20th edition CNMN Bulletin – May 2015

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Table of Contents

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New Music Initiative 2015: Bringing CNMN to CAPACOA
Souvenirs of NMI2015
Preparations with the CAC for the Upcoming Federal Election

Reports from the CNMN Committees:

Digital Content Initiative (DCI) Report – May 2015
FORUM 2016 OTTAWA – Steering Committee Report – May 2015
The Language Committee Report – May 2015
Public Engagement Committee Report – May 2015

Curatorial and Art Criticism students meet Continuum in The OCADU Project
Want to get to know Circuit?
CNMN Needs You – Now!
Welcome New Members – May 2015
Members’ Corner – How to Submit

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20th edition CNMN Bulletin – May 2015

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As CNMN continues to seek different entry points with new communities and with a wider national context, the inaugural edition of CNMN’s New Music Initiative (NMI2015) has gotten us off to a great start.

NMI2015 brought CNMN together with CAPACOA (the Canadian Arts Presenting Association). CNMN was guest-curator at CAPACOA’s 27th annual conference from January 21 to 24, 2015 in Halifax. The theme of the conference was “The Culture of Convergence.”

Over 30 CNMN members converged with 200+ delegates, many of whom were stakeholders from the national and international touring performing arts sector, including 120+ CAPACOA members.

CNMN designed events that brought together both its membership and, importantly, the larger presence of delegates. The idea was to create a dialogue about shared goals and challenges within a larger body of artistic practitioners. The programming aimed to encourage interaction and dialogue in order to exchange knowledge and build trust. Working together in this larger context, new music in Canada can become more integrated with mainstream presenting.

CNMN’s events were very well received, almost always to full capacity and beyond. This is in part thanks to the CAPACOA team who were extremely pro-active, providing us with great exposure by putting our programming up front and centre, which in turn meant attendance to our activities was fantastic.

These events included:

(1) A national panel of new music presenters discussed innovation in presentation. Véronique Lacroix, Lawrence Cherney, Tim Crofts, Gregory Oh and Kyle Brenders (moderator) shared knowledge and success stories about audience outreach, demonstrating how creative new music can be a positive force in the larger Canadian society.

(2) A Critical Response Workshop: after an engaging 40-minute performance by Gabriel Dharmoo, Tim Yerxa (Fredericton Playhouse) and Judy Harquail (Ontario Presents) lead a session where participants, sitting in a large circle, became contributors to a meaningful, in-depth observation and reflection of their experience of this performance.

(3) An Evening Showcase including Eve Egoyan and David Rokeby, Saint Petersburg and Quatuor Bozzini.

(4) There was a very interesting Inter-network session where CNMN members met with the dance networks to hear about the excellent work they’ve done with presenters around the understanding and presenting of contemporary dance, and how this could apply in different ways to new music.

CNMN members also had the opportunity to take in all the other conference activities that CAPACOA had to offer, such as: the one-on-one session with international participants from the Export Buyers Program, the interactive plenary session with the Director of EmcArts, Richard Evans, the many evening showcase performances and networking lunches. It was just as important, as part of the NMI, for CNMN members to participate in the other conference activities.

Hear Soundstream’s artistic director, Lawrence Cherney, make a 5-minute pitch about their touring project Encuentros: listen here (scroll to 30:23).

And our very own board member David Pay, along with Lawrence Cherney, were live-to-air for the arts on CTV Morning Live with host Heidi Petracek, where they talked about the CNMN panel discussions about presenting new music. This was broadcast throughout PEI, NB and NS.

We were thrilled to have so many CNMN ambassadors of Canadian new music, experts in the field, who not only represented their own work but also represented the broader picture of New Music in Canada at the conference. As an organization, we can set up the programming, but the person-to-person interactions are what make the connections, and members really brought energy and enthusiasm and a willingness to strike up a conversation with fellow delegates about what they do and about the exciting things their peers are doing in their regions of the country.

For a more personable sense of what happened at NMI2015, read what some of our CNMN Ambassadors had to say in the next segment, Souvenirs of NMI2015!

Many thanks to everyone at CAPACOA for their partnership as well as the Canada Council and FACTOR who helped make it possible for us to bring so many members to the conference.

 

Direct link: New Music Initiative 2015
Return to full Bulletin – May 2015

 

SouvenirsNMI2015

Members of the CNMN share their thoughts about the NMI2015 project as part of the CAPACOA conference in Halifax, January 2014. Thank you to everyone who shared this experience with us!


