Board of Directors

Message from the new president: October, 2016

The experience of mounting collaborative projects like l’Oreille fine, SHIFT, and more recently, Gaudeamus: Deconstructed and Reconstructed, has only strengthened my conviction that pooling resources is beneficial, and that personal contact, creating opportunities for artistic collaboration and exchange, is critical to a vibrant new music practice. These are important ideas behind CNMN’s FORUMs: collaborating locally to mount events; getting people together to share ideas, ultimately making new things happen. I strive to lend my experience and energy to this effort. Within that effort I have a particular interest in making sure that young creators find a place in established structures (in my time at Continuum, the organization consistently provided emerging composers with opportunities), and in creating international links. 

One of the founders of Toronto-based Continuum, Jennifer Waring was for many years its artistic director. Under her leadership the group commissioned over 150 new works, toured Canada and Europe, and recorded four CDs. Interdisciplinary projects became a focus with projects featuring dance, film, installation, and as well architecture, philosophy and science. l’Oreille Fine (2005), conceived with Mark Kingwell, was a festival of concerts and a symposium of philosophers, poets, critics and a psychologist dealing with the subject of contemporary expression in a classical art form. SHIFT was the result of a year-long Metcalf Foundation-funded residency with Gaudeamus in Amsterdam. This bi-national festival of Canadian and Dutch music, film and literature (2008-09) involved roughly 40 Canadian and 40 Dutch artists, and multiple presenters including Harbourfront Authors Festival, Images Festival, Impakt (Utrecht), Gaudeamus, Asko|Schönberg, Ives Ensemble, Muziekgebouw aan ‘t IJ, Dutch and Canadian radio boaodcasters. SHIFT created a model that Dutch organizers continue to use in bi-lateral festivals.

With the Toronto Symphony Orchestra she mounted the audience engagement project Music by the Masses, where audience members and the general public were invited to compose pieces under the guidance of professional composers for performance by trios of symphony musicians. Renamed Composing for a Change, the project has had successful runs with the Kitchener-Waterloo Symphony and Music Toronto.

A flutist by training, Jennifer studied in Ottawa, London and Paris, and holds a Master’s degree in performance from the University of Toronto. She was on faculty at the Royal Conservatory of Music for 22 years.



Credit: Dahlia Katz

I attended my first FORUM in January 2016 and was impressed by the depth and range of experiences of the presenters. Meeting and mingling with innovative Canadian delegates alongside innovators from Europe gave me a fresh perspective on music creation and dissemination. It was heartening to encounter the growing number of individuals and organizations working toward making our community more welcoming to those long excluded from it. Collaboration is at the heart of my creative practice and central to my work as educator, facilitator, mentor and composer-in-residence. As a board member, I look forward to fruitful collaborations with my fellow board members and to the continued growth of this invaluable national network. 

New Zealand-Canadian composer Juliet Palmer is known as a “post-modernist with a conscience” (The Listener) whose work “crosses so many genres as to be in a category of its own” (Toronto Star). Her work has been featured around the world, with performances at New York’s Lincoln Center, London’s Southbank Centre, the Huddersfield Contemporary Music Festival, Bath International Festival, Voix Nouvelles France, Italy’s Angelica Festival, Evenings of New Music Bratislava, Musica Ficta Festival Lithuania, NYYD Festival Estonia, The Istanbul Festival, Soundculture Japan, the Adelaide Festival, the New Zealand International Arts Festival and Canada’s Sound Symposium. Juliet is the artistic director of Urbanvessel, a platform for interdisciplinary collaboration. Upcoming: Sweat, an a cappella opera with writer Anna Chatterton (Center for Contemporary Opera, New York); Vermilion Songs for tenor Simon O’Neill and NZTrio (New Zealand); and The Man Who Married Himself (Toronto Masque Theatre).

Sean Clarke

When I attended FORUM 2016 in Ottawa I felt an immediate connection to the CNMN’s goals of building a stronger, more collaborative new music community and of giving voice to an important Canadian art form. The inclusive nature of the network is vital to building a rich and relevant artistic community. As an active composer and performer I’m committed to highlighting the importance of new music in Canadian society and recognize the value of having a national organization such as the CNMN to achieve that goal. I have worked in several different settings in the new music community, including as a composer, a performer of new and traditional music in chamber and orchestral settings, a concert producer, a board member of New Works Calgary, and a theorist at academic conferences. I bring my experience and enthusiasm to the CNMN board, to work for this important organization and the new music community at large.

Sean Clarke is a composer and flutist from Calgary, AB. Before completing a doctorate in instrumental composition at the University of Montréal under the co-direction of Ana Sokolovic and Jonathan Goldman, he studied flute and composition at the Royal Northern College of Music, England, and the University of Calgary. His works have been played in the United States, France, and across Canada, including on CBC national radio. Sean has also written several works for young performers, one of which is published by the Royal Conservatory of Music (Toronto).

Sean has presented his theory research at several national and regional conferences, including those of the Canadian University Music Society where his paper was a finalist for the SOCAN Foundation/George Proctor Prize; the South Central Society for Music Theory where he was the recipient of the Best Student Paper Award; and the West Coast Conference of Music Theory and Analysis.

As a flutist, Sean has performed in new music festivals in Montréal, Calgary and Saskatoon, as an extra musician with the Calgary Philharmonic Orchestra, and in concert series including the Société de Musique Contemporaine de Québec’s Série Hommage and McGill University’s Schulich Professional Concert Series.

I was most impressed with the CNMN national forum, both in Calgary (2014) and Ottawa (2016), and greatly value the important role CNMN plays in building relationships and bringing together educators, composers, musicians and organizations in the new music community. I am particularly focused on supporting CNMN in building a long-term vision and strategic director. I enjoy working together with staff, board and members of CNMN building a strong national community and acting as an advocate for its initiatives.

Po Yeh is Executive Director of Prairie Debut, a touring organization that links Canadian classical and world music artists to over 80 communities that are mostly rural and outside the main centres in Manitoba, Saskatchewan, Alberta and the Yukon.  Po also has a keen interest in supporting the performance and creation of contemporary new music, through working with Land’s End Ensemble, New Works Calgary, the Canadian New Music Network, Luminous Voices and the Canadian Federation of Music Teachers Associations.


Clemens Merkel_2015

I am very happy and proud to serve as a board member for the CNMN. My first encounter with the CNMN was the forum in Halifax 2010. The experience of a community of artists, presenters and producers from all over the country coming together to one place for three days to exchange, talk, plan, dream and make music was a true revelation.

On that weekend this huge country – roughly the size of Europe but less than 5% of its population – started to reveal a musical identity to me, through all the people I had heard of but had never met, all the composers, performers and presenters I knew but had no personal relationship. The forums that followed have helped me immensely to understand the cultural life of Canada.

Through my work with Quatuor Bozzini I have experience in networking, in touring, in creating new work, and in co-directing a small and very active company: this is what I want to bring to the CNMN board. At the same time, I am looking forward to exchange with my Board colleagues and learn from what they are bringing to the table. It is a very important time for music in Canada and for music from Canada, and I am happy to help developing it.

Clemens Merkel’s unconventional sound defines a new sensibility in contemporary music, through its intimate purity of tone, its settled understanding of microtonal or unconventional harmonic language, and its unhurried sensitivity. He is well known for innovative interpretations of Bach and John Cage, and is sought after by composers worldwide as an inspiration for new repertoire. His diverse collaborators range from the Wandelweiser collective to Montréal’s Musique Actuelle community, and from emerging experimentalists to today’s most revered composers.

Since 1999, Merkel’s unusual sound has fused with that of the Quatuor Bozzini, considered one of the world’s leading string quartets. Together they have mentored an entire generation of creators through the Composer’s Kitchen; have released numerous critically acclaimed albums on their collection qb label; undertake multiple tours annually to be featured at festivals worldwide; and maintain a profound impact on the music scene across Canada and Europe in particular. They nourish Montréal audiences with unusual self-produced events that bridge worlds and cross boundaries of style, generation and culture.

Following an early career in Europe, where he contributed to the continent’s leading ensembles, Merkel has made Montréal his home since 2000. He supports and advocates for new music in Québec and in Canada, and is regularly sought after as speaker, curator and adviser. His presence is felt in academia as well, through articles written for the Revue Circuit, and through his teaching at Concordia University. He’s a passionate chef and lives in Montréal’s Portuguese neighborhood together with his wife Isabelle Bozzini and children Félix and Béatrice.

