17th edition CNMN Bulletin – December 2013


Table of Contents

FORUM 2014 – Jan­u­ary 23 – 26, 2014
Lan­guage Facil­i­ta­tion at FORUM 2014
Mem­ber­ship Dues 2013–2014
Sou­venirs of IAMA Mon­tréal 2013: Show­cas­ing Cana­di­an New Music to the World
President’s Report 2013 – Tim Brady
Wel­come New Mem­bers – Decem­ber 2013


17th edi­tion CNMN Bul­letin – Decem­ber 2013

  • FORUM 2014 – January 23–26, 2014

    Get ready for the FORUM 2014 – our, biggest, best FORUM yet!

    CNMN presents the 6th edi­tion of the inter­na­tion­al new music con­fer­ence, FORUM 2014, in Cal­gary, Alber­ta, at the gor­geous Rozsa Cen­tre, in col­lab­o­ra­tion with the Music Divi­sion of the School of Cre­ative and Per­form­ing Arts, Uni­ver­si­ty of Cal­gary. The theme for this year is Cana­di­an Music, Cana­di­an Audi­ences, and the goal is to help new music artists con­nect with the world – with oth­er artists, with pro­duc­ers and pre­sen­ters, with the web, with the media, with edu­ca­tors, and with the public.

    To make these con­nec­tions, we have orga­nized an amaz­ing series of meet­ings, pre­sen­ta­tions, dis­cus­sions, and for­mal and infor­mal net­work­ing ses­sions. Our 5 keynote guests rep­re­sent some of the most impor­tant new music pre­sen­ters on the plan­et: The Miller The­ater (New York), The Lon­don Sin­foni­et­ta, The Berlin Phil­har­mon­ic Dig­i­tal Con­cert Hall, the Why Note Fes­ti­val (Dijon, France), and Sound­streams (Toron­to). This is your chance to meet these peo­ple, and learn how they have made con­nec­tions with their audiences.

    Pan­el dis­cus­sions will fea­ture top­ics such as Fes­ti­val Pro­gram­ming (how and why the music is pre­sent­ed), New Music and the New Media Land­scape (how to con­nect), Audi­ence Devel­op­ment (strate­gies and ideas that work), Orches­tral Pro­gram­ming (deal­ing with the big machine), and the eter­nal favourite, What is Cana­di­an New Music (“The Unan­swered Ques­tion”, to quote Charles Ives in anoth­er context).

    Invit­ed pan­el­lists include rep­re­sen­ta­tives from many of Canada’s main pre­sen­ters and pro­duc­ers: SMCQ, Music Gallery, NEM, Con­tin­u­um, Con­tact, Clus­ter Fes­ti­val, Music On Main, Toron­to Sym­pho­ny, Orchestre mét­ro­pol­i­tain, Quatuor Bozzi­ni, West­ern Front…the list goes on.

    There will also be sev­er­al open net­work­ing and com­mu­ni­ty devel­op­ment ses­sions, where peo­ple can exchange ideas and expe­ri­ences around top­ics such as the eco­nom­ics of new music, new music dis­sem­i­na­tion and music edu­ca­tion. These open meet­ings were a great suc­cess in Van­cou­ver at FORUM 2012. They are also a fan­tas­tic way to net­work your ini­tia­tives with new music prac­ti­tion­ers from across Cana­da, as well as explor­ing larg­er issues in the community.

    For the first time ever, the FORUM pro­gram­ming is also fuelled by an open call that attract­ed many great pro­pos­als, and 18 peo­ple were invit­ed in response. Here’s a lit­tle taste: Punc­tu­al Pro­duc­tion vs. Con­cert Sea­son: A Few Issues (Simon Mar­tin); Cross­ing Bor­ders: The Com­posers Project and Cana­di­an Music (Jen Black­well & Mike Roma­ni­ak); Unsi­lenc­ing: An Open Forum on Women and their Place in New Music and Sound Art (Tina Pear­son & Jen­nifer But­ler); Sto­ry­telling through sound, speech, and music (Car­men Braden); oh my gol­ly! – a per­for­mance and intro­duc­tion on incor­po­rat­ing con­tem­po­rary music in high school (Scott Godin, Lael John­ston and the Chester­mere High School Drumline.

