The Summers Night Project

The Summers Night Project

In 2017, Anne Summers, author of the ground-breaking examination of women in Australia’s history ‘Damned Whores and God’s Police’ released a ‘Women’s Manifesto’. This was intended as a blueprint to create equality for women in Australia, and it articulates clear goals for change, one of which was the right to participate fully and equally in all areas of public life.

Taking inspiration from Anne’s Manifesto, The Summers Night Project aims to provide support and mentoring for women composers to create new compositions for performances in Perth, Adelaide and Melbourne.

Call Out for Submissions

  • Call-out opens Thursday 15th February 2018
  • All submissions due in Monday 5th March 2018

2018 Mentorship Participants

  • Announced week of 19th March 2018

Commissioned works

  • To be submitted for workshop no later than 1st June 2018

About the Project

Three female composers, each based in Western Australia, South Australia and Victoria respectively, of any age, genre or background will be chosen to be part of this project, with the aim of growing the pool of female composers in music programs Australia-wide.

A mentorship team selected from each state and the new music ensembles, Decibel (WA) and Soundstream (SA), will work with the three selected mentees toward creating a new work for their combined ensembles to workshop and perform. The mentor mix of composers and new music performers aims to facilitate a practical opportunity for mentees to create and render their work a reality. Mentees may also propose to be part of the ensemble and involved in the performance of all works. The instrumentation for the compositions is to include any or all of the following instruments: percussion, cello, flute, saxophone, electronics and piano.

After initial consultations, planning and development, workshops of the works begin in Perth, and will then go on to be performed in concerts in Perth, Adelaide and Melbourne. The mentees will travel to these cities for each concert.

The participants will be provided with a commission fee, travel and accommodation in each city they visit.

Workshop Period | Saturday 30 June – Sunday 1 July at the Subiaco Arts Centre, Perth

Concert 1
Perth | 2 July 2018 | Subiaco Arts Centre

Concert 2
Adelaide | 4 July 2018 | Elder Hall, University of Adelaide

Concert 3
Melbourne | 6 July 2018 | Music Auditorium, Sir Zelman Cowen School of Music, Monash University

The Mentors

Cat Hope | Composer, flute and bass player based at Monash University, Melbourne. Hope uses graphic notation and improvisation in her work and is the artistic director of Decibel New Music Ensemble (est. 2009).

Gabriella Smart | Pianist, artistic director of Soundstream (est. 1993) in Adelaide. Smart is the recipient of a Prelude Composer Residency in 2018.

Rebecca Erin Smith | An award-winning Australian composer, Fulbright Scholar and recent graduate of the Manhattan School of Music New York (MSM), who specialises in collaborative media and concert works. Smith primarily works with ensembles of acoustic instruments, at times electronically manipulated and set alight with found sounds.

Becky Llewellyn | Adelaide based composer. In 1991, Llewellyn hosted the first Composing Women’s Festival in Adelaide, a ground-breaking celebration of Australian composers in many genres including Indigenous women’s music from Central Australia. The Festival went on to be celebrated in several other Australian cities.

Stuart James | Composer, pianist, percussionist, electronics performer and designer based at WAAPA, Edith Cowan University. James can support composers in any aspect of composition, as well as the development of electronic parts. James is a member of Decibel.

Tristen Parr | Cellist, composer, sound designer who writes music for dance and performs in Decibel. With over 15 years of experience in new and experimental music, Parr is also a production manager who can assist with technical and practical aspects of music performance preparation.

Derek Pascoe | Lecturer in Jazz theory and Improvisation across the Jazz, Classical and Contemporary disciplines at the Elder Conservatorium in Adelaide. In 1998 Pascoe moved to Australia from London. He completed a Master of Music at the Elder Conservatorium Adelaide in 2010, exploring performance and spontaneous improvisation techniques.

Applications

Mentees should apply by submitting three PDF’s:

  • a written statement (no more than 2 A4 pages) outlining why they wish to undertake the mentorship, what they expect to gain, and their credentials as a performer (if they wish to perform);
  • a one-page CV;
  • and a PDF outlining two examples of extant work (with links to supporting material, such as scores and recording, if possible).

Submissions will be considered by the mentoring panel on the strength of the application and previous work. Decisions made by the mentoring panel will be final, and not subject to review.

Submissions to be emailed to admin@tura.com.au to be received no later than Monday 5th of March 2018.

Project Partners