My first introduction to the CNMN community was as a panelist at the Calgary FORUM 2014 where a full house of new music practitioners gathered to represent new music in all of its emerging and established directions. 

As a board member, my goal will be to support CNMN members, to help grow the community of artists and audiences across the country and across boundaries, and to engage in conversations around sonic art in an educational capacity. 

Brenda Cleniuk is a researcher, theorist, strategist and curator working at the intersection of performance, visual art and new media. She has initiated and organized exhibitions, symposia, performances, interventions, concerts and residencies. She holds Bachelors degrees in Literature, Psychology and Fine Arts from the University of Regina and has interned at the National Gallery of Canada and the MacKenzie Art Gallery. She was a student of classic and contemporary music for several years and let go of her Fender Stratocaster too soon!

Brenda has published modestly and her publishing projects are included in the National Library of Canada, FORMATS, the Metropolitan Museum of Art Contemporary Archives and the Saskatchewan Arts Board. She has been active on boards and committees for regional, national and international juries, conferences and has been a speaker at ISEA, the University of Regina and for the Governor Generalʼs Canadian Leadership Conference. She has toured or traveled in Canada, Europe and the USA and produced and/or curated incoming projects from each.

Her recent projects in new music have been ongoing since 2007 and commencing with a seminal production of Phil Niblock and Katherine Liberovskaya at Neutral Ground followed by a solo concert with Kim Cascone and most recently included presentation of a live, improvisational iteration of “EPIC_Tom” with Julie Andreyev and Simon Lysander Overstall and members of the Regina Symphony Orchestra – Simon Fryer, Marie-Noelle Berthelet and Simon MacDonald – in Regina in 2016.

ladano kathryn

As a performer, educator, Artistic Director and advocate for the arts and contemporary music in Southern Ontario, my place on the CNMN board allows me to work with other like-minded people in the national arts community and to also raise the profile of the arts scene in my home community of Kitchener-Waterloo. I greatly value the work that the CNMN does. I bring my experience as a board member, General Manager, and Artistic Director of local contemporary music organizations to this great organization. The contemporary music scene across Canada is something to be celebrated and through the efforts of the CNMN, we can help it to grow and thrive.

Kathryn Ladano is a specialist of contemporary music and free improvisation and has performed as a soloist and chamber musician across Canada and abroad on the bass clarinet. Kathryn is heavily involved in both educational and creative work. She is currently the Artistic Director of NUMUS concerts, the Director of ICE (Improvisation Concerts Ensemble) and instructor of improvisation studio at Wilfrid Laurier University, and the bass clarinet instructor at the University of Waterloo. Kathryn’s debut CD “Open” was released in 2010, featuring new compositions and freely improvised music. He also released an album titled “…listen” with her duo, Stealth, with percussionist Richard Burrows. She is currently pursuing her PhD at York University in Toronto under the supervision of Casey Sokol. Her research interests include improvisation pedagogy, and the relationship between different types of anxieties and the practice of free improvisation.


I’m thrilled to join the board of the CNMN as a Non-Regional Representative. I’ve lived in a number of different countries in my life as a composer – Canada, the US, the Netherlands, Finland, Germany, and now Scotland – and while each of these countries has lots of fantastic musicians and amazing musical things to offer, my time outside of Canada has made me aware of just how special the Canadian new music community is. We have such a rich diversity of music being made, so many strong and supportive regional and nationwide networks, and, most importantly, a real sense that we’re all in this together. Anything that helps one of us helps all of us.

As a Non-Regional Representative, I’m particularly interested in figuring out how to maintain connections between Canadian composers and new music performers abroad and those in Canada, in promoting the work of Canadian composers worldwide, and in facilitating international collaborations. I’m also interested in finding ways to encourage ensembles, concert series, and festivals to program new pieces in a way that represents the true diversity of Canadian composers, in terms of gender, ethnicity, regional, stylistic and other differences. I will work with the CNMN on behalf of all of us in the Canadian new music community.

Emily Doolittle’s music has been described as “eloquent and effective” (The WholeNote), “masterful” (Musical Toronto), and “the piece…that grabbed me by the heart” (The WholeNote). Doolittle has been commissioned by such ensembles as Orchestre Métropolitain, Tafelmusik, Symphony Nova Scotia, and Ensemble Contemporain de Montreal, and supported by the Sorel Organization, the Canada Council for the Arts, Opera America, and the Fulbright Foundation, among others. Recent projects include Seal Songs, a 30-minute piece based on Gaelic selkie folklore, commissioned by Paragon and the Voice Factory Youth Choir (Glasgow), a concerto for violinist Calvin Dyck and the Vancouver Island Symphony, and five months as composer-in-residence at the Max Planck Institute for Ornithology in Seewiesen, Germany. Originally from Nova Scotia, Canada, Doolittle was educated at Dalhousie University, Indiana University, the Koninklijk Conservatorium, and Princeton. From 2008-2015 she was on the faculty of Cornish College of the Arts in Seattle. She now lives in Glasgow, Scotland.

Jennifer Butler

I have attended two CNMN FORUMs, and both experiences expanded my definition of new music in Canada, introduced me to new-music makers, curators, and thinkers, and connected me to the rest of Canada in a more profound way. At FORUM 2014 in Calgary, I presented a facilitated discussion titled “Unsilencing: Women and their Place in New Music and Sound Art.” This experience led to so many important discussions and opened a window for people to share their stories that continues for me into the present. I believe that the CNMN is such a vital organization because of the exciting mix of people it brings together; therefore creating a wonderful venue for important conversations in our field that cannot happen in the same way anywhere else. One of my objectives as a CNMN board member is to bring more of these discussions and topics to the forefront of what we do. My work with the CMC, CLC, and on the advisory committee of the ISCM World New Music Days, has given me knowledge and experience that I strive to bring to my work on the CNMN board. 


Jennifer Butler (b. 1976) is a composer and flutist living in Vancouver, BC. Silence, organic change, and layered textures are important qualities in many of her compositions. Jennifer completed a DMA (2009) and a Master’s degree (2002) in composition at the University of British Columbia. Her principle composition teachers include: Glenn Buhr, Peter Hatch, Omar Daniel, Keith Hamel and Brent Lee.

Commissioned, performed, and recorded by outstanding Canadian artists such as the Vancouver Intercultural Orchestra, The Victoria Symphony, Vancouver New Music, the Thin Edge New Music Collective, Standing Wave, l’Ensemble Lunatik, and the Vancouver Symphony Orchestra, Jennifer’s music has been performed and broadcast across Canada and in the USA. One of her major artistic influences has been her participation, as composer and performer, since 2000 in R. Murray Schafer’s annual interdisciplinary wilderness project And Wolf Shall Inherit the Moon.

Jennifer was President for the council of the Canadian League of Composers from 2011-14 , and currently sits on boards for Vancouver’s Redshift Music and Standing Wave, as well as her new position on the board for the CNMN. She is also on the Advisory Committee for the upcoming ISCM World New Music Days 2017.

Sarah Albu

As an artist who has often walked the line between academic training institutions and DIY settings, I am thrilled to be able, as a CNMN board member, to listen to the needs of artists and to help make space for the evolving definition of New Music in Canada. I am particularly interested in what this means for the inclusion of diverse forms of creation across the country, and the ways we can connect together through love for the act of listening, which is what brought so many of us to the field of music/sound in the first place. I firmly believe that despite coming from varied backgrounds, the artists, ensembles and organizations that we strive to bring together under the umbrella of the CNMN are united through an engagement and genuine curiosity towards the act(s) of making and experiencing sound. As a board member, I strive to facilitate communication and partnership, both within “New Music” and outwards – in our greater communities and with our colleagues practicing in other disciplines.

Sarah Albu is a Montreal-based singer, actress, and multidisciplinary artist specializing in vocal performance at the intersection of music and theatre. Highly sought after as a soloist performing contemporary and experimental work, she collaborates extensively with many musicians, ensembles, composers, film-and-theatre-makers, and artists working across disciplines. She recorded and self-produced her first solo album in 2013.