    To round things off, there is a con­cert of new music being pre­sent­ed each night (Jan, 23, 24 and 25), at the Eck­hardt-Gram­mat­té Con­cert Hall, one of Canada’s best cham­ber music halls, housed at the Rozsa Cen­tre. FORUM reg­is­trants can pur­chase spe­cial­ly-priced $10 tick­ets to each con­cert, a sub­stan­tial dis­count. Vis­it the con­cert page for more information.

    REGISTRATION IS NOW OPEN, with a very afford­able ear­ly bird rate avail­able only to CNMN vot­ing mem­bers – but only until Jan­u­ary 3 – book now!

    See you in Calgary!
    Tim Brady

    Direct link: FORUM 2014 – Jan­u­ary 23 – 26, 2014
    Return to full Bul­letin – Decem­ber 2013

  • Language Facilitation at FORUM 2014

    The FORUM is pro­vid­ing lan­guage facil­i­ta­tion to sup­port com­mu­ni­ca­tion in both offi­cial lan­guages. This peer-run pro­gramme is a flex­i­ble way for speak­ers of vary­ing lev­els of French and Eng­lish to com­mu­ni­cate more eas­i­ly with one another.

    Would you con­sid­er being a lan­guage facil­i­ta­tor? It’s a won­der­ful oppor­tu­ni­ty to con­nect even more with FORUM par­tic­i­pants. In exchange for their ser­vices, the first five peo­ple to vol­un­teer as lan­guage facil­i­ta­tors will receive com­ple­men­tary reg­is­tra­tion to the FORUM.

    To vol­un­teer, please con­tact Stacey Brown, Lan­guage Facil­i­ta­tion Coordinator:


    Direct link: Lan­guage Facil­i­ta­tion at FORUM 2014
    Return to full Bul­letin – Decem­ber 2013

  • Membership Dues 2013–2014

    We sent out mem­ber­ship in­voices by email in Octo­ber. Mem­ber­ship dues are still com­ing in via online (Pay­Pal) and mail. For those who still haven’t paid: please try to send in out­stand­ing invoic­es as soon as pos­si­ble, so we can set­tle dues before the FORUM 2014 in Jan­u­ary. It is great­ly appreciated!

    Direct link: Mem­ber­ship Dues 2013–2014
    Return to full Bul­letin – Decem­ber 2013

  • Souvenirs of IAMA Montréal 2013

    Showcasing Canadian New Music to the World

    Musi­cians, del­e­gates, audi­ence and more share their thoughts about the Cana­di­an New Music at IAMA Mon­tre­al 2013 project, held in ear­ly Novem­ber, 2013. Vis­it online for full pro­gramme, biogra­phies and more. Thank you to every­one who shared this expe­ri­ence with us!


    Tim Brady at IAMA Montréal

    Some­times, the best things in life are unplanned!  In late August 2013 CNMN was con­tact­ed by Bar­bara Scales, chair of the pres­ti­gious Inter­na­tion­al Arts Man­agers Asso­ci­a­tion (IAMA) con­fer­ence, planned for Novem­ber 2013 in Mon­tre­al.  She said this was going to be an amaz­ing oppor­tu­ni­ty to put Cana­di­an music on the inter­na­tion­al stage, but that nobody had thought to include Cana­di­an music in this inter­na­tion­al event. Did CNMN want to organ­ise some show­cas­es, to be pre­sent­ed to some of the most impor­tant arts man­agers in the world?  We said YES.

