Paul Carey works to tell it like it is!
In this blog post, Paul blasts the composition competitions that charge an entry fee in order to fund the grand prize.
Lots of juicy stuff here. First, a story about composer Paul Crabtree:
recently a very talented composer who you may know, Paul Crabtree, felt outraged by details a of a composition competition. The gist of the details was this: the choir’s website plainly stated that all the entry fees from the composers entering (ie, the sweet income pile of cash coming from composers) would be pooled and 50% of that money would be awarded to the “winner”. Paul was outraged that this was stated out loud so blatantly, and when he told this group how he felt, their response was that they thought it was a good thing that this (possibly) big pile of moolah could grow and grow and the happy winning composer would have a great windfall. Apparently the group made no effort on their own part to raise any money to fund a prize! AND this also begs AT LEAST one question… what is the group doing with the other 50% of the money? And in Paul Crabtree’s mind, isn’t this just becoming a lottery of sorts? And doesn’t it seem patently unfair to fund the “winner”’ on the backs of the losers?
It looks like an MTNA competition is even more unfair:
this one is so offensive I am happy to name names: the Music Teachers National Association (MTNA) holds a composition competition which encourages entrants as young as five years old, the entry fee is $100(!) AND if you win and cannot attend the premiere performance your prize is rescinded (gee thanks MTNA for treating children like this). Let’s look at the math there:MTNA Elementary Composition Competition (5-10 year olds)
First prize $500, second prize $250
Entry fee: $100
break-even point for MTNA: 8 entrants!
A $100 entry fee for five year olds? Read more here.
Eric Stark says
My choir’s competition requires an entry fee of $25. Our winning composer receives $1000, plus we cover all travel expenses to ensure he/she can attend the world premier performance. Further expenses we incur cover engraving/duplicating of materials, marketing and promotion of the commission (we maintain a database of over 100 conductors to whom we mail a complementary copy of each of our commissioned works, for example), and performance/production related expenses mean our total cash outlay is thousands of dollars–far more than any amount we receive in entry fees. We continue to apply for outside sources of funding (through granting organizations, for example) to ensure that we can continue to perform our new commissions regularly.
We charge an entry fee for the same reason (I suspect) ACDA charges me an entry fee when I submit an application to take my choir to perform at a convention: it helps ensure that those who submit materials are taking the submission seriously. Yet in both cases, the amount of the entry fee is nominal…anyone truly interested in submitting can find a way to raise that amount.
I will never allow our use of composition competitions to totally replace our engaging composers in the more traditional way. Yet, an important reason I like our competition is that it brings me into contact with many talented composers I might not otherwise meet.
Thanks for the opportunity to share my thoughts.
With all best wishes,
Dr. Eric Stark
Artistic Director, Indianapolis Symphonic Choir
Professor of Music, Butler University