Also active as an improvisor, sound designer, experimental noisemaker, choral singer and yoga musician, Sarah’s performative and compositional pursuits take inspiration from a variety of styles and historical traditions. A native of Windsor, Ontario, her introduction to musical life included coming of age as a self-taught electric bassist on the punk scene, singing in church and chamber choirs and performing and teaching musical theatre. Highlights include a centennial performance of Schoenberg’s Pierrot Lunaire at the Banff Centre for the Arts, Peter Maxwell Davies’ Miss Donnithorne’s Maggot and Georges Aperghis’ Les Sept Crimes d’Amour with Montreal’s Ensemble Paramirabo, two roles in Vocalypse Productions’ immersive opera Miss Fortune’s Portmanteau (Halifax), a theatrical and spatialized solo voice and electronics program presented by Codes d’Accès, a series of musical interventions and performative artist talks investigating voice and positionality with Ruby Kato Attwood, and a darkly comedic cabaret concert – Songs and Niaseries – with vocal improvisors Gabriel Dharmoo and Elizabeth Lima. She studied classical voice and theatre/performance art at Concordia University and began graduate work at the Conservatory of the Hague in September 2016.

Credit: Susan Hall

Credit: Susan Hall

Norm Adams

I have attended CNMN’s FORUM 2010 in Halifax, FORUM 2014 in Calgary and FORUM 2016 in Ottawa. There I have discovered a group of people with the same challenges, worries and goals as I have, with great taste in music! I lend my energy to CNMN and our community in order to help provide our artists and organizations with a strong and clear voice. I believe passionately that we are stronger as a unit, and I would like to play my part as a representative of artists and organizations from the East, and all over Canada.

I have a unique experience that can provide perspective on a broad range of new music practices. I enjoy a career as a classical musician, playing contemporary and more traditional orchestral and chamber music repertoire, an improviser with an interest in electronic music, and Artistic Director and administrator of an arts organization. As Principal Cellist of Symphony Nova Scotia, and as frequent member of SNS’s programming committees, I have a clear view of the way “the establishment” works. At the same time, my thirteen years as Artistic Director and Administrator of suddenlyLISTEN Music has given me the opportunity to curate and produce concerts of a wide variety of contemporary musicians from established international improvisers, to locals, all pushing out the very edges of music making. As well I am a founding presenter for The Circuit, a national presenting collective for touring improvisers and exploratory musicians. 

It is both inspiring and energizing to work for our national community as a CNMN board member.

Norman Adams is the Principal Cellist of Symphony Nova Scotia, and the Artistic Director of suddenlyLISTEN, and a cellist, improviser and electronic musician exploring music, sound creation and performance. Norm has performed classical, free and new music across Canada, the US, the UK and France, collaborating with many leading artists including Joëlle Léandre, Eddie Prévost, Pauline Oliveros, Gerry Hemingway, Jean Derome and Marilyn Crispell. In addition to CNMN, Norm serves on the boards of Strategic Arts Management, and The Nova Scotia Lt. Governor’s Masterworks Award. He has released several recordings including a solo cello CD. In 2010 he was awarded an Established Artist Award by the Nova Scotia Arts and Culture Partnership Council for his varied work.

Jérôme Blais

“I am happy to serve again on the national board of the CNMN. My goal is to help develop a stronger voice for new music in Atlantic Canada and raise the profile of our region at the national level. For over 15 years I have acquired extensive experience with several music organizations, serving on the board of Codes d’accès in Montreal, the regional council of the CMC in Quebec, the Société québécoise de recherche en musique, the Canadian League of Composers and Quasar Saxophone Quartet. I am currently chair of the Atlantic board of the CMC and as such serve on the national board of the organization. Since my arrival in Halifax, almost 10 years ago, I have been an active member of the new music scene as an individual artist, as well as the representative of a major institution, Dalhousie University. Finally, my approach as a composer is broad-ranging, from chamber improvised to orchestral music, which puts me in a good position to reach out to other new music stakeholders, no matter what their background is..” [2014]

After studying Music Theory at McGill University, Jérôme Blais completed Master’s and doctoral degrees in composition at the University of Montreal. His works, which feature a unique encounter between traditional composition and improvisation, have been performed by several ensembles, among which are Symphony Nova Scotia, Ensemble contemporain de Montréal, Rosa Ensemble of Amsterdam, Quasar Saxophone Quartet, Bozzini String Quartet, Bradyworks, Arraymusic and Continuum. He has been invited as featured composer by festivals such as Newfound Music in St. John’s, Newfoundland and Shattering the Silence in Wolfville, Nova Scotia and Ok.Quoi? in Sackville, New Brunswick. In 2010 he was keynote speaker at the Canadian University Music Society’s annual congress. Recent prestigious performances of his works include Es ist genug! by Canadian pianist Ang Li at Carnegie Hall in New York City and in Hong Kong, and an excerpt of his song cycle Songs for Milena (dedicated to the memory of Czech journalist Milena Jesensnká) by Yannick Nézet-Séguin’s Orchestre Métropolitain in Montreal. Mouvance, (a work based on texts by Acadian poet Gérald Leblanc) and Rafales (for solo oboe) were nominated for ECMA’s Best Classical Composition of the Year in 2013 and 2014. Mouvances is on the ECMA’s album Between the Shore and the Ships, an award-winner for Best Classical Recording. He is now Professor of Composition and Music Theory at Dalhousie University, in Halifax, Nova Scotia.



photo credit: Sven Boecker

My first experience with the Canadian New Music Network was at FORUM 2008 in Toronto. It was clear to me from that introduction that the network offers a rare opportunity to connect across the vast geography of Canada.  And every year since, I feel that CNMN has been at the centre of my deeper connections with music makers and music lovers across the country.

As a CNMN board member representing British Columbia, I get a first-hand glimpse of the ongoing work of the organization. Planning, advocacy, and finding new ways for people to connect across cultures, languages, and regions is at the core of CNMN’s work.  I strive to bring my artistic experiences as a producer and presenter to the network’s events, and my administrative experiences as an executive and fundraiser to our planning.

David Pay is the founder and Artistic Director of Vancouver’s Music on Main for which he has earned an international reputation as one of today’s leading-edge classical and contemporary music programmers. Since 2006, the series has produced more than 250 classical, new, and genre-bending music events with over 700 musicians and more than 50 world premieres. The UK’s Gramophone Magazine writes that Music on Main “provides western Canada with one of the finest windows onto the post-classical scene” and the Huffington Post says Dave’s programming has “spanned the range of human experience”.

As an independent arts consultant specialising in strategic planning, marketing, fundraising and producing, David has worked with leading arts organizations, musicians and video artists. He has served on faculty at Capilano University’s Arts & Entertainment Management Department and as Associate Director, Fall & Winter Music Programs at The Banff Centre.  His essays and interviews about music have appeared at and in Vancouver Review. Other roles include Artistic Producer of the opening night gala of Classical:NEXT (Rotterdam, May 2015) and Artistic Director of the ISCM World New Music Days 2017 (Vancouver, November 2017).

Past Board Members

“I was president of CNMN from its inception in 2005 until 2014. I believe in CNMN because I believe that musical creativity can play an important and positive role in our society. However, we need to work together in order for new music to have more impact in Canada. This is why we created CNMN – in order to have a place for the entire community to work together: composer, performer, ensemble, improviser, electroacoustics, world, orchestra, DIY, whatever – it’s about musical imagination and human expression, not categories.

A key issue affecting new music in Canada is connecting more effectively to the Canadian and international public, Since 2011 CNMN has been evolving a new strategy called the Digital Content Initiative. We all know – without high quality digital representations of our work out in the big wide world, we are invisible. As a board member, my main goal is to move this project forward. CNMN now has a solid infrastructure and history, so I will use my experience and contacts built over a decade of cultural policy work with CNMN to get this Digital Content Initiative moving. This is a complex and daunting task, and made none the easier by the current political climate, but it is critical for the future of Canadian music.”

2014 – Final President’s Message :

“Over the past nine years as CNMN President, I have spent many hours thinking about musical creativity, trying to define it to ourselves, trying to defend it to funders and to the public, trying to articulate why we believe that unfettered musical creativity is so vital to our society.  There is no single, simple answer.  However, at its core, creating music for the love of the art of music is a striking social and political action.  Creating music that tries to encompass the scope and complexity of the human condition is a big job, but that is what we have chosen to do.  It is inherently humanist in approach, and is predicated on a society where the value of each individual is recognised.  Art, including new music, is primarily about the human experience, not about the economic benefit or political power. 

