FORUM 2009

Audience Development, Creative Music and Education: Creating The Future

February 27-28, 2009 starting at 8:15am in Montreal. Amazing guests, an amazing festival, and a critical topic!

Here is the brochure and registration form (pdf). Special group hotel rate available.

In collaboration with the Montreal/New Music International Festival (MNM).

*** Update: If you haven’t already sent in your registration fee by cheque in the mail, we recommend you wait and pay in-person on the morning of February 27th (cheque or cash). If this is the case, let us know so that we can prepare for your participation. Email Emily Hall at

Registration Fees


  • $65 for 2 days
  • $35 for 1 day


  • $110 for 2 days
  • $60 for 1 day

Registration includes an onsite buffet lunch and tickets to the following Montreal/New Music International Festival concerts:

Please reserve your tickets with the SMCQ by telephone at 514-843-9305 x301, or by email at

Conference Location

Salle multimédia
Conservatoire de musique de Montréal
4750, avenue Henri-Julien
Montréal (Québec) H2T 2C8


For your convenience, refer to these locations on the Google map. You will find both the hotel and the Forum locations. Both destinations are within close walking distance to a metro station on the orange line (Forum location/Conservatoire — metro Mont-Royal; Hotel Gouverneur Place Dupuis — metro Berri-UQAM).



  • Schedule

    Friday, February 27

    8:15am — 9:00am Registration
    9:00am — 9:30am Opening remarks
    Tim Brady, President, CNMN
    Gaétan Bell, President, FAMEQ
    Allan Bell, President, CMC
    Pierrette Gingras, General Manager, SMCQ
    9:30am — 10:00am Keynote Address — Music, Society and Education — R Murray Schafer
    10:00am — 10:25am Break
    10:25am — 10:45am Demonstration #1 — Face Chamber Orchestra — Conductor, Theodora Stathopoulos (Montréal)
    10:45am — 11:15am Case Study #1 — Learning and Participation in the Context of a Contemporary Music Ensemble
    Nancy Evans — Education Manager, BCMG (UK)
    11:15am — 11:45am Portrait #1 — New Music in the Canadian Choral Landscape
    Patricia Abbott — Executive Director, Association of Canadian Choral Communities (Montréal)
    11:45am — 12:00pm Demonstration #2 — Concerto Della Donna — Director, Iwan Edwards
    12:00pm — 1:30pm Lunch — included in registration fee
    1:30pm — 2:30pm Round Table #1 — Creative Music Education: the Key to the Future
    Moderator: Louise Campbell, clarinetist / educator / member of the CNMN board of directors
    Mary Dinn — President, CMEA (St John’s)
    Iwan Edwards — Artistic Director, Concerto Della Donna (Montréal)
    Tawnie Olson — Composition Instructor, ACES Educational Center for the Arts (New Haven, USA)
    Valerie Peters — Professor of Music Education, Université Laval (Quebec City)
    Theodora Stathopoulos — President, QMEA / Educator, FACE (Montréal)
    2:30pm — 2:45pm Portrait #2 — Audience Development in Orchestras
    Katherine Carleton — Executive Director, Orchestras Canada (Toronto)
    2:45pm — 3:00pm Portrait #3 — Composition and Musical Creativity in the Quebec Education System
    Valerie Peters — Professor of Music Education, Université Laval (Quebec City)
    3:00pm — 3:30pm Break
    3:30pm — 3:45pm Case Study #2 — Hommage à Vivier
    Pierrette Gingras — General Manager, SMCQ (Montréal)
    3:45pm — 4:00pm Case Study #3 — Music From Scratch
    Jerry Pergolesi — Artistic Director, Contact Contemporary Music (Toronto)
    4:00pm — 4:30pm Case Study #4 — New Music and Community
    Gilles Mottet — Composer / Director, Pourquoi pas… co-incidence? (Nice)
    4:30pm — 5:30pm Round Table #2 — Audience Development: Creative Music Strategies
    Moderator: Patricia Abbott — Executive Director, Association of Canadian Choral Communities (Montréal)
    René Bosc — Composer / Head of Music, Radio-France (Paris)
    Coat Cooke — Artistic Director, New Orchestra Workshop Society (Vancouver)
    Nancy Evans — Education Manager, BCMG (UK)
    Matt Haimovitz — Cellist / Educator, McGill University (Montréal)
    Alex Pauk — Composer / Music Director and Conductor, Esprit Orchestra (Toronto)

