We have the winners!
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For the standard, audio-presentation prize:
- 1st prize: Brian Riordan (US) - Recorded Ruins | notes
- 2nd prize: Omar Aziz Peracha (UK) - Colour Etude I | notes
- 3rd prize: Pedram Diba (US) - CheSeShooEsMah | notes
The winner of the Micro-Cosmos (Mikrokosmos) Microtonal Pedagogy Award is:
- Frank J. Oteri (US) - Spurl (performed by clarinettist Michiyo Suzuki) | notes
In addition, we felt strongly about presenting the five remaining top scorers as a "winner's circle" and will offer an extra ad-hoc special prize of $200 to 4th place piece. The competition was so tight this year for these pieces that it took some time to deliberate. We ultimately decided that these pieces were deserving of special mention do to their overall quality of invention and presentation:
- Jonathon Hazen Scott Mccullough (US) - Squeeb (special 4th place prize) | notes
- Thorin Kerr (Australia) - The Pungent Garden | notes
- Noah Dean Jordan (Canada) - Hrafná | notes
- Hiroki Naito (Japan) - Short-period comet,for 14EDO piano and orchestra | notes
- Skye Van Duuren (US) - Manifestations (mvmt. 3) | notes
Below are the rest of the pieces, so that everyone can hear all the entries. There are excellent works in here! Composers: remember that if you didn't win, or place as highly as you thought you would, that the process is subjective, and based on averaging the tastes of several people over a large body of works. What we hope emerges is a consensus measure of quality, not an absolute measure of quality. There are pieces that other rated as top score at the same time others rated them lower, so the finalists all emerge as pieces that survived a rather subjective filtering process. All of the works below are worth hearing, and are works that will surely speak to someone! We at UnTwelve salute everyone who took the time to submit their hard work, and encourage everyone to keep on perfecting their art!
Congrats to the winners, and congrats to all! And...thanks again to our guest judges: Charles Corey, Mathew Rosenblum, and Robin Meiksins.Paolo Fradiani (Italy) - Archetypi | notes
Richard Sanderson (Australia) - Chill Music in 16EDO | notes
Desmond Clarke (United Kingdom) - Music for Miniature Landscapes | notes
Christian Klinkenberg (Belgien) - Souvenir du Souvenir | notes
Douglas Blumeyer (United States) - Zdaubyaos | notes
David Jason Snow (USA) - Beat me mama 23 to the octave, 29 to the bar | notes
Ben Wylie (Canada) - Acousmonium II - for Melodica and Hacked Tape Recorders | notes
Spencer Hargreaves (Canada) - Glass Flowers | notes
John Alexander Coutts (Australia) - Seven Eleven | notes
Federico Bonacossa (United States) - Diversions - for guitar quartet | notes
Levin Eric Zimmermann (Germany) - 11|7 | notes
Skott Johnson (United States) - Lebowski Dream #17 Act 4 | notes
Stephen Leo Weigel (United States) - Six Macrotonal Etudes for Electronic Music Media (2/6 submitted) | notes
Adam/Astrella Luke/Lilith Morin (United States) - Glass Ships | notes
Shruthi Rajasekar (United States) - Gaanam | notes
Ramin Akhavijou (United States) - String Quartet No.2 | notes
Andrea Ravizza (Italy) - Eindickung | notes
Jeff Morris (United States) - Etude NO. 3 for Horn | notes
Ramon Capsada Blanch (España) - Toccata for synthesizer. Subtle differences. | notes
Kevin Michael Kay (United States) - Quiver | notes
Saad Haddad (Usa) - Fugha | notes
Alberto Ezio Colla (Italy) - Wonders | notes
Jacques Dudon (France) - Ragisma Mandala | notes
Bernd Schumann (Germany) - Das Kind von morgen (Tomorrow's child) | notes
Abraham Gonzalez Bejarano (Mexico) - Exploraciones VI | notes
Stefaan Himpe (Belgium) - We won, Didn't We? | notes
Stephen Frank Lilly (Usa) - Embark | notes
Hachè - Costa (Spain) - passaggio | notes
Ben Luca Robertson (United States) - Oxybelis | notes
R. Bruce Burleigh (U.S.A.) - Dream Space 19 | notes
Frederik Vandecasteele (Belgium) - Elevate | notes
Evan James Kassof (United States) - Collective Bargaining | notes
Reilly Pascal Spitzfaden (United States) - Resonances | notes
Ali Balighi (Iran) - A little Piece For Violin | notes
Juan Maria Solare (Gemany) - Between Hay and Grass | notes
Shunya Kiyokawa (Japan) - Das N-EDOs Klavier - "Sound of New Age" | notes
Matthew Autry (United States) - A Dream of the Moon | notes
Nicholas Politi (United States) - spoken softly in the eaves | notes
Daniel Tacke (Usa) - aria mit veränderungen | notes
Aart Strootman (The Netherlands) - Anachronism #1 | notes
Viktor Elinder (Sweden) - Wagner in Space | notes
Niels Mestre (France) - Nature synthétique | notes
Peter John Leonard (Usa) - Scoring Points | notes
Manuel Ribera ((Catalonia) Spain) - Les obnubilacions ontològiques(for quarter-tone accordion) | notes
Claudi Meneghin (Lombardy) - Variations on Handel's Harmonious Blacksmith Air | notes
Christopher Paul Mitchell (United States) - Spaces Between | notes
Eren Gumrukcuoglu (Usa) - Bozkir | notes
