Composers are strongly encouraged to read the Complete Guidelines PDF before applying. 

• Composers of all faiths, backgrounds, genders, ages and levels of experience may apply. 

• The Canadian Music prize is open only to Canadian citizens and to Canadian residents. Canadians living abroad may also apply. 

• The Proposed Musical Work must fulfil all criteria described in the “Guidelines for the Proposed Musical Work”. 

• The Proposed Musical Work must align with the thematic definition of Canadian music outlined by the Azrieli Foundation. 

• All application documents and supporting materials must be submitted electronically via the Muvac portal between February 4 and May 6, 2026. Applications received after May 6 at 11:59 PM EST will be disqualified. 

• Applicants are eligible to apply for one Prize per competition cycle. For clarity, this means that applicants may apply to the Azrieli Commission for Jewish Music OR the Azrieli Commission for International Music OR the Azrieli Commission for Canadian Music. Only one application per composer per prize category will be accepted. 

All application documents and supporting materials must be submitted electronically via the Muvac portal between February 4 and May 6, 2026. Applications received after May 6 at 11:59 PM EST will be disqualified. 

The application package is the combination of all documents and information submitted through the Muvac platform. The application must include: 

• a current curriculum vitae (CV) highlighting relevant training, experience, performances and awards; 

• a one-page works list detailing a key selection of the composer’s original and completed musical works, their premiere dates and recordings, where applicable; 

• a written Proposal for a new musical work not to exceed 1,500 words (see “Guidelines for Writing the Written Proposal”; 

• Two work samples, each with a score and recording: 

• • one sample should be the composer’s best composition (regardless of instrumentation); 

• • one sample should be the composer’s best composition that is closest to the instrumentation required for the commission; 

• • The work samples can be approximately 10-20 minutes in duration, each. If they are substantially longer, the composer may provide an excerpt that they would like the Jury to consult. 

• • MIDI realizations or piano reduction recordings may be submitted where live audio recordings are unavailable. 

• Two reference letters from past commissioners, producers, presenters, performers, or other artistic partners: 

• • The purpose of these letters is to demonstrate the composer’s capacity to deliver on their proposal. Additionally, if they are selected as an AMP laureate, their ability to serve well as such. This includes such attributes as professionalism, time management, public speaking and communication skills, and ability to work collaboratively. 

• • Note that composers will upload these reference letters to the Muvac platform.   

• • All documents must be uploaded as PDFs. 

For full details on the Application Package, see the 2028 AMP Commission Guidelines. 

Please consider:  

A successful application demonstrates a clear balance between musical work samples and the written proposal. Strong musical samples must be supported by a well-researched, thoughtful proposal. The strength of one will not compensate for weakness in the other. Also, the clarity and quality of submitted scores and recordings are essential to the Jury’s evaluation; materials should be legible, complete, and presented in clear, undistorted audio. Applicants are strongly encouraged to review the “Guidelines for the Proposed Musical Work” and the “Guidelines for Writing the Proposal”, as well as the Adjudication Criteria (see Appendix 2 for full adjudication material), which outlines the assessment metrics used in adjudication. 

Basic criteria: 

• Theme: The Proposed Musical Work (“The Work”) must align with the Prize Theme, as defined by the Foundation (see “What is Canadian Music?”). 

• Every proposal must be for a new work yet-to-be-written. The work must not be completed at the time of submission. For clarity, composers should not “write on spec” or compose the and submit it as part of their application package. The preference is for works that are entirely new. 

• Instrumentation: The Work must be scored for a chamber ensemble, numbering from 3 to 15 musicians (see Appendix 1 for exact instrumentation details). For example, piano trio, string quartet, mixed septet, or ensemble of 15 instruments would all be eligible.  

• In addition, works can optionally include: 

• • up to a total of two (2) additional soloists (vocal and/or instrumental); and 

• • pre-recorded digital media. 

• Duration: The Work must be a minimum of twelve (12) minutes and a maximum of eighteen (18) minutes in duration when performed. 

Other considerations: 

• Proposals to create a section of a larger work (e.g. movement) are permitted, provided the proposed section is musically and thematically coherent as a standalone piece. In other words, the Prize Package will be given to the winning composer only for the performance & recording of the 12–18 minute section that has been proposed. 
• Proposed Works must be for concert format (i.e. unstaged). 
• Extra-musical elements that are common in the concert format, including video projections or simple lighting, may be proposed. Extra-musical elements including, but not limited to, stage direction, choreography, costume, makeup, adornments, set, props, dancers, actors and additional artistic personnel such as directors, dramaturgs and designers will not be considered. Proposals including such elements will be disqualified. 
• If the composer is using a text in their Work, they must have the rights to use it. 

