Board Member Category: Current Board Members | 9

Andrew Reed Miller

I have been prac­tis­ing var­i­ous kinds of music both new and old for 3 decades now and I’m look­ing for­ward to shar­ing and net­work­ing with the next generation.


Orig­i­nal­ly from New York, Andrew stud­ied in Ottawa and Toron­to and even­tu­al­ly toured with The Cana­di­an Opera Com­pa­ny, the Nation­al Arts Cen­tre Orches­tra and the Roy­al Win­nipeg Ballet.

Andrew has per­formed at many venues, includ­ing Open Ears Fes­ti­val (Kitch­en­er), New Music Cal­gary, Sound Sym­po­sium (New­found­land), the Sco­tia Fes­ti­val of Music, Ensem­ble Kore (Mon­tre­al) The Music Gallery (Toron­to), West­ern Front (Van­cou­ver),  and Ton­ic (New York). 

Miller has writ­ten music for orches­tra, dance, cham­ber music, film, tele­vi­sion, and theatre. 

“Miller is a superb play­er, a mas­ter and a cre­ative inven­tor.…..” ‑Stephen Ped­er­sen The Chron­i­cle Her­ald (Hal­i­fax) Jan 10, 2011

Jennifer Thiessen

For me, join­ing the board of the CNMN is about fos­ter­ing a thriv­ing com­mu­ni­ty of cre­ative
musi­cians across many regions. When I moved back to Man­i­to­ba in 2021, after twen­ty years in
Mon­tre­al, I was uncer­tain about what it would be like to con­tin­ue my artis­tic prac­tice out­side of
the strong cre­ative com­mu­ni­ty I had become a part of. I rev­elled in that artis­tic hotbed and
relied on its pos­si­bil­i­ties and oppor­tu­ni­ties to devel­op my work. Mov­ing to Win­nipeg, it has
become par­tic­u­lar­ly impor­tant to me to stay con­nect­ed to a wide net­work of musi­cians, while
also dis­cov­er­ing the excel­lent scene here and want­i­ng to share it with oth­ers. I now also have a
posi­tion as artis­tic direc­tor of a clas­si­cal cham­ber music series in Win­nipeg, so am new­ly
involved in pro­gram­ming and pre­sent­ing. I need sup­port and con­nec­tion to con­tin­ue doing the
work I want to do, and I know oth­ers need this too. The CNMN address­es exact­ly this need. I
look for­ward to work­ing along­side won­der­ful friends and fel­low artists I’ve met over the years
and to meet­ing oth­ers for the first time through our work together.

Mix­ing new sounds with instru­ments of the past, Jen­nifer Thiessen is known for impro­vis­ing
and com­mis­sion­ing new works on the vio­la and the vio­la d’amore as well as inter­pret­ing their
his­tor­i­cal reper­toire. She cre­ates new music as singer-song­writer Dai­ly Alice and with her duos
Park Sounds, S[ILK]S and Toninato/Thiessen, as well as many oth­er col­lab­o­ra­tions. Jen­nifer has
worked exten­sive­ly as a vio­list with con­tem­po­rary, clas­si­cal and his­tor­i­cal ensem­bles in
Mon­tre­al, Win­nipeg and across Cana­da. She is a cre­ative writer and con­tributes music
jour­nal­ism to Music­works mag­a­zine. Orig­i­nal­ly from Man­i­to­ba, Jen­nifer lived in Mon­tre­al for
two decades before mov­ing to Win­nipeg in 2021. She became Artis­tic Direc­tor of Vir­tu­osi
Con­certs in 2022. From with­in a mul­ti­plic­i­ty of artis­tic adven­tures, she remains ground­ed in a
pas­sion to cre­ate mean­ing­ful expe­ri­ences for her­self and her listeners.