Jacob Adler (United States) - 7-limit Harmony | notes
Karina Valdemarovna Baras (Russia) - Meditation | notes
Hirotoshi Uchida (Japan) - Rigaudon for Early Musical Instruments and Ethnic Instruments of 1200-ET | notes
Michael S Sheiman (United States) - Prism | notes
Shaahin Mohajeri (Iran) - Dance of Ascension | notes
Viktor V Pushkar (Ukraine) - Spell to Decrese the Entropy | notes
Jacob Nelson Elkin (Usa) - The Robotic Bug Ballet | notes
Alex Taylor (New Zealand) - Descent | notes
James Kukula (Usa) - sevenths | notes
John L. Baker (Canada) - Symmetrical Design No. 6b | notes
Alejandro Hernández (Mexico) - Esfera Girando (Spinning Sphere) | notes
John Lank Moriarty (United States) - The Un-Warrior Suite | notes
Benjamin Bartels Zucker (United States) - I/O/U | notes
Gregory Carl Pfeiffer (United States) - Spore | notes
Here are the original rules as they were first announced for this year's competition:
July 12, 2018—Some folks have complained that our initial announcement of the competition was not visible in all of the right places, esp. in the microtonal community, and therefore they heard about the competition a bit later than they might have. We have therefore decided to extend the deadline to Wednesday, August 8.
April 4, 2018—UnTwelve is happy to announce the 2018 edition of the Untwelve Microtonal Composition Competition. The competition is an incentive for composers to create microtonal music that demonstrates the vivid color, effectiveness, and inherent musicality of music not written in 12-equal-divisions-of-the-octave. In addition, this year, through our Microtonal Micro-Cosmos Incentive, we will offer additional prize money to a work that advances microtonal pedagogy (the award is named in homage to Bartok's Mikrokosmos).
The judges this year will be: Matthew Rosenblum, Robin Meiksins, and Charles Corey.
Our submission engine will begin accepting your entries on or before May 1, 2018. The competition will close at 11:59 pm Central Standard Time August 8th, 2018. There is no fee for submission. Monetary prizes are in 3 levels this year: $650/$400/$250.
Additionally, we will award the Microtonal Micro-Cosmos Incentive prize of $100 to a/the work that best advances pedagogy of tuning, microtonality or related topics. This could be anything from basic pieces for re-tuned keyboard, a book of vocal exercises, and so forth. Help the world learn and discover microtonality!! Note that these pieces can be submitted as scores only, although a recording is highly recommended. Also, it is possible for a piece to win both one of the 3 main prizes, as well as the pedagogy award.
All entries must follow the following rules:
- The contest is international and open to persons of all ages. Board members or direct affiliates to UnTwelve and last year's 1st, 2nd, and 3rd place winners are excluded.
- Only one work per applicant will be considered.
- The final audio product - meaning, the composition's musicality, the production quality, the performance (by a human or an electronic or mechanical device) and the compositional skill exhibited in handling an alternate tuning(s) is what is judged. Therefore poor recordings or performances will be a negative factor in adjudication.
- A possible exception to this rule is a work competing for the “microtonal pedagogy” prize. This work is more about potential for teaching the world about microtonality, than final recording quality. It will be judged on that potential. However, a work that exhibits a high-quality final recorded product in addition to pedagogical potential might possibly win both a 1st, 2nd or 3rd prize as well as the Incentive Award.
- UnTwelve reserves the right to not declare any winners if there aren't any entries of sufficient quality, as deemed by the adjudication process.
- Works must be in a tuning or temperament significantly different from 12-tone equal temperament. Such alternative systems include: extended just intonation; any non-12 equal division of the octave; non-octave scales e.g. Bohlen-Pierce; recurrent sequence scales; found or empirically-derived, or "spectral" tunings; or any tunings invented by the composer based on mathematical principles or formulae, etc. See the scala scale archive or the similar web pages for more ideas.
- You must describe the tuning(s) used on the entry form. (A suggested and concise way to do so is the Scala ".scl" format just mentioned above--you can copy and paste this onto the entry form.) We will not accept any entry where this information is not present.
- Following the competition, UnTwelve reserves the right to have the audio of your entry composition hosted and linked from our website. Finalists must allow public access to their work in this way; and for non-finalists, only in the event of you writing in to request removing audio links will your audio be removed.
- By entering your submission, you agree to all of the above these terms.