Latin American Music Recording Competition

The LAMC will not host a recording competition for 2017.

Please check back for information regarding the competition for 2018.  The Guidelines for 2016 remain posted for individuals interested in information and details about the competition.  


Guidelines for 6th Edition (2016)

  • Application deadline: Monday, December 7, 2015 at 12pm (noon).
    • Required forms: Form 1 (Registration); Form 2 (Addendum)
    • Additional materials: Project Proposal; CV/Resume; 15 minute audio recording of proposed repertoire; PDF copies of the selections featured in the recording
  • Finals: Sunday, January 31, 2016 - Auer Hall, 4pm
  • Winner's Recital: Thursday, March 3 - Auer Hall, 8pm
  • A PDF version of these rules is available here

Please, e-mail if you have any questions or need help with repertoire selection

Below, you will find more detailed information about the competition. You may scroll down the entire page or click on the links to go to the appropriate section.

1. Objectives
2. Eligibility
3. Prize
4. Application materials
5. Important information, notices, and eligible repertoire
6. The competition
7. Judging criteria

1. Objectives: The goal of the LAMC Recording Competition is to promote the performance and study of music from all countries of Latin America, especially works that are less represented or lesser known.  [back to top]

2. Eligibility: The competition is open to currently registered students in a performance program at the Indiana University Jacobs School of Music.

 i. All vocal and instrumental soloists, as well as chamber instrumental and/or vocal ensembles, with or without conductors are welcome.

 ii. Ensembles may include non-music majors and guests as collaborative performers (see below).

 iii. Previous competition winners can only participate as collaborative performers.

 iv. Instructors or Graduate Assistants may enter the competition, but not those with faculty status.

 v. Soloists may be accompanied by different performers during their program, provided the changes are consistent with the overall concept of the proposed project.

 vi. Chamber ensembles must include a minimum of two performers that will participate in all pieces, and who will be featured in the title of the CD. The ensemble may have other collaborative performers during their program, if consistent with the overall concept of the proposed project.

vii. Conductors may participate with ensembles that include a minimum of five performers.

a. A conductor may prepare a program involving different collaborative performers for different pieces.

b. For each work in the program, at least half of the members of the ensemble must be comprised of students from the Jacobs School of Music. Guests from other IU departments may participate if necessary.

Note: Collaborative performers are defined as artists who are part of and contribute to the CD project and concept, but either do not participate in all pieces or are restricted to the role of accompanying or side musicians in the creative process. [back to top]

3. Prize:

i. Grand Prize: the recording and production of a professional CD

ii. Performance of the entire program in Auer Hall on Thursday, March 3rd at 8 pm, 2016

iii. The performer(s) must record the CD during the spring semester 2016; the recording may be scheduled as early as spring break (March 12th – 20th)

Note: Outside Concert Performances: The Latin American Music Center is occasionally asked by the Dean of the Jacobs School of Music and other campus/off-campus organizations to participate in projects involving Latin American music. The winners are expected to take part in these events within a year of winning the competion, if requested by the LAMC.[back to top]

4. Application materials: Email all materials directly to the LAMC ( using the subject line "RECORDING COMPETITION 2016" by Monday, December 7, 2015 at 12pm (noon).

i. Form 1 (Registration) and Form 2 (Adendum)

ii. CV or resume of the performer(s), conductor, or individual members of a chamber group: maximum of one (1) page per performer

iii. Project proposal: 250-500 words explaining the overall concept and the relevance of the chosen repertoire (total of 50 to 60 minutes of music)

iv. Audio recording: 10 to 15 minutes in length featuring a minimum of 3 contrasting selections from the applicant’s chosen repertoire; selections may be whole pieces, entire movements or sections of a larger work; the recordings should be at a minimum near-CD quality and submitted in either .MP3 or .WAV file formats

v. Scores: PDF copies of the scores of the selections included in the above-mentioned recording [back to top]

5. Important information, notices, and eligible repertoire:

i. Repertoire of all periods (Renaissance to present) and streams (Classical, Popular, Folk) are acceptable.

ii. Performers who make it to the finals will be required to provide PDF copies of the scores of the music they will perform.

iii. The LAMC will favor previously unrecorded and less represented repertoire.

a. Well-represented repertoire is accepted as an element in a larger program.

b. Suggested repertoire lists are available for consultation at the LAMC.

iv. The following works cannot be proposed for the competition:

a. Any work originally for solo and orchestra, unless arranged by the composer for small forces.

b. Works that have been recorded by winners of the previous Latin American Music Center Recording Competiton or that have been previously recorded and released as part of the LAMC recording series. Please check our CD series here.

v. The recording will take place before the end of the Spring 2016 semester, after the winner’s concert; on a date to be decided between the LAMC and the artist(s) – Winner(s) must be available for recording as early as Spring Break.

vi. Winners are required to provide PDF copies of the scores of the whole repertoire to be recorded before the winner’s concert.

vii. Applicants are encouraged to take full advantage of the resources of the Latin American Music Center – please stop by or write to [back to top]

6. The competition

i. Applicants will send the two forms, CV/resume, Project Proposal, and audio recording featuring selections from the proposed repertoire, and PDF scores for those recorded selections via email to with the subject line "RECORDING COMPETITION 2016" by 12 pm (noon) on Monday, December 7th, 2015.

a. The jury will judge the proposals and the recordings and select the participants for the final round. The jury may make suggestions and counterproposals at its discretion. The decision cannot be contested once announced.

b. Finalists will be informed of the decision by Monday, December 14th, 2015.

c. Chosen candidates must confirm participation in the finals by sending an email message to the Latin American Music Center ( by Friday, December 18th, 2015.

ii. Final Round: three (3) finalists, chosen in the first round, will perform in a public concert on Sunday January 31st, 4pm, in Auer Hall, 2016.

a. The three (3) finalists will perform a selection of 15 to 20 minutes from the proposed repertoire.

b. The winner will be announced the same day after the jury’s meeting - the winner(s) should be available to pose for a photograph at that time.

c. Shortly after the competition, the winner(s) will be contacted by the LAMC regarding the production schedule for the CD.[back to top]

7. Judging criteria:

i. Choice of Program and Quality of Concept: The program must have a cohesive concept that demonstrates the competitor’s knowledge of the repertoire and imagination.

ii. Technical ability: Competitors must demonstrate command of their instruments and understand technical requirements of the pieces in their proposed program. Showpieces are encouraged.

iii. Musical Style and Interpretation: The competitor must demonstrate an understanding of the styles as relevant to their proposal.  Programs that include one or more works of historical or stylistic importance are encouraged. These may include:

a. Particular historical periods (Renaissance, Baroque, Classic, Romantic, Neoclassical, Modern, Postmodern, etc.).

b. Appropriate performance practice elements and stylistic regional inflexions (i.e. dance rhythms, diction, vocal placement, references to popular instrumental styles, etc).

c. Individual stylistic traits associated with a particular composer. Proposals that include one or more works of historical or stylistic importance are encouraged. [back to top]