Organisation > Board of Directors >
“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.
“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”.
Known for his radiant orchestrations, his dramatic structures and his innovative guitar work, Canadian Tim Brady is a composer and guitarist who has created music in a wide range of genres ranging from chamber and orchestral music to electroacoustic works, chamber opera, contemporary dance scores, jazz and free improvisation. He has been commissioned and performed by numerous ensembles and orchestras in North America and Europe including the Orchestre symphonique de Montréal, the Winnipeg Symphony Orchestra, the Société de musique contemporaine du Québec, New Music Concerts, INA-GRM (Radio-France), the Nouvel Ensemble Moderne, the Pittsburgh New Music Ensemble, the Esprit Orchestra (CBC), the Philadelphia-based Relâche ensemble, the Australian group Topology, and the British string ensemble The Smith Quartet. Two operas (“Bethune” and “The Salome Dancer”) and two symphonies (“Playing Guitar: Symphony #1” and “The Choreography of Time: Symphony #2) figure among his list of recent works.
Since 1988 he has released 14 CDs as both a composer and a performer on Justin Time Records and, more recently, on the Ambiances magnétiques label. Brady regularly tours North America, Europe, Asia and Australia as an electric guitar soloist, performing his own music as well as new works which he commissions from other composers in his effort to create a new voice for the electric guitar. He has performed at many leading venues including The South Bank Centre and the ICA (London), The Huddersfield Contemporary Music Festival (UK), the Bang on a Can Festival (NY), and De Ijsbreker (Amsterdam), and the Radio-France Festival Présence (Paris), and the Darwin International Guitar Festival (Australia). His new music ensemble Bradyworks has toured Canada five times (1991, 1994, 2000, 2004, 2006), performed in the United States and Europe, and records regularly for both the CBC and Radio-Canada.
In January 2004 he was awarded the Prix OPUS for “Composer of the Year” by the Conseil québécois de la musique, for the outstanding quality of his work as a creative artist, and in November 2006 he was awarded the Jan. V. Matejzek prize by SOCAN, Canada’s performing rights organization.
Montreal-based clarinetist Louise Campbell is a classical and contemporary musician whose artistic curiosity has led her to explore styles ranging from swing and klezmer to free improvisation. Louise is co-founder of In Extensio, with whom she commissions works by young composers, and the Maenad Ensemble, with whom she plays community outreach and educational concerts. Having completed a Master’s in Performance (jazz minor) at Indiana University (2003), Louise has been heard in concert with the Société de musique contemporaine du Québec, Innovations en concert, Codes d’accès and Land’s End Chamber Ensemble. Louise’s primary mentors include musicians James Campbell, David Baker, movement specialist Valerie Dean and the One Yellow Rabbit Theatre Company.
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.
“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 it’s inspiration. CNMN speaks for our brave new world”.
As an award-winning composer, arranger and bandleader, Canadian saxophonist, clarinetist and jazz iconoclast Paul Cram has a multi-faceted career that spans over 30 years in Canada and abroad. From Vancouver to Toronto to Halifax he has forged a mature and unique voice that cuts across record bins and stylistic ghettos to capture the metaphorical “middle kingdom” between Europe, Asia, and America.
“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 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”.
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.
“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.
“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.
“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)
“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.”
Constantly seeking new means of expression and eager to create, the flutist-improviser-composer Cléo Palacio-Quintin 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 a new instrument: the hyper-flute. Interfaced to a computer and software by means of electronic sensors, the enhanced flute enables her to compose novel electroacoustic soundscapes. She is now pursuing doctoral studies in Montreal to compose new works for the hyper-flute and her new hyper-bass-flute. 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. Her artistic work as been frequently funded by the Council of Arts of Québec and Canada. She is the resident composer at the Chapelle historique du Bon-Pasteur in Montreal for the 2009-2010 and 2010-2011 seasons, where she invites many ensembles to collaborate with her and presents numerous new compositions.
“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.
“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.
“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.
He has received numerous first prizes for his compositions for orchestra, including the Sir Ernest MacMillan Prize from SOCAN (1989), the du Maurier New Music Festival in Winnipeg (1993) and the Mosaïco Music Festival Prize in Korea (1995). 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 Orchestre symphonique du Saguenay-Lac-Saint-Jean, the National Youth Choir, the Claudel String Quartet, and several from the Société Radio-Canada and CBC.
Many of Perron’s works have been recorded on CD, and played in many 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. Since July of 2002 he has been teaching composition at the University of Regina where he is also the Music Director of the University Orchestra, the Composition New Music Ensemble and the University of Regina New Music Ensemble.
“Contemporary artists challenge the boundary of traditions, creating new works and promoting new ideas that attract new generations of artists. In reaction, traditionalists entrench themselves, preserving traditions for future generations. In challenging tradition, some contemporary artists learn the tradition so thoroughly that they become traditionalists. In promoting tradition, some traditionalists inadvertently contemporize the tradition. This unending struggle between contemporary artists and traditionalists is an important symbiotic relationship that moves music into the future while keeping traditions alive. CNMN is an important collective voice for Canadian contemporary music/sound artists in all genres, to advocate for full recognition of their crucial function in our society.”
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 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.
“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.”
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.
“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.
Page doc@org.dir.bio generated in Montréal by litk 0.600 on Wednesday, November 9, 2011. Development & maintenance: DIM.
Internet Explorer user? Why suffer? Download Firefox.
