CURRENT COMPOSER OPPORTUNITIES:
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 CALL FOR SCORES
EarShot Readings: National Arts Centre Orchestra
Application Receipt Deadline: 
Sunday, July 27, 2025, 11:59 PM EST
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Photo credit: Greggory Clark
PROGRAM
EarShot is the first ongoing, systematic program for cultivating relationships between orchestras and composers across the Americas. In addition to its annual readings with the NYC-based American Composers Orchestra, EarShot works with an international network of orchestral partners each season to discover and develop composers whose work expands the definition of orchestral music in the Americas. 
EarShot is a program of the American Composers Orchestra, in partnership with the League of American Orchestras, American Composers Forum, and New Music USA. For nearly two decades, the program has initiated dozens of composer/orchestra/conductor relationships across the country, offering opportunities to over 390 composers. In 2016, ACO launched a composer archive of past EarShot compositions as a resource to the field. Orchestras across the country and around the world rely on EarShot to identify and connect with creative artists, as well as to advise on commissions, competitions, and program design. For over a generation, EarShot Readings (est. 2008) as well as ACO’s New Music Readings (‘Whitaker’ from 1993-2009, ‘Underwood’ from 2009-2020, ‘EarShot in NYC’ from 2022 onwards), have provided all-important career development and public exposure to the country’s most promising emerging composers, with over 350 composers participating.
For more information on EarShot Readings and ACO’s other Composer Advancement programs, click here.
CALL FOR SCORES
Canada’s  National Arts Centre Orchestra is seeking composers with works for Western symphonic orchestra (2222-4231-timp.perc(2)-str) to be rehearsed, performed, and recorded in Ottawa, ON, on November 17 & 18, 2025, offering selected participants the opportunity to collaborate with mentors consisting of both established orchestral composers and industry leaders. This collaboration between ACO and NACO aims to intentionally and directly nurture composers and works representative of the increased diversity we want to see on our stages. Priority consideration will be given to BIPOC, female, non-binary, and Canadian composers. Compositional quality is still the primary deciding factor; all composers who meet the general EarShot Readings eligibility are welcome to apply.
There is no application fee. Travel (up to $700) and local accommodations are provided. Featured artists will receive recordings of their works for both personal and professional use.
EarShot Readings Eligibility &
APPLICATION REQUIREMENTS
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ELIGIBILITY
  • This opportunity is for composers who have had 2 or fewer pieces performed by a professional orchestra (30+ players). University, college, youth, and/or festival orchestra performances, as well as performances that have taken place in conjunction with any composer advancement initiative or program, do not count toward the number of pieces “performed by a professional orchestra.”
  • Canadian, Mexican, Central American, Caribbean, and South American applicants must be citizens or non-citizens lawfully and permanently residing or studying full-time in their respective countries. U.S. applicants must be either a U.S. citizen or a non-citizen lawfully and permanently residing or studying full-time in the United States. DACA recipients are eligible to apply.
  • There are no age restrictions; applicants should be composers/artists at the early stages of their professional orchestral careers.
  • Composers selected to participate in any previous EarShot Reading are ineligible.
APPLICATION REQUIREMENTS
  • Applicants may submit one work for this opportunity. Applicants may not submit multiple scores.
  • Compositions must be less than 13 minutes in length. A portion or movement from a longer work will be considered.
  • Submitted works must not exceed the instrumentation parameters outlined by the National Arts Centre Orchestra (2222-4231-timp.perc(2)-str).
  • Compositions that include MIDI, digital technology, amplification, and/or sound reinforcement will be considered on a case-by-case basis.
  • Do not submit recordings.
  • Incomplete, illegible, or late applications will not be considered.
HOW TO APPLY
In-progress applications cannot be saved. To view a PDF of the blank application,
Submissions must be received by 11:59 PM EST on Sunday, July 27th, 2025 11:59 PM EST to be considered.
SELECTION PROCESS
Scores are reviewed by a panel of composers representing various backgrounds, demographics, and musical styles. Panellists rate the scores numerically on criteria including originality, technical proficiency, and orchestration. Selected scores will advance to a second round of panelists, including ACO’s Artistic Director, who will in turn select a group of finalists. From these finalists, participants will be selected by the National Arts Centre Orchestra in collaboration with ACO staff.
If Selected:
  • Composers must be available and ready to attend the required reading sessions, feedback meetings and professional development workshops. Childcare and/or accommodations for physical disability and neurodiversity will be provided upon request.
  • Composers must submit self-portraits/headshots and a short biography for media purposes.
  • Composers must agree to be videotaped/audio recorded for archival and promotional purposes, and to have their music recorded for archival and study purposes.
QUESTIONS & INFORMATION
For additional information, please visit our website: www.americancomposers.org.
For questions or comments on EarShot or the call for scores, please contact
LaRob K. Rafael, Director of Composer Advancement: larob@americancomposers.org