    Saturday, February 28

    8:30am — 9:00am Registration
    9:15am — 9:45am Portrait #4 — Canadian Repertoire For Young Musicians
    Elizabeth Bihl — Executive Director, national office, Canadian Music Centre (Toronto)
    Mireille Gagné — Director, CMC Quebec (Montréal)
    9:45am — 10:00am Case Study #5 — Composing For Young Musicians: Experiences with School Bands and Choirs
    Allan Bell — Composer / Professor, University of Calgary
    10:00am — 10:15am Case Study #6 — Composing With Young Musicians
    Tawnie Olson — Composition Instructor, ACES Educational Center for the Arts (New Haven, USA)
    10:15am — 10:30am Demonstration #3 — Ear Cleaning and Improvisation Pedagogy in the High School Classroom
    Douglas Friesen — Music Instructor, Rosedale Heights School of the Arts (Toronto)
    10:30am — 11:00am Break
    11:15am — 12:00pm Round Table #3 — Creative Music, Education and Society: a Critical Connection
    Moderator: Nicole Doucet — Director of Arts Disciplines, Canada Council for the Arts (Ottawa)
    Claude de Grandpré — Artistic Director, Théâtre Hector-Charland (L’Assomption)
    Raffi Armenian — Director, Conservatoire de musique de Montréal
    Emmanuel Bigand — Professor Cognitive Psychology, Institut Universitaire de France / Director LEAD (Dijon)
    R Murray Schafer — Composer & Music Educator (Indian River)
    12:00pm — 12:15pm Case Study #7 — The Importance of Music Education In Our Classroom
    Ann La Plante — General Manager, Alliance For Canadian New Music Projects
    12:15pm — 1:30pm Lunch — included in registration fee
    1:30pm — 2:00pm Portrait #5 — New Music and Presenters Networks
    Barbara Scales — Owner & Director, Latitude 45 Arts Promotion Inc (Montréal)
    Angela Drainville-Ashick — Director, CAPACOA / General Manager, Classic Theatre (Cobalt)
    2:00pm — 2:30pm Demonstration #4 — Creative Music Technology
    Blue Yeti — Magnolya Roy & Jean-Michel Couturier (France)
    2:30pm — 2:45pm Demonstration #5 — Musicolateur
    Félix Boisvert — Composer (Montréal)
    2:45pm — 3:15pm Break
    3:15pm — 4:15pm Plenary Session — Forum 2009 Summary, Forum 2010 in Vancouver
    4:15pm — 4:45pm CNMN General Assembly
  • Guest Speakers

    Patricia Abbott

    Patricia Abbott

    Executive Director, Association of Canadian Choral Communities

    Patricia Abbott is the Executive Director of the Association of Canadian Choral Communities (formerly the Association of Canadian Choral Conductors). She is a graduate of McGill University, where she obtained a master’s degree in vocal pedagogy, and conducts several choirs in and around Montreal. She has shared her knowledge and passion of Canadian choral music in workshops, festivals and conferences in Canada, the United States, Europe and Argentina. Ms. Abbott is also a member of the artistic committee of the Polyfollia International Choral Festival in Normandy, France, and a member of the editorial board of The Choral Journal, published by the American Choral Directors Association.

    Raffi Armenian

    Raffi Armenian

    Director, Conservatoire de musique de Montréal

    In 1962, twenty-year-old Raffi Armenian graduated from the piano performances class of Bruno Seidlhofer at the Academy of Music, Vienna, Austria. In 1965, he graduated from Imperial College, University of London, England in Metallurgy. Going back to music and Vienna, he completed studies at the Vienna Academy of Music in Orchestral Conducting (Hans Swarowsky 1968), Choral Conducting (Rheinhold Schmid 1969) and Composition (Alfred Uhl 1969). In addition, he took private voice lessons with Ferdinand Grossmann. In 1969 he immigrated to Canada, where he became Artistic Director of the Kitchener-Waterloo Symphony (1971-1993). The Raffi Armenian Theatre in Kitchener, which he helped to design, is considered one of the best performance spaces in North America, both for its acoustics and its design features. In 1974, as Music director of the Stratford Festival, he founded the Canadian Chamber Ensemble, which achieved international recognition with tours in North and South America, and Europe. Raffi Armenian has guest conducted all of the major orchestras in Canada, as well as in Belgium, Italy, the USA, and the Jeunesses Musicales World Youth Orchestra. Mr. Armenian has long been active as a pedagogue. In 1982 he became a Professor of the Orchestral Conducting Class at the Conservatoire de Musique (Montreal), a position he continues to hold. In 1997 he accepted a two-year post as Visiting Guest Professor at the Hochschule für Musik und Darstellende Kunst, in Graz Austria, and since September 1999 Maestro Armenian has been Director of Orchestral Studies at the University of Toronto.

