By Ezra Donner
Every young composer studying music at the collegiate level will eventually come across that peculiar ritual known as the composer competition. These opportunities can be worthwhile to an extent, and they sometimes even include prize money for the winners (a very useful thing for the average starving composer). But entering competitions also means dealing with rejection, and composers, like many artists, are known for the fragility of their egos. Here are five things to keep in mind when playing this game that we all play:
1. You're going to be rejected--at least some of the time.
For any particular contest, your submission might be one of twenty, a hundred, five hundred or more total submissions, depending on the opportunity. The best competitions usually offer more than one prize, but statistically speaking, your chances of winning might still be no better than one in ten, and perhaps much less. The odds are against you, and often in lifeit's better to be lucky than great. The best thing you can do is apply and just forget about it afterwards. If you do receive some kind of recognition, that way you'll be pleasantly surprised. This brings us to our next point...
2. It's not always just about you (or your music).
The first thing a young composer might think when receiving a rejection notice from a particular competition is, "I'm a failure! I've been rejected! My music's no good!" The truth is that, in any opportunity, there are many worthy submissions that will not receive an award. Often there are simply fewer awards to bestow than there are deserving compositions. Much of the time it comes down to the personal tastes of the judges, and if there is a performance associated with the opportunity, any number of logistical matters, such as programming considerations, instrumentation, duration, and concert themes (needless to say, all beyond your control), may go into the decision. This brings us to Number Three...
3. Learn as much as you can about the opportunity ahead of time.
Don't send apples to contests that only want oranges. If possible, check out the music of past winners (and the judges too) before deciding whether to apply. Not all competitions arecreated equal. Some are highly respected, with large applicant pools and distinguished, credentialed judges; others may be a bit more "flighty-by-nighty." If the competition comes with a hefty application fee (more than about $15), don't apply unless you've researched the opportunity and are pretty sure your submission is a good fit with what they are looking for. Once you've decided...
4. Dot your i's and cross your t's.
Before applying to any competition, make sure you carefully read the guidelines, proofread your score and supporting documents. Make sure your CD plays. Check whether the deadline is a receipt deadline or a postmark deadline. If the competition has specific instructions for where and how to submit your music, follow all instructions to the letter. If the guidelines clearly state, "Submissions must be under 10 minutes," don't send a 35-minute piece. And if you have questions, ask! There will always be an email address or a phone number of someone who can answer your questions. Got your answers and still not sure what to do? See Number Five...
5. When in doubt, apply!
After you've done your due diligence, if you're unsure whether to apply or not to a particular composer competition, my advice is, go for it! Even if you don't win, you're at least "getting your name out there" (unless the contest requires anonymous submission). If the contest requires anonymous submission, sometimes the judges will provide feedback, which can also be valuable. You know you won't win a prize if you don't enter. Carpe diem-seize the day!
The music of Ezra Donner (b. 1986) has received awards and recognition from the American Prize Competition, the Respighi Prize Competition, the Music Teachers' National Association, and ClefWorks, and been rejected from countless other competitions and opportunities. For a free download visit http://ezradonnercomposer.com.
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