The 2015 edition of LMCML offers a novel format centred around healthy and innovative creation. This year, composers and performers will realise their works twice and have the opportunity to revise collaboratively in the interim. To accommodate this, the lab will now exist as a ten day workshop (rather than six), and participants will have more opportunities to work closely with our guest artist mentors throughout the rehearsal and revision process.
Additionally, this year for the first time we are offering Sound Art Lab in order to open our exciting atmosphere of experimental creation to electroacoustic composers andnew media artists with diverse practices. The sound art component runs parallel with the other participants, with many opportunities for sharing work between disciplines, cross-pollination, and discovery.
During the first four days of the workshop, the composer-performer pairs will rehearse the piece as submitted by the composer. During this time, each pairing will together give a short presentation on the work to the rest of the participants, inviting critical discussion, and affording both the composer and performers an opportunity to fully invest in and share the work. After this initial period of rehearsal, the works are performed in a private concert for the other participants and invited guest artists.
Similarly, the sound artists begin by working in studios to realise their projects. They also present their projects to the other participants and have an open-studio day where other participants and guest artist are invited to come in and see the works in progress.
The remaining six days are devoted to revision of the works, beginning with an open discussion where all the participants are invited to critique the first performance (or showing). Then, the composer-performers pairings regroup and revise the work collaboratively, encouraging input from both sides, working toward a final public concert at the end of the lab. The sound artists have a public exhibition in a hybrid gallery-concert format (depending on the proposals submitted). All participants will receive high-quality recordings of their works.
This structure is designed to facilitate an ambitious and innovative perspective on new music creation. We hope that through this process, participants have the opportunity to experiment extensively through their works, without the pressure and risk behind a rushed single performance. This model also hopes to engender a greater sense of shared authorship and mutual creative respect between composers and performers, and to foster community and professional networks; creating lasting friendships and potential future partnerships.
In addition to the main thoroughfare of rehearsing, discussing and producing new music, the lab is peppered with workshops, casual improvisation sessions, and social events. Our workshops will be led by our invited artists, addressing topics including: the operation of a professional new music ensemble, new media creation, and collaborative creation. The guest artists will also be present throughout the lab, providing coachings during rehearsal and studio times, attending concerts and exhibitions, and providing feedback during our many open forums for discussion.
We are accepting applications from emerging performers, composers and sound artists from Montréal and abroad.
There is no application fee. If accepted, cost of participation is $250, which includes entry to all workshops, masterclasses and concerts, and lunches. The lab takes place from 12-21 June 2015.
Send two recent recordings, at least one of which should be of a composition written in the last 50 years. Recordings can be of solo or chamber music projects, with a total ideal duration of 10-20 minutes of music.
While recordings demonstrating performance of contemporary music are preferable, we are still willing to accept applicants interested in the workshop without a recording of a recent work. If this is your first contemporary music experience, please let us know in your letter of intent what has inspired you to apply.
We also welcome applications from pre-formed ensembles. Please apply in the same way as individual performers. Keep in mind that you’d participate in the lab as individuals in addition to your role as ensembles.
Send two recent scores with recordings. At least one score should be for a maximum of three performers, and works demonstrating solo writing are encouraged.
Send documentation for two recent projects (audio, video, PDF, etc). Please also include a short proposal (maximum one page) of the project you aim to undertake at the lab. It can be a project already in-progress or something created completely during the lab. This proposal should include detailed information about the technical needs of the project and how it is to be exhibited (for example, in a concert or gallery setting). Please consult ourtechnical rider for a complete list of our resources and information about our studio and exhibition spaces. Projects whose technical needs exceed these resources are possible, but the candidate must be able to provide the additional equipment. It is important to be as clear as possible about the practical realisation of the project so that we can assess its feasibility and provide adequate support if selected.
Sound Artist proposals can be individual projects or collaborative in nature. If you are interested in working with other lab participants (composers or performers) please specify in what way (for example: to record a clarinettist for an acousmatic work, or to work with a composer on a new media project). Note that artists wishing to create written music for a performer with electronics should apply as composers and not sound artists.
Please include a copy of your C.V. and a short written statement of intent (maximum one page) briefly explaining your artistic practice and interest in the lab.
Send all application material to: firstname.lastname@example.org and please contact us if you have any questions.
All applications must be sent digitally (documents: .pdf, .doc, .odt, recordings: .mp3, .aif, .wav, .m4a). If submission is too large to send as an e-mail attachment, we encourage applicants to use a file-sharing service such as dropbox, wetransfer, or yousendit.
No hard copies will be accepted.
DEADLINE: 15 FEBRUARY 2015
Participants will be notified of results by 15 March, and pairings (for composers and performers) will be made by 1 April.
Composers are required to complete their pieces (5-8 minutes, 1-3 performers) by 1 June.
We aim to make our event as open and accessible as possible, but can accommodate a maximum of 40 participants and must maintain a balance between performers, composers, and sound artists.
The selection committee includes members of MCML’s organisational team and invited guest artists.
The event is aimed at emerging artists, and applications will be assessed primarily based on the perceived benefit to the participant. The written statement of intent is the most important element of the application, and technical and aesthetic assessment of the applicant’s supporting materials is a lesser consideration.
For sound artists, the perceived feasibility of the proposed project will be a crucial part of the assessment.
MCML 2015 will be hosted at Concordia University (Molson Building), with concerts and select events occurring in other venues throughout the city of Montreal.
Out-of-town participants are responsible for their own travel and accommodation, but MCML can provide letters of invitation for travel grants upon request and assist in providing contacts for “couch-surfing” with local participants and team members.
We are also looking for volunteers to assist during the lab. If interested, please contact email@example.com.