    Allan Bell

    Allan Bell

    Composer / Professor, Calgary University

    Allan Gordon Bell has created works for solo instruments, chamber ensembles, orchestra, band and electroacoustic media. His works have been performed by the National Arts Centre Orchestra, l’Orchestre symphonique de Montréal, Calgary Philharmonic Orchestra, Esprit Orchestra, the Vancouver Symphony Orchestra, the Winnipeg Symphony Orchestra, the Edmonton Symphony Orchestra, the Orford String Quartet, and the ensembles of Toronto New Music Concerts, Arraymusic and the Societé de musique contemporaine du Quebec. Bell is Professor of Music at the University of Calgary and a Fellow of the Royal Society of Canada. From 1984 to 1988 and from 2007 to the present, he has been the President of the national board of the Canadian Music Centre.

    Elizabeth Bihl

    Elizabeth Bihl

    Executive Director, Canadian Music Centre

    Elisabeth Bihl is the Executive Director of the Canadian Music Centre and its five regional centers across Canada, representing and serving over 700 Canadian Composers. Since 2000 Ms. Bihl has been leading the CMC in an organizational realignment, updating the entire Centre’s IT infrastructure as well as music digitization. Refocusing the Centre’s services and programs to better promote and market Canada’s composers’ music to orchestras, performers and many other clients internationally. Elisabeth Bihl is a seasoned cultural manager and renewal strategist with over 20 years of experience. Ms. Bihl’s career background includes management positions at the National Arts Centre of Canada, the Canada Council for the Arts and the National Gallery of Canada. Elisabeth serves on numerous boards including Vice President of the Association of International Music Information Centres (IAMIC), the Canadian Music Publishers Association (CMPA); the Association of Cultural Executives (ACE), is a founding member of the Senior Artists Research Steering Committee, the Creators Copyright Coalitions, and she is a frequent public speaker on music and cultural issues in Canada and around the world.

    Blue Yeti

    Blue Yeti

    Magnolya Roy & Jean-Michel Couturier

    Blue Yeti: | Jean-Michel Couturier:

    Jean-Michel Couturier is both scientist and musician: in addition to being an engineer and specialist in the design of interactive systems and digital instruments, he is also a composer of electroacoustic music. His work is related to the pluridisciplinary fields of computer music and human-computer interaction. Magnolya Roy is a visual artist and engineer. Founded in 2007, Blue Yeti designs interactive multimedia systems dedicated to cultural, educative and artistic uses.

    Félix Boisvert


    Originally an electroacoustic composer, Félix Boisvert is also a multi-instrumentalist who shows particular interest in rhythmic languages. He has dedicated recent years to developing a project in which physical play, music and video creates a unified language. His creativity takes him further to film, circus, dance and marionnette. Passionate about pedagogy, Boisvert teaches sound art to children through Musicolateur, a program he helped to develop.

    René Bosc

    Composer / Head of Music, Radio-France

    Following his 1993 conducting debut in Montpellier, René Bosc was appointed by René Koering to oversee the contemporary music concerts of the Radio France and Montpellier Festival. He has conducted the Ensemble Diagonales, Orchestre National de Montpellier, ECM2, Les Percussions de Strasbourg, Moscow Soloists, Orchestre National de Jazz (France), “Tambuco” percussionists from Mexico, the ballet Ocean with the Merce Cunningham Dance Company, as well as soloists like Fazil Say, Didier Lockwood and François-René Duchâble. Numerous composers have dedicated their works to him including Philippe Hersant (Concerto de violon) and Hans Werner Henze (Upupa, premiered in Salzburg in 2003). In 2001 he became Director of New Music at Radio France and Artistic Director of Festival Présences. During the 2007-2008 season, delegates of radio stations from around the world joined together to give him the Prix Italia for his work as a producer in Verona in September 2007, following which the International Tribune of Composers awarded him with two prizes in Dublin in June 2008. Never before has a contemporary music producer been honoured with these three awards in the same year.

