A: MATA’s annual Call for Submissions will open in January, and close in March.
A: Due to the high volume of music we receive, we can only review materials in the context of our Call for Submissions. That said, we are always happy to consider proposals for large-scale projects at any time of the year, though we cannot guarantee a timely response.
A: All submissions are divided among a jury of distinguished composers, conductors, and performers. Jurors select a fixed number of submissions from their batch and pass on the remaining submissions to a second juror, who also selects a fixed number of submissions. Jury members meet in New York to listen to the music of all the highlighted composers, ranking their selections. MATA’s directors use this information together with explorations of the complete submissions to determine the programming for the festival.
A: Submit your best work. Our jury is open-minded and represents all stylistic areas.
A: Our jury changes each year. Submit what you consider your best work.
A: Yes. Please be certain that your score can be opened in a browser and/or downloaded without a password. Please also be sure that the link remains stable. If we cannot access your submission, we cannot assess it.
A: No. All recordings must be streamable.
A: Please don’t do that. It takes forever to download.
A: Yes, but we highly recommend that you include some form of audio realization for each piece submitted.
A: Please include a single page pdf in its place describing how the sounds are produced.
A: Please keep your CV to one page.
A: Generally MATA selects 20-30 composers, 3-4 of whom will receive commissions. However, this number is flexible, depending on the format of the festival in a given year.
A: Performers are selected who can best represent the music we program. You can see our complete programming history here.
A: Nothing. Our call for submissions is free.
A: We expect to inform applicants sometime before September, but this is subject to change.