ISCM Canadian Section Call for Works for ISCM World New Music Days 2026 in Bucharest, Romania May 23 – May 31, 2026

DEADLINE: August 3, 2025

The International Society for Contemporary Music (ISCM) Canadian Section is pleased to announce a call for works to select the Canadian Section’s submission for the 2026 ISCM World New Music Days taking place from May 23rd – May 31st, 2026 in Bucharest, Romania.

Submissions will be adjudicated by a jury consisting of composer and cellist Cris Derksen (ON/AB), composer and clarinettist Pierre Michaud (QC/NB), violinist and artistic director Rebecca Whitling (BC/AB), and one composer representative from the CLC’s National Council.

Six works will be chosen as the official Canadian Section, with a guarantee that at least one will be selected for performance in Romania. It is the goal of the jury to select works of excellent artistic calibre to be the Canadian Section’s submission to ISCM World New Music Days. The jury assesses the submissions together to ensure that the chosen works encapsulate the dynamic and diverse output of Canadian composers and sound artists working in a broad range of aesthetics, media, identities, and contexts.

Submissions are encouraged in a wide variety of styles, reflecting the plurality of sonic arts today.  Diversity in all its forms (race, culture, gender identity, sexual orientation, language, physical ability, and age) will be a guiding factor.  We particularly welcome applications from women, non-binary, trans, Black, Indigenous, People of Colour, as well as artists from traditionally under-represented populations. 

In the selection process, the jury will give preference to pieces that are up to 10 minutes long, as well as to works created in the last 10 years, with maximum priority being given to the works created in the last 5 years. The submissions can include already premiered, performed, and yet-to-be-premiered works; the submitted pieces can be published or unpublished. Young composers (under 35) whose works are selected for performance in the WNMD could also be eligible for the ISCM Young Composer Award.

The Canadian Section Jury will take these above guidelines from the Festival Jury into consideration when adjudicating submissions.

For all works being submitted to the ISCM Canadian Section for WNMD 2026, it will be the responsibility of each composer to secure rights for the inclusion of that composer’s work in the ISCM Canadian Section promotional website.

By submitting works to this call, composers are agreeing that if their work is selected for performance/presentation, then they grant automatic permission for recording, broadcasting, and streaming the ISCM performance/ presentation of their work without additional financial liability to the ISCM or the ISCM WNMD 2026 organisers.

ELIGIBILITY

1. Composers with Canadian citizenship, permanent residency, or legal residency status in Canada are entitled to submit works to the jury of the ISCM Canadian Section. It is also possible to submit work(s) directly to the international jury of the ISCM by Individual Submission, conforming to the application fees and regulations of ISCM WNMD 2026.

Only one work may be submitted per composer, whether through the ISCM Canadian Section or by individual submission. The preferred means of submitting works by Canadian composers for consideration is through the ISCM Canadian Section. The ISCM Canadian Section will make every attempt to notify the public in a timely fashion of the ISCM Canadian Section jury’s selected works for World New Music Days 2026.

Individual Submissions should be received via the relevant ISCM 2026 Submission Form no later than 11:59pm CET on 1 October, 2025. Late submissions will not be considered. The Submission

Forms will be made available, and the links advertised on the ISCM website, from 15 May,

2025. Individual submissions can be made through this portal.

Note: Composers whose work is selected for the official ISCM Canadian Section submission must be members of the Canadian League of Composers. If you are not a member, you may still submit, but if your work is chosen, we will ask you to join the CLC before we submit your work. In this case, the CLC will waive the $75 membership fee for the first year for composers whose works are part of the ISCM Canadian Section official submission.

2. The ISCM Canadian Section will select six works for consideration by the 2026 ISCM World New Music New Days Selection Jury. These works must come from at least four available instrumentation/presentation categories.

3. Works by a composer whose piece(s) have been performed at the 2025 ISCM World New Music Days in Portugal are not eligible for submission.

