Click on the tabs below to advance your career by searching Contests & Awards, Schools, Festivals, Camps, Service Organizations, and our list of Services and Products, Scholarships and Grants and Events and Conferences.

And be sure to browse the excellent career advice offered by legendary Artist Manager Edna Landau in her Ask Edna blog and the entertainment law experts in their Law and Disorder blog.

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Spotlight: Contests & Awards
The 66th Kosciuszko Foundation Chopin Piano Competition

15 E 65th Street
New York, NY 10065
(212) 734-2130

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US/Canada Arts Administration Degree Programs
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Summer Music Camps & Special Programs

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Hong Kong International Conducting Workshop

Hong Kong,
+852 2836 3336

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Spotlight: Music Schools & Departments
Boston Conservatory at Berklee

8 Fenway
Boston, MA 02215
(617) 912-9153

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Services & Products (Commercial)
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Spotlight: Musical Instruments, Accessories, Cases & Repairs
Yamaha Corp. of America

6600 Orangethorpe Ave.
Buena Park, CA 90620

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Scholarships and Grants

Musical America routinely updates the list of scholarships and grants in an effort to keep current and ensure opportunities for musicians. If you know of a scholarship or grant not mentioned in our lists, please send us a message.
Trade shows, seminars, events and conferences about the business of the performing arts
June 1-3, 2022 Los Angeles, CA League of American Orchestras Annual Conference
June 3-5, 2022 Anaheim, CA National Association of Music Merchants Show
June 8-10, 2022 Dearborn, MI Audio Engineering Society Convention
June 16-18, 2022 Pittsburgh, PA Theatre Communications Group National Conference
June 20-26, 2022 New York, NY International Computer Music Conference
June 22-25, 2022 Sioux Falls, SD American Harp Society Conference
June 27 - July 2, 2022 Indianapolis, IN Guitar Foundation of America Convention
June 29 - July 3, 2022 Reno/Lake Tahoe, NV ClarinetFest Conference 2022
July 1-6, 2022 Chicago, IL National Association of Teachers of Singing Conference
July 3-7, 2022 Seattle, WA American Guild of Organists
July 10-13, 2022 Cleveland, OH League of Historic American Theaters Annual Conference
July 17-21, 2022 Washington, DC The Hymn Society Annual Conference
July 18-21, 2022 Phoenix. AZ International Association of Venue Managers Conference
August 3-6, 2022 Anaheim, CA Piano Technicians Guild Convention
August 11-14, 2022 Chicago, IL National Flute Association Conference
August 21-24, 2022 Glasgow, Scotland InterNoise Conference 2022
August 29 - September 1, 2022 Calgary, AB Western Arts Alliance Conference
September 22-24, 2022 Long Beach, CA College Music Society National Conference
October 5-7, 2022 New York, NY Radio Show
October 17-23, 2022 Jacksonville, FL/CANCELED American Music Therapy Association Conference
December 5-9, 2022 Nashville, TN Society for Ethnomusicology Conference
November 10-13, 2022 New Orleans, LA Acoustical Society of America 183rd Meeting
January 10-12, 2023 New York, NY International Society for the Performing Arts
January 10-13, 2023 Valencia, Spain International Conductors Guild Conference
January 13-17, 2023 New York, NY Arts Presenters Conference
January 24-26, 2023 Seattle, WA International Ticketing Association Annual Conference
February 18-21, 2023 Louiville, KY National Association for Campus Activities National Convention
March 1-5, 2023 Lawrence, KS American Bandmasters Association Annual Convention
March 1-5, 2023 St. Louis, MO Music Library Association Annual Meeting
March 15-18, 2023 St. Louis, MO US Institute for Theatre Technology Annual Conference
March 15-18, 2023 Orlando, FL American String Teachers Association National Conference
March 25-29, 2023 Reno, NV Music Teachers National Association National Conference
April 15-19, 2023 Las Vegas, NV National Association of Broadcasters Show
April 4-7, 2023 Houston, TX National Opera Association Annual Convention
August 3-6, 2023 Phoenix, AZ National Flute Association Conference
August 31-16, 2023 Mission Inn, Riverside Association of California Symphony Orchestras Conference
January 9-11, 2024 New York, NY International Society for the Performing Arts
June 16-19, 2024 Orlando, FL American Harp Society Conference

Ask Edna
Edna Landau’s blog
Edna LandauEdna Landau—doyenne of the music business, long-time managing director of IMG Artists and director of career development at the Colburn Conservatory of Music in Los Angeles—writes Ask Edna exclusively for to provide invaluable advice to music students and young professional artists. Read more about Edna’s impact on the performing arts.

Send your questions to Edna Landau at and she’ll answer through Ask Edna. Click the links below to read Edna’s recent columns on the critical aspects of launching and managing and professional music career.

Arts Administration

Career Etiquette

Communicating with Your Audience

Finding a Manager

For Chamber Music Ensembles

Listening to Your Inner Voice

Managing Your Own Career

Publicity and Promotion

The Orchestral World

When It Comes to Recording

During Edna’s 23 years as managing director of IMG Artists, she personally looked after the career of violinist, Itzhak Perlman and launched the careers of musicians such as pianists Evgeny Kissin and Lang Lang, violinist Hilary Hahn, and conductors Franz Welser-Mõst and Alan Gilbert.

