Archives: Board Members | 5

André Cormier’s work has been pre­sent­ed in Cana­da, the US, Europe, and New Zealand. He has writ­ten for solo, small and large cham­ber ensem­bles, as well as music for opera, dance as well as col­lab­o­ra­tive work with visu­al artists. His works have been com­mis­sioned from a vari­ety of artists in Cana­da, the US, and Europe. In 2008, he launched Édi­tions musique Sisyphe (www.emsis.ca), a pub­lish­ing house pri­mar­i­ly for exper­i­men­tal music scores; he also directs its per­form­ing branch, Ensem­ble Sisyphe. In 2011, after near­ly twen­ty years on the west coast shared between British Colum­bia and Cal­i­for­nia, André made his return to east­ern Cana­da, first in Mon­tre­al, and then in the sum­mer of 2012, he returned to his native Acadie. Today, André main­tains a busy sched­ule as a com­pos­er by ful­fill­ing com­mis­sions and pre­sent­ing work, all in an effort to greater under­stand what makes sound and silence so irre­sistible. He also finds the com­ple­ment of cacao and sug­ar immense­ly intriguing.

I have attend­ed the last CNMN Forum and was tru­ly impressed by the open inquis­i­tive space the Forum cre­at­ed. CNMN cre­ates a dynam­ic place for a new music scene that is con­stant­ly fluc­tu­at­ing, chang­ing and redefin­ing itself.  Because of the sheer size of our coun­try, an orga­ni­za­tion like CNMN brings peo­ple togeth­er in a unique way.

I am hon­ored to serve on the board of the CNMN. I have spent most of my adult life in the USA. I have con­tin­ued to be very active in Cana­da and have always felt pro­found­ly con­nect­ed to the cul­ture. I believe that my expe­ri­ence as an ex-pat might bring a per­spec­tive that will con­tribute to the organization.

Born in Val d’Or, Québec in 1957, Lin­da Bouchard lives in San Fran­cis­co since 1997. Through­out her career she has been an active com­pos­er, orches­tra­tor, con­duc­tor, teacher and pro­duc­er. Her works have received awards in the US and in Cana­da, includ­ing a Prix Opus Com­pos­er of the Year in Que­bec, Fromm Music Foun­da­tion Award, Prince­ton Com­po­si­tion Con­test, SOCAN Com­po­si­tion awards and res­i­den­cies from the Rock­e­feller Foun­da­tion, Civitel­la Ranieri, Camar­go Foun­da­tion and oth­ers. Bouchard’s music is record­ed on ECM in Ger­many, CRI in the USA and CBC, Analek­ta, Mar­quis Clas­sics, RCI, Cen­tre­disks in Cana­da. Lin­da was com­pos­er-in-res­i­dence with the Nation­al Arts Cen­ter Orches­tra (1992–1995). She is the founder of NEXMAP.org, (a non-prof­it arts and edu­ca­tion orga­ni­za­tion based in San Fran­cis­co), and was the act­ing direc­tor from 2005 to 2015.  In 2015, Bouchard was invit­ed as a vis­it­ing artist at The Banff Cen­tre, she also received a Fleck Fel­low­ship at the Leighton artist Colony. Dur­ing the spring 2016, she was a Vis­it­ing Asso­ciate Pro­fes­sor in the Depart­ment of Music at UC Berkeley.

For the past ten years Lin­da has been cre­at­ing mul­ti­me­dia work while con­tin­u­ing to com­pose music for the con­cert hall. Her works Mur­der­ous Lit­tle World, All Caps No Space and Iden­ti­ty Theft have been per­formed in North Amer­i­ca to crit­i­cal acclaim.  In the fall 2017, Lin­da received a mul­ti­year grant from the Cana­da Coun­cil for the Arts to “Explore and Cre­ate”. Her project titled “Live Struc­tures” will unfold over the next two years.

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.

http://quatuorbozzini.ca/

“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.

www.timbrady.ca

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.

www.kathrynladano.com
www.soundcloud.com/kathryn-ladano
https://twitter.com/KathrynLadano
https://www.facebook.com/Kathryn-Ladano-72279177034/
https://www.youtube.com/user/bclarinet

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.

emilydoolittle.com
https://www.facebook.com/EmilyDoolittleComposer/

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.

www.jenniferbutler.ca
soundcloud.com/jaebutler
https://www.musiccentre.ca/node/37759/showcase

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.

http://www.sarahalbu.com/

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.

http://molamontagne.weebly.com/

It is an hon­our to serve on the board of the CNMN as a Man­i­to­ba Rep­re­sen­ta­tive. Before return­ing to Cana­da in 2006, I lived as a Cana­di­an pianist and edu­ca­tor in Lon­don Eng­land, Boston, Paris and Frank­furt for 21 years. Liv­ing abroad, it was a pri­or­i­ty for me to rep­re­sent, cham­pi­on, per­form and collaborate/commission Cana­di­an music and mul­ti­me­dia works. This con­tin­ues to be my pas­sion and path. How­ev­er, despite the vibrant and diverse arts com­mu­ni­ty in Bran­don Man­i­to­ba where I have lived for the past 13 years, it can be more chal­leng­ing for artists in rur­al com­mu­ni­ties to stay con­nect­ed with the nation­al new music com­mu­ni­ty, often dri­ven by Canada’s larg­er cities. I there­fore feel for­tu­nate to sup­port CNMN’s work to advance access, con­nec­tions and oppor­tu­ni­ties for all new music artists and audi­ences, across regions, cul­tures and lan­guages in Cana­da and for Cana­di­ans all over the world. I aim to bring my expe­ri­ence as a pianist and mul­ti­me­dia per­former, liv­ing and work­ing both in Cana­da and in dif­fer­ent coun­tries, as well as teach­ing, admin­is­tra­tive, net­work­ing and cura­to­r­i­al back­ground to my con­tri­bu­tions with CNMN.

