Residency Partnership Program

1. Residency Partnership Program Application Deadline: November 16, 2012 Notification: March 2013

2. The Goal of the Program

3. To support ensembles and presenters in building audiences through residency projects • Repeat performances • Familiar community locations • Closer interaction with the artists

4. Types of Residencies

5. Short-term projects • 3-9 activities; at least three consecutive or separate days within one month. • $2,500 to $6,000 • Extended projects • 10 or more activities; more than one month and up to one year. • $5,000 to $12,000

6. Eligibility

7. All Applicants • Based in the U.S. or its territories • CMA Organization-level member • No unfinished CMA-sponsored residency projects • No overdue reports or financial obligations to CMA Presenters • Have 501(c)(3) status • Have presented 10 public concerts or residencies in the past 5 years

8. Ensembles • Professional group of 2-10 musicians. One musician per part • Primary member is a U.S. citizen or has permanent resident status, OR the group has 501(c)(3) status • Jazz ensembles: may be composer-led or a collective—improvisation is an integral part of its work • Classical/contemporary ensembles: May perform with “fixed” instrumentation/personnel subset of a collective or flexible roster if duo, must perform as equal partners

9. Terminology

10. Organizing Partner: • Presenter or ensemble • Receives grant funds • Responsible for organizing residency and all activities • Ensemble Partner: • Performs residency • May also be the organizing partner • Community Partner: • Local organization providing access to community

11. Types of Community Partners • Schools • Libraries • Community centers • Parks • Music Schools • Civic Organizations • Hospitals • Senior Centers • Museums

12. The Application

13. Application consists of: • Written Narrative • Budget • CD Work Sample • Supplemental Materials

14. The Written Narrative mustprovide specific details: • Who is your target audience? • Why are you working with these particular community partners? • What activities have you planned? • When will you do them? • Where will you perform them? • What are the goals for the residency? • Why do you want to work in this community?

15. What are the responsibilities of each partner? • How will you build your attract audiences to your residency activities? • What outcomes do you intend to achieve? • How will you know if your residency has been successful? • What methods will you use to measure the residency’s effectiveness? • How will you involve your community partner(s) in evaluating the residency?

16. Budget

17. Program funds up to 75 percent of the following expenses only: • Ensembles Partner’s residency fee • Related travel, hotel, and per diem • Residency-related promotion and production costs Balance the budget with: • Earned and/or contributed income • In-kind not eligible

18. CD Work Sample: • Must be in CD-R format ONLY • 15-minute playing time max. • Include one track that is similar to music planned for the residency • May contain music from a concert, studio/home recording, and/or commercial releases • Jazz: include cue timings for scored and improvised music.

19. Supplemental materials: • Letter of Intent • See example Guidelines page • Make sure artist fee is same in letter and budget • Financial statements • Audited financial statement (for 501(c)(3)s) • Previous year’s operating budget (for others) • Publicity and press materials • Proof of U.S. residency or non-profit status

20. How Will My Application Be Evaluated? Panelists specializing in residency and educational activities evaluate proposals based on: • Written Application • The application is read and scored by the panelists prior to listening to the work sample • Artistry of the CD Work Sample • The panel will listen to the ensemble’s CD-R if the application advances past preliminary review

21. Panelists Look For: • Specificity in the written application • Types and Number of activities • Reasons for choosing the community partner(s) • Communities to be served • How each partner will participate • Relationship of project to the organization’s mission and purpose

22. Residency Training and Experience • If you have not had previous experience, why are you interested in doing residency work now? • Accuracy and viability of project and organizational budgets • Financial and human resources available to successfully accomplish this project • Plan for attracting audiences to the residency activities

23. Panelists Listen For: • Artistry of Ensemble • Jazz: Ability to perform scored and improvised music

24. Some Examples of Successful Residencies

25. Walden Chamber Players • New York Jazz Initiative • Hancher Auditorium with Antares • Jeremy Udden’s Plainville

26. For Additional Information • Program Guidelines • Application • FAQs For classical/contemporary inquiries, contact: • Susan Dadian, program director, CMA Classical/Contemporary For jazz inquiries, contact: • Jeanette Vuocolo, program director, CMA Jazz For membership information, contact: • Adam Reifsteck, membership manager