This is why creative art is often viewed as a menace to existing economic and political structures.  We live in a society which has, for the moment, a reasonable balance between the two forces – the humanist vision and the economic / political vision.  That balance, however, is constantly shifting.

I urge all CNMN members to remember, every time you write a new piece, or step on a stage to do a concert, or talk about the importance of music in our society, that you are part of the ongoing political and social discourse that is shaping the world we live in.  New music has a role to play in this larger discussion, and it is important that we, as a community, take this role seriously. I believe that CNMN is ideally placed to be a leading voice in this discussion.  I hope that my 9 years as President has helped to build both a strong, credible organisation and to make the case for musical creativity as a positive force for social development.”   [2014]

“CNMN is the best way our community can move forward – by working together. Since its creation in 2005, CNMN has begun to create a strong, coherent voice for all forms of new music across Canada, and I hope to continue this work by working to improve our regional new music networks, by reinforcing our national network, by improving the CNMN infrastructure and by pushing forward with targeted lobbying campaigns at FACTOR, Heritage Canada, MusicAction, CBC and with a variety of national and regional educational partners.  We can build on the success of our FORUM projects and create a positive sense of what new music, in all its forms, has to offer the Canadian public.”   [2012]

“As one of the founding members of the CNMN I believe that new music can play a more vital, dynamic, positive and imaginative role in the cultural life of Canada. But we can only do this if we, as a community of creative artists, work together to make this extraordinary music more widely available to all Canadians. The CNMN is the best forum for creating this kind of collaboration, bringing together composers, performers, ensembles, improvisers, producers and educators to create a single, common voice for the cause of new creative concert music in Canada.”   [2008]


Tim Brady is a composer, performer, artistic director and cultural activist based in Montreal. Working as a free-lance professional artist since 1980, he has produced 20 CDs, dozens of tours of Canada, the USA, Europe and Australia, and worked with major presenters and orchestras such as the Winnipeg Symphony, the Vancouver Symphony, the Orchestre symphonique de Québec, the Orchestre symphonique de Montreal, the Toronto Symphony, the SMCQ, VNMS, Festival Victo, New Music Concerts, le NEM, the Open Ears Festival, The Huddersfield Contemporary Music Festival, Topology and the ABC (Australia) and Radio-France. He was president of the CNMN from 2005-2014.

Having participated in the last two Forums as a member of the CNMN, I sincerely believe I can make a contribution to the future of our organization. As a Canadian Music Centre Associate Composer, conductor, and professor of Composition at University of Regina, I have several key assets for this position. Thanks also to my training in administration (marketing), I have held key positions, such as Associate Artistic Administrator with the Orchestre symphonique de Québec (2000-2002) and Artistic Director with the Nouvel Ensemble à Cordes de Québec (NEC) (2000-current). I also presented conferences in Poland, Italy, Korea, and Canada. I have been on several juries and committees at the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Manitoba Arts Council, among others. I am a member of the CLC (Canadian League of Composers), SOCAN (Society of Composers, Authors and Music Publishers of Canada), CMC (Canadian Music Centre), UCP (Polish Composers Union), AFM (American Federation of Musicians), and of course the CNMN (Canadian New Music Network). I am fluent in both official languages in use at the CNMN and I represent the non-Quebec Francophone community.”

Born in Cap-Santé, near Quebec City, Alain Perron studied oboe and composition in Trois-Rivières and Quebec City. He obtained his Master Degree in 1989 at Laval University under the supervision of François Morel. In 1993 he received two prestigious grants, one from SSHRC (Canada) and one from FCAR (Québec), to study with the renowned composer and conductor Krzysztof Penderecki at the Academy of Music in Cracow, Poland, where he received his doctorate in 1996.

Alain Perron has received numerous first prizes for his compositions for orchestra, including the Sir Ernest MacMillan Prize from SOCAN, the du Maurier New Music Festival in Winnipeg and the Mosaïco Music Festival Prize in Korea. He has also received many commissions from prestigious orchestras and ensembles such as the Orchestre symphonique de Québec, the Nouvel Ensemble Moderne de Montréal, the Winnipeg Symphony Orchestra, the Manitoba Chamber Orchestra, Jugendkammerorchester in Stuttgart, the Orchestre symphonique de Sherbrooke, the Molinari String Quartet, the National Arts Centre Orchestra (Ottawa), the Nouvel Ensemble à Cordes de Québec, the Nelligan Quartet, Rocco Parisi (Italy), the Fibonacci Trio, the Rubbing Stone Ensemble (Calgary), the National Youth Choir, the Claudel String Quartet, the Ensemble Transmission, the Bozzini String Quartet, Sixtrum and several from Société Radio-Canada and the CBC.

Many of Perron’s works have been recorded on CD, and played in several countries throughout Europe, Asia and the former Soviet Union. In addition, he also pursues careers as conductor and performer (oboe and English horn). He is the Artistic Director of Le Nouvel Ensemble à Cordes de Québec. In 2002 he was appointed professor of composition at the University of Regina where he is also the Music Director of the University Orchestra, the Student’s New Music Ensemble and the U of R New Music Ensemble.

Marc-Olivier Lamontagne

I’m very excited to join the CNMN/RCMN board and hope to help this unique and most important organization to flourish even more. I believe building bridges and encouraging pollination between provinces, regions, cities, and across Canada is one of the most important challenges towards building a cultural environment that facilitates the free movement of creators and projects and that enables communities to witness, appreciate and participate in the celebration of the cultural differences and similarities that define our nations. As a board member, I intend to help strengthen the network. I also hope to bring a francophone/Québécois perspective to our work.   

Marc-Olivier Lamontagne is a Canadian guitarist who specializes in contemporary music performance for classical and electric guitar. He performs regularly with the Nouvel Ensemble Moderne and Bradyworks and has collaborated with many new music organizations such as the Quatuor Bozzini, ECM+, Quasar, Orchestre 21, The Music Gallery, Paramirabo, Projections libérantes and Chants Libres. He is the founder and artistic director of Ensemble Punctum (specializing in music for plucked instruments) and Ciao Rhino (a quartet of mixed music) and was a founding member of Ensemble La Machine. Between 2012 and 2014, he was the artistic director of the Ottawa New Music Creators and since 2015 he has been the artistic director of Codes d’accès, a production organization for emerging new music.

Stacey Brown

“With roots in BC, a home in Quebec and family in Newfoundland, I have been lucky to visit Canada from coast to coast and experience many different cultural activities along the way. A member of the CNMN since 2009, I was Vice-President of the Board of Directors from 2012-2014 and am now Treasurer. I have played an active role in the past two national FORUMS, first as a Language Facilitator and Billeting Coordinator in Vancouver 2012, and most recently as Coordinator of Language Services in Calgary 2014. I am more convinced than ever of the value of this kind of organization on the Canadian artistic landscape. The dialogue that is made possible by the bringing together of people with shared interests from all across the country is vital to the survival and success of our common goals, as well as to our individual or more regional needs and wishes. I feel very strongly that national networks are built one relationship at a time, and I am honoured to contribute to the continued growth of the CNMN through renewed participation on the board. I bring with me strong communication skills in both official languages, a demonstrated willingness to take an active role in board activities and initiatives, as well as a personal investment in seeing our membership and outreach expand to include as diverse a group as possible of artists and supporters of new music.

An Associate Composer of the Canadian Music Centre, a member of the Canadian League of Composers and Treasurer of the Canadian New Music Network (2014-2016), Stacey Brown holds composition degrees from the University of Victoria (BMUS) and the Université de Montréal (MMUS, DMUS). Her musical output is diverse, ranging from solo, vocal, chamber, mixed and orchestral works, to music for dance, theatre and film, to opera. Her creative projects demonstrate a marked interest in interdisciplinary and multimedia collaborations and her music is performed throughout Canada. In addition to teaching courses at the Université du Québec à Montréal and the École de musique Vincent-d’Indy, Stacey Brown is the author of analysis articles published in the journal L’Éducation musicale (France). She is currently writing a new song cycle for counter-tenor and orchestra (with texts by Bertrand Laverdure) to be premiered in 2015 by Daniel Cabena and the Orchestre de la francophonie under the direction of Jean-Philippe Tremblay.