 

I would like to thank CNMN for the opportunity for Quatuor Bozzini (QB) to attend and present at the CNMN Showcase as part of the CAPACOA conference. This was a great opportunity to reconnect with some familiar faces associated with CNMN, but also to exchange ideas with other presenters and delegates from across the nation.

The Keynote Lecture from Richard Evans was extremely useful because it touched on challenges facing the Canadian music industry as a whole, no matter the size of organization or one’s role within each organization. The most pertinent advice included: being amenable to changes in the market, finding new ways to engage an audience as participants in artistic creation, and being patient to introduce small changes one at a time to arrive at a solution.

Some of the people that I met at the Keynote Lecture had attended our QB presentation at the CNMN showcase, and it was great to be able to share our music with them and to give them an idea of the nature of our work.

The informal networking at the hotel restaurant after the CNMN showcase was lovely because we could discuss our current work with others, and also set up some future projects with other CNMN members. QB also wants to be more involved in the Maritimes, so the setting of CAPACOA in Halifax was great timing for us.

The discussion with the Canadian contemporary dance networks was especially interesting because they offered a model of putting the presenters first, and educating them about contemporary dance, rather than just trying to convince them of one dance project over another. It was encouraging to hear that the presenters became confident in the language and aesthetic of contemporary dance, and that they were given the dignity to use their artistic discretion to choose which dance projects they would present. As an artist, there are still some reservations about why more funding would be used to support the presenters, and not the artist, but maybe funding organizations could be convinced to increase funding to both.

I also watched the livecast of Natalie MacMaster’s presentation, and it was great to witness such an icon of Canadian music. I had previously worked with MacMaster in another context, and know of the high caliber of her professionalism and musicianship. It was educational to learn from the language that MacMaster used to describe her life as an artist to the presenters, and how she describes some of the challenges of being a musician: e.g. touring schedules, balance with family life, keeping up quality of performance. She never used a condescending tone, and her approach was more humanistic in trying to open up dialogue, rather than antagonizing or focusing on some of her more negative experiences with presenters.

In all, the experience for QB at the CAPACOA conference was a very positive one. … We hope to continue the relationships and discussions we started at CAPACOA.

~ Alissa Cheung, Quatuor Bozzini

 

I went on Thursday, January 22nd. It was really an inspiring day. I remember coming home full of ideas, my head full of conversations and new thoughts.

I started out connecting with new friends and old at the breakfast for new delegates, and then moved into the panel discussion on presenting. Just over an hour was not of course long enough to fully cover the huge topics here (who is your audience? how do you measure success? how and why do you curate? what is the relationship between funding and programming?…) but I could tell from the atmosphere in the room that everyone was delighted to have come together from across the country to share ideas with people who do the same thing.

Richard Evans’ keynote speech was fascinating. What I loved was that it was a “good news story”: yes, the arts world is changing, but there are tools to meet, and even take advantage of, that change and the opportunities that come with it. He is a master of the flowchart and the powerpoint, and backed his ideas up with concrete examples that we could all relate to.

The [Critical Response] workshop on Gabriel Dharmoo’s Anthropologies Imaginaires showed a way of reacting to new work that forces you to go beyond the like/didn’t like response by answering a series of questions calmly and methodically and thus building a nuanced and potentially surprising critical response. I am going to use this myself when I see performances in coming months and I hope to use it in a classroom or workshop setting too.

Last came the showcase performances, all by friends or acquaintances. I was sad that there was not more interaction after these performances between presenters and musicians, as was the intention, but the new music community is small, and there is always an urge to congratulate a friend after their performance. Some kind of event following the showcase where we were teamed up with presenters to discuss in small groups what we’d just seen (or to apply the critical response techniques from earlier in the day) would have meant new music ambassadors really spread the word more widely about new music, and might make a great addition to the nest CAPACOA event.

~ Simon Docking, Toca Loca

 

It was really great to see contemporary music presented alongside more popular offerings, and in a way that made it more accessible to all types of concert presenters. The [Critical Response session] after Gabriel Dharmoo’s Anthropologies Imaginaires was a useful exercise to allow a wide range of audience members to discuss issues of contemporary music performance in a deeper context.