“Her depth of under­stand­ing of nar­ra­tive is unprece­dent­ed and her abil­i­ty to trans­late musi­cal com­po­si­tion into some­thing emo­tion­al­ly vivid and alive is quite extra­or­di­nary (The Wholenote 2018).”

Megu­mi Masa­ki is active as a pianist, mul­ti­me­dia artist, edu­ca­tor, researcher, con­duc­tor and cura­tor. The inno­va­tion and breadth of her artis­tic activ­i­ty, dynam­ic tem­pera­ment and “riv­et­ing and mind-expand­ing” (Frét­tablaðið) per­for­mances have earned her a rep­u­ta­tion as a lead­ing inter­preter of new music and mul­ti­me­dia works. She spe­cial­izes in explor­ing how sound, image, text and move­ment can be inte­grat­ed and inter­ac­tive in mul­ti­me­dia works. Megu­mi fre­quent­ly col­lab­o­rates with com­posers, visu­al artists, writ­ers and chore­o­g­ra­phers on inter­dis­ci­pli­nary projects involv­ing new tech­nolo­gies to expand and recon­tex­tu­al­ize how con­cert works for the piano are cre­at­ed, per­formed and received. Over 40 piano, mul­ti­me­dia (piano/toy piano/Roli Seaboard + inter­ac­tive and fixed elec­tron­ics + video + text + move­ment + uncon­ven­tion­al instru­ments) and cham­ber works have been com­posed espe­cial­ly for Megu­mi, and she has pre­miered over 90 works worldwide.

Megu­mi is fea­tured at major fes­ti­vals and venues around the world, includ­ing the Barbican’s Sound Unbound Fes­ti­val, Shang­hai New Music Fes­ti­val, Dark Music Days Fes­ti­val Reyk­javik, Insti­tute for Research and Coor­di­na­tion in Acoustics/Music Paris (IRCAM), Droghe­da Arts Fes­ti­val Ire­land, Ban­gor Music Fes­ti­val Wales, Win­nipeg New Music Fes­ti­val, JUNOfest Clas­si­cal Show­case, ISCM World New Music Days Fes­ti­val, Ottawa Inter­na­tion­al Cham­ber Music Fes­ti­val, and the Nation­al Art Gallery Ottawa.

Megu­mi is Pro­fes­sor of piano and direc­tor of the New Music Ensem­ble and New Music Fes­ti­val at Bran­don Uni­ver­si­ty. She is also a mem­ber of the inter­dis­ci­pli­nary Noise­bor­der Ensem­ble Wind­sor ON and Sling­shot-Kidõ Hart­ford CT, the Artis­tic Direc­tor of the Eck­hardt-Gra­mat­té Nation­al Music Com­pe­ti­tion, on fac­ul­ty at the Casalmag­giore Inter­na­tion­al Fes­ti­val Italy, Chetham’s Inter­na­tion­al Sum­mer School and Fes­ti­val in Man­ches­ter UK and at the Banff Cen­tre. She is reg­u­lar­ly invit­ed to curate pro­grams for estab­lished fes­ti­vals and con­cert series, and to give lec­tures and mas­ter­class­es at uni­ver­si­ties world­wide includ­ing Oxford Uni­ver­si­ty, Roy­al Acad­e­my, Roy­al Col­lege, Trin­i­ty Laban, Uni­ver­si­ty of St Andrews, Uni­ver­si­ty of York, Mainz Uni­ver­si­ty, UBC, Queen’s Uni­ver­si­ty, Nation­al Uni­ver­si­ty of Mex­i­co, Sichuan Con­ser­va­to­ry and Bei­jing Cen­tral Conservatory.

www.megumimasaki.com 

www.brandonu.ca/music/dept-faculty/masaki/

www.youtube.com/channel/UCM-p_KKYvW0HmVqt_oKR1jw

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.

http://www.julietpalmer.ca

http://www.urbanvessel.com

“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 fran­coph­o­nieunder the direc­tion of Jean-Philippe Tremblay.

www.staceybrown.ca

“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.

www.clusterfestival.com
www.gswell.ca

[Last update: Sep­tem­ber 10, 2012]

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).

• www.canadianelectronicensemble.com
• Vis­it Jim Mont­gomery’s page at the Cana­di­an Music Centre

[Last updat­ed Sep­tem­ber 10, 2012]

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.

www.inexensio.org/en/louise-campbell
www.plumesensemble.com

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 Soundmakers.ca, as well as numer­ous oth­er tasks that sup­port the pre­sen­ta­tion of con­tem­po­rary music on a nation­al and inter­na­tion­al scale.

www.kylebrenders.ca

“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)