    So — in a peri­od of 3 weeks we put togeth­er a part­ner­ship with Le Vivi­er and the CMC-QC, found fund­ing for the project from the Cana­da Coun­cil (thanks!), organ­ised a call for pro­pos­als, held a jury, and put togeth­er 4 events that pre­sent­ed 9 Cana­di­an artists and over 20 com­posers. We had over 50 appli­ca­tions, and the deci­sions were dif­fi­cult.  But the final project at IAMA show­cased an amaz­ing scope of per­form­ers and com­posers from across Cana­da, and across a wide styl­is­tic range.

    The reac­tion by the IAMA del­e­gates was very strong and very pos­i­tive.  They loved the idea of new music at the event (this does not hap­pen in Europe, it seems), and were very impressed by the work of Cana­di­an artists.  This project has lead to many new con­tacts, projects and ideas for the devel­op­ment of the CNMN and Cana­di­an New Music.

    It was quite insane, organ­is­ing a major pro­duc­tion in less than 3 months, includ­ing fundrais­ing, selec­tion and pro­duc­tion.  But the oppor­tu­ni­ty was too impor­tant to miss.  Kudos to the entire team, espe­cial­ly our admin­is­tra­tive direc­tor (Emi­ly Hall), for pulling this off.

    Tim Brady
    Pres­i­dent of the Cana­di­an New Music Network


    The CNMN / IAMA con­certs were a great oppor­tu­ni­ty to present some­thing beyond one’s local envi­ron­ment, and the event offered a snap­shot of Cana­di­an per­form­ers per­form­ing Cana­di­an music.

    Roger Admi­ral, pianist


    Emi­ly Hall with William A. Neren­berg, pres­i­dent of Chesa­peake Inter­na­tion­al Artists / pho­to cred­it: Michel Pinault

    This is the first time the IAMA con­fer­ence has come to North Amer­i­ca, and it was a plea­sure to be able to show a warm Cana­di­an wel­come by way of the Cana­di­an New Music at IAMA Mon­tre­al 2013 project, which show­cased Cana­di­an per­form­ers and com­posers from Vic­to­ria, British Colum­bia all the way to Hal­i­fax, Nova Scotia.

    This was a tru­ly pal­pa­ble cel­e­bra­tion of the rich artis­tic diver­si­ty we have here in Cana­da. The con­cept might have risked feel­ing frag­ment­ed as each unique set took to the stage, but no. It was as if all these remark­able per­form­ers and com­posers had all grown up togeth­er in the same place rather than span­ning a coun­try that’s close to ten mil­lion square kilo­me­tres in size.

    How? Per­haps it was the immense tal­ent and depth of indi­vid­ual iden­ti­ty that was shared by every­one. In all that the artists were show­ing us, it was appar­ent at every turn that we aren’t, in fact, a fron­tier to be set­tled. Cana­di­an artists have a ful­ly-explored voice and an estab­lished new music community.

    Tak­ing it all in, I was proud to be a Cana­di­an, proud to call these amaz­ing­ly gift­ed artists Cana­di­an, and proud to be part of a com­mu­ni­ty so vibrant and diverse, wor­thy and ready for any world stage.

    Emi­ly Hall
    Cana­di­an New Music Network


    Ensem­ble Trans­mis­sion at IAMA Montreal


    As an artist rep­re­sen­ta­tive and for­mer head of inter­na­tion­al mar­ket­ing at Sony Clas­si­cal, I am extreme­ly pleased with the man­date of the Cana­di­an New Music Net­work. The Cana­di­an New Music Show­cas­es at IAMA Mon­tréal exem­pli­fied our artists’ extreme­ly high per­for­mance lev­el and fur­ther proved that our com­posers can become more wide­ly known. While the new music world is often crit­i­cized for act­ing com­pet­i­tive­ly, the per­form­ers col­lab­o­rat­ed in their usu­al fash­ion and proved that this is an open com­mu­ni­ty which wel­comes oth­ers. I look for­ward to our ongo­ing col­lab­o­ra­tion with the Cana­di­an New Music Net­work as it helps to build oppor­tu­ni­ties for our per­form­ers and creators.

