The work of the San Francisco Conservatory of Music and the San Francisco Symphony (SFS)’s Emerging Black Composers Project takes a village: Not just of the administrative staff at both organizations, but a coordinated evaluators panel as well. SFCM spoke to two members of the panel—renowned cellist Jeffrey Zeigler and GRAMMY-nominated composer and 2021 EBCP additional prize winner Shawn Okpebholo—about what they’re looking for in submissions.

“I first heard about the Emerging Black Composers Project in 2021 through an individual I met while performing as a guest soloist with the New Century Chamber Orchestra,” Zeigler, who is Co-Artistic Director of the non-profit new music & interdisciplinary arts production company VisionIntoArt and Director of the National Sawdust Ensemble, explained.

Okpebholo, meanwhile, was one of three EBCP finalists, along with Jonathan Bingham and Sumi Tonooka, who received commissions from the Oakland Symphony, National Brass Ensemble, and SFCM, respectively, alongside EBCP 2021 first-place winner Trevor Weston. “When evaluating a piece, I look for a few key things," Okpebholo said of his role as evaluator. "First is creativity—does this piece stand out? It doesn’t matter what style it is. I’m not someone who thinks, ‘Oh, this is too accessible,’ or, ‘This is too experimental.’ Within any style, I’m looking for strong craftsmanship. How well is the piece constructed?”

Jeffrey Ziegler.

Zeigler echoed that sentiment, saying, “I am always looking for the one quality that separates one artist from another: Does the composer have a singular voice? Compositional technique is important, but it must be driven by artistic vision. Does the composer have something to say and are they expressing it in a way that is truly unique to their voice?” 

Okpebholo adds that his personal preference as an evaluator involve both presentation and a narrative element. "I  recognize presentation can be a privilege issue—not everyone has access to the best software or professional editors. But things like misspellings, messy formatting, or unclear notation matter. If an orchestra or ensemble sees the piece and thinks, ‘I can’t even read this,’ that’s a problem, no matter how great the music is." He continues, "I’m a sucker for narrative. I want to know: what’s the story behind the music? It doesn’t have to be highly programmatic, and it doesn’t have to be about something specific like butterflies or police brutality. But when there’s a sense of purpose or a story driving the music, it makes a big impact on me.”

Okpebholo is also heartened by his fellow evaluators. “I’m encouraged by how diverse and accomplished the panel is—not just composers and conductors, but people with different musical experiences and perspectives at various stages of their careers.”

This year, the evaluation panel includes stalwarts like SFCM Music Director Edwin Outwater and EBCP Chair Daniel Barthomelew-Poyser alongside Oakland Symphony Music Director Kendrick Armstrong, Canada’s National Arts Centre Orchestra Artistic Planning Manager Daphne Burt, Panamanian-American conductor Kalena Bovell, Romanian GRAMMY-winning conductor Cristian Măcelaru, Martinique native Valérie Sainte-Agathe (Artistic Director for the SF Girls Chorus), and first-generation Indian American composer Nina Shekhar, among others.

Both Zeigler and Okpebholo are enthusiastic about their praise for the EBCP. “It is high time for the orchestral world to seek out new voices that speak to the time that we live in,” Zeigler says. “The EBCP commissioning program gives fuel to this work which has already begun to bear fruit. Future generations will see this vital work as a game changer in our field. I am deeply honored to be able to play some small part in this important work.”

Shawn Okpebholo.

As a prize-winner-turned-evaluator, Okpebholo’s perspective on the EBCP has changed, but his feelings about it remain positive. “Immediately, I felt like I was part of something special. It wasn’t just, ‘You won an award, they performed your music,’ and then that was it. This was different. The EBCP opens doors to meaningful resources, and through this program, I’ve built real relationships. I consider Abbey [Springer, SFCM Director of Large Ensembles] and Jonathan friends, and Edwin has become both a friend and mentor. I've won competitions before and am grateful for them, but this was so much more—it felt like a real investment in me and genuine care.”

The winner of the EBCP top award, the Michael Morgan Prize, will receive a $15,000 award and have a new work commissioned to receive its world premiere with the San Francisco Symphony. The winner will also receive mentorship from Outwater and Bartholomew-Poyser. Winners are selected and reviewed anonymously. Since its first year in 2020, through its growing partnerships, the EBCP has led to 11 different composers winning commissions and prizes.

Learn more about the Emerging Black Composers Project. Applications are due February 1st, 2025. Apply today! .