The composer who wins the Azrieli Commission for Canadian Music agrees to:

• adhere to the Prize Guidelines published by AMP, including but not limited to duration and instrumentation for the commissioned work;
• engage in the composition of their proposed work during the time allotted between their selection as the Prize Laureate and the deadline for submitting the score and parts for the AMP Gala Concert;
• update the Specialist, Azrieli Music Prizes and other AMP representatives (as required) according to a pre-approved schedule, including such details as progress made towards completing the commissioned work and/or identifying any major deviations from the original proposal;
• ensure that all copyrighted materials used in the commissioned work have been disclosed to the Specialist, Azrieli Music Prizes, and that all rights have been granted in writing (if applicable);
• work closely with their commissioned author, in the event that a composer commissions a new text, to ensure all guidelines and timelines are met (if applicable);
• work with a copyist or editor to prepare the final score and performance set for delivery;
• have their work premiered as part of the AMP Gala Concert; premiered as part of two additional international concerts; audiovisually captured, livestreamed and distributed via one or more digital platform(s); and professionally audio recorded, mixed and mastered for future commercial release;
• be available in person (either physically or virtually, as conditions dictate) for the rehearsals and performances of their Prize-winning work (at AMP’s expense);
• grant the Azrieli Foundation the right to serve as sole commissioner, thereby retaining performance rights for the premieres as well as first recording rights;
• provide any information required by AMP representatives relating to their score, its performance, or other information which might be useful from a marketing, public relations or social media perspective in a timely manner; and
• participate in outreach events (workshops, press conferences, media interviews and other such promotion and education activities) as they relate to the Azrieli Music Prizes and its objective to educate the general public about the enduring appeal and artistic importance of the works that result from engaging with the Prize theme.

• Contents of the Proposal: The Written Proposal (“The Proposal”) should be prepared as an essay that describes in detail the composer’s Work including, but not limited to, its: 
  • Instrumentation 

• • Duration 

• • Description / Rationale 

• • Relevance to the Prize Theme 

• • Musical and Technical Details (e.g. musical influences and idioms, styles, structure, etc.) 

• Relevance to the Prize Theme: Composers must carefully consider the provided information regarding the Azrieli Foundation’s definition of the Prize Theme when addressing the thematic area of the Work. 

• A successful Proposal will suggest an interesting, appropriate yet compelling response to the Prize Theme in the shape of a Work. We are calling on composers to display their creativity, curiosity and thoughtfulness in expressing their response. We are also calling for a deeper, purposeful and conscious consideration of cultural values and experiences that extend beyond simple representations. We are seeking Works that are authentic to the composer, original, honest and convincing. For the purposes of adjudication, “authentic” refers to work that is internally coherent, well-grounded and convincingly articulated, rather than to questions of identity or origin. 

• Capacity to deliver: The composer must demonstrate within their Proposal their capacity to write the Work. 
• A successful Proposal will be technically, artistically and thematically coherent. It need not be the most ambitious in scale or length. The feasibility of the Work and the composer’s proven capacity to deliver on its specifications are taken into consideration by the Jury. 

To ensure fairness and clarity, the following rules apply to any use of AI tools in preparing the application: 

Permitted Uses of AI 

AI tools may be used only to support language, communication and presentation, including: 

• translation of application materials; 

• proofreading and correction of grammar or clarity; and/or 

• organizing or phrasing written materials such as the Proposal, CV or works list. 

AI tools may also be used to generate electronic audio demos (e.g., MIDI mockups) when a live performance recording is not available. 

Prohibited Uses of AI 

AI tools may not be used to create, develop or influence musical content of any kind. This includes, but is not limited to: 

• brainstorming ideas for the Proposed Musical Work; 

• developing musical concepts or themes; 

• generating structural, harmonic, melodic or rhythmic ideas; 

• orchestrating or arranging musical material; and/or 

• any form of compositional decision-making.

For clarity: AI may not be used in the creation of music or musical scores in any shape or form. 

Any musical sample scores that are fully or partially created with AI assistance will result in automatic disqualification. 

Disclosure Requirement 

Applicants must disclose any use of AI in preparing any portion of their application, whether it be in their Proposal, work samples or supporting materials. 

Disclosure will not negatively affect adjudication. Its purpose is simply to ensure transparency and fairness for all applicants. 