    Faye Perkins
    Real World Artist Management


    Jan­ice Jack­son at IAMA Montreal


    Only Jan­ice Jack­son could make such a mag­nif­i­cent hall feel so inti­mate and spe­cial.  Her show­case per­for­mance at the Mai­son Sym­phonique on Novem­ber 8, 2013 was both chill­ing and elec­tri­fy­ing, and her solo voice effort­less­ly filled the hall with sound and emotion.

    Begin­ning with Marie Pel­letier’s Han No.3, the audi­ence was invit­ed into a twist­ing world of vocal tech­niques and styles bor­rowed from dif­fer­ent cul­tures. I found myself pleas­ant­ly lost in the tex­tures of  sound! Although nei­ther piece had intel­li­gi­ble text or direct sto­ry, I was always inter­est­ed and always had the sense that I was watch­ing a real human event or expe­ri­ence far above a sim­ple col­lec­tion of sounds.

    Her deliv­ery of Alice Ping Yee Ho’s Angst, seat­ed on the floor and car­ried out while rit­u­al­is­ti­cal­ly rip­ping apart a red-streaked news­pa­per, was equal parts per­for­mance art and music the­atre, equal parts poised and bizarre. The hall was the per­fect space for her pow­er­ful and ver­sa­tile voice, and I was awestruck at the dif­fer­ent effects that emerged as she turned her body to face oth­er parts of the hall. At one point as she faced away from the audi­ence, she mut­tered some per­cus­sive strings of con­so­nants and I was sure I heard two voic­es as the echo ric­o­cheted off the back wall. Jan­ice stayed true to the essence of the piece until the very end– when she crawled off­stage on her hands and knees!

    Sarah Albu, audi­ence member


    No micro­phone ampli­fi­ca­tion, just one woman, alone on the vast stage of the Mai­son Sym­phonique, I was fas­ci­nat­ed by Jan­ice Jackson’s fear­less­ness, the trust and the sym­bio­sis she formed between her­self and the hall at her solo show­case, Spot­light on Cana­di­an Com­posers. From the soft­est mur­mur to the most intense out­cry, the hall respond­ed to every detail, trans­mit­ting her mes­mer­iz­ing and tran­scen­den­tal vocals as if she was singing up close, to each and every one of us.

    Emi­ly Hall, audi­ence member



    The two con­certs at the “Off-IAMA” series [at the Red Roof Church] dis­played a wide range of musi­cal styles. Also, the vari­ety of dif­fer­ent groups and soloists that were fea­tured was some­thing I will remember.

    Alas­dair Mon­ey, cel­list – Emi­ly Carr String Quartet


    ofNOW, orkestra futu­ra per­formed .. on Novem­ber 8, 2013 at the [show­case] at the Church of Saint John the Evan­ge­list in Mon­tre­al. [It was] a won­der­ful oppor­tu­ni­ty to intro­duce Cana­di­an new music to inter­na­tion­al pro­gram­mers, pro­duc­ers and man­agers. There is a rich and var­ied new music scene in Cana­da and I am pleased that this Cana­di­an music was intro­duced in an inter­na­tion­al con­fer­ence of such high stature. [We were] proud to intro­duce por­tions of three new graph­ic scores: Ono­matopoeia by Gary Wilde­man, wise as ser­pents by Lisa Cay Miller and hhh­m­mm by Coat Cooke. I applaud the Cana­di­an New Music Net­work in a well run, effi­cient showcase.

    Lisa Cay Miller – Man­ag­ing Artis­tic Direc­tor, ofNOW, orkestra futu­ra


    Tak­ing-Off with Aplomb: Cana­di­an New Music at IAMA-Montréal

    “Aplomb” is the right descrip­tor for the open­ing Off-IAMA con­cert pre­sent­ed in the ear­ly evening of Novem­ber 7, 2013– one of two Cana­di­an New Music con­certs pre­sent­ed at the “Red Roof Church,” a venue whose excel­lent acoustics serves New Cham­ber Music as well as it does Bach’s cantatas.

