YESSSSSSSSSSSSS! I'm writing a piece for Nick and Josh! They are such fantastic players that I can't pass up an opportunity to write them a piece.

So, does anyone know how to survive with little sleep? Reduce grading time? Install a dishwasher? 'Cause this girl has to write some new music.

I've started to research this piece by watching some YouTube videos. I thought I'd share them.

Initially I thought, "Hey, Vivaldi wrote some tunes for violin, right?"

Then I remembered this tune by Bach.

And then I remembered this:

Okay, that was a bit random, but last night I started checking these videos out.

Yeah, this piece might get weird.

Image by sun dazed on Flickr, Creative Commons License v. 2.0

so close, and yet, so far

2011-09-19T09:00:00.000-04:00

Maybe you're wondering what I've been up to in the past month and why I haven't been blogging as much. I've started my new job at Northern Kentucky University. I'm prepping for the orchestration class I'm teaching in a couple days. I'm writing program notes for the inaugural Constella Festival in Cincinnati. And I have to take another qualifying exam, this time in music history. In other words, I have not been composing, which is slowly killing me inside.

I understand why I need to take this exam: I need to prove to those in charge that I'm competent in my knowledge of Western music history before they issue my third sheet of paper. It makes sense.

Fortunately, I've been enjoying studying scores and listening to music that I've shoved aside as a younger undergraduate. Haydn, I get your music now. And every time you insert silence into your London Symphonies, I believe that you did cut off a fellow chorister's pigtail. I respect you, dude.

Alas, I got sidetracked. Did you know that Britain and the US produced over fifty operas for television between 1951 and 2002?! Or that NBC had it's own NBC Opera Theatre? Yeah, I didn't either, but I doubt the musicologists grading my exam will care.

So, I'm postponing my exam until January. I think I need a tutor, or someone to force me to study for this test. Sigh.

Image by DaveBleasdale on Flickr, Creative Commons License v. 2.0

long ride in a slow machine

2011-09-12T09:00:00.000-04:00

Remember #BudgetClassical on Twitter, where people created low-budget versions of famous pieces?

I think one person suggested the title "Long Ride in a Slow Machine."

Um, I wrote that piece. Seriously.

As a freshman, I was given a rhythmic percussion assignment (we probably had to use metric modulation or something like that), and it had to be four minutes long. And I found a recording of it this weekend.

So, here is "Long Ride in a Slow Machine," written in 2000. (Notice it was written eleven years ago?! In fact, I'm too afraid to listen to it. Also, because this piece is so old, and because this wasn't actually performed in concert, I don't remember the names of my players. But they rock, whoever they are.)

Long Ride in a Slow Machine (2000) by jenniferjolley

Image by jered on Flickr, Creative Commons License v. 2.0

it has been ten years (vermont edition)

2011-09-06T09:00:00.000-04:00

Before I talk about Vermont's concert contribution to the ten-year anniversary of 9/11, I have an update on the Music After Concert. They've received good coverage about the event: they were featured on the SoundNotion podcast, WQXR's "The New Canon," and mentioned by Anne Midgette on her blog in the Washington Post and on Alex Ross's "The Rest is Noise." However, they still need your help, so please contribute.

So yeah, little ol' Vermont, the state that was recently devastated by Hurricane Irene (which took out homes, roads, and historic bridges, by the way), has compiled and commissioned eleven tribute pieces to 9/11. The Vermont Contemporary Music Ensemble, the brainchild ensemble behind these commissions, will be performing them again in concert twice (once on September 11).

From Steven Klimowski, director of the VCME:

"After the planes crashed in the twin towers and then their total destruction I felt and incredible hollowness in my gut. Like the emotional wind had been knocked out of me. And then to see the incredible heroism in the volunteers was inspiring. I think the entire country wanted to do something to help. Sitting in Vermont, what could I do? As a musician I know that music defines the spirit of the times. As director of the VCME I had the organization and contacts to ask composers to write a short piece reflecting what they felt at the time. The composers were chosen from the Vermont composers that I knew and respected and from those composers whose pieces were going to be bumped from the February program that this late change eventuated. What I received from the composers was a truly remarkable set of heart-felt works that preserve the spirit of that unique moment in American history."

The composers and their works are Alex Abele's "Arise and Unite" for solo piano; Dennis Báthory-Kitsz's "Fuliginous Quadrant" for violin, cello, clarinet, and piano; Anthony Cornicello's "Fractured Landscape, Suspended Song" for clarinet, cello, percussion, and tape; David Gunn's "faux pastiche" for violin, clarinet, cello, and piano; Don Jamison's "Three Threshold Songs" for mezzo-soprano, clarinet, and cello; Dan Jessie's "A Feary Tale" for violin, clarinet, bass clarinet, cello, piano and narrator; Erik Nielsen's "We Shall Always Have A Song" for violin, cello, clarinet, and piano; Troy Peters's "Lament 9/11/01" for cello, and mezzo-soprano; Thomas Read's "A Watch in the Night" for clarinet, bass clarinet, and piano; Belinda Reynolds's "Dust" for clarinet and cello; Allen Shawn's "Dark Song" for bass clarinet and piano.