~ Derek Charke, Acadia University / AD – Acadia New Music Society

 

All across Canada, composers, performers and organizations engage in their work with the same dedication, the same passion. The CAPACOA conference allows us not only to take note of the health and effervescence of our national music scene, but also to identify problems within it and share strategies which will assure the continuity of our musical milieu.

It was an honour to present my project Anthropologies imaginaires at the “Critical Response Workshop.”

~ Gabriel Dharmoo, Composer / Performer

 

I found the participation at CAPACOA by CNMN heartening. It served as … an introduction to how the existing infrastructure of commercial music presentation, something that I know about from my part-time pop music career, might intersect with art music presentation, my more full-time discipline.

[…] I found the Thursday sessions organized by CNMN to be provocative and informative, and have helped me formulate some ideas regarding upcoming programming and audience outreach with the organizations I work with.

The [Critical Response session in particular] helped consolidate my thinking about the place of new music within our culture, both as a critique and celebration of our societies complex relationship to music, but especially our relationship to unusual and unknown music. The mock-ethnomusicology [in Dharmoo’s performance] was both funny and poignant in showing how the cultural trapping of new music can either make music more appealing or more alienating. This made me consider the importance of both committing unabashedly to music outside the popular sphere as well as considering how to frame new music presentations so that they can be readily appreciated by new audiences who aren’t familiar with the forms. It also made me aware of the difficult line that any “interpreter” of new music must walk when attempting to explain unfamiliar music to new audiences.

~ Lukas Pearse, Upstream Music Association / suddenlyLISTEN and more …

 

I was privileged to perform at the 2015 CAPACOA conference CNMN showcase as part of a project called “Saint Petersburg” with cellist Norman Adams. It was a wonderful experience sharing the stage with the Bozzini Quartet and Eve Egoyan and witnessing a slice of the breadth of new music in Canada. As an improviser, it was refreshing to be included with and programmed with, new classical music.

~ Tim Crofts, pianist

 

It is very important that Canadian new music is a regular feature at CAPACOA. Through the repeated presence of the CNMN, members of CAPACOA will become aware of the originality and strengths of creative work made and performed by Canadians. Presenters will be stimulated and excited to feature new Canadian work in their programming, bringing the world of new Canadian music full circle, from the commissioning of new works to the dissemination of it to audiences across the country.

~ Eve Egoyan, Pianist

 

Many thanks for the invitation to attend CNMN’s New Music Initiative 2015 as a ‘new music ambassador’ at CAPACOA’s conference. I thought the CNMN-organized events very successfully highlighted the diversity of Canadian new music – and I also appreciated the opportunities to meet and speak with other practitioners from across the country.

~ Steven Naylor, Composer / Performer / AD – subText Music & Media Arts Association

 

What a great time. Those who were just faceless names became friends and meaningful colleagues, and so many truly inspirational words were exchanged. Just like music, communication and ideas are always stronger face-a-face. I can only hope I contributed a good fraction of the wonderful things I took away.

~ Gregory Oh, AD – Open Ears, Festival of Music and Sound / Toca Loca / Soulpepper Theatre – Resident Artist

 

I had the privilege of attending the recent CAPACOA conference in Halifax as a CNMN board member. This was the first time I’ve attended CAPACOA and I greatly valued the opportunity to meet members of the new music community from across Canada, along with presenters and artists from various disciplines. The sessions were informative and provided engaging discussion. The new music performances and sessions showcased the tremendous talents and dedication of the many CNMN members who participated. Congratulations to CNMN on their very successful collaboration with CAPACOA.

~Po Yeh, New Works Calgary / Honens / Land’s End Ensemble

 

I found the CAPACOA conference stimulating and positive. In general, I found the atmosphere inviting and welcoming. I enjoyed the various sessions that I attended. The best part for me was meeting the many performing artists who attended and to speak with producers and presenters from across the country. This made me feel just a little more connected to what was happening in other parts of Canada.

~ Janice Jackson, AD – Vocalypse Productions / Performer

 

Direct link: Souvenirs of NMI2015
Return to full Bulletin – May 2015

Preparations with the CAC

Note: the 42nd Canadian general election is scheduled to occur on October 19, 2015. With the election fast approaching, the CAC is looking for volunteers to fill a number of positions as part of their effort to make sure the arts are on the mind of candidates across the country.