4. Preference will be given to works composed after 2016, with highest priority given to works composed after 2021.

5. All works submitted to the ISCM Canadian Section for the Call for Scores for the 2026 ISCM World New Music Days must conform to the instrumentations (or subsets thereof in some cases) and durations of the available categories, as set out herein or in the Official Call for Works distributed by the ISCM Romanian Section. Please contact the ISCM Canadian Section (iscm@composition.org) or the CLC (info@composition.org) for more information about the eligibility of works written for subsets of the categories.

6. Failure to conform to this will, at the discretion of the 2026 World New Music Days international jury, disqualify the entire submission from the ISCM Canadian Section.

INFORMATION REQUIRED FOR SUBMISSIONS 

The information/ materials required for each submitted work, both in Official and Individual Submissions, are:

1. The composer’s personal and contact information: given names; family name; name as it should appear in the programme; date of birth; gender; full mailing address; phone number; e-mail; website (if applicable).

2. Work information: title; submission category; accurate duration; composition year; information about previous performances and/ or if the work has been premiered or not.

3. Programme notes in English – maximum 150 words (possible file formats: odt, doc, docx).

4. Short biography of the composer in English – maximum 150 words (possible file formats: odt, doc, docx).

5. High-resolution digital photo of the composer (possible file formats: png or jpg).

6. Technical rider specifying the accurate instrumental set, equipment and means necessary for the performance of the submitted work (possible file formats: odt, doc, docx).

7. For categories 1-12: a PDF with the score and an audio file with a recording or a MIDI realisation (possible file formats: m4a, mp3, mp4, flac, wav, aiff). For recordings, please provide the date, venue, and names of performers.

8. For category 13, please submit sound files with the finished work (possible file formats: m4a, mp3, mp4, flac, wav, aiff). Please provide a stereo version for multi-channel works (up to 16 channels).

9. For category 14, please submit a project proposal/ description, sound files, image/ video files, a clear technical outline, and / or any other material allowing the jury to understand the work’s artistic and technical aspects and requirements.

  • Image file formats: png, jpg.
  • Video file formats: mp4 (normal quality), mov (Apple ProRes 422; high quality).
  • Sound file formats: m4a, mp3, mp4, flac, wav, aiff.
  • Please provide a stereo version for multi-channel works (up to 6 channels).

NOTE: Please ensure all the submitted documents and materials related to each work are labelled with the composer’s name and title.

SUBMISSION CATEGORIES: 

1. SYMPHONY ORCHESTRA (with or without soloist[s])

Possible soloists from the following instruments: flute, clarinet, violin, cello, piano, cimbalom

  1. The Romanian National Radio Orchestra (max. 3.3.3.3. – 4.3.3.1. – 3 perc. – piano – harp – 14.12.10.8.6)
  2. The George Enescu Philharmonic Orchestra (max. 3.3.3.3. – 4.3.3.1. – 3 perc. – piano – harp – 14.12.10.8.6)

Doubling possibilities: 1 cor anglais, 1 bass clarinet, 1 contrabassoon

For this category, no electronic/fixed media is possible.

2. CHAMBER ORCHESTRA

The Romanian Chamber Radio Orchestra

(max. 2.2.2.2. – 2.2.0.0. – timpani (1 player) – piano – 6.5.4.2.1)

For this category, no electronic/fixed media is possible.

3. STRING ORCHESTRA (with or without stereo fixed media – “tape music”)

The Concerto Orchestra of the National University of Music in Bucharest (max. 8.6.5.4.2)

4. LARGE ENSEMBLE – 10-16 musicians (with or without stereo fixed media – “tape music”)

PROFIL Sinfonietta (max. 1.1.1.1. – 1.1.1.1. – piano – harp – 1 perc – 2.1.1.1.)

5. MEDIUM ENSEMBLE – 7-8 musicians (with or without stereo fixed media – “tape music”)

Ensemble Couleurs (fl, cl, 2 vn, vla, cello, pno, 1 perc)

6. SMALL ENSEMBLE (with or without stereo fixed media – “tape music”)

  1. ATEM Ensemble – 5 musicians (fl, cl, vn, cello, pno)
  2. LARSON Trio – 3 musicians (vn, cello, pno)

7. SMALL PERCUSSION ENSEMBLE

Ensemble PULSAR(T) – 2-4 musicians

List of instruments: 2 Bass Marimbas (C2-C7), 2 Vibraphones (F3-F6, tuning 442), 2 Concert Bass Drums, 2 Xylophones (F3-C7), 2 Glockenspiel (G3-C6), 1 set of chromatic Crotales, 1 pair of Congas, 2 pairs of Bongos, 2 pair of Tom-Toms, Tam-Tam, unpitched gongs, small percussions

For this category, no electronic/fixed media is possible.

