Articles from composers and other collaborators that provide examples of their own successful (or unsuccessful) experiences.
A Composer’s Guide to Orchestra Commissions – Stephanie Ann Boyd
Based on her personal experiences working with orchestras, composer Stephanie Ann Boyd shares thoughts and actionable advice for making artistic collaborations as equitable and enjoyable as possible for everyone involved in the commissioning process.
Anatomy of a Commission: A Composer’s Guide to Orchestra Commissions
Transcending a Capitalist Valuation of Commissioning Fees – Gemma Peacocke
Commissioning fees rarely translate to a living wage for composers, but even if we equitably compensated artists for their time, resources, and monthly expenses, it would only represent a capitalist valuation of their art. In this essay, composer Gemma Peacocke uncovers the inequities and inconsistencies of commission fees, and considers the societal worth of new artwork.
Anatomy of a Commission: Transcending a Capitalist Valuation of Commissioning Fees
Building an Accessible and Community-Focused Practice – Yaz Lancaster
While we all need money and material resources to support ourselves, there are ways to commission and collaborate that don’t follow the current model of capitalistic transaction, and instead result in a practice that is more accessible for everyone involved while also building longer-lasting collaborative relationships. In this essay, composer Yaz Lancaster explores commissioning as a communal practice.
Anatomy of a Commission: Building an Accessible and Community-Focused Practice
Performers as Commissioners – Austin Wulliman (JACK Quartet)
Commissioning benefits performers, too! But traditional business models aren’t always the best framework for building lasting relationships with composers. This essay by violinist Austin Wulliman shares how – and why – JACK Quartet has prioritized collaborations with composers over the past 20 years.
Anatomy of a Commission: Performers as Commissioners
Understanding the Institutional Perspective – Sarah Williams
Not all arts organizations are set up to commission and develop new works… yet. As a composer, you may end up working with organizations that don’t have a lot of experience in the details of developing new music – or how to partner with you. In this essay, Sarah Williams from Opera Philadelphia offers composers advice on how to advocate for themselves through the commissioning process.
Anatomy of a Commission: Understanding the Institutional Perspective
Rethinking Composer-Ensemble Commissions from a Visual Artist Perspective – Phong Tran
Why are we operating in a system where one artist commissions another within the same medium, and is there a better way to approach commissioning musicians? Composer, performer, and visual artist Phong Tran dissect the issues with the composer-performer commissioning model, looks to visual art commissions for inspiration, and imagines ways that musical collaborations could be more generative and less transactional.
Anatomy of a Commission: Rethinking Composer-Ensemble Commissions from a Visual Artist Perspective
A Modest Proposal from the Commissioner’s Perspective – Justus Schlichting
Justus Schlichting has helped commission hundreds of new works. His essay explores ways that ensembles can educate and cultivate new commissioners in order to build a special group of donors who are excited about the creation of new music.
Anatomy of a Commission: A Modest Proposal from the Commissioner’s Perspective