On March 18, 2015 members of the Canadian Arts Coalition (CAC) met by teleconference to discuss issues relating to the upcoming federal election. The Elections Committee of the CAC had analysed different strategies to create a united arts front, noting: (1) this time around it may be difficult for the arts to get media attention; (2) the five political parties are not likely to share each party’s platform until into the fall campaign.

Two options were discussed:

  1. Approach parties with three arts questions and post the answers on websites
  2. Instead of an arts-only campaign, connect with larger issues, such as:
    1. Aboriginal rights;
    2. Environmental issues;
    3. Election reform and getting out the youth vote.

General consensus was that both options had merit, but that it was difficult to agree on a non-arts issue.

In the second option, discussion leaned towards contributing to the efforts of Apathy is Boring, particularly in getting youth out to vote. As a non-partisan organization, it was favoured over other similar organizations. 

In the first option, the three arts questions will be based on the CAC’s Recommendations from Arts Day on the Hill:

  • Increase the operating funding of the Canada Council for the Arts by $35 million, to the goal of $300 million, in the near future.
  • Increase Canada’s presence on the world stage in 2017 (sesquicentennial) with a special $25 million fund.
  • Increase the funding, and increase the alternative funding, for digital dissemination and Canadian content online.

Formal recommendations from the CAC’s Election Committee are to be made soon.

Questions or comments? Feel free to contact CNMN.

Report submitted by CNMN board member Jennifer Waring, with contributions from Kate Cornell (Executive Director, Canadian Dance Assembly)

 

Direct link: Preparations with the CAC for the Upcoming Federal Election
Return to full Bulletin – May 2015

What are committees and who is on them? Since 2009, various committees have formed, sometimes on a casual basis, sometimes on a more continuous basis. They exist to focus-in on particular issues – around areas of concern for the new music community at large (such as the Public Engagement Committee and the Digital Content Initiative) or CNMN in particular (such as the Language Facilitation Committee). Or, they can be based around a particular upcoming activity (such as the FORUM 2016 Steering Committee). Anyone can be on a committee, but one representative from the Board of Directors (see our web site) is required. Members can propose other committees to a member of the board.

Digital Content Initiative (DCI) Report – May 2015
FORUM 2016 OTTAWA – Steering Committee Report – May 2015
The Language Committee Report – May 2015
Public Engagement Committee Report – May 2015

 

Direct link: Reports from the Committees
Return to full Bulletin – May 2015

Tim Brady, Chair

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The Digital Content Initiative (DCI) is a project, funded by a $20,000 Canada Council for the Arts grant, to look for new funding and new structures for the recording, dissemination, promotion and distribution of Canadian “specialized” music, in digital content.

Basically – an attempt to find an alternative way to get our music out there (in Canada and internationally), now that two key pillars of Canadian music – CBC and Radio-Canada – have all but stopped recording music. It is a very ambitious, and a slightly Don Quixotian idea, but it is an absolute necessity for Canadian music in 2015 and beyond.

Over the last 6 months the DCI has done a lot of work: fine-tuned our arguments, our statistics and our “pitch” document (to private and public funders); had very detailed meetings with partners in both Toronto and Montréal; and designed the technical “grant programme” we are proposing. Our consultant Pierre Lalonde has continued his informal discussions with funders and private partners, preparing the groundwork for the proposal.

The DCI commissioned a musicological research document, in order to give academic and scientific support to our arguments as to the value of “specialized” music. This document has been completed, jointly authored by Martin Guerpin and Jonathan Goldman of the Université de Montréal, and includes an analysis and bibliography of a wide range of studies that have been published on the importance and benefits of music and creativity. CNMN members are welcome to freely use these document, and these arguments, when helping to support the cause of creative new music in Canada. Check out the report here.

We will start to have informal meetings in June to discuss this initiative with potential partners, as well as public and private funders. The federal election will slow this process down – regardless of who wins the October election, all government departments are now in “wait and see” mode. No new decisions will happen until after the election, in fact, things will only really get back to normal in 2016.

However, we can get a sense of how our arguments work at these informal meetings, so that we are as effective as possible once we get to the formal presentation stage.

The DCI is also getting interest from other parties: we have been invited to present the project at the Classical: Next conference in Rotterdam May 20-23, 2015 and at the bi-annual Banff Opera Colloquium with Opera.ca in July 2015. So the project is gaining momentum.