    The con­cert includ­ed two ensem­bles – Fiolûtröniq from Mon­tréal and the Emi­ly Carr String Quar­tet from Vic­to­ria – plus the vir­tu­oso flutist Mark Takeshi McGre­gor from Vanocu­ver, in a solo performance.

    The mem­bers of Fiolûtröniq include the com­pos­er-per­former Cléo Pala­cio-Quintin on flutes, Elin Söder­ström on viol de gam­ba, and Kate­lyn Clark on harp­si­chord. Par­al­lel to the string quar­tet, this com­bi­na­tion of instru­ments has been with us for sev­er­al cen­turies, and is entire­ly appro­pri­ate to high­light what is new in New Music. When the last move­ment of a com­po­si­tion [by Stacey Brown] is enti­tled Stark Rav­ing Lunatic Bitch, the lis­ten­er has the right to expect sounds quite dif­fer­ent from what one usu­al­ly hears in cham­ber music. And that’s def­i­nite­ly the case, even if the piece fin­ish­es with a cer­tain grace, rather than the fre­net­ic mad­ness implied by the term “stark raving.”

    The four musi­cians from the Vic­to­ria Sym­pho­ny Orches­tra who make up the Emi­ly Carr String Quar­tet devot­ed the core of their stage time to Ana Sokolovic’s Com­me­dia del­l’arte I, the com­mis­sioned test piece for the 2010 edi­tion of the Banff Inter­na­tion­al String Quar­tet Com­pe­ti­tion. Like all cre­ations of this genre, com­pos­ing this quar­tet is as much a chal­lenge for the com­pos­er as for the musi­cians. Above and beyond the high tech­ni­cal demands imposed on the per­form­ers, there is also the com­poser’s goal of cre­at­ing music that will last. After the smash­ing con­clu­sion of Com­me­dia del­l’arte I, the applause was just as intense as one hears on the orig­i­nal 2010 per­for­mances. Both Sokolovic and the Emi­ly Carr String Quar­tet deserve no less.

    After the inten­si­ty of the first two parts of the con­cert, I had my doubts as to the audience’s capac­i­ty to devote the req­ui­site atten­tion to the third com­po­nent of the pro­gram: com­po­si­tions for solo flute. Those doubts dis­ap­peared the instant that flutist Mark Takeshi McGre­gor began the first work: Foundry by Paul Steen­huisen. We see a vir­tu­oso whose move­ments dur­ing per­for­mances can almost be char­ac­ter­ized as dance. This is not an arti­fice for the stage, but very evi­dent­ly the way that McGre­gor lives his music.

    -Full con­cert pro­gramme online.
    -Watch a video sam­pling of Fiolûtröniq’s reper­toire on Vimeo.
    -Stacey Brown’s com­po­si­tion Five Stages of Insan­i­ty Accord­ing to bzh April 10, 2008.
    -Thanks to the gen­eros­i­ty of the Banff Com­pe­ti­tion and CBC, we can hear the last­ing qual­i­ties of Com­me­dia del­l’arte Ihere.
    -Watch a video per­for­mance of Steenhuisen’s Foundry on McGre­gor’s web site.

    Phil Ehren­saft, audi­ence member


    Direct link: Sou­venirs of IAMA Mon­tréal 2013
    Return to full Bul­letin – Decem­ber 2013

  • President’s Report 2013 – Tim Brady

    CNMN is set to move to a new lev­el of activ­i­ty, broad­en­ing its impact with­in the com­mu­ni­ty and with­in Cana­di­an soci­ety – due to the work we have been doing over the past 8 years, and espe­cial­ly due to the work we have done in the past 12 months.

    There are sev­er­al key ele­ments to the growth and suc­cess of CNMN. They are:

    1. Board renew­al
    2. Infra­struc­ture improvements
    3. Region­al discussions
    4. Big­ger and bet­ter part­ner­ships – Uni­ver­si­ty of Cal­gary, CAPACOA, CSMDCI
    5. FORUM 2014 planning
    6. Long-term vision

    All of these ele­ments came togeth­er in 2012–2013, mak­ing for a very busy and event­ful year.

