Archives: Board Members |

“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 — http://www.musiccentre.ca/node/62593

“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.

“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.

www.paulcram.com/

“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.

Mes­sage from the new pres­i­dent: Octo­ber, 2016

Past expe­ri­ence mount­ing col­lab­o­ra­tive projects like l’Oreille fine and SHIFT (with Con­tin­u­um) and the cur­rent Cana­di­an / Dutch project Trace only strength­ens the con­vic­tion that per­son­al con­tact cre­ates oppor­tu­ni­ties for artis­tic col­lab­o­ra­tion and exchange, all essen­tial to a vibrant new music prac­tice. This idea is fun­da­men­tal to CNMN’s FORUMs: col­lab­o­rat­ing local­ly to mount events; get­ting peo­ple togeth­er to share ideas, ulti­mate­ly mak­ing new things hap­pen. For the past five years I have lent my expe­ri­ence and ener­gy to CNMN, hap­py to see the orga­ni­za­tion estab­lish an exec­u­tive direc­tor, reach a wider Cana­di­an com­mu­ni­ty while mak­ing inter­na­tion­al con­nec­tions, and devel­op new off-forum year pro­grammes that help the com­mu­ni­ty grap­ple with impor­tant issues such as equi­ty, diver­si­ty, Rec­on­cil­i­a­tion, and green prac­tices in the arts. 

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 work became a focus with projects fea­tur­ing dance, film, instal­la­tion, and as well as archi­tec­ture, phi­los­o­phy and sci­ence. Inde­pen­dent of this activ­i­ty, with the Toron­to Sym­pho­ny Orches­tra she mount­ed the audi­ence engage­ment project Music by the Mass­es where the gen­er­al pub­lic cre­at­ed 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.

Cur­rent­ly she is artis­tic co-ordi­na­tor with Henk Heuvel­mans (Direc­tor, Gaudea­mus) of Trace, a cul­tur­al project that rec­og­nizes the strong musi­cal con­nec­tions between Cana­da and the Nether­lands at the 75^th anniver­sary of the end of WWII.  In 2020 – a sig­nif­i­cant anniver­sary both of Dutch lib­er­a­tion and the begin­ning of close ties between the two coun­tries – Trace part­ners across Cana­da and around the Nether­lands will mount sym­posia, work­shops, exhi­bi­tions, tours, and con­certs involv­ing com­mis­sion­ing, col­lab­o­ra­tion and exchange.

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.

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.

www.normanadams.ca
www.suddenlylisten.com
www.soundcarrier.net

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.

www.contactcontemporarymusic.ca

“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.

www.jeromeblais.ca

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 CarnegieHall.org 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).

http://musiconmain.ca

“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”.

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.

tinapearson.wordpress.com

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.

www.johngzowski.com
www.actuellecd.com
www.cdbaby.com

“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.

www.janicejackson.ca

www.vocalypse.ca

www.vocalarts.ca

“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.

• His web site

“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.

• His web site
• CMC Jim His­cott Page
• CMC Library Records for Jim Hiscott

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.

• Info at the Ency­clo­pe­dia of Music in Canada
• Info at electrocd.com
• Sound­streams Homepage