Tim Brady – May 5, 2015

Please contact Tim Brady for more information
tim@timbrady.ca

Read past bulletin entries from this committee:

 

Direct link: Digital Content Initiative (DCI) Report – May 2015
Return to full Bulletin – May 2015

 

Ottawa skyline

Members: Kyle Brenders (Chair), Jesse Stewart, Stefani Truant, Jennifer Waring

Things are moving forward for FORUM 2016. The steering committee has been in touch over the past few months and things are beginning to move.

Firstly, FORUM 2016 will take place January 14-17, 2016 in Ottawa. Much of the activity will take place at the University of Ottawa but there will also be a connection with the National Arts Centre, including a performance on January 15, 2016 that will feature a premiere of a new work by John Estacio.

The FORUM will be themed to look at the intersections between the popular and the not-so-popular worlds that many of us float between. This is a broad topic that will come into focus over the next couple months.

The beginnings of a FORUM 2016 web page are now available, including information about the steering committee.

Lastly, FORUM 2014 launched the inaugural open call for proposals. An open call for FORUM 2016 activities is in the works, and we’ll be looking for proposals from the entire new music community. The FORUM is neither an academic conference nor an arts market/showcase; it’s a hybrid that seeks to create connections for everyone working in the new music field. So start thinking outside the box, and stay tuned!

If you have any thoughts about the FORUM or would like to be a part of the Steering Committee, please contact me.

~ Kyle Brenders

 

Please contact Kyle Brenders for more information
kbrenders@gmail.com

Read past bulletin entries from this committee:
FORUM 2016 OTTAWA – Steering Committee Report – Dec 2014

 

Direct link: FORUM 2016 OTTAWA – Steering Committee Report – May 2015
Return to full Bulletin – May 2015

 

 

Language_Committee01

Members: Jérôme Blais, Stacey Brown (Chair), Louise Campbell

The goal of the Language Committee is to support CNMN in maintaining its commitment to bilingualism, by promoting awareness of language issues, assisting from time to time with minor translation needs and, every two years, fulfilling various kinds of language facilitation roles at our national FORUMS (for examples, see FORUM 2012 and FORUM 2014). Committee members are invited to reflect on ways in which we can facilitate communications in both official languages and continue building a national network that can really “speak” to all our members.

This committee is actively seeking members who might be interested in participating in any of the above discussions and activities. We are also continuing to build a list of members who are willing to occasionally assist with some volunteer translation towards their mother tongue (English, or French).

Questions? Thinking about getting involved in the Language Committee? We’d love to hear your ideas!

Please contact Stacey Brown for more information
sb@staceybrown.ca.

 

Direct link: The Language Committee Report – May 2015
Return to full Bulletin – May 2015

Public_Engagement_Committee

Members: Louise Campbell (Chair), Tawnie Olson and Jennifer Waring

The preliminary list of online resources for facilitating creative music is now online and more accessible! Check it out here. The idea is that, when you host a creative music class, lesson, workshop, concert etc., you have resources at your fingertips to inspire you with great ideas.

One of the mandates of the committee is to share success stories about public engagement. Past stories have been about the John Adaskin Project, Toronto’s New Music 101, and I.S.S. Check out committee member Jennifer Waring’s story about the OCADU Project, in this bulletin issue.

We welcome more committee members! We need people from across the country to pitch in, give their two cents worth, and give us a Canada-wide perspective. If you want to join the Public Engagement Committee, we want your ideas!

Please contact Louise Campbell for more information
mlouisecampbell@gmail.com

Read more from this committee:

 

Direct link: Public Engagement Committee Report – May 2015
Return to full Bulletin – May 2015

By Jennifer Waring

This piece from the Public Engagement Committee describes a project mounted in Toronto by Continuum in 2011, when I was Artistic Director. It’s not a prescription for others to follow (though anyone is free to take up the idea) but rather a quick sketch of a fairly simple project that broke boundaries and some rules, and for those reasons got some notice. It also illustrates that when you venture outside normal practices you have to communicate clearly, because it seems that people will either remain stubbornly within the old mental territory, or feeling liberated will project onto the project things that aren’t actually there.

