Cléo Palacio-Quintin (QC) (Treasurer, 2010–14)

“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.