“I fully support the mission behind the CNMN and believe in the strength in numbers found in collaborative and co-operative networks. I am excited and eager to contribute to the Canadian New Music Network.”

Heidi Ouellette is a Winnipeg-based composer, curator and enthusiastic instigator. She is the co-founder and Director of Cluster: New Music + Integrated Arts Festival, an annual festival of contemporary sound and art in Winnipeg, MB that serves as a platform for artists to create, to experiment, and to collaborate. Heidi recently became the Executive Director of GroundSwell, Winnipeg’s premiere new music series. An active and passionate member of the local arts and culture scene, she is the Vice-President of the Central Canadian Centre for Performance (CCCP) and has recently contributed to núna (now), the Winnipeg Folk Festival, and the Arts and Cultural Industries Association of Manitoba (ACI Manitoba).

Interested in the concepts of organics, experience and alchemy, her compositional work often incorporates recycled or borrowed material, improvisation and collaboration with other musicians and disciplines. Recent projects include a collaborative presentation of her chamber opera, The Gashlycrumb Tinies with London-based PAZZIA Performance Collective, the premiere of In Glorious Technicolor/YELLOW commissioned by Emerado Quartet, and a new song cycle, I know where the summer goes, recorded for an upcoming album, Songs of the Red River Valley.

[Last update: September 10, 2012]

Jim Montgomery

I watched with great admiration the vigour and enthusiasm that accompanied the formation and early years of CNMN/RCMN; it is a great pleasure to now be actively involved. I think our collective action is the best way to achieve the goals of free and easeful movement of music and musicians all across the country – and beyond. As a board member, I look forward to expanding the notion of inclusiveness across practices, which I believe is the essential engine driving collective action forward.

Jim Montgomery began his formal studies in music as a horn player, and completed a Bachelor of Music degree with majors in performance and composition at the Baldwin Wallace College Conservatory of Music. He has been involved with electroacoustic music since 1970 when he came to the University of Toronto as a Graduate student in composition, where he studied with Gustav Ciamaga and John Weinzweig. He is a founding member and continues to be active with the Canadian Electronic Ensemble, the world’s longest-lived electroacoustic group.

In his career as an Arts Administrator, Jim Montgomery has served as Managing Director of the Canadian Electronic Ensemble from 1976 to 1983, Administrative Director of New Music Concerts from 1984 to 1987 and from 1988 to 2005 as Artistic Director of the Music Gallery. Jim Montgomery is a past president of the Canadian League of Composers and currently serves on the Council of the Ontario Region of the Canadian Music Centre. He has been a lecturer in the Faculty of Education of the University of Toronto where he designed the course in electronic media. He is currently a member of the Canadian Electroacoustic Community.

Among his recent activities: he provided original music, sound design and acted as Chorusmaster for The Women of Troy (2013) and The Crucible (2014) at the Leigha Lee Browne Theatre, University of Toronto Scarborough. He was also a contributing musician and administrator for Bluffers Lookout, a recording project marking the 40th anniversary of the Canadian Electronic Ensemble in April 2014.

Jim Montgomery is a student and instructor at the Cold Mountain School of Martial and Healing Arts (Toronto) where he teaches Uechi-ryu Karate. He holds the rank of Yondan (black belt, fourth degree).

[Last updated September 10, 2012]

Louise Campbell

The first time I walked into a CNMN FORUM, I walked into a room full of people whom I knew from many different times and places in my life, all of whom were passionate about making new music. Before that moment, I didn’t think it was possible to have all these people in the same room together. Canada is, after all, a very big country, and, like many other CNMN members, I’ve travelled and lived in many different places. Not only is it possible to get people from across the country in the same room at the same time, CNMN was and continues to be the organization that makes this happen. From that moment on, I became a strong supporter of CNMN and its mandate – Networking – which for me means developing our community by reinforcing existing relationships and discovering new ones, and Representation, which for me means working together to collectively improve our situation.

Having been on the board from 2008-2012, I greatly enjoyed the opportunity to have an active role in CNMN. During this time, I was part of the organizing committee for FORUM 2009 in Montreal, developed and implemented Language Facilitation with Stacey Brown for FORUM 2012 Vancouver and FORUM 2014 Calgary, and chaired the Public Engagement Committee (2010-12). I feel that it is very important for CNMN to remain inclusive and open to new members. As a board member, I use my experience with emerging musicians and my practice of playing genre-crossing music to reach out to potential new members, in addition to continuing to participate in the Language Facilitation Committee to ensure ease of communication in both official languages at CNMN events.

Louise Campbell is a clarinettist, music educator and arts advocate. As a performer, Louise seeks to interrogate and renew the traditional concert format while fostering the creation of new works. Her specializations include commissioning new works, cross-disciplinary creation, works in situ and outreach and audience development. She is a founding member and co-artistic director of In Extensio and core member of Plumes.

Career highlights include co-creating R with In Extensio, a cross-disciplinary work involving music, movement and video (2013); performing music for Hope for the Haunted, a new circus work directed and created by Valerie Dean and Don Rieder (2013); writing and performing music for film director Jeanette Pope (Dust, a sculptor’s journey, Festival du nouveau cinéma 2011; Berson Boys, Kodak Emerging Filmmaker Program at Cannes 2009); the creation of reeds, a cross-disciplinary site-specific work based on birdsong (Sound Symposium, 2010); and collaborating with writer Annie Abrahams and director Rebecca Barnstaple in the creation of l’envoyer à mars pour y trouver la quiétude (2008), an installation involving projected text, dance and music. As an educator, Louise teaches through experiential learning so that students learn and understand through doing. She brings together her passion for performing and teaching by developing outreach programs that revolve around participatory music making.

Kyle Brenders

Over the past 18 months, I have been on the CNMN board as an interim replacement for Jerry Pergolesi. My time on the board has shown me some of the strengths and weaknesses of the organization. We are strong because no matter what your musical practice there are like-minded individuals that share your passions who are connected through our network. CNMN’s FORUM 2014 in Calgary demonstrated that we each have similar goals and hopes for our music and by coming together we are able to support each other to keep pushing the limits of music in Canada. Though in saying this, it is clear that we need to broaden our own definition, become more inclusive, and provide support for a wider swath of exploratory music within Canada.

The CNMN is poised to have an impact on the cultural perception of unheard and under recognized musics throughout the country. We are strong because of our membership, which includes representatives from the old guard that has experiences to share, and the rising leaders that are doing things within a new paradigm. Each has something to learn from the other and only by bringing people together in an environment of openness and accessibility will we be able move forward as a national musical culture. We are only weak if we privilege one over the other. The future of the network is the grassroots effort that is redefining how music is being created in this country in collaboration with the established institutions. If we ignore this, we will lose the possibility of expanding our network to represent the true diversity of our country’s musical culture.

Kyle Brenders is a Toronto based multi-instrumentalist, composer, improviser and arts administrator. Brenders’ work attempts to fuse the various musical experiences that have shaped him as a creative artist. His interest in music that falls within generic and idiomatic cracks has allowed him to develop his own personal style. Brenders has studied and played with Ab Baars, Anthony Braxton, Lori Freedman, David Mott, Alvin Lucier, Taylor Ho Bynum, Jean Derome, Gordon Allen, The Australian Art Orchestra, Malcolm Goldstein, Dan Snaith (Caribou), Evan Parker, Marshal Allen, and Mary Halverson. Brenders current group, the Kyle Brenders Quartet, plays music that explores the idea of a jazz quartet through expanding approaches to composition and improvisation. Brenders also acts as Artistic Associate with Soundstreams curating the Salon21 series, providing art direction for the concert livestreams and, as well as numerous other tasks that support the presentation of contemporary music on a national and international scale.

My first contact with the CNMN was at the Forum in Toronto in 2008. It was a great chance to hear new ideas around programming, audience development, and especially building bridges between different new music communities. I look forward to contributing to this great organization.”