    (1) Board Renewal

    The new board began work in June 2012. The new board includes sev­er­al very expe­ri­enced artists and arts man­agers, who bring a wealth of knowl­edge and con­nec­tions to the CNMN board. This is help­ing with both the effi­cien­cy and effec­tive­ness of the board in get­ting work done.

    The board is also slow­ly mov­ing from being a “work­ing board” to a mixed “working/governance” board. In the long term, CNMN will be stronger if we have a bet­ter infra­struc­ture (paid staff) and if the day-to-day work­ings of the organ­i­sa­tion of the com­pa­ny is not han­dled by the board. The cur­rent board pres­i­dent has func­tioned as a vol­un­teer CEO for the past 8 years and we are slow­ly try­ing to change that mod­el. It is unsus­tain­able, long-term.

    (2) Infra­struc­ture improvements

    At the very end of our 2011–2012 sea­son, we moved to a more stan­dard­ized Word Press site. This result­ed in adding the task of web site man­age­ment and pub­lish­ing to Emi­ly Hall, and for this past sea­son, she has been work­ing well with the new web site that is con­stant­ly under­go­ing mod­i­fi­ca­tions and improvements.

    We were also able to con­tin­ue pro­duc­ing the thrice-year­ly Bul­letin, though it is now pro­duced in a more online-friend­ly format.

    (3) Region­al Discussions/Members Meetings

    With fund­ing from the last round of Cana­di­an Her­itage Creator’s Assis­tance Pro­gramme, CNMN held a round of 6 region­al meet­ings across Cana­da dur­ing the past sea­son. Per­haps some of you attend­ed these meet­ings. Events were held in Cal­gary, Mon­tréal, Toron­to, Win­nipeg, Regi­na and Hal­i­fax. The meet­ing styles, con­tent and struc­ture were quite var­ied, reflect­ing the diverse region­al nature of Cana­di­an cul­ture. Atten­dance at the meet­ings was very good, and the qual­i­ty of the dis­cus­sions was very informed. The meet­ings also helped raise CNMN pro­file in each com­mu­ni­ty, which helped some­what with mem­ber­ship renewals. There is a lot of infor­ma­tion on the region­al meet­ings on the Web site.

    (4) Big­ger and bet­ter partnerships

    CNMN has lots of ideas and plans, but we can’t do it all on our own. Build­ing effec­tive part­ner­ships is essen­tial to achiev­ing our goals. This year saw us cre­ate 3 great new partnerships.

    • The Uni­ver­si­ty of Cal­gary: a full, com­mit­ted part­ner to the FORUM 2014, they are invest­ing both facil­i­ties and mon­ey in the project
    • CAPACOA (Cana­di­an Arts Pre­sent­ing Asso­ci­a­tion): we part­nered for the CNMN Ontario Region­al Meet­ings (host­ing sev­er­al pan­el dis­cus­sions around the theme of new music), and we all agreed that CNMN and CAPACOA need to build more and clos­er con­nec­tions. It is a poten­tial gate­way into the main­stream music pre­sen­ters, which is a huge poten­tial mar­ket to devel­op. Talks are ongo­ing, with a poten­tial major project being dis­cussed for 2015.
    • CSMDDCI (Cana­di­an Spe­cialised Music Dis­sem­i­na­tion and Dig­i­tal Con­tent Ini­tia­tive): this very com­plex and ambi­tious project is slow­ly evolv­ing. It involves build­ing a coali­tion of 11 major arts/music com­pa­nies across Cana­da, and con­tin­u­ing dis­cus­sion with Cana­di­an Her­itage about the role of “spe­cial­ized music” in the Cana­di­an musi­cal ecol­o­gy, with spe­cif­ic goals towards the renew­al of the Cana­da Music Fund in 2015.
    • It also involves seri­ous arts rep­re­sen­ta­tion and work­ing with both bureau­crats and elect­ed offi­cials. CNMN has met Cana­di­an Her­itage twice, and con­tin­ues to work with the Cana­di­an Arts Coali­tion in its large scale arts rep­re­sen­ta­tion work in Ottawa, includ­ing the “Day on the Hill” project, in which we par­tic­i­pat­ed last fall 2012.