Continuum’s OCADU project was an experiment in transferring practiced ways of perceiving from one art form to another. Fourth year students in Criticism and Curatorial Practice at OCAD University, were asked to program a concert and also to write the notes for the works. Fifteen (primarily young) people, intensely involved in visual art, listened to thirteen recordings from Continuum’s repertoire, and then made curatorial decisions about music and wrote notes – guides for other listeners. And they did this through listening alone – they were expressly told not to do any additional research. The pieces collectively chosen were performed on a regular Continuum series concert (a welcome collateral effect being the opportunity to remount works, giving our loyal audience a second hearing, the musicians a second whack, and helping to advance the idea of “repertoire” in new music.) I chose the best “listening notes” of the OCADU students to use as programme notes – and since there were so many interesting notes, there ended up being three different sets of programme notes. These listening notes ranged from meticulous description to surreal stream of consciousness; they all illuminated something about the pieces, much about the connections between music and visual art, and also much about the individual writer. (Check out a concert program – PDF.)

What needed to be communicated better? The fact that it was called “The OCADU Project” primed some people (those who didn’t read beyond the title) to expect music played alongside a display of art. So maybe it needed a different title, or maybe it needed to be described in more ways more often. (There’s nothing wrong with presenting music with visual art. But the aim here was to engage young people in listening and thinking through writing and making programming decisions.) Different programme notes floating around the hall? I had hoped that people would swap programmes, read their neighbour’s, maybe even initiate a little save ‘em, trade ‘em. But, in spite of the directions written in the programme and my instructions from the stage, people mostly just read what they had picked up at the ticket table. If I were to run this project again (Continuum came close to getting funding to run it with a class of 300 philosophy students every year for three years) I would suppress the urge to wade into the audience and swap programmes for people – rather, I would just try to be clearer. Then I would run the project regularly so that people got used to the idea.

In just this one small project, fifteen students wrestled with what they were hearing, committed their thoughts to writing, and then half of them came to the concert. And the rest of us found out how they perceived a musical expression that is so familiar to us that we may be deaf to some of its meaning, or at least its effect. I think it’s worth repeating.

For more details about this initiative, contact Jennifer Waring at jwaring@interlog.com

 

We’re always on the lookout for more success stories!

If you have heard of or participated in an initiative you have found particularly inspiring surrounding the issue of public engagement, please contact Louise Campbell – mlouisecampbell@gmail.com

 

Direct link: Curatorial and Art Criticism students meet Continuum in The OCADU Project
Return to full Bulletin – May 2015

 

Couverture_Circuit_25-1

The CNMN and Circuit, musiques contemporaines have partnered to provide CNMN members access to a significant discount subscription rate to Circuit, as well as one free issue of the magazine. Find out more here!

Direct link: Want to get to know Circuit?
Return to full Bulletin – May 2015

Membership dues for the 2014-2015 period are still coming in via online and mail. It is greatly appreciated! Those who still haven’t paid should have recently received a reminder email with a copy of the invoice. Please try to settle dues this month.

Why? Read past president Tim Brady’s convincing arguments from 2013 which still ring true today.

If you have any questions, feel free to contact Stephanie Moore at assist@newmusicnetwork.ca

Direct link: CNMN Needs You – Now!
Return to full Bulletin – May 2015

Since December 2014, CNMN’s membership has grown by 15 members. More members in our network means stronger representation and connection for our community. We warmly welcome all our new members, and we hope this marks the beginning of a long-lasting and fruitful collaboration.

The new members are listed below, many of which have web sites for further information. We also hope all our members get a chance to check each other out – you can access a full list of members on our web site, viewable by category, region or name.

Who will be the next new member?

New Voting Members

Maureen Batt NS http://www.maureenbatt.com/
Gabriel Dharmoo QC http://www.gabrieldharmoo.org/
Cheryl Duvall ON http://www.cherylduvall.com/
Lukas Pearse NS http://lukaspearse.ca/

New Supporting Members

Glen Bilodeau QC
Patrick Davison ON http://www.reverbnation.com/thisisthefeels
Kimberley Farris-Manning BC
Ryan Fauds ON
Gavin Goodwin AB
Nolan Krell BC https://sites.google.com/site/nolankrellcomposer/
Cyndie Mason BC http://www.myztery.net/
Evelin Ramon QC http://www.evelinramon.com/
Stefani Truant ON http://nac-cna.ca/en/orchestra
Ghazaleh Vahdati QC
Olivia Wachter BC

Direct link: Welcome New Members – May 2015
Return to full Bulletin – May 2015

Want to submit to the next CNMN bulletin?

Download the Submission Guidelines available at the top of our main NEWS page:

http://www.newmusicnetwork.ca/en/category/news/

 

Direct link: Members’ Corner
Return to full Bulletin – May 2015