Brent Lee is a Canadian musician, scholar and educator. He studied at McGill University and later the University of British Columbia, where he completed his doctoral degree in 1999. His compositions range from orchestral music to electroacoustic pieces, and include jazz and incidental music. He has received awards or commissions from CAPAC, SOCAN, the Canada Council, the Alberta Heritage Fund, The Gaudeamus Foundation (The Netherlands), the Alberta Foundation for the Arts, and the Bourges International Electroacoustic Music Competition (France). In addition to performances and broadcasts in many countries, several of his works have been commercially recorded. His compositions and improvisations often explore the relationship between acoustic instruments and digital sound processing; this interest has extended to his work as a performing member of a number of improvising ensembles including gems, <em>Strictly Plutonic</em>, <em>Modus Vivendi</em>, and the <em>Noiseborder Ensemble</em>. In 2002 he accepted a position at the University of Windsor, and served as composer-in-residence with the Windsor Symphony Orchestra from 2003-06. He has been an associate composer of the Canadian Music Centre since 1991. (BL, 2011)

“I was moved to run based on wonderful experiences at the 2010 CNMN FORUM in Halifax. I am impressed with the organization’s growth and offer my assistance; maybe the conference could even come to Calgary! My background includes: performing (sax/flute), presenting, teaching, writing, experience at every level of non-profit music boards, and twenty-one years at the CMC.”

I am the full-time Prairie Regional Director of the Canadian Music Centre. Successful projects include: establishing Western Canadian Music Award for Outstanding Classical Composition, founding of classical music showcase at the JUNO Awards, founding of Emerging Composer Award (with WSO/NMF), New Music in New Places, founding of Prairie Sounds imprint on Centrediscs, 21-year Canadian music radio program.

Info at the CMC web site –

For years we talked about the need for an organization that stood up for serious music in Canada that dared to look beyond Europe for its inspiration. CNMN speaks for our brave new world.” [2008]

I believe that CNMN must facilitate independent creators and fledgling organizations who may play many roles as performers, composers and administrators across a spectrum of genres. CNMN must bring them together with established institutions and organizations for the mutual benefit for all. Looking forward to organizing new outreach initiatives that will bring the new music community closer to educators and community initiatives in the interest of future generations of literate, fearless and independent musicians. I’m including seniors looking for new horizons in this vision.” [2012]

As an award-winning composer, saxophonist, clarinettist, improviser and intrepid explorer, Paul Cram continues to strengthen, challenge and refine his voice. He began his career playing sax in R&B bands and burlesque houses before studying composition with Elliot Weisgarber at the University of British Columbia and jazz great Sam Rivers at Banff. He debuted   nationally with the release of “Blue Tales in Time” on Sackville/Onari Records, toured with the Paul Cram Trio, and started the Paul Cram Orchestra (PCO) before recording his 2nd Juno Nominated release: Beyond Benghazi (recently re-released on CD Baby/iTunes). In Nova Scotia he has worked professionally as a freelance composer in theatre, dance and film for many years.  His score for the CBC movie “One Heart Broken into Song” won him the prestigious FIPA D’OR (France). In 2002, the new PCO recorded “Campin Out,” live at the Victoriaville Festival to rave reviews. After a stunning performance in Lisbon and the release of “Live in Lisbon” he is exploring opportunities internationally. Today’s musical projects include: Paul Cram Trio plus Aperture Trio equals 5 Flavours, Starry Nights Multi-band, and A Love Upstream Nonet contemporary music ensemble. Mr. Cram is running for his third term as a SOCAN board member and brings his experience as co-founder/administrator of several independent composer/improviser driven organizations across Canada: Vancouver’s New Orchestra Workshop (Co-founder), Toronto’s Contemporary Music Projects (Artistic Director) and Hemispheres Music (Co-artistic Director) and Upstream Music Association of Halifax (Co-founder/Artistic Director). Currently, he sits on the board of the Canadian New Music Network, a new national organization that speaks with a unified voice for creators and   disseminators of all kinds of art music. He is also a member of the Screen Composers Guild of Canada, Canadian League of Composers and Canadian Music Centre.

“I have followed the evolution of the CNMN since its very beginnings in 2003, and have participated in three Forums (Montréal 2009, Halifax 2010, Vancouver 2012). Having been a performer, improviser, composer, concert producer, and arts administrator in Montreal for many years now, I am very aware of the importance of the whole chain of collaboration that must exist to better disseminate new music. I have been on the CNMN Board of Directors since May 2010, and, as Treasurer, I have undertaken the task of structuring a more suitable accounting system that will allow our organization to progress and will facilitate its administration. As such, I wish to pursue this commitment and renew my involvement in our big musical family. The Canadian New Music Network is an effective way of combining our forces to give greater visibility to our art. It is with much enthusiasm that I wish to pursue my work on the Board of Directors. Since I have become more and more familiar with the workings of the organization as well as with its members, my involvement will be even more efficient with a second mandate as Treasurer.” [2012]

“As an interpreter, improviser, composer, concert producer, and arts manager active in Montréal for several years now, I am very much aware of the importance of the whole collaboration chain required to better spread new music. I am convinced that the Canadian New Music Network is an efficient tool to rally our forces and bring more exposure to our art. After attending a few CNMN annual general assemblies and two Forums, I am now happy to join the Board of Directors and engage more actively in the CNMN’s activities.” [2010]

Constantly seeking new means of expression and eager to create, the flutist-improviser-composer Cléo Palacio-Quintin (1971) takes part in many premieres as well as improvisational multidisciplinary performances, and composes instrumental and electroacoustic music for various ensembles and media works. Since 1999, she extended these explorations into the development of new instruments: the hyper-flutes. Interfaced to a computer and software by means of electronic sensors, these enhanced flutes enable her to compose novel electroacoustic soundscapes. Over the years her compositions have been performed in The Netherlands, Norway, Denmark, France, Italy, Belgium, Sweden, Switzerland, the U.K., Canada and the U.S., either by herself or various ensembles. Besides composing chamber music with electronics, she performs regularly as a soloist and improviser, especially with her duet Fiolûtröniq. She is now finishing doctoral studies in composition at the Université de Montréal, where she also teaches. She was the resident composer at the Chapelle historique du Bon-Pasteur in Montreal, from September 2009 to 2011. She is an active student-researcher at the Center for interdisciplinary research in Music Media and Technology (CIRMMT) at McGill University, where she received the Director’s Interdisciplinary Excellence Prize 2008 in recognition of her having created an innovative bridge between scientific/technological and artistic domains. The Conseil québécois de la musique gave her the Prix Opus Composer of the year for the artistic season 2010-2011.

Contact Contemporary Music (of which I am co-artistic director) has been a member of the Canadian New Music Network since its inception, and an active member of the Toronto Coalition of New Music Presenters since our existence as an organization. I have seen the results of cooperative ventures making an impact on a local and national level. I welcome the opportunity to contribute my energy and enthusiasm to the Network”.

Jerry Pergolesi is a founding member and co-artistic director of Contact Contemporary Music. Jerry earned a Bachelor of Music from the University of Windsor where he studied composition and advanced theory with Jens Hanson and percussion with Carl Harris. He received a Master of Music in Performance from the University of Toronto where he studied with Russell Hartenberger. In addition to specializing in contemporary concert music, Jerry has studied Middle Eastern music and theory with George Sawa, African drumming and dance, Javanese Gamelan and performs with various independent recording artists. As Contact’s percussionist, Jerry has commissioned and premiered works by Wende Bartley, John Burke, Allison Cameron, Theo Mathien, Jordan Nobles, Deirdre Piper, Marci Rabe and Ann Southam. Jerry gave the world premier performance of Skin & Metal, a music theatre piece for percussion and digital soundtracks, written for and dedicated to him by Barry Truax. In July 2008, Jerry will be performing in the Bang On A Can Summer Festival with guest artist Terry Riley. Jerry’s background also includes administrative positions at Arraymusic, Arabesque Dance Company and University Settlement Music & Arts School.

As a composer, a new music concert promoter, and a composition Professor in Winnipeg and Manitoba, I feel that it is important for the new music community of Canada to work together for the betterment of music in Canada. Since my first introduction to CNMN at the 2007 meeting in Winnipeg, I have been impressed and inspired by the work of this organization. As a board member for Groundswell, I would like to continue the ties that other Groundswell board members have already established with CNMN.” [2010]

Born in Winnipeg, Canada, Karen has been studying music since she was four. She is an Assistant Professor in Music Theory and Composition at Providence College in Otterburne, Manitoba. In March 2008 she graduated from the University of California, Davis with a PhD in Theory and Composition.

With her orchestra composition “And There Was A Great Calm,” Karen won the Canadian Music Centre, Prairie Region, Emerging Composers Competition. This piece was then performed at the Winnipeg Symphony Orchestra’s New Music Festival in February 2009.