    Katherine Carleton

    Executive Director, Orchestras Canada

    Katherine Carleton has been Executive Director of Orchestras Canada since July 2005. She has more than twenty years’ experience working as a teacher, performer, granting officer, orchestra manager and consultant in Toronto, Kitchener, Mississauga, Kingston and Halifax. Katherine holds a Bachelor of Music degree in Performance from the University of Toronto and a Master’s degree in Management from McGill University through the innovative McGill-McConnell Program for National Voluntary Sector Leaders. In June 2006, she completed the first-ever Executive Directors’ Institute, a joint program of the Maytree Foundation and York University’s Schulich School of Business.

    Coat Cooke

    Coat Cooke

    Artistic Director, New Orchestra Workshop Society (Vancouver) |

    Coat Cooke is the founder and leader of the renowned NOW Orchestra, and with them he has toured Canada, Europe and the USA. He is one of Canada’s most lyrical and inventive saxophonists, composers and improvisors, and his projects include collaboration with multi-media, dance, electronics, video and film. His credits include work with international artists George Lewis, Wadada Leo Smith, Roscoe Mitchell, Marilyn Crispell and with fellow Canadians Paul Plimley, Diane Labrosse, Pierre Tanguay, Martin Tétreault, and John Oswald.

    Concerto Della Donna

    Concerto Della Donna

    Concerto Della Donna (CDD) is a dynamic group of young singers based in Montreal under the direction of Maestro Iwan Edwards. CDD performs a wide spectrum of traditional, classical and contemporary repertoire, with a strong emphasis on Canadian compositions and works by female composers. The ensemble’s goal is to produce vibrant performances of both serious and light-hearted repertoire, while demonstrating the strength and beauty of young women’s voices through technical precision and emotional depth. Winning numerous awards nationally and internationally and collaborating with such notable names as Kent Nagano and the MSO, the St. Lawrence Choir, the CBC, and the European Broadcasting Union, they have kept busy since their beginnings in 2002. Their second full-length album, “Sisters,” was released in 2006. In addition to their regular concert season in Montreal, CDD has toured Eastern Canada, Ottawa, Wales and, this June, will tour Serbia and Croatia.

    Claude de Grandpré

    Claude de Grandpré

    General Manager and Artistic Director, Corporation Hector-Charland

    Artistic director and general manager of Corporation Hector-Charland since 1996, Claude de Grandpré is one of the orchestral conductors dedicated to building and developing a pluridisciplinary theatre. This 664-seat hall currently produces 350 events a year, including co-productions of summer theatre and a festival dedicated to new theatre, as well as a number of significant initiatives in music, contemporary dance, song and educational outreach. Two Felix awards and a Bourse RIDEAU for “presenter of the year”, 2006, have acknowledged de Grandpré’s outstanding work with Théâtre Hector-Charland. In addition to holding a Bachelor’s degree in music, de Grandpré is also president of Danse sur les routes du Québec and a member of the administrative council of CAPACOA. His expertise and diverse cultural knowledge contribute to the success of an endeavour that continues to grow and flourish over the years.

    Mary Dinn

    Mary Dinn

    President, Canadian Music Educator’s Association (CMEA)

    Mary Dinn, is a veteran music educator who has delivered Newfoundland and Labrador’s provincial K-12 music curriculum in classroom, choral, band and strings settings. Spanning the past 20 years, Mary has been actively involved in the music community in multiple capacities on regional and national scales. She has served in multiple executive positions on both regional and provincial NLTA Music Special Interest councils, as well as on the national board of the Canadian Music Educators Association, where she is currently serving as president. Present day, Ms. Dinn works at the Department of Education of Newfoundland and Labrador as a Program Development Specialist for Music/Fine Arts and member/co-chair of the management team for the province’s K-12 Arts and Cultural Strategy.

    Nicole Doucet

    Director, Arts Disciplines Division — Canada Council for the arts

    Nicole Doucet has devoted her entire professional life to the arts. As Director of Arts Disciplines since February 11, 2008, she is responsible for managing the development and operation of the Canada Council’s grant programs, which provide support to Canadian artists and arts organizations. Between 2005 and 2008, she was the Director of Music and Dance at the Conseil des arts et des letter du Québec (CALQ) and between 2002 and 2005, she also served a CALQ post as the Director of Theatre, Multidisciplinary Arts and Circus Arts. Before arriving at the CALQ in 2002, Ms. Doucet, who holds a Bachelor degree in visual arts from the University of Ottawa, was the administrator for several theatre companies, including Théâtre-Action in Ottawa and Théâtre de Quat’Sous in Montreal and spent nearly 10 years managing La Maison Théâtre, a Montreal-based association aimed at presenting and promoting theatre for young audiences.