8. STRING QUARTET (2vn, vla, cello)

  1. Arcadia String Quartet
  2. Gaudeamus String Quartet

For this category, no electronic/fixed media is possible.

9. DUO (with or without stereo fixed media – “tape music”)

  1. Viola and clarinet
  2. Any duo combination between: flute (can double Piccolo, Alto, Bass Flute), clarinet

(can double Bb Bass Clarinet), violin, cello, piano

10. SOLO WORKS (with or without live electronics* / stereo fixed media – “tape music”)

From: flute (can double Piccolo, Alto, Bass Flute), clarinet (can double Bb Bass Clarinet),

violin, cello, piano

*Recommended DAWs: Reaper, Ableton Live or Max/MSP and an up-to-four-channel loudspeaker

system. Any additional plug-ins should be freeware and/ or be supplied by the composer.

11. SOLO CIMBALOM (with or without stereo fixed media – “tape music”)

12. CHOIR (a cappella or with piano accompaniment; possible small percussions)

  1. Madrigal Choir – SATB Choir (35 singers, with a division option of 6-12 voices)
  2. Madrigal Children Choir (24-30 children, with a division option of 3-4 voices)

13. AUDIO-VIDEO WORKS (up-to-eight-channel loudspeaker system)

Video file formats: mp4, mov

14. ELECTRONIC WORKS (up-to-eight-channel loudspeaker system)

To submit a work for consideration, please submit a complete application form, available here.

***Please note that submission via the above form requires an active Google account. In the event that you do not have one, please contact generalmanager@composition.org***

For general information on the International Society for Contemporary Music, click here.

For additional information specific to the ISCM Canadian Section, click here, or e-mail iscm@composition.org.

Sincerely,

Bekah Simms, President, ISCM Canadian Section

Gordon Fitzell, Vice-President, ISCM Canadian Section

The annual Young Composers Meeting is an initiative of Orkest De Ereprijs. They offer young professional composers the opportunity to compose a piece for the ensemble and thus develop their talents, as well as expand their knowledge and build a network.
You can apply now for the 32nd edition!

During this week in Apeldoorn (March 1st-6th), 13 selected participants will come together. In preparation for the Meeting they will each write a three-minute piece for the orchestra,  possibly extended with voices from Royal Conservatoire The Hague. The week consists of rehearsals of these compositions, readings and individual lessons from our senior composers. This year the senior composers are Tadeusz Wielecki, Richard Ayres and Wilbert Bulsink. The closing concert, directed by Edo Frenkel, will take place at Podium GIGANT, featuring all the pieces. Afterwards, a jury of prominent composers will decide which four talented participants will win the composition commissions.

All information about the YCM 2026 and requirements for participation can be found here. You can apply up until September 6th 2025.

Beginning Band Composition Competition

Dr. Wendy Zander, Competition Coordinator

CALL FOR COMPOSITIONS

In celebration of the 40th anniversary of the Brandon University Student Music Educators’ Association and the 20th annual Da Capo Conference in the School of Music at Brandon University, we welcome submissions of compositions written for beginner band students.

                                   The Composition

                                   Competition Details

                                   Submissions

                                   Composition Context

The Composition:

Submissions must

  1. be an original composition for band written since August 1, 2023 that has not yet been commercially available (website, publisher, distributor, etc).
  2. be written at a difficulty level of 0.5 (based on the 0.5-6 grade level system). Secondary consideration will be given to compositions at Level 1.
    “Defining the Wind Band Grade System” by David Marlatt (Eighth Note Publications) https://drive.google.com/file/d/1ZC8BgZu3MLLw8DL1yPvqXRSEBwbNEtOj/view

and *Bruce Pearson’s “Selecting Music for the Young Band” are an outstanding resource.

*(in Teaching Music Through Performance in Beginning Band, Volume 1, ed. Richard Miles and Thomas Dvorak. Chicago, IL. GIA Music, pp. 45-60.)

Competition Details:

The Competition is open to submissions from Canadian citizens and residents.

The deadline to submit is 12:00 AM (midnight) CST on November 1, 2025.

The composer of the winning compositions will receive a prize of $750 for first place, $350 for second place, and $150 for third place.

All copyright, mechanical rights, and royalty rights remain with the composer. The winning composers will provide the Competition Coordinator with a digital copy of the score and parts to be distributed to members of the Westman Band Directors Association for their program use. Winning works will be performed at the 2026 Da Capo Conference.

