A GREAT NOVELTY
REGISTRATIONS ARE OPEN FOR THE NEW
INTERNATIONAL COMPOSITION CONTEST
“FILM MUSIC 2016”
a contest dedicated to MOVIE SOUNDTRACKS
“a chance to work in the world of cinema”
The first prize for each category will be € 5.000 (about $ 5,565) in addition to a special prize for the absolute winner for a total amount of € 10.000 (about $11,130) and many other interesting prizes.
Registrations for the second edition of the International “Maurice Ravel” Composition Contest (www.composercompetition.eu) closed on January 15th 2016. The contest was entirely organized by the Ravel Association of Novara and Bergamo (Italy). The third edition is probably going to start in July/August 2016: those interested in participating may ask to be notified as soon as the contest opens, so as to receive an email on the first day of opening.
While waiting for the third edition, which will be even better than the previous ones, we would like to introduce a new opportunity that many composers are surely going to appreciate: another interesting international composition contest, currently open for registrations, dedicated to the world of cinema and entitled “Film Music 2016”. This contest will focus on “Soundtracks” for different movie genres. Most of your own compositions can actually be used or adapted to serve as movie soundtracks. You could even say that many compositions of the most diverse musical genres would be appreciated much more as movie soundtracks than in other contexts. But of course, every composition matches some film genres better than others: the different categories you'll find in the contest will better clarify this point.
We originally didn't plan on organizing this kind of contest: it wasn't our intention to start a new international composition contest with completely different features, but we have been asked to organize it by a Film Studio whose name for now we aren't authorized to reveal. The aim of this contest is to discover new emerging composers able to write great soundtracks. The winners will have the opportunity to work with this studio, that will propose them a contract to use their works in their next productions.
Emerging composers, in this case, doesn't mean that experienced composers cannot participate: it just means that the participants must never have composed a soundtrack used in the production of famous movies. Some composers, even very well-known ones, at the top of their career, perhaps never dedicated their creativity to the world of cinema: this could be a chance to start something new in this fascinating field. On the contrary, this contest is not open for composers who are already famous in this field, meaning composers who realized the soundtrack of extremely successful movies. They would also probably be too busy to accept new tasks.
Therefore, this contest represents a great job opportunity, in addition to granting personal satisfaction. But the contest is not just about that: job opportunity aside, it offers cash prizes that are much richer than what we could afford in our previous editions. The first prize for each category will be € 5.000 (about $ 5,565) in addition to a special prize for the absolute winner for a total amount of € 10.000 (about $11,130) and many other interesting prizes.
After several meetings with the studio, during which we presented the activities we organized in our previous contests, they chose to entrust us with the organization of their contest, which will partially follow the rules of our past events. The definitive rules of this new contest have been entirely established be the movie studio, although they chose to adopt many of ours, which therefore remain identical. If we hadn't accepted to organize and advertise this contest, some other association would have done it instead. Considering that we agreed to undertake this task, we assume all liability for whatever matter concerning the contest, just as if the contest were planned and organized by the Ravel Association itself.
Soundtracks have always been the key to the success of a movie: many movies would never have touched their spectators as they did without an amazing soundtrack. Behind every great movie there is a great soundtrack, a music that immediately recalls the main moments of the story whenever you hear it. Sometimes the fame of the soundtrack even overcomes the fame of the movie itself. Many great composers owe their renown to the music of great movies, such as: Ennio Morricone (Oscar 2016), Nino Rota, Nicola Piovani, Hans Zimmer, Yann Tiersen, Francis Lay, John Williams, Elmer Bernstein, Henry Mancini, John Berry, Maurice Jarre, Vangelis , James Horner, Yann Tiersen … and many others.
A movie requires the accompaniment of many different music themes: the main ones are the opening theme and the closing theme, that are sometimes identical but very often quite different. In the case of this contest, we only focus on the most important musical moment of the movie, that is its opening soundtrack, that marks the movie's character from the very first scenes. This theme almost always comes back in other parts of the movie as well, often in a cut or modified form, and sometimes serves as closing theme too. This is why the focus of this contest is on the opening soundtrack, which must be suitable for the genre of movie it is meant to accompany (meaning a specific contest category). Of course, when a composer is asked to prepare a soundtrack, the composition is tailored for the movie itself and takes into account its genre but also its plot, its photography, the director's and producer's indications, etc. However, for this contest we will only consider the compatibility with the film genre chosen, which is anyway enough to give a good evaluation.
What´s different about this contest compared to the Maurice Ravel contest?
These are the main differences:
* Higher prizes, considering both cash prizes and other awards.
* The registration fee does not have to be fully paid at the moment of the registration.
* Each contest category will accept no more than 10 composers for the same nationality.
* The rankings will not be based on nationality, there will only be an international ranking.
* Categories do not concern the number of instrumental parts, but rather the kind of music.
* Out of all registrants, 20 finalists will be chosen for every category, and there will be no semifinals.
* Only compositions for acoustic instruments are admitted (no electronic instruments)
* The duration of the pieces has stricter limits than in most contests.
* Every category is independent from the others and can be considered as a separate international contest.
* The list of instruments allowed is less broad (please see the list of possible instruments in the contest rules)
For the rest, the rules are basically the same as in our previous contests. Compositions will be played live for the jury by our orchestras: the judges will only base on the live performances, not on audio/video recordings. However, the judgment of the representatives of the movie studio will also be quite important, above all for the choice of the final winner. Unfortunately we cannot grant any advantage to composers who already participated in past editions of our contests. Composers may participate with the same compositions they presented in any other contest, including contests of the Ravel Association, but in that case they need to submit again all parts and all documents, also the ones that are already kept in our archives. Although it is still the Ravel Association that organizes the contest, a different office takes care of all matters related toFilm Music 2016, and all inbound or outbound communications are automatically forwarded to the movie studio. For any message, please do not write to the Ravel Association's address, but to the email address of this new contest: email@example.com
All composers have their own genre, that often remains the same in all their works: changes of style are rare and mostly happen over a span of years, not abruptly from one composition to the other. Composers working on contemporary music won't easily pass to melodic music, and vice-versa. Only a few composers are able to master many different genres. Therefore, most composers will only register for one category of the contest, the one that best matches their own style. However, composers who wish to experiment in different fields are allowed to participate in more than one category. This is why each category is actually considered as a different international contest, and is in no way related to the others. This means, for example, that composers who choose to compete in two different categories will need to make two separate registrations, fill out two different forms and make two different payments for the registration fee. All the required material can be sent to the same email address, which is valid for all categories.
Here follows a brief presentation: if you want to find out more and read the full contest rules, you are welcome to do so on: www.filmusicompetition.eu
© Copyright June 2015 - all rights reserved