Emerging Composer Fellowship
The Composer Fellow will receive:
- Mentorship from MUSIQA’s artistic board composers.
- A commission for a 4-7 minute work to be premiered at a Musiqa performance.
- A $1,500 stipend.
The Composer Fellow will be responsible for:
- Attending all Musiqa performances and assisting on concert and dress rehearsal days as needed.
- Acting as an ambassador for the ensemble, especially on social media.
- Self-motivated with a strong interest in contemporary music.
- Have completed at least a Bachelor’s degree in music, preferably in music composition.
- Live in the Houston area and have reliable transportation.
- Have basic knowledge of standard word processing programs.
Musiqa is committed to diversity, equity, and inclusion in every facet of its operations including its curatorial practices. The initial judging round of scores and music will be done blind. Judges will not have access to composer demographic information or resume during the submission review process.
The following submissions are required to be considered for the Emerging Composer Fellowship.
- Two (2) anonymized scores or excerpts (PDF format only) with accompanying recordings (MP3 format only), each under 5 minutes in length (MIDI files accepted; audio recordings preferred.)
- Resume or CV (PDF format only).
Applications and submissions must be received by August 14, 2020. Incomplete or late applications will not be considered. Selection of the composer fellow will be announced no later than September 1, 2020.
Musiqa will not retain any submission materials after the commission(s) have been awarded. All submission materials will be destroyed and erased from our servers and those of our vendors.
Max Vinetz draws inspiration from various intersections between traditional, popular, and improvisatory forms and aesthetics. He has received numerous award and recognition including the ASCAP Morton Gould Young Composer Award for his work for solo cello, entitled “Allemande,” the Beekman Cannon Friends Prize, and the Abraham Beekman Cox Prize to name a few. Vinetz’s music has additionally been featured at numerous festivals — Norfolk New Music Workshop, Fontainebleau (FR), New Music on the Point, Brevard Music Center, California Summer Music, Red Note New Music Festival, among others — and performed and recorded by Arditti Quartet, Ensemble Dal Niente, Ensemble for New Music Tallinn, Hear&Now, Copland House Chamber Players, DeCoda, and Mivos Quartet.
Niko Yamamoto is a composer of acoustic and electroacoustic music. His music is concerned with the abstraction and juxtaposition of gesture to augment perceived image, subject, and environment. References to aesthetic and philosophic folk traditions of Japan in Niko’s work aims to construct Japanese-American identities of the post-internment period. In response to people, space, and time, Niko’s work engages and experiments with the present moment. Recent compositions explore functional aspects of feedback to guide development and deterioration. Composed for the installation of Josiah McElheny’s Island Universe at Moody Center for the Arts, dis.integrations for saxophone is the first of a series of work that explores this feedback visually and aurally among observer, performer, and performance space. Niko is a graduate of Rice University (M.Mus Composition) and the University of Illinois at Urbana-Champaign (B.Mus Composition & Theory). Distinctions include the Emerging Composer Fellowship from Musqia (Houston, TX) as well as the Delores Dlesk Scholarship (2017) and Theodore Presser Undergraduate Scholar Award (2016) from the University of Illinois. In Fall 2019, he will begin a Ph.D. in Music Composition & Theory at Brandeis University.
Theo Chandler is currently pursuing his Doctorate of Musical Arts at the Rice University Shepherd School of Music, studying with Anthony Brandt. Chandler is the recipient of a Charles Ives Scholarship from the Academy of Arts and Letters and a Morton Gould Award from ASCAP. He was selected as the winner of Juilliard’s Orchestra Competition, Juilliard’s Gena Raps Competition, the New Juilliard Ensemble Competition, and the Maryland Wind Festival Call for Scores. Chandler has received commissions from the New York Youth Symphony, Tanglewood Music Center, Les Délices, and others. He has been a fellow at Tanglewood Music Center and Aspen Music Festival and School. For the summer of 2018, he has received a fellowship to Copland House CULTIVATE and has been invited for the I-Park Composer + Musicians Collaborative Residency. He received his previous degrees from The Juilliard School and Oberlin Conservatory, studying composition with Melinda Wagner, Samuel Adler, Steven Stucky, and Lewis Nielson.
Timothy Roy composes music steeped in imagery and allusion, which often seeks to conjure a sense of time, place, and feeling. His work has been presented nationally and internationally, with performances at the Music Biennale Zagreb, Bowling Green New Music Festival, Toronto Electroacoustic Symposium, Denison University’s “Tutti” New Music Festival, Studio 300 Digital Art & Music Festival, Center of Cypriot Composers, Society for Electro-Acoustic Music in the United States (SEAMUS) National Conference, Sweet Thunder Music Festival, radioCona (Slovenia), and the International Electroacoustic Music Festival of Chile, “Ai-maako.”
Hailed as “extremely moving” by New Music Box and “lovely and communal” by the Austin American Statesman, the music of Joel Love (b. 1982) explores an eclectic mix of genres, from short video pieces to works for chamber and large ensembles. Joel was commissioned to compose a new work, Lightscape, for the opening of light artist James Turrell’s The Color Inside in 2013. The Houston Chronicle commented that Lightscape “evocatively captures the emotion of The Color Inside.” Joel is the only two-time winner of the PARMA Recordings Composition Competition, which selected Lux and Synchronicity in Purple Minor for publication.
Charles Halka writes acoustic and electronic music for concert, dance, and opera, and his works are often inspired by language, visual imagery, movement, and human experience. His music has been performed in North America, Europe, Brazil, and Hong Kong, including performances by the Cabrillo Festival Orchestra led by Marin Alsop, the Mexican National Symphony Orchestra, the Lviv Philharmonic, counter)induction, Callithumpian Consort, Mivos Quartet, Volti, ÓNIX Ensamble (Mexico), PRO ARTE eNsemble (Russia), Aquarius(Belgium), Duplum Dúo (Mexico), Jauna Muzika (Lithuania), and Pictures on Silence, among others.