The new music creator fund

It is the answer to how new music gets made, because new music is a field of new scores and a new score costs money to write, to rehearse and to stage, and the fund is the mechanism that covers that cost from the first page of the score to the last seat in the hall. New music is the contemporary and experimental composed music this site is built to explain, and the creator fund is the answer to how it is supported, the money that turns a commission into a premiere and a premiere into a recording. The page defines the new music creator fund plainly, who it supports and how it works, because the fund is the layer of the field that keeps the new music being made. In the history the fund stands in, the numbers are the proof: the London Sinfonietta, the English contemporary chamber orchestra that is the field's best known house, was founded in 1968, and its inaugural concert that year gave the world premiere of Sir John Tavener's The Whale, which is exactly the kind of first performance the fund exists to pay for. A premiere of that kind did not happen by accident, and the new music creator fund is the standing answer for how a premiere like it keeps happening year after year, in a region, not only in a capital.

What the new music creator fund is

What the new music creator fund is is the mechanism that pays for the new music, and the 3 stages of the fund are the answer to how it works, the commission, the support grant and the audience grant. The new music creator fund is not a prize, it is a payment for the making, because a prize pays for a finished work and a fund pays for the work that is still being made. The 3 stages are the answer to what the fund is, and they are the ones that make it a fund and not a grant, because the fund covers the whole arc of the new music, from the commission to the recording. The new music creator fund is the answer to how the new music is paid for, and the 3 stages are the answer to how the money moves, so the fund is the mechanism that keeps the new music being made and not just being celebrated after it is made. That is why the fund measures its work in scores written, performances staged and recordings released rather than in prizes awarded, and it is why a fund that stops at one stage of the arc leaves the other 2 stages of the work unpaid and the work itself unfinished.

Who the new music creator fund supports

Who the new music creator fund supports is the 3 people the new music depends on, and the new music creator fund supports the composer first, because the commission is the payment for the new score and the composer is the one who makes the new music exist. It supports the performer second, because the new music is a live art and the performer is the one who makes it sound, and the fund supports the audience third, because the new music needs a room and the audience grant is the payment for the hall and the ticket, and the 3 together are the whole of who the fund supports. The who is the answer to who the new music creator fund is for, and it is the answer that makes the fund the whole of the support, because the 3 stages cover the composer, the performer and the audience, so the fund is the mechanism that keeps all 3 of them working on the new music. The 3 it supports are the composer, the performer and the audience.

• The composer, who writes the new score and is paid by the commission stage of the new music creator fund.
• The performer, who gives the new score its sound and is paid by the support grant stage of the new music creator fund.
• The audience, who fills the room and is reached by the audience grant stage of the new music creator fund.

The fund reaches its people through the institutions that keep the regional field alive. The London Sinfonietta is the standing proof of what a new music institution does, because David Atherton and Nicholas Snowman founded the orchestra in 1968 and the London Sinfonietta has since carried the regional scene on its concerts. On the festival side, the fest noz, which means "night festival" in Breton, is a Breton traditional festival with dancing in groups and live musicians playing acoustic instruments, and on 5 December 2012 the fest noz was added by UNESCO to the Representative List of the Intangible Cultural Heritage of Humanity, which is a reminder that the field the fund supports runs wider than the concert hall. For the audience, the BBC Proms, the annual classical music event in London organized by the BBC with its main venue at the Royal Albert Hall, shows the scale of the public the audience grant is meant to reach, and the New Music Express is the publication that reports on the field the fund supports. A composer who has studied the mathematical side of the craft is another kind of person the fund reaches: Iannis Xenakis, the Romanian-born Greek-French composer (1922-2001), pioneered the use of mathematical models in music including set theory, stochastic processes and game theory, and a score in that tradition needs the commission, the rehearsal time and the stage the fund provides. The people the fund pays are the people the field depends on.

How the new music creator fund works

How the new music creator fund works is through the 3 stages, the commission, the support grant and the audience grant, and the 3 together are the answer to how the money moves through the new music. The fund opens with the commission, the payment to the composer for the new score, and it closes with the audience grant, the payment for the room and the ticket, and the support grant in the middle is the payment to the performer who plays the work. The 3 stages are the answer to how the new music creator fund works, and they are the ones that make it a fund and not a grant, because the fund follows the new music from the writing to the stage. The how is the answer to how the fund works, and it is the answer that makes the new music creator fund the mechanism that keeps the new music being made, so the fund is the layer of the field that the new music depends on, and the 3 stages are the answer to how the money keeps the new music alive. The page on the new music field explains the field the fund supports, and the page on new music artists names the people the fund pays, so the reader who understands the new music creator fund has the whole of the support layer in reach. The order of the 3 stages is fixed, because the money has to arrive in the order the work needs it, and that order is the table below.