All applicants will receive an announcement of the winner by email and the results will be posted, including on the Brandon University School of Music website.

Should the jury consider none of the submitted compositions to be level-appropriate or meritorious, prizes will not be awarded.

Composition Advisory Committee: Kaylee Carlson, Veronica Casigay, Graydon Cramer, Erin Dodds, Brooklyn Friesen, and Kaylynne MacDiarmid.

Submissions:

  1. Submissions (score and file names) should be saved by title to maintain anonymity. Please submit .pdf score, recording (mp3), and an on-line completed submission form. https://forms.gle/UASvKdkcsVavPRqp9

Live recordings are encouraged, but MIDI realizations are acceptable. PLEASE COMPRESS AUDIO FILES TO MINIMIZE FILE SIZE. Submissions should be e-mailed to BUSMEA@brandonu.ca with a subject line of “Composition Competition Submission.”

  1. Recommended Instrumentation

Flute

Oboe

Clarinet

Bass Clarinet

Alto, Tenor, and Baritone Saxophone

Bassoon

Trumpet

Horn

Trombone

Euphonium (Bass Clef)

Tuba

Double Bass

Percussion

               Unpitched

                Pitched

Composition awards are provided with financial support from the Westman Band Directors Association and Competition Coordinator.

Composition Context:

The Composition Competition is a celebration of the 40th anniversary of the founding of the Brandon University Music Educators Association (BUSMEA) and the 20th anniversary of BUSMEA’s Da Capo Conference.

Brandon University Music Educators Association (BUSMEA)

BUSMEA, founded in the School of Music in 1986, is an association managed by a music education student Executive Council. With member support, Council organizes professional development opportunities to supplement course work and educational experiences for students enrolled in the faculties of Music and Education. Engagement with BUSMEA advances members’ keystone leadership skills in communication, organization, budgeting, and fundraising, among others.

Da Capo Conference

The Da Capo conference is a one-day professional development event, planned and prepared by the BUSMEA Council. It includes workshops and seminars designed to enrich the learning of music educators, music administrators, students in music and music education as well as high-school students. The conference builds and sustains relationships between pre-service and in-service educators by engaging prairie educators as mentors and experts. On January 16-17, 2026, Da Capo will celebrate its’ twentieth iteration with a special two-day event honoring these values and connections.

Westman Band Directors Association (WMBDA)
The WMBDA supports quality instrumental music education in Western Manitoba through professional development opportunities and the nurturing of a network of stakeholders. They endeavor to provide meaningful opportunities for bands and educators to grow and build community. The WMBDA

  • delivers an annual Junior and Senior Honour Band each February in cooperation with the Brandon University School of Music. This event brings in conductors and ensembles to share in our learning and performance.
  • organizes an annual meeting and professional development event in June.
  • All band directors in the region are WMBDA members and associate membership is available to anyone in the area with a Manitoba Band Association membership in good standing.
  • Our members support the Brandon University Student Music Educators’ Association

BUSMEA and WMBDA members are committed to providing high quality music instruction. Designed to stimulate the creation of accessible and engaging Canadian repertoire for beginner band, the composition competition is an investment in musicians who are, like pre-service teachers, at the beginning – Da Capo – of an important adventure.

CMC Ontario – Concert Series
Deadline / rolling
Click here for info

Starting in 2023,  The Ontario Region of the Canadian Music Centre is offering up to six $1,000 sponsorships each year, available to Associate Composers and new music performers, ensembles, and presenters, to produce a concert featuring at least 50% of music by Ontario Associate composers, allocated regionally in the following areas:

  • Eastern Ontario (Ottawa, Kingston)
  • Southern Ontario (Hamilton, Kitchener, Niagara)
  • Western Ontario (London, Windsor)
  • Central Ontario (Peterborough, Barrie, Owen Sound)
  • Northern Ontario (North Bay, Sudbury, Manitoulin)
  • Northwestern Ontario (Thunder Bay, Sault-Ste-Marie, Kenora)

CMC ON will promote the concerts via the CMC Ontario eBlast, our website, and social media (Facebook, Instagram, Twitter). In return we ask that the concerts are billed as co-presentations providing equal billing to CMC ON on programs, website page about the concert, and any promotional materials using our logo. After the event, CMC ON will solicit a statement about the benefit of the support. Where possible, someone from CMC ON will attend.