    Angela Drainville-Ashick

    Director, CAPACOA / General Manager, Classic Theatre |

    Angela Drainville-Ashick is a member of the Board of Directors of the Canadian Arts Presenting Organization CAPACOA. Actively presenting all genres of music in a rural area since 2000, Drainville-Ashick has a strong interest in furthering Candian Artists and arts activities through the concepts of education and exposure. She is currently the General Manager of the Classic Theatre in Cobalt.

    Iwan Edwards

    Iwan Edwards

    Conductor, Concerto Della Donna

    Iwan Edwards has specialized in choral conducting since he came to Canada from his native Wales in 1965. Since then, he has gained an international reputation as a prestigious conductor, adjudicator, clinician and teacher. Maestro Edwards founded and directed the 110-voice St. Lawrence choir, the F.A.C.E. Treble Choir, Concerto Della Donna, Chœur des enfants de Montréal, and the Canadian Chamber Choir, an internationally reputed professional mixed chorus. Many collaborations with other prestigious Canadian choruses have led him to work with a a great number of renowned orchestras and conductors. The choirs and ensembles that he directs have travelled to Canada, the United States and Europe. In 2001, Maestro Edwards retired from his position at McGill University as an associate professor and Chair of the Choral Department in order to devote himself to his many choral ensembles. After 21 years at the helm, Maestro Edwards retired as director of the Chorus of the Montreal Symphony Orchestra in 2007. Among other awards, Maestro Edwards received the Queen’s Golden Jubilee Medal in 2002 and, most notably, the Order of Canada for outstanding achievements in the arts in 1995. Today he continues his journey, guiding and inspiring future generations of Canadian musicians.

    Nancy Evans

    Nancy Evans

    Education Manager, Birmingham Contemporary Music Group

    Nancy Evans is Education Manager for Birmingham Contemporary Music Group and a musician working in early years education. She has an MA in Community Music from the University of York. Nancy was appointed BCMG’s first Education Manager in 2000 and has developed an extensive learning programme designed to engage people of all ages and abilities in the creation and performance of new music. Nancy has conceived and led early years music training programmes across the UK including for The London Symphony Orchestra and The Royal Liverpool Philharmonic Orchestra. She is the author of Tuning in to Children, a training handbook published by Youth Music supporting the work of orchestras in Children’s Centres.

    Douglas Friesen

    Douglas Friesen

    Music Instructor, Rosedale Heights School of the Arts

    After finishing music and education degrees at Brandon University, Doug Friesen moved to Toronto. There, he took a position at Rosedale Heights School of the Arts where he continues to work, employing teaching models inspired by the work of R. Murray Schafer and John Zorn. As a musician, he has played for Dave Bidini and Ron Sexsmith, among others. In 2008, Doug finished a Masters in Music Education at the University of Toronto with study focusing on improvisation, creativity and community. He has led workshops on improvisation pedagogy for secondary, undergraduate and graduate students.

    Mireille Gagné

    Mireille Gagné

    Director, CMC Quebec

    Mireille Gagné has a Licence in Law and a Master’s degree in musicology, specializing in Canadian contemporary music. She has been the Director of the Canadian Music Centre, Quebec region, since 1981. The CMC regularly produces special events such as musical discoveries, exhibitions, and thematic/anniversary concerts — both autonomously and in partnership with organisations that are directly or indirectly connected with music — with the main goal of growing the public’s awareness of new music. Also, Mireille Gagné regularly lectures on Canadian music in Canada and abroad. Finally, as a volunteer, she is the President of the International Network for Cultural Diversity, an organisation she helped establish in 2000.

    Pierrette Gingras

    General Manager, Société de musique contemporaine du Québec

    Pierrette Gingras is the general manager of the Société de Musique Contemporaine du Québec (SMCQ), the chief of contemporary music associations and one of the most powerful non-governmental institutions devoted to new music in North America. The SMCQ has four areas of activity: a Montreal concert series, a young listener’s programme, Série Hommage (Tribute Series), and the International Montreal/New Music Festival. Since 1988, Pierrette Gingras has worked closely with over one hundred festivals and specialized performance organizers from all over the world. Between 1989 and 1999 Gingras served as general manager for Nouvel Ensemble Moderne and is still intimately involved with promoting the group at the international level. While overseeing networking and communications for the Conseil Québécois de la Musique (2000-2002), she also worked with Susan Buirge’s MaToMa dance company, in residence at the Fondation Royaumont in France. Gingras has sat on various juries and has delivered papers on arts management. She holds a master’s degree in music (voice) from the Université de Montréal.

