June 17-24, 2017
applications due February 1st, 2017
applications due February 1st, 2017
The Toronto Creative Music Lab (TCML), in its second edition, is a project designed to nurture the development of risk-takers and change-makers. While we acknowledge the legacies that inform the artistic and professional spaces we currently occupy, we are committed to pushing toward a yet unimagined future in artistry and expression that connects our social responsibilities, our institutions, our communities, our audiences, our arts, and each other.
TCML is a peer-mentored, 8-day workshop for early-career musicians and composers, and is designed to foster professional development, artistic growth, collaborative learning, and community building through workshops, rehearsals, social events, panel discussions, and performance.
TCML 2017 will be held from June 17-24, 2017 in Toronto. 40 participants (approx. 10 composers and 30 performers) will be selected from the pool of applicants and placed into working groups of 1 composer and 3-6 performers. Based on TCML facilitated discussions with the working groups prior to the workshop, each composer will write a piece for their collaborators. Once at TCML, the working groups will have 13 hours of rehearsal time to collaborate, rehearse, and rework their pieces for two public performances.
In addition to the rehearsal process, participants can expect daily professional development sessions, an open rehearsal that will be visited by members of the Toronto contemporary chamber music community, communal meals, extracurricular activities, and two public concerts that will be recorded professionally. One of the concerts will be live-streamed internationally.
As part of our professional development (PD) model, the TCML PD sessions bring together artists from across disciplines to explore accessibility, inclusiveness, anti-oppression, career development, and community building in contemporary chamber music.
If you are interested in knowing more about the TCML PD sessions, below you can listen to the TCML 2016 panel discussion "Accessibility, Community, and Artistic Practice" with Ange Loft, Rosina Kazi, and Izzie Colpitts-Cambell.
Jacob Armstrong - saxophone, Allison Clendaniel - voice, Tova Kardonne - composer, Mehdi Rezania - santur.
Carly Gordon - oboe, Wally Gunn - composer, Grace Scheele - peadal harp, Wesley Shen - melodica/ toy piano.
To apply to become a participant in TCML 2017 please fill out the appropriate form below. While the selection process is a blind process, please do not submit anonymous materials. The TCML team has put in place a process to make the jury review of applicants anonymous.
The deadline for this application is Wednesday, February 1, 2017 (11:59pm EST). There is no application fee. When notified of your selection you will be given a link to pay the $150 registration fee.
Application is open to any performers (individuals or ensembles) and composers identifying as early-career (emerging) artists. Individual performers will have the option of performing in 1 or 2 working groups; ensemble members will be required to participate in 2 working groups (as the registered ensemble and as performers in separate working groups). Ensembles are required to pay $150 per registered member.
Artists who participated as composers in previous editions of TCML are not eligible to apply as composers the following year. Performers are eligible to apply a second time, and composers from past editions are eligible to apply as performers.
We aim to make our event as inclusive and accessible as possible, but can accommodate a maximum of 40 participants (approx. 30 performers and 10 composers). The selection committee includes members of the TCML team and invited guest artists. The event is aimed at those who identify as early-career (emerging) artists, and applications will be assessed primarily on the perceived benefit to the participant. The selection process for TCML 2017 will be a blind process that will be set up by TCML organizers who are not on the selection jury. The written statements of intent are the most important elements of the application, while technical and aesthetic assessments of the applicant's supporting materials are a secondary considerations.
Applicants will be notified by March 15, 2017.
Please note that our primary venue, 918 Bathurst, has gendered washrooms and is not wheelchair-accessible (there are three steps to the entrance and a short flight of stairs up to the performance space, as well as down to the basement). Our secondary venue, the Canadian Music Centre, is wheelchair-accessible, and has gender-neutral washrooms.
If you have any questions about the application process, or have any specific accessibility concerns that you think the TCML team could assist with,including requesting to submit an application in a non-written format (i.e. as an audio or video file), please feel free to get in touch.
Accessibility is a constant consideration and an ongoing process in the design and delivery of TCML. While we are able to reduce some barriers for participants, there are others that we cannot address given our resources. We often become aware of these barriers through community feedback.
As organizers, we believe that our age, race, gender, sexuality, class, and ability are indelibly tied to the ways that we make, talk about, and value music. We believe that a program that welcomes contrasting perspectives and experiences will challenge the assumptions we make about music and culture, and will result in a productive and gratifying workshop experience.
Through our programming we encourage development among early-career music-makers of all identities; we are committed to valuing diversity of background, diversity of experience, and diversity of thought.
If you are interested in learning more about TCML and have any specific accessibility concerns, please get in touch. We are always willing to explore how we can make TCML a positive experience for a wider community. We will do our best to address and accommodate your needs.
We can be contacted at email@example.com, or through the adjacent form.
We want to recognize that we are here because this land was colonized. Indigenous communities continue to struggle against the consequences of the colonial system.
As we prepare for TCML 2017, we want to acknowledge and thank the Mississaugas of the New Credit, the Haudenosaunee, the Huron-Wendat, and all Indigenous people who share this land with us, and allow us to be here as guests.
We feel it is important to consider the history of state policy that, among other things, criminalized Indigenous cultural expression, and sought to eradicate Indigenous languages and communities.
These forms of racism and paternalism also shaped wider cultural policy, privileging and resourcing certain traditions over others— we are keenly aware of this within music making.
For us, there is not one music, there is not one way to make music, there is not one way to share music.
As we acknowledge the Indigenous communities that have lived here for thousands of years, and their generosity, let us consider how we can be generous to one another during TCML. Let's work together to create a respectful and welcoming space.
This Land Recognition statement is read aloud at the start of TCML events. The statement evolves based on the reflections and input of TCML organizers and community allies.