    (5) FORUM 2014 Planning

    This FORUM will be our most impres­sive to date. We are real­ly reach­ing out to the world, try­ing to bring Cana­di­an new music to the pub­lic around the world. Fund­ing for the event is going well, and I willl give more details on the FORUM and its finances in the update after this offi­cial report.

    Two new fea­tures that have tak­en a lot of plan­ning are the increased pres­ence of high-lev­el inter­na­tion­al guests, and the open call for pro­pos­als. We have a stu­pen­dous list of “A list” pre­sen­ters con­firmed as our invit­ed guests: Sound­streams, The Berlin Phil­har­mon­ic, Le Fes­ti­val Why Note (Dijon), the Lon­don Sin­foni­et­ta (UK) and Miller The­atre (New York). This is a very impres­sive range of high-end pro­duc­ers to which Cana­di­an new music artists will have face-to-face access for the first time.

    This sea­son also saw the inau­gur­al open call for FORUM pre­sen­ta­tions, which was huge­ly suc­cess­ful. We received 43 appli­cants, of which, regret­tably, only a few could be cho­sen for the event. But the qual­i­ty of the pro­pos­als was very high, and it shows a huge need and desire from the com­mu­ni­ty to get the music out there!

    Oth­er tech­ni­cal details advanced for FORUM plan­ning last sea­son such as bud­gets, hotel group rates, tech­ni­cal details, Uni­ver­si­ty of Cal­gary coor­di­na­tion, and of course, writ­ing grant appli­ca­tions. I’d like to take a moment to thank the FORUM 2014 steer­ing com­mit­tee for their valu­able work: John Ried (chair), Lau­rie Rad­ford, David Eagle, and Bill Jor­dan and Rob Oxo­by, vice dean at the U of C has also been very helpful.

    New in the 2012–2013 sea­son, CNMN took a chance and applied for FORUM fund­ing for the first time through FACTOR’s Indus­try Events. But don’t give results – leave that for post-AGM news!

    (6) Long-term vision

    In 2012, CNMN artic­u­lat­ed a bold vision for Cana­di­an new music: to make new music main­stream. This is, per­haps, over­stat­ing the case, and even slight­ly unre­al­is­tic. How­ev­er, after 8 years as the pres­i­dent, and hav­ing spo­ken to many artists, pre­sen­ters, pro­duc­ers and edu­ca­tors about what new music is and can be in Cana­da, it seems very clear to me that Cana­di­an new music has reached a crit­i­cal point. We have amaz­ing com­posers, fan­tas­tic per­form­ers, impres­sive­ly pro­fes­sion­al pro­duc­ers and ded­i­cat­ed and imag­i­na­tive educators.

    What is need­ed is for all of us to work togeth­er to make sure that the Cana­di­an pub­lic has access to the extra­or­di­nary work that our com­mu­ni­ty is doing. What is need­ed is a way for us to work togeth­er to achieve that goal. I believe that CNMN is an impor­tant part­ner in mak­ing this hap­pen, and we all need to sup­port its mission.

    Cre­ative music mak­ing is a tru­ly unique human expe­ri­ence, and every Cana­di­an should know that they too can take part in both the thrill of dis­cov­ery and the emo­tion­al expe­ri­ence that is new music at its best.

    CNMN is there to help make it happen.

    Tim Brady – Oct. 1, 2013


    Direct link: President’s Report 2013 – Tim Brady
    Return to full Bul­letin – Decem­ber 2013

  • Welcome New Members – December 2013

    Since late May 2013, CNMN’s mem­ber­ship has grown by 58 mem­bers. More mem­bers in our net­work means stronger rep­re­sen­ta­tion and con­nec­tion for our com­mu­ni­ty. We warm­ly wel­come all our new mem­bers, and we hope this marks the begin­ning of a long-last­ing and fruit­ful collaboration.