The Prize does not restrict cultural engagement by identity, heritage or nationality. While Works that explore cultural material, musical styles, themes, stories, languages or idioms outside of the composer’s primary cultural background are eligible, they should be supported by any combination of the following: lived experience, sustained study, long-term collaboration or other forms of meaningful immersion, to avoid (mis)appropriation. No single pathway is presumed or required. This consideration applies across all three Prizes where relevant. 

AMP is open to all composers. We welcome and encourage people from all nationalities, faiths, backgrounds, genders and ages to apply their artistry, creativity and musicality in response to the Prize Themes. One of the Foundation’s hopes is that AMP will contribute to thoughtful intercultural understanding through careful consideration of what cultural expression through music is and can be. 

The Azrieli Commission for Canadian Music is open to composers who are Canadian citizens or Residents. This Prize prompts composers to engage critically and creatively with the complexities of composing music in Canada today through the proposal of a new musical work. 

AMP does not require a fixed national, cultural, or personal identification to define “Canadian Music”. Instead, it refers to music that engages meaningfully with experiences, communities, histories and/or cultural expressions – whether past, present or future – within the geographic, social and/or cultural contexts of Canada, or in relation to it. This includes Indigenous, settler, immigrant, diasporic and transnational perspectives, provided the Work clearly situates its thematic and cultural engagement in relation to Canada or within its borders. What matters is not how “Canadian” a composer identifies, but how clearly, thoughtfully and authentically the Work engages with its subject matter. 

That is to say, AMP treats the term ‘Canadian music’ as broadly as possible, taking into account the rich multicultural fabric of this country, which is woven together by a diversity of languages, religions, social traditions, histories, geographies and their cultural expression, including all of the music that has found its home within the nation’s borders. 

Canadian music can: 

• incorporate sacred or secular musical materials from one or more traditions; 

• engage with historical subjects, events, figures, legends or themes connected to places or communities within Canada; 

• critically engage with histories, current events, social conditions or concepts relevant to life in Canada; 

• explore multicultural or intercultural experiences of life in Canada, if approached with specificity and contextual grounding; 

• incorporate ritual, religious or cultural practices, traditions, texts or symbols as they are practiced, remembered or reinterpreted within Canada; 

• include or be founded upon cultural texts or literature (e.g., prose, poetry or dramatic writing) by authors connected to Canada, or texts embedded in regional or widely recognized cultural life within Canada; 

• draw on Indigenous, Métis or Inuit languages; English; French; or dialects specific to regions or communities within Canada, with appropriate cultural and linguistic responsibility (see “Cultural Materials & Inspiration”); 

• depict in musical terms visual or experiential images of cultural connection, such as landscapes, built environments, community spaces or scenes of everyday life; 

• give voice to culturally specific ideas or concepts grounded in lived, inherited or community-based experience connected to Canada; 

• explore relationships to Canada from outside its borders, including diasporic, migratory, transnational or return experiences, where Canada remains a meaningful point of reference; and 

• have been composed expressly for a commemoration, celebration, ceremony or occasion of cultural, historical or social significance within Canada. 

For exact criteria used to deem applications eligible, please see the “Commission Guidelines” document, Appendix 2. 

The Azrieli Music Prizes (AMP) adjudication process includes four steps. This section summarizes how each application will be evaluated and what the Jury is looking for at each stage. For complete details of the adjudication process, including evaluation criteria for each round, please see Appendix 2.  

Step 1 — Completeness Check 

AMP staff confirm that all required application materials have been included, correctly formatted, and are complete. Only complete applications move forward in the competition. 

Step 2 — Eligibility Check 

A small team reviews the Proposal to ensure it meets the basic requirements of the selected Prize. This includes instrumentation (3–15 chamber musicians), duration (12–18 minutes) and the thematic requirements. These are assessed via the checklists found in Appendix 2. Proposals that meet both general and thematic eligibility advance in the competition. 

Step 3 — Musical & Technical Merit Adjudication 

A panel of composers, musicologists, music practitioners (such as conductors, artistic directors or musicians) review the composer’s sample works. They assess artistic creativity, technical craft and quality of musical writing. They also assess whether the composer demonstrates the experience and capacity to complete the Proposal at a high level. The strongest applications (ie. the top 30 in each Prize) move forward to the Final Jury. 

Step 4 — Final Jury 

The Final Jury evaluates finalists using the following two criteria: 

1. Artistic Excellence – the strength, originality and expressive depth of the composer’s musical vision, supported by refined technique and idiomatic writing for chamber music, demonstrated through their musical samples. 
2. Thematic Alignment – how meaningfully, thoughtfully and creatively the Work engages in the specific theme of the Prize. 