Karen has also had pieces performed by Groundswell (Winnipeg), the Empyrean Ensemble in Davis (California), the Brandon Chamber Players (Canada), Left Coast Ensemble (San Francisco), Agassiz Chamber Players (Winnipeg), St. Margaret’s Anglican Church Choir (Winnipeg), St. Stephen’s Episcopal Church in Belvedere (California) and the Vancouver Symphony Orchestra (reading session) conducted by Maestro Bramwell Tovey. She has received commissions from Groundswell, the Brandon Chamber Players, the Agassiz Chamber Players and St. Margaret’s Anglican Church.

Karen has presented academic papers about women’s voices and electroacoustic music in Paris, Los Angeles and Montreal. Her electronic music has been presented at numerous concerts and festivals including: Cellofest at UCDavis, CNMAT (Center for New Music and Audio Technology) in Berkeley,Merging Voices: Women in New Music Festival in Fullerton, California and at the Electric Rainbow Coalition, an electronic music festival at Dartmouth College in New Hampshire.

In 2006 Karen won the prestigious UCDavis Outstanding Graduate Student Teaching Award and loves teaching music to students of all ages. Her commitment to teaching youth led her to found a Summer Arts Camp in Winnipeg for teens and children; she served as the director for three years. An avid canoeist, she has led and directed many canoe trips and finds much of her inspiration from the outdoors.

Her web site

“I first joined the CNMN when I received an invitation to attend the first conference in Winnipeg in 2007. It was heartening to find so many involved in the many faces of new music meet together in one place at the same time. In this rapidly changing environment, it is both important and inspiring to connect through an organization like CNMN, and to create and support a framework for networking, collaboration and resource sharing in how this music we make is developed, presented and shared. I am hopeful that the brilliant and courageous minds that come together to make and spread this music will find truly innovative ways to make it more relevant to the broader populace and to the many smaller communities — geographic, cultural and other. We have the opportunity now to do this. As the BC representative on the CNMN board, I am aware of the uniqueness of each region and community. From the east coast, through Quebec and Ontario to the Prairies, the North and BC, there are both differences and commonalities in how new music is made and produced. This is a great strength, and CNMN affords us a way to learn from one another while advocating for a dynamic, many-faceted and open Canadian new music presence.” [2010]

Randy Raine-Reusch explores sound and cultures around the world from concert stages to jungles, and with everyone from National Treasures to rice farmers. He has studied music in fourteen countries; performed on 5 continents; worked with children and the disabled; been the subject of five documentary films; been the subject of numerous articles; designed inter-active theatres; written articles and books on music and musicians; met princes, presidents, and empresses; founded festivals; worked for the circus; amassed a large collection of non-western instruments; been published as a poet; worked to preserve rare traditional musical cultures; lectured on the relationship of sound, psychology, and spirituality; been a consultant for a number of music museums on organology; and been an active committee member of numerous international organizations. While at heart, he is a Zen and Taoist-inspired musical philosopher whose soundworks and graphic scores attempt to redefine perception; he currently is the Artistic Director/Consultant for the Rainforest World Music Festival and the Miri International Jazz Festival, both in Malaysian Borneo.

“I first joined the CNMN when I received an invitation to attend the first conference in Winnipeg in 2007. It was heartening to find so many involved in the many faces of new music meet together in one place at the same time. In this rapidly changing environment, it is both important and inspiring to connect through an organization like CNMN, and to create and support a framework for networking, collaboration and resource sharing in how this music we make is developed, presented and shared. I am hopeful that the brilliant and courageous minds that come together to make and spread this music will find truly innovative ways to make it more relevant to the broader populace and to the many smaller communities — geographic, cultural and other. We have the opportunity now to do this. As the BC representative on the CNMN board, I am aware of the uniqueness of each region and community. From the east coast, through Quebec and Ontario to the Prairies, the North and BC, there are both differences and commonalities in how new music is made and produced. This is a great strength, and CNMN affords us a way to learn from one another while advocating for a dynamic, many-faceted and open Canadian new music presence”.

Tina Pearson has worked with sound since her childhood experiences with intense listening in the wilderness environment of the Canadian Shield. As a composer-performer and improvisor, she has collaborated with choreographers, dancers, media artists and other composers and musicians to create multi-discplinary works that play with boundaries between creator, performer, and audience and that explore the contexts of art practice in physical and virtual communities. Her musical compositions and performances have been performed and/or broadcast in major centres in Canada, United States, Europe, India and East Asia. As a new music curator, Tina enjoys working with the juxtaposition of divergent strands of form and practice, and the programming of concerts, installations and other events in non-traditional venues. She has been published in Ear, Musicworks and other magazines, taught at the Ontario College of Art and Design and was the editor of Musicworks magazine. Tina currently lives in Victoria, Canada, where she is New Music Curator for Open Space Arts Society, director of the electroacoustic ensemble LaSaM and sound mentor for MediaNet. She is also a member of the international mixed reality collaboration Avatar Orchestra Metaverse.

I have joined the CNMN board in 2008. As a guitarist, composer, instrument maker, sound designer and, for a couple of years, a co-artistic director of the Music Gallery in Toronto, I have become more interested in both helping my musical community and voicing some concerns as we continue to rework and refine our relationships with funders, presenters and our audiences. I am very excited by some of the music happening here in Toronto and across Canada and I’m very interested as the boundaries between genres blur and we see changes to our national broadcaster and arts councils as they adapt to these new challenges.” [2008]

Juno nominee John Gzowski is a musician of many interests, some instilled by studying with Alexina Louie, James Tenney, Ann Southam and Trichi Sankaran. He is a composer of music for modern dance, film, television and new music, a sound designer, an instrument maker and a guitar player with extensive experience in classical, experimental, rock, jazz and world music. He has performed with Elliot Sharp, John Zorn, Bobby Wiseman, N.O.M.A., Hemisphere’s, Maza Meze, Meryn Cadell and New Music Concerts. John has brought his unique style of playing to festivals such as St. John’s Sound Symposium, Whitehorse’s Frostbite, Victoriaville’s Festival International de Musique Actuelle, Open Ear Festival, the American Festival of Microtonal Music (New York), and most of Canada’s Jazz Festivals. He has written for Critical Band, Hemisphere’s, Mecca, Arraymusic, the Canadian Brass, the Madawaska String Quartet, Dancemakers, Kaeja D’dance, Kate Alton, Michael Sean Marye and Julia Aplin, among others. His theatre work won him 4 Dora Mavor Moore Awards. He has built instruments designed for the performance of music in alternate tunings.

“At present, I am the secretary of the CNMN board of directors and the chair of the website subcommittee which will make suggestions for an updated website”.

Janice Jackson is one of Canada’s foremost interpreters of contemporary vocal repertoire. Since graduating from the Utrecht Conservatory (Netherlands, 1990), she has sung over 140 world premieres of new works, many written specifically for her, and performed in modern music festivals and concert halls around the world — Beijing, Paris, Vienna, Amsterdam, Hamburg, Torino, Toronto, Montreal, and more. Jackson has made numerous radio recordings with Dutch radio and the Canadian Broadcasting Corporation. Presently she is the Artistic Director of Vocalypse Productions. Based in Halifax Vocalypse creates, commissions, and presents unique and exciting musical events which stretch the limits of contemporary classical and improvisational vocal music.

“I joined the CNMN board for the first time in 2008. I have been involved in mounting performances of contemporary music in Regina and beyond, and I see the CNMN as an excellent resource for my colleagues and I to network with the greater Canadian art music community. By forging links with and learning from the experiences of other composers and arts groups, I hope to help develop the local community creating new music and grow its audiences. I would also like to raise awareness nationally of the excellent music being created in Saskatchewan. My other main goal is to take a more active role in the mounting of the Forum, and ensure that there is a strong Saskatchewan contingent attending”.

Jason Cullimore is an award-winning composer of concert music and soundtracks for film, television and theater. Born in Regina, SK, Jason took up the piano in elementary school. He also had a fascination with the sciences, and after finishing high school, enrolled at Queen’s University where he earned a B.Sc. in biology. Becoming more and more interested in composition (which he had begun experimenting with in high school) Jason then switched gears and undertook a M.A. in music psychology, studying the cognitive representation of musical harmony. He also studied composition and music theory privately under composer Norman Sherman.

