Economic Woes of the Young Composer

If there were three money-related things you could change about the current status quo in the world of new music what would they be?  Here are three of mine, in no particular order, followed by comments and possible solutions:

Application Fees

I know this is a hot topic as of late, but I really have come to be critical of competitions, etc. geared toward young, un-established composers that charge application fees, especially when they are in the prohibitive range (which is relative for everyone, but let’s just say that I feel warmer to the $10 fees than I do to the $50 ones).  I know that a lot of the costs associated with being a composer already price out lots of socioeconomic groups (which is a whole other topic that we will probably discuss at some point soon), but this just adds insult to injury. 

Recently, though, Sarah brought to my attention an irate debate on the Society of Composers, Inc. (a national composer membership organization) listserv about application fees.  We both agreed that the best solution to make these fees go away is probably to only apply to competitions that don’t charge them.  There are lots of competitions that don’t charge fees, thankfully, ranging from big name groups and festivals such as MATA to local ensembles looking for new music.

Refusing to Return Scores

Over the years, I have been pretty appalled by the number of organizations that will charge application fees (some as high as $125!) and then refuse to return your scores, even if you include a stamped and addressed envelope with your application.  Getting scores printed and bound is pricey both in terms of time and money.  I like being able to use my scores again and I also hate the idea of a score that I could use again ending up in the recycling or, even worse, the trash. 

If dealing with the paperwork and hassle of scores is a problem, technology is offering us many ways to get around hard-copy submissions.  For example, why not switch the system to an online application, providing uploading space, space where a composer can put a link to scores and recordings, or allowing applicants to email in submission materials?  I think this would eliminate costs on both ends and would be a lot easier for everyone.  Some places are already doing this and, while a few kinks still need to be worked out, it’s proving to be a promising solution.

A Lack of Transparency

There are competitions, organizations, ensembles, etc. that are geared toward teaching and fostering compositional development and then there are programs that are more interested in composers who are already established.  The programs that are meant for more established composers are often set up to create a higher caliber program and/or to provide professional development.  What I find frustrating, as a young composer, is when programs refuse to be transparent about which demographic they’re looking for (be it among these two demographics or others). 

There is a place for all different kinds of programs, but for an organization, competition, etc. to not be clear about what they’re looking for leads to an unnecessary padding of submissions and associated application fees, without the intention of really considering a whole demographic.  Obviously there are times when organizers of a competition, program, etc. don't know what kinds of applicants they are going to get and can't predict what demographic they will end up catering to.  I'm not referring to these situations so much as the places that are looking for something specific, have already established a large applicant base, and still refuse to be explicit about their aims in their advertising materials.  I’m not suggesting that this misrepresentation is necessarily intentional, but it’s pretty demoralizing financially and emotionally to apply for something as a young composer only to realize that you’re competing against people who have been composing for much longer than you have and who are far more established.  

I think it would be really great if competitions and organizations were more upfront about what they’re looking for in terms of the composer’s status (age, where they are in their career, etc.) and maybe even their music, if applicable (style, level of difficulty, etc.), from the get-go.  Providing this kind of transparency is just one of many ways to refrain from economically burdening young composers. 

I’m sure there are other economic aspects of being a young composer that are frustrating, but for me these were three that most readily came to mind.  If you can think of others, please post a reply and share your thoughts!

Posted by Natalie