An-Laurence Higgins (2020- present)

It gives me great plea­sure to get involved on the board of direc­tors of the Cana­di­an New Music Net­work as the rep­re­sen­ta­tive of Que­bec. I am very hap­py to be able to con­tribute to the func­tion­ing of an orga­ni­za­tion that works to bring togeth­er new music artists across the coun­try despite the immense dis­tance that sep­a­rates us. I admire the work CNMN does topro­vide a plat­form for artists, espe­cial­ly dur­ing the Forums, to encour­age the emer­gence of the next gen­er­a­tion (Con­neX­ions) and to address impor­tant issues that have been ignored for too long in our com­mu­ni­ty with the series Con­ver­sa­tions on Decolonization.

An-Lau­rence Hig­gins is a Mon­tre­al-based new music per­former as well as a mul­ti­me­dia artist address­ing top­ics such as transna­tion­al iden­ti­ty and rela­tion­ships.
As a musi­cian, An-Lau­rence has per­formed as a gui­tar soloist, cham­ber musi­cian and impro­vis­er across Que­bec and Ontario since 2016. In 2019, she inde­pen­dent­ly pro­duced and direct­ed the project “Émer­gences (”, com­mis­sion­ing 5 news works by emerg­ing women com­posers and cul­mi­nat­ing in per­for­mances in Mon­tre­al and Toron­to. As a mul­ti­me­dia artist, An-Lau­rence has explored her transna­tion­al iden­ti­ty as an adoptee of Chi­nese ori­gin through the mul­ti­me­dia instal­la­tion “Con­fi­dences en trois temps” and the inter­ac­tive per­for­mance “Come Clos­er, I’ll tell you what I for­got”.
An-Lau­rence is an avid col­lab­o­ra­tor and believes the act of cre­ation is one of shar­ing and car­ing. A dar­ing per­former, she has col­lab­o­rat­ed with artists from var­i­ous dis­ci­plines (visu­al arts, cin­e­ma, dance) and thrives in set­tings that stretch the lim­its of tra­di­tion­al music per­for­mance. Com­mit­ted to her com­mu­ni­ty, An-Lau­rence has been a co-orga­niz­er of the Mon­tre­al Con­tem­po­rary Music Lab peer-men­tor­ship pro­gram since 2017, and recent­ly joined the Board of direc­tors of the new music con­cert series Codes d’accès.
Pho­to: Car­los Riobo

Robert Thomson (BC) (2020 — present)

I had the good for­tune of attend­ing and con­tribut­ing to a CNMN Sus­tain­abil­i­ty con­ver­sa­tion in 2019. I felt a con­nec­tion with the organization’s val­ues and left excit­ed with the dia­logue and the knowl­edge exchanged. CNMN is pro­vid­ing inno­v­a­tive and excit­ing events that enrich our music com­mu­ni­ty. I’m hon­oured to be asked to join the board and am excit­ed to con­tribute and learn. 

Robert Thom­son is a musi­cian, music cura­tor, and per­former of Hai­da, Tsimshi­an, and mixed Euro­pean ances­try. He is the band leader of soul-pop project Sis­ter Says, an artis­tic pro­duc­er at Full Cir­cle: First Nations Per­for­mance and the music pro­gram­mer for the Talk­ing Stick Fes­ti­val and Múyuntstut ta Slúlum Con­cert Series. In 2019, Robert received the award for “Emerg­ing Per­form­ing Arts Leader” pre­sent­ed by the Cana­di­an Asso­ci­a­tion for Pre­sent­ing Arts. 

Out­side of Full Cir­cle and Sis­ter Says, Robert is cur­rent­ly the elec­tric bass play­er in the projects SOLA, Logan and Nathan, a sound designer/performer/live loop­er in the exper­i­men­tal musi­cal Mor­ag, You’re a Long Time Deid (2020), part of the Indigifest (2019) artis­tic team, and co-curat­ed the con­cert, Giv­ing Voice (2017). 

Müge Büyükçelen (BC) (2019-present)

I’m very hap­py and hon­oured to serve as a board mem­ber of the CNMN. As an active per­former and huge advo­cate of con­tem­po­rary music and specif­i­cal­ly Cana­di­an con­tem­po­rary music, I’m aware of the impor­tance of net­work­ing, com­mu­ni­cat­ing with wider com­mu­ni­ties. I’m hop­ing to be able to share my excite­ment and joy of work­ing with com­posers, per­form­ers in cre­at­ing new works. I’m hop­ing to uti­lize my expe­ri­ence in the field to assist in pro­mot­ing new Cana­di­an music.