While offering a source of new funds to areas historically deprived of new music performances and our help promoting concerts under this umbrella, this new paradigm of working has the potential to increase the number of concerts CMC ON presents each year, broaden our presence across the province, help us meet new people doing creative things, and help us better fulfill our provincial mandate and mission.

A specific number of sponsorships will be allocated to each area annually. Applications will be reviewed by staff as they are received until the funds for each area are committed.

CURRENT ARTIST OPPORTUNITIES:

Supporting the Next Generation of Performing Artists

HYPE is MPMG’s annual grant program to help support emerging Canadian artists in the presentation of a new work, across all performing artistic disciplines. Open to organizations who have been in operation for no more than three years, at time of application, each recipient will receive $12,000 of marketing and consulting services from MPMG to promote work being presented during the winter or spring season.

HYPE is part of MPMG’s ongoing efforts to support, train, and mentor the next generation of performing artists through the donation of marketing services. HYPE will provide Media Relations, Digital Marketing, and Consulting support to raise the profile and awareness of the recipient’s new work, while simultaneously helping prepare them for ongoing success by providing training, mentorship, and marketing resources in preparation for future presentations.

2026 Application Dates + Details

Applications Open: June 10, 2025 (for new work falling between February and July 2026).

Application Deadline: September 9, 2025, 5pm (Pacific Time – Canada). The HYPE application form will be available on June 10. Please check back at that time.

Application Selection: November 4, 2025.

Project Window: You are presenting a new work that falls between February and July 2026.

Applicant and Project Eligibility: You are an organization who has been in operation for no more than three years as of the application deadline. You are a registered not-for-profit or charitable organization.

You are presenting a new, fully staged, full-length work or mixed program in a professional setting with a minimum seating capacity of 150 seats. Eligible performing arts genres include: dance, theatre, music, and comedy.

Value: MPMG will donate $12,000.00 in marketing services to be used in 2026, in conjunction with the selected work.

Upon receipt of the applications by September 9, 2025 (at 5pm PT), MPMG may require an interview with the candidates, to take place in-person or through Zoom.

For further information, please contact: hype@mpmgarts.com

This opportunity provides funding of up to $30,000 for emerging artist engagement projects in rural communities, including First Nations reserves and Metis Settlements, to cultivate the next generation of artists and address intergenerational gaps in professional development.

Projects must occur outside of Alberta’s major urban centres.

More information HERE.

Chalmers Performance Space Artist is Residence Program
Deadline / rolling
Click here for info

The CMC Short-term creative residencies are a rolling residency program for composers, ensembles, and production companies involved in the production or researching of Canadian Music in CMC’s Chalmers Performance Space in downtown Toronto. These self-directed residencies provide you or your organization with space and time in which to experiment and cultivate new works or research new avenues for creativity. Residencies take place during work hours, 9am-5pm Monday to Friday. Residencies may range from a few days up to 4 weeks (excluding weekends) and may take place at any time of the year subject to availability of the performance space. 

Resident artists and ensembles benefit from access to CMC’s production facilities and knowledgeable staff who are available to provide technical support and assistance. In addition, you will have the opportunity to build connections, create networks, and share your work with the broader CMC community through artist talks, publications and/or livestreaming.   

Chalmers Performance Space Artist is Residence Program
Deadline / rolling
Click here for info

The Canadian Music Centre in BC (CMC BC) is pleased to launch a new Artist in Residence program for the upcoming 2022/2023 season. Select artists (composers, performers, small ensembles) will be chosen as ‘Artists in Residence’ in CMC BC’s Murray Adaskin Salon.

These residencies are offered to artists involved in the production or researching of Canadian Music. The Canadian Music Centre in BC has always tried to support and encourage artists in our community and continues to do so with this investment in a private, creative working space to focus on your goals.

The AiR program is a flexible model to encourage experimentation and creativity. Basically you decide what you need to work on and we give you the space and time within which to do it.

CALLS FOR PAPERS:

CURRENT FUNDING OPPORTUNITIES:

Alberta Music Travel Grant

This grant provides travel assistance to Alberta-based music companies, artists, and individuals to support the growth and professional development of their careers.

READ MORE

Alberta Grants Calendar

This calendar captures upcoming grant deadlines for funding available to arts organizations and artists in Alberta. We have provided public funders at the municipal, provincial, federal levels, among with private foundations that support the arts in Alberta.

READ MORE

Downtown Vibrancy Funding

The Downtown Vibrancy Fund provides funding to projects that support achieving the goals outlined in the Downtown Vibrancy Strategy.

READ MORE