    The new mem­bers are list­ed below, many of which have web sites for fur­ther infor­ma­tion. We also hope all our mem­bers get a chance to check each oth­er out – you can access a full list of mem­bers on our web site, view­able by cat­e­go­ry, region or name.

    Who will be the next new member?

    New Vot­ing Members

    Astro­labe Musik Theatre BC http://www.astrolabemusiktheatre.com/
    Jon­gleur Productions NS http://www.jeribrown.com/
    Quatuor Moli­nari QC http://www.quatuormolinari.qc.ca/
    Théâtre Cen­ten­ni­al / Cen­ten­ni­al Theatre QC http://www.centennialtheatre.ca/
    Voca­lypse Productions NS http://www.vocalypse.ca/
    Jorge Ayala ON
    Marie-Hélène Breault QC
    Éric Cham­pagne QC
    Bruno de Chéner­illes France http://www.audiorama.org/
    Frank Hor­vat ON http://www.frankhorvat.com/
    Dim­i­tar Pentchev ON http://www.soundconvincer.com/
    Faye Perkins ON http://www.realworldartistmanagement.com/
    Bruce Rud­dell BC http://www.bruceruddell.com/
    Rob Tay­lor AB

    New Sup­port­ing Members

    Eleanore Alt­man QC http://www.eleanorealtman.com/
    Daniel Evan Amezcua AB
    Alli­son Bal­cetis AB
    Philippe Bat­tikha QC http://www.philippebattikha.com/
    Chris Blaber BC
    Vir­ginia Bliss USA http://www.reverbnation.com/denderabloodbath
    Stephan Bon­field AB
    Mar­i­lyn Burgess QC
    Sadie Camp­bell BC
    Kay­la Cham­bers ON
    Jane Chan QC
    Ann Den­ny NS
    Mark Hel­sten ON
    Véronique Jacques QC http://www.soundcloud.com/veronique‑j
    Math­ew James USA https://soundcloud.com/mathewsjames
    Kevin Knel­man ON http://www.knelmanmusic.com/
    Michael LaCroix USA http://www.michaellacroix.com/
    Alain Lalonde QC http://www.espacessonoresillimites.com/
    Stephanie Love­less QC http://www.stephanieloveless.ca/
    Lisa Lowry USA
    Luc Mar­tin ON
    Ker­ilie McDowall BC http://www.rhythmaning.ca/
    Pierre Michaud QC
    Brent Michaud QC
    Nils Mon­the Cameroon
    Larysa Musick MB http://www.reverbnation.com/larysamusick
    Juan Oli­vares ON http://www.leslievillemusic.com/
    John Osborne AB http://www.blacksplash.net/
    Can­dace Patrick SK
    Alexa Pavao ON http://www.troveband.com/
    Heather Pawsey BC http://www.heatherpawsey.com/
    Ivan Reese AB http://www.ivanish.ca/
    Mar­tin Rit­ter BC http://www.martin-ritter.com/
    Jean-Michel Rousseau QC
    JD Sage QC http://www.jdsage.com/
    Bren­da San­til­lan Mex­i­co
    Lorne Shapiro ON
    Adam Sloan USA http://www.cdbaby.com/cd/mutron3k
    Rebec­ca Spour ON http://www.thesoulmovementmusic.com/
    Isabel­la Ste­fanes­cu ON http://www.isabella-stefanescu.com/
    Anan­da Sud­dath QC
    Rich Tay­lor SK http://www.gladeyemusic.com/
    Bar­ry Tay­lor BC http://www.aleatora.org/
    Pip ON http://metroPhilmusic.bandcamp.com/


    Direct link: Wel­come New Mem­bers – Decem­ber 2013
    Return to full Bul­letin – Decem­ber 2013