Müge Büyükçelen is a pas­sion­ate vio­lin­ist known for her mul­ti-genre ver­sa­til­i­ty. High­lights of her recent per­for­mances include the pre­mier of Jared Miller’s vio­lin con­cer­to ded­i­cat­ed to Müge, the Beethoven vio­lin con­cer­to, a con­cert tour through Aus­tralia and New Zealand, per­for­mances of new works by Jen­nifer But­ler, Paul Frehn­er, as well as var­i­ous con­certs with the Emi­ly Carr String Quartet.

She is a cur­rent mem­ber of the Vic­to­ria Sym­pho­ny, Emi­ly Carr String Quar­tet and the Aven­ta Ensem­ble as well as an active vio­lin teacher at the Vic­to­ria Con­ser­va­to­ry of Music. Müge has been a fea­tured soloist with numer­ous orches­tras around the world. In 2009, she pre­miered “Archimedes’ Codex’ a Cana­di­an work ded­i­cat­ed to her by com­pos­er Michael Oester­le. She holds a Mas­ters degree in music per­for­mance from Bilkent Uni­ver­si­ty, in Ankara Turkey, an asso­ciate teach­ing diplo­ma from the Vic­to­ria Con­ser­va­to­ry of Music and was a teach­ing assis­tant stu­dent at the Toulouse Nation­al Conservatory.

Julie Richard (QC) (2019-present)

As a mem­ber of the fran­coph­o­ne com­mu­ni­ty in Que­bec, it is of inter­est to me to open my hori­zons to more glob­al ini­tia­tives whose scope and man­dates are just as inno­v­a­tive as the caus­es they sup­port. I am there­fore filled with impa­tience and curios­i­ty as I join the board of CNMN. 

Com­mit­ted musi­cian, com­pos­er and cul­tur­al work­er, Julie Richard has been active­ly involved in Mon­tre­al’s artis­tic and musi­cal scenes for near­ly 20 years. Three-time grad­u­ate in clas­si­cal music, she is also versed in vocal inter­pre­ta­tion, jazz, pop, exper­i­men­tal music as well as African, Gyp­sy, Jew­ish and Cre­ole music.

Hav­ing par­tic­i­pat­ed in numer­ous tours across Cana­da and the Unit­ed States, she par­tic­i­pat­ed in the SXSW fes­ti­val and per­formed inter­na­tion­al­ly in East­ern Europe, France and Colom­bia. Along­side her musi­cal prac­tice, Julie’s inter­dis­ci­pli­nary career led her to work in the areas of artis­tic man­age­ment, inter­ven­tion psy­chol­o­gy, and cul­tur­al research and ani­ma­tion. She is also known for her involve­ment in the pro­gram­ming of the Lux Magna fes­ti­val and the Suoni per il Popo­lo festival.

Her lat­est project, Black Ark Orches­tra, inspired her to work with frag­ments of musi­cal com­po­si­tions cre­at­ed by black musi­cians who pre­dom­i­nant­ly came up in the Unit­ed States in the 1920s. The Black Ark project aims to reha­bil­i­tate these mar­gin­al­ized works of clas­si­cal music pro­duced by African-Amer­i­can women. It is a ques­tion of find­ing, updat­ing and rec­og­niz­ing the val­ue of what remains of these com­po­si­tions so that they do not remain for­got­ten, so that they can final­ly enter into con­ver­sa­tion with the his­to­ry of con­tem­po­rary music. In com­pos­ing, she does not seek to accu­rate­ly recon­struct the con­tours of these com­po­si­tions, but aims to draw a liv­ing ges­ture that is non-lin­ear and simul­ta­ne­ous­ly heal­ing, trans­for­ma­tive and creative.

Linda Bouchard (Non Regional) (2018-present)

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, (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.

Emily Doolittle (Non-Regional) (2016-present)

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.

Megumi Masaki (Prairies) (2016-present)

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.