Edna believes young musicians can grow their own careers, with “hard work, blind faith, passion for the cause, incessant networking and a vision that refuse[s] to be tarnished by naysayers.”


People in the News

'Renewed' Artist of the Month: Tenor Limmie Pulliam

July 1, 2022 | By Zachary Lewis, Musical America

After stepping away from music entirely for over a decade, disenchanted with the scene, especially for black musicians, tenor Limmie Pulliam is back. With a vengeance.

“That entrance, you have to nail it,” says the Missouri native. “You have to come out with guns blazing.”

In the title role of the Cleveland Orchestra’s concert production of Verdi’s Otello last May, he indeed “nailed it,” commanding the stage, declaring a hero's victory, then later simmering with rage and slowly descending into paranoia. “There’s really no way to describe that initial bombardment of the storm scene, even from backstage. It gives you such a rush…. That will always be a career highlight for me.”

Sharing the limelight with him and Music Director Franz Welser-Möst in Severance Hall were soprano Tamara Wilson as Desdemona and baritone Christopher Maltman as Iago. “I’m still pinching myself that I got to share the stage with the Cleveland Orchestra,” says Pulliam. He considers it his “big break. It’s already opened doors for me.”

And it almost didn’t happen.

Already a replacement for another artist who’d withdrawn from the role months earlier, Pulliam contracted Covid shortly before rehearsals in Cleveland, and had to go into quarantine. Fortunately, his case was mild.  

Once recovered, he faced another hurdle: His father, a pastor who had long nurtured his son’s interest in music, passed away. Pulliam considered backing out.

“It was his wish that I continue,” Pulliam says. “But it was difficult. You want to be at the optimal level, but we as singers, there are very few times when we truly feel 100 percent. We learn to depend on our technique to usher ourselves through difficult times.”

Limmie Pulliam as Canio, with Washington's Vashon Opera

It’s fitting that Pulliam’s big break took place in Cleveland. After attending Oberlin Conservatory, where he studied with Richard Miller, Pulliam made his professional debut in Northeast Ohio, as a member of the Young Artist Program at the former Cleveland Opera. His fondest memory of that time is of a touring performance of Carmen for area schoolchildren. “It was great fun. You never know those things are going to affect a child’s trajectory in life.”

By that point, Pulliam already had been singing for a while, especially in his father’s church (“It was my introduction to how my voice affected people”).

His first exposure to classical music was in middle school choir, where he sang in the choir and was classified as a bass. “I didn’t have the technical know-how to access my upper range, but it was there,” Pulliam says. Confirmed, no doubt, by his popular imitations of Stevie Wonder.

A high school choir director was the first to correctly identify his voice part and to point him to opera, specifically to “Una Furtiva Lagrima,” from Donizetti’s L'elisir d'amore, with which the young singer won a Missouri state singing competition. That was enough to land Pulliam a spot at Oberlin and implant the notion of a career in music.

He could have continued on that trajectory. He wasn’t having trouble finding work. Around 2000, however, the budding professional grew “disenchanted,” he says, and went on hiatus for what he thought would be six months.

It turned out to be 12 years. A stint as a bodyguard (Pulliam is an imposing physical presence) gradually led him to launch a successful security firm in St. Louis, MO. 

Obama opens the door

Then, in 2007, Pulliam took another sharp turn, one that eventually led him back to music. Working for the Obama campaign, he began singing the national anthem at rallies. There he re-discovered both his love for music and the darker, more mature nature of his instrument.

“It was through that process that I began to notice the changes I’d gone through vocally,” Pulliam says. “I could tell that I had missed singing.”

Thus began the climb back to nuture his innate gift. Pulliam began training independently, then with a teacher. He also returned to performing and competing, and again met with success, winning the 2012 Vocal Competition of the National Opera Association. In opera, his “debut 2.0” was as Canio in Pagliacci, with Vashon Opera in Washington state.

Things moved quickly. Through social media, a tool he’d mastered working for Obama’s campaign, he was able to get his name and voice on the radar of far more presenting groups than ever before. Indeed, it was on YouTube that Wesler-Möst and the Clevelanders discovered Pulliam, singing Otello with Livermore Valley Opera.

He also discovered that he wasn’t always the only person of color on stage anymore. Noting that there is still much room for improvement, Pulliam thinks that equity in classical music is markedly better than it was in the mid-1990s. Not only are there more young artists of color, there’s also an older generation of mentors.

“I’m heartened to see the youngest crop, who are just starting out on new careers,” he says, “but it’s [also] priceless to have a support system of people who’ve walked the path before me.”

Pulliam’s own path now is looking particularly bright. His Cleveland performance led swiftly to a call from the Philadelphia Orchestra. Ahead of him now lie appearances with Portland Opera, the San Diego Symphony, and his alma mater, the Oberlin Conservatory.

Limmie Pulliam is not a new artist. But he certainly has a new career ahead of him.


Photo above: With Tamara Wilson as Desdemona in Cleveland Orchestra's Otello


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