I've heard a few of these moving pieces. Here's a preview.

Can't make it out to the concert like me? You can always contribute by sending a 501(c)(3) contribution to the Vermont Contemporary Music Ensemble, OR by contacting Steven Klimowski directly to set up a contribution via PayPal.

Please help them out. Your donation would also help their local economy, since any small gesture of support would probably help them out of this mess. (Did I mention that these pictures of devastation completely break my heart? I drove on Route 2 to pick up my Christmas tree one year. I also directed a church choir in Waterbury. Sad times.)

competitions behaving badly

2011-08-22T09:00:00.003-04:00

Alphabet Soup wrote a blog post discussion competition competitions behaving badly, and I too have written a blog post about the most exploitive comp comp ever. But I probably found one that's worse because it targets only young composers.

Who would think that the Music Teachers National Association (MTNA) would be able to sleep at night charging an exorbitant fee for their comp comp? Check out the divisions and the ridiculous fees:

Elementary
Age: 5–10 as of January 1, 2012
Entry Fee: $50
Junior
Age: 11–14 as of January 1, 2012
Entry Fee: $70
Senior
Age: 15–18 as of January 1, 2012
Entry Fee: $100
Young Artist
Age: 19–26 as of January 1, 2012
Entry fee: $100

I know what you're thinking—how many fifteen to twenty-six-year-olds have access to $100?! How many eleven to fourteen-year-olds have $70?! And what five year old has an extra $50 lying around?! Because, if I were five and had an extra $50, I would take all my fifty one-dollar bills and throw them on a mattress while jumping on the bed proclaiming, "I'M RICH! I'M RICH! I'M FILTHY RICH!!!" Instead I'm yelling, "WHO HAS THAT TYPE OF MONEY?!"

Anyway…what does the winning (national) composer get in return?

Awards made possible by Morty and Iris Manus.
Elementary Winner: $500
Elementary Second Place: $250
Teacher of Winner: $200

Awards made possible by Morty and Iris Manus.
Junior Winner: $1,000
Junior Second Place: $500
Teacher of Winner: $200

Awards made possible by Hal Leonard Corporation.
Senior Winner: $2,000
Senior Second Place: $1,000
Teacher of Winner: $200

Awards made possible by the MTNA Foundation Fund
Young Artist Winner: $3,000
Young Artist Second Place: $1,500
Teacher of Winner: $200

I'm honestly curious where the money goes. In fact, one composer did email Chris Goldston, national coordinator AND Winner of the 1993 MTNA Composition Contest for North Carolina, why on earth there was such an oppressive entrance fee. He said:

"The entry fee covers various expenses that occur by holding the competition. Most of the application fee goes towards judges fees. If a composition goes all the way to the national competition, for instance, they might get comments from as many as nine judges! Many states use three judges, division always uses three judges and national always uses three judges…and we pay the judges per score. Then there is the cost of mailing compositions to the judges and back, administrative fees like the online application, etc. As expensive as the fee may seem, this is certainly not a money making competition!"

Although this response seems reasonable, this obviously reeks of poor business sense. Have they not done their research in regards to average entrance fees? Have they not realized how furious we composers become if charged entrance fees? And where does the money go, really? They have sponsors for the prize money.

So here's my question: how do they cut their expenses so that the entrance fee isn't so crippling? They could eliminate mailing costs by asking the entrants to use PDF files. (If they're paying for administrative fees for the online application, might as well.) They don't have to give composition teachers any prize money. (Frankly, I would NOT want to receive any prize money for something my student earned.) They could lower the amount of the prize money given based on how much the sponsors were willing to contribute. I believe any of these suggestions could work.

Ultimately, I believe the organization is clueless: they believe they are encouraging students to write music by entering a competition and awarding the winners huge gobs of cash, but they do not realize this comp comp violates their Code of Ethics. It states under their "Commitment to Students" section:

"The teacher shall conduct the relationship with students and families in a professional manner.
The teacher shall respect the personal integrity and privacy of students unless the law requires disclosure.
The teacher shall clearly communicate the expectations of the studio.
The teacher shall encourage, guide and develop the musical potential of each student.
The teacher shall treat each student with dignity and respect, without discrimination of any kind.
The teacher shall respect the student’s right to obtain instruction from the teacher of his/her choice."

Obviously, this comp comp does not "encourage, guide and develop the musical potential of each student" because this oppressive fee does not encourage children of poor families from applying. I could go further and state that this burdensome fee prevents minorities from applying (since minorities tend to be poorer), so therefore, this competition is discriminatory. How's that for treating each student with dignity and respect?

So…my comment section is open. In the meantime, I am boycotting this competition. (The entire state of Ohio must have boycotted it last year since they had no applicants. You'd think they'd get a clue.)