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Composition

Applications for the 2018 composition program are now closed. Please check back in November 2018!

Composition

The Composition Program gives participants access to distinguished composers, concerts, and masterclasses while affording each participant ample time to compose in a relaxed environment.

Participants work with composer-in-residence Derek Bermel , John Harbison ,and other guest composers (TBA)in both group and individual settings. The program culminates in a performance of at least one work by each participant. The Festival will assist in assembling colleagues from within the Festival to perform a selected work in the Artists of Tomorrow concert series.

Composition alumni are represented throughout the world and include Sebastian Currier, Vivian Fung, Sean Friar, Derek Bermel, and many others.

Offered as part of Festival Insights , “The Music of” seriespresents opportunitiesto learn about and experience the creative process ofworking composers. These distinguished composers will discuss aspects of their music and inspirations and then accept questions from the audience.

Festival attendance gives participants an unprecedented opportunity to advance their skills through the following opportunities:

application requirements

Scores and Recordings

Two original scores in PDF format and recordings of each of the scores. MIDI realizations are acceptable.Files may be uploaded or linked from youtube or vimeo.

Resident Assistant

If you would like to be considered for a resident assistant (RA) position, you must complete the RA portion of the application.

Letter of Recommendation

You will need to provide your recommenders email address. Please tell them to expect an email from SlideRoom requesting an electronic submission of your recommendation.

Financial Assistance

If you would like to be considered for financial assistance from the Festival, you must complete the financial assistance section of the application.

Application Fee

Non-refundable application fee

Apply to Bowdoin Festival

6300 College Station Brunswick, ME 04011-8463

[email protected] Phone: 207-373-1400 Toll free: 1 855-832-3393 Box Office: 207-725-3895

In pictures: Long-lost art unveiled

The Nazis claimed that degenerate art was the product of Jews and Bolsheviks, although only six of the 112 artists featured in the exhibition were actually Jewish.

The art was divided into different rooms by category - art that was blasphemous, art by Jewish or communist artists, art that criticised German soldiers, art that offended the honour of German women.

One room featured entirely abstract paintings, and was labelled "the insanity room".

"In the paintings and drawings of this chamber of horrors there is no telling what was in the sick brains of those who wielded the brush or the pencil," reads the entry in the exhibition handbook.

The idea of the exhibition was not just to mock modern art, but to encourage the viewers to see it as a symptom of an evil plot against the German people.

The curators went to some lengths to get the message across, hiring actors to mingle with the crowds and criticise the exhibits.

The Degenerate Art Exhibition in Munich attracted more than a million visitors - three times more than the officially sanctioned Great German Art Exhibition.

Some realised it could be their last chance to see this kind of art in Germany, while others endorsed Hitler's views. Many people also came because of the air of scandal around the show - and it wasn't just Nazi sympathisers who found the art off-putting.

Fritz Lustig was a young Jewish apprentice who went along to see the works of art. He says "they didn't seem to mean very much - if they were portraits they seemed to distort the faces... if they were things, they seemed to be quite different from what the things really looked like - I mean the word degenerate seemed to me to apply".

The exhibition went on tour all over Germany, where it was seen by a million more people.

Some of the art was later burned by the Nazis, and for many of the artists this was only the beginning of very hard times ahead.

But Petropoulos says that for some, being banned by the Nazis turned out to have a positive side.

"This artwork became more attractive abroad, or certainly in anti-Nazi circles it gained values because the Nazis opposed it, and I think that over the longer run it was good for modern art to be viewed as something that the Nazis detested and hated."

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