After graduation, Jason committed to a career as a composer and returned to Regina to bocame involved in the growing local film and TV industry. While based there he has shared a Gemini nomination for the score of the television series “2030 CE”, won a provincial Showcase award for his soundtrack to the film “Slatland”, and had performances of his art music by groups such as the Victoria Symphony and the Regina Symphony Chamber Players. Jason is also a creative songwriter who has won awards for his jazz, instrumental, and electronic music in major songwriting competitions such as the John Lennon Songwriting Contest and the UK Songwriting Contest. Jason continues to develop his composing career in Regina.


“Promoting creative music of all genres and forms of expression is at the heart of my action at CMC, and as a founding member of CNMN, I can even better advocate this fundamental need at the political and artistic levels. We must come to obtain adequate financial support for composers and a true recognition of their vital role in society from politicians, the media, and the public. That is why I am active on the board of CNMN”.

Mireille Gagné first obtained her License in Law before enrolling for a M.A. in Musicology, specializing in Canadian contemporary music. Since 1981, she is the Director of the Canadian Music Centre — Quebec division.

“I was part of the initial meetings out of which the CNMN arose, representing Manitoba and Winnipeg’s New Music Series GroundSwell. I was then a founding council member of the CNMN, and Secretary until last May. I organized the first CNMN Forum (topic: Media) in Winnipeg in February of 2007. I am now the representative for Manitoba”.

Jim Hiscott was born in 1948 in St. Catharines, Ontario. In 1971, after earning a Master’s Degree in Theoretical Particle Physics, he switched to music composition, studying with Samuel Dolin at the Royal Conservatory of Music and David Lidov and Richard Teitelbaum at York University. He is the recipient of the Creative Arts Award of the Canadian Federation of University Women. His compositions have been performed across North America, in Europe and Asia by many artists including the Hilliard Ensemble, the St. Lawrence String Quartet, the Winnipeg Symphony Orchestra, the Montreal Symphony Orchestra, the Vancouver New Music Society ensemble, Rivka Golani, Arraymusic, and Philadelphia’s Relache.

Jim Hiscott has performed his own works for button accordion in the Winnipeg Symphony Orchestra’s New Music Festival, the Vancouver New Music Society series, Toronto’s Big Squeeze Festival, and on the main stage of the Vancouver Folk Music Festival. He has appeared as button accordion soloist with the Montreal Symphony Orchestra, the Niagara Symphony, and the New Orchestra of the Kitchener-Waterloo Symphony, and the Winnipeg Symphony Orchestra.

Recent premieres of music by Jim Hiscott include Wolf Dreams (with Kolomayka) (large chamber ensemble), given by the GroundSwell Ensemble conducted by Alain Trudel; Shadow Play (flute and tabla), given by Laurel Ridd and Shawn Mativetsky; Manimasii Aura (button accordion and chamber ensemble), given by Simeonie Keenainak and the CBC Radio Orchestra, conducted by Alain Trudel; Beating Heart (solo violin and button accordion with chamber orchestra), given by Atis Bankas, Jim Hiscott, and the Orchestra of St. Mark’s, led by Daniel Swift; Magic Phoenix (Balinese gender wayang quartet and keyboard/sampler), by Maja Gender and Cheryl Pauls; River of Light (woodwind quintet, button accordion and double bass), by the Orpheus Winds, Jim Hiscott and Eric Hansen; In Memoriam Walter Klymkiw (SATB Choir, soloists, and violin solo), by the Oleksandr Koshetz Choir with vocal soloists and violinist Gwen Hoebig, conducted by Laurence Ewashko; North Wind (dizi and orchestra), by Xiao-Nan Wang and the Winnipeg Symphony Orchestra, led by Music Director Andrey Boreyko; and The Sun and the Moon (flute and cello), by Susan Hoeppner and Shauna Rolston.

String Quartet #2 from his recent CBC Records CD “Blue Ocean / Music of Jim Hiscott” was nominated for Outstanding Classical Composition at the 2004 Western Canadian Music Awards.

“I strongly believe that by encouraging and championing the arts as part of a balanced society we can ensure a much-needed vibrancy and richness to the lives of all Canadians. From my first rehearsal with the EMC2 in Ottawa in 1991 to my current role with the Canadian Music Centre in 2010, I have been deeply interested and committed to supporting this belief expressly through my involvement in new music. But times are challenging for us all, and challenging times need strong action. Such action only comes through the empowerment of a whole community. The CNMN clearly has been developed to empower our community by enabling us to develop and share information, to seek out and enact collective solutions, to energize a network of engaged individuals and organizations, and ultimately to create positive change. I hope that by bringing my own skills and experience to the table, I will also help create a node of positive interactions between the CNMN and the other networks in which I operate — The Canadian Conference of the Arts, the Toronto Coalition of New Music Presenters, ArtsBuild Ontario and ArtsVote Toronto. Together, as a network of networks, we will have a powerful effect on the arts in Canada, and especially on the place of new music in the ongoing cultural debates.”

Jason returned to the post of Ontario Regional Director with the Canadian Music Centre in December 2008 after a one-year absence in which he helped establish the University of Toronto ArtsZone, a tri-campus support office dedicated to improving communication, coordination and collaboration with U of T’s arts community. He originally joined the CMC in 2003.

Jason is an accomplished violist, having received a B. Mus. (magna cum laude) from the University of Ottawa and a M. Mus. from the Eastman School of Music. Jason has performed in Canada, the United States, France, Germany and Italy — on stage and in broadcast — with various ensembles and under a range of conductors including Jeanne Lamon, Leon Fleischer, Brad Lubman and Robert Shaw.

Jason completed an MBA specializing in Arts and Media Administration at York University’s Schulich School of Business in 2000. Since then, he has worked as Marketing Manager with the Canadian Stage Company and Marketing Coordinator (Music and Visual Arts) with Harbourfront Centre. In 2003, shortly after joining the CMC, Jason received a special commendation in the Pfizer Award for Emerging Arts Managers, a unique national honour given to deserving candidates in the earliest years of their careers.

More recently, Jason has expanded his interests into writing and teaching. As a writer, he has focused on sound and music in his contributions to the Coach House Books’s uTOpia series, and currenly serves as a new music columnist for the Wholenote magazine as well as a contributor to numerous music industry publications. As teacher, he has served as a faculty member for the Regent Park School of Music, a guest lecturer with the University of Toronto, where he currently instructs in the Arts Management program, and co-developed the Business of Arts program for the Cultural Careers Council of Ontario.

Jason sits on the Board of Governors of the Canadian Conference of the Arts, the Advisory Council of the University of Toronto Scarborough Arts Management program, the Advisory Council of ArtsBuild Ontario, the Ontario Provincial Arts Service Organization Coalition, and was recently appointed the Music Disipline Chair for ArtsVote Toronto and as Convener of the Toronto Coalition of New Music Presenters.

Info at the Canadian Music Centre — Ontario Region

“The CNMN is a necessary thing in a country of stylistic and geographical diversity”.

Roger Admiral is a “freelance” musician working in the Edmonton area since 1991. He is a member of Duo Kovalis with Montreal percussionist Philip Hornsey. Along with Andriy Talpash, Roger is co-artistic director of Edmonton’s Plexoos Ensemble. In recent years Roger has performed with baritone Nathan Berg at Lincoln Center (New York City), as soloist with New Music Concerts (Toronto) conducted by Robert Aitken, and as recitalist in Winnipeg, Milwaukee, Poznan, Katowice and Wroclaw.

Lawrence Cherney is a member of the order of Canada, a recipient of two Lieutenant Governor’s Awards and the Chalmers National Music Award, and artistic director of Soundstreams Canada which he has, over the past 25 years, established to become one of the largest and most dynamic organizations of its kind anywhere in the world. He has performed extensively as oboe soloist and recitalist in Canada, the United States, throughout Europe and in Israel. He has appeared as guest artist with the CBC Vancouver Radio Orchestra, the BBC Scottish Symphony Orchestra, the Manitoba Chamber Orchestra, the Quebec Symphony, I Musici de Montreal, the Amadeus Ensemble, the Orford String Quartet, the Colorado Quartet and the Elmer Iseler Singers, to name only a few. He has recorded for several record labels and for most major European radio networks. His recordings have won three Juno nominations and have been prizewinners at the Rostrum of Composers competition of the European Broadcasting Union.