    Matt Haimovitz (photo H Thomson)

    Matt Haimovitz

    Cellist / Professor, McGill University

    Through his visionary approach — championing new music and initiating groundbreaking collaborations, commissions and recordings — Matt Haimovitz is redefining what it means to be an artist for the 21st century. He recorded with Deutsche Grammophon for ten years, and on Oxingale Records since 2000, the label he co-founded with composer Luna Pearl Woolf. Haimovitz is Professor of Cello at the Schulich School of Music at McGill University. Haimovitz studied at the Collegiate School and at Juilliard, in the final class of Leonard Rose, followed by studies with Ronald Leonard and Yo-Yo Ma. In 1996, he received a B.A. magna cum laude with highest honors from Harvard University. Haimovitz made his debut in 1984 at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic and has since gone on to perform on the world’s most esteemed stages. Born in Israel, Haimovitz’s numerous honours include the Avery Fisher Career Grant (1986) and the Grand Prix du Disque (1991). He has been featured in such publications as Newsweek, The New Yorker and People, as well as on PBS and ABC’s Nightline. Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.

    Hélène Laliberté

    Hélène Laliberté

    Conseillère à l’exécutif | Executive Advisor, FAMEQ

    Hélène Laliberté completed her studies in music and pedagogy at the Université de Montréal, the Université Laval and the Université du Québec in Montreal. Her professional activities include:

    • Teaching at Le Plateau
    • Master’s training at UQTR (department of music) and at the Université de Montréal (Education Sciences)
    • Hosting the CEGEP de trios-Rivières radio station
    • Teaching music to primary schools CS de la Riveraine, CS de Saint-Eustache, and CS Marie-Victorin
    • Director for establishing an arts programme (music) at the MEQ, Trois-Rivières (1982)
    • Researcher for the Radio-Canada programme “À l’école de la musique” [at music school] (produced by Michèle Patry and hosted by Françoise Davoine)
    • Music teacher at the international primary school of Greenfield Park

    Ann La Plante

    General Manager, Alliance for Canadian New Music Projects

    Coming from a background of manufacturing and teaching at College level, I came to the Arts after being the Chair of the Board for the Gryphon Theatre in Barrie, Ontario. Music has been in my background from an early age. Graduating from High School at the age of fifteen and not being able to go on to University until I was eighteen, I obtained a teachers’ certificate in violin as an option. I accepted the administrative position of General Manager for Alliance For Canadian New Music Projects in 1998. ACNMP works diligently to promote the study, performance and composition of Canadian contemporary classical music through its Contemporary Showcase Festivals. This festival takes place the third week of November every year during Canada Music Week. Currently we have grown to nineteen centres across Canada. Our programmes also include Student Composer Workshops, Choral Workshop and Composing in the Classroom, Opera in the Classroom and Composing in the Classroom/Orchestral Workshop. We have a syllabus online at in both English and French that is used as a resource for teachers, students, universities, and schools.

    Gilles Mottet

    Gilles Mottet

    Composer / Director, Pourquoi pas… co-incidence? (Nice)

    Winner of a first prize for flute, keen on pedagogy and admitted into the “Centre de Formation de Musiciens Intervenants” at the University of Aix en Provence, where he graduated as a “Musicien Intervenant.” Since 1990, he has been a teacher at the École Départementale de musique des Alpes Maritimes. Gilles Mottet studied composition at the National Conservatory of Marseille, where he was unanimously awarded a first prize in composition. He was the first prize winner of an international composition competition organised by the Canadian Music Center, and he received a special mention in the Valentino Bucchi foundation international composition competition and the SACEM Prize.

    Tawnie Olson

    Tawnie Olson

    Composition Instructor, ACES Educational Center for the Arts (New Haven)

    The music of Canadian composer Tawnie Olson has been performed by a wide range of ensembles and individual musicians, including the Calgary Philharmonic Orchestra, the Gemini Duo, the Satie Quartet, the Land’s End Ensemble, the Canadian Chamber Choir, the Guelph Chamber Choir, the Yale Camerata and the Yale Pro Musica, bassoonist Nadina Mackie Jackson, and harpsichordist Katelyn Clark. She holds a Master of Music degree from the Yale School of Music, an Artist Diploma from the Institute of Sacred Music at Yale, and a Bachelor of Music degree from the University of Calgary. This spring, Ms. Olson