...seeks to glorify the Lord Jesus Christ and help build His kingdom by encouraging Christian fellowship among its members in the context of their work and witness as composers of art music. We pray that believers will embrace our musical integrity because of our Christian witness, and that our commitment to musical excellence will allow us to bring our Christian witness to the wider art music world....
The Christian Fellowship of Art Music Composers (CFAMC), in cooperation with the Biola University Conservatory of Music and the Center for Christianity, Culture, and the Arts (http://ccca.biola.edu/),* is pleased to announce the following call for scores and papers for the National CFAMC Conference. The conference will be held at Biola from October 9-11 of 2014, although additional CCCA activities involving our keynote speaker will likely extend through that entire week (a follow-up announcement will be sent to all CFAMC members as to where they can access a calendar for the entire week's activities).
The 2014 meeting will feature keynote speaker Ivan Moody, and will also include the Cadillac Moon Ensemble, Ensemble Christo LA, Paul Delgado Singers, pianists Paul Barnes and Solungga Fang-Tzu Liu, baritone Richard Zeller, and more (biographies provided below). Composers of any age are invited to attend; professional and student composers are also encouraged to submit works, although those who have completed undergraduate degrees or are over the age of 25 will be given preference in terms of programming consideration.** Composers who are not already part of the fellowship must agree to become registered CFAMC members upon acceptance.
Dates for the conference: October 9-11, 2014
Submission deadline: Must be received by April 21, 2014
Registration fee: $30
Open to: Composers of any age or nationality who are CFAMC members, or who will join upon acceptance into the conference. Preference will be given to those who have completed undergraduate degrees, or are older than 25 years of age.*
Paper submissions: These may include up to two previously-written documents or abstracts (250-500 words) on topics related to the integration of composition and theology, or the integration between faith and learning. Papers presentations should be presentable within 25-minute time slots.
Composition submissions: Pieces should generally be no more than 12 minutes although, in some cases, longer works will be considered. Shorter pieces are easier to program, and therefore may be more likely to be considered. Difficulty level and availability of performers may directly affect whether a work is accepted or not.
Available instrumentation: Composers are always welcome and encouraged to bring their own performers, but Biola will also be offering these ensembles:
After the submission
* The Center for Christianity Culture and the Arts: CCCA is a new organization made possible by Fieldstead and Co. (Howard and Roberta Ahmanson). It is particularly interested in creating an ongoing cross-discipline engagement between art and theology. Ivan Moody will be serving not only as our keynote speaker, but as the Center's "Visionary in Residence" for the Fall 2014 semester. For more information, see http://ccca.biola.edu/.
** The submissions panel will do its best to ensure that as many CFAMC members as possible will be included in some way for the 2014 conference. All of this, ultimately, is of course dependent on how many scores are received, the difficulty level of these pieces, and availability of performers. This year in particular, we anticipate an unusually large response from students currently working on their undergraduate degrees, many of whom come from within Biola's own conservatory. We highly encourage all composers in this category to attend and take part in conference activities. We also encourage them to submit works for consideration, but with the understanding that we may not be able to accept all of these works for programming.
Biola University (Bible Institute of Los Angeles) is a non-denominational Christian school located in La Mirada California, 15 minutes north of Disneyland, 20-30 minutes from downtown Los Angeles, 40 minutes from Hollywood, and 40 minutes from the Pacific Ocean. For more information, visit http://www.biola.edu/.
Many of you may know that my "day job" is that of a record dealer. For 27 years, I sold collector's classical records (mostly LPs) to collectors all over the world. In 2005, I transitioned to wholesaling, selling since then mainly to dealers. Even in that capacity, I have well over 100,000 records and CDs come through my hands every year.
I've begun pulling out those that I've encountered with music by CFAMC members on them on the theory that their fellow members might be interested in exploring some music by their colleagues.
At the moment, I've got four such records (LPs) in stock, and can offer them to my fellow members (all four of these have a cherished spot in my own collection):
All of these items look to be in excellent condition, with the exception noted above. I'm not trying to get rich on offers of this sort, and so any or all of these may be purchased for $10.00 each, postpaid, and will be sold on a first-come basis.
If there is any interest expressed the our membership here, I shall continue to look for, and offer, recordings of our members' music (realizing that I collect music of all of our members, and so the first copy of anything I find goes into my own collection).
“As many of you know, I have a small CD company called Enharmonic Records. For years, I did very little to promote my releases, which are up to 22 by now, but last year, I finally began to promote my label, and obtained national distribution. The thrust of my releases has been to record worthwhile music by under-recorded composers. Only 2 or 3 of my issues to date have been performer-oriented.
“I would like to propose that Enharmonic Records issue one CD per year by a member of CFAMC. This represents about ¼ of our current total number of annual releases. Unlike many companies, I will not charge the person whose music I issue any money whatever (more and more the norm among smaller companies). On the other hand, given the unlikelihood that I would recoup the ca. $2000 in production costs, I will not be able to pay royalties for sales, or mechanical rights for the music that I issue.
For more details, contact David Canfield (email address available on the online Members' Directory page.