To be selected for the commission, an application package must achieve the highest ranking within both criteria. 

Notification of Results 

• Composers will receive confirmation via Muvac when their application is submitted. 

• All applicants are notified of results via Muvac; winners will be contacted directly. 

• Due to the volume of applications, AMP cannot respond to emails requesting updates or confirmations that their application has been received. 

The Proposed Musical Work for chamber group and optional soloists must respect the following maximum instrumentation as listed below. 

All instrumentations are eligible, provided:  

1. It is scored for between 3 and 15 players, and 
2. It is made up from the list of instruments below, in any configuration. 

Violin 1 

Violin 2 

Viola 

Cello 

Bass 

Flute 

Oboe 

Clarinet 1 

Clarinet 2 

Bassoon 

French Horn 

Trumpet 

Trombone 

Piano 

Percussion 

For clarity, the work could be for all 15 players, or could be for a smaller ensemble such as wind quintet, string quartet, piano quintet, brass trio, mixed septet, etc. All combinations are equally eligible. 

Soloist (Optional) 

Soloists are optional. If the composer chooses to include soloists, they may employ up to a total of two (2). Soloists are in addition to the number of chamber ensemble players above. Soloists may be any combination of singer(s) or instrument(s). Instruments do not need to be from the list above and may include non-standard and non-western instruments. 

Pre-Recorded Digital Media (Optional) 

Pre-recorded digital media is optional. If the composer chooses to include pre-recorded digital media, they must follow the guidelines below under “Use of text or other pre-existing cultural material”. 

Pre-recorded digital media can be audio-based and may also include video. Composers are asked to describe the nature and format of the digital media in their Proposal, as well as any technical requirements for performance. 

Please note: 

1. The composer is responsible for all costs associated with commissioning new material and/or securing rights for copyrighted material (if applicable). 
2. Additional artistic personnel such as directors, designers, dramaturgs, additional sound engineers, etc. will not be available to the composer. All pre-recorded digital media must be employable within a standard concert format. 

Use of text or other pre-existing cultural material 

If using text or other existing cultural material (e.g. electronic sound or video) as part of the Proposed Musical Work, the composer must provide the following information, depending on the type of material that is intended. The information should either appear in the Proposal proper or in an additional document. 

Please note: The composer is responsible for all costs associated with commissioning new text/material and/or securing rights for copyrighted text/material (if applicable). 

THE COMPOSER’S OWN PREVIOUSLY WRITTEN TEXTS/MATERIALS: 

• Please include these with the application. 

ORIGINAL SOURCE TEXTS/MATERIALS: (i.e., someone else has already created these materials) 

• The title, language, author (if known) and copyright status of the texts/materials. 

TRANSLATED/ADAPTED TEXTS/ MATERIALS: 

• The title, language, author and copyright status of the original texts/materials. 

• The title, language, translator, and copyright status of the translated/adapted texts/materials. 

ADDITIONAL STEP FOR TEXTS/MATERIALS UNDER COPYRIGHT: 

• If any text/material is under copyright, the composer must provide proof of permission to use the text from the original author, estate, and/or publisher. Licensing of the copyrighted text can be conditional on the composer being awarded the Prize. 

ADDITIONAL STEPS FOR COMMISSIONED TEXTS/MATERIALS: (i.e., The composer will ask someone to create new materials if awarded the Prize) 

• If any text/material is being commissioned by the composer, the intended author must provide proof of their willingness to participate in the form of a signed letter. The text/material commissioning agreement can be conditional upon being awarded the Prize. 

• Please include a biography of the intended author demonstrating their aptitude for creating the commissioned text/material. 

ADDITIONAL STEPS FOR TEXTS WRITTEN BY THE COMPOSER: (i.e., The composer wishes to create their own materials, but has not yet done so) 

• If a substantial part (more than 50%) of the text is to be written by the composer, it is strongly encouraged that they provide proof of experience writing the same style of text and experience writing in the same language. Proof can be in the form of previous musical works or samples of libretto/poetry attached to the application as additional documents; or as entries in the composer’s CV that outline accolades, published works, commissions and/or recordings that include the composer’s written texts. 

The Azrieli Music Prizes is committed to transparency in its adjudication process. 

For full details on the adjudication process, including juror eligibility checklists and processes, see Appendix 2 of the Commission Guidelines PDF. 

For questions regarding the substance of the application, please contact music@azrielifoundation.org. For technical assistance, please log in and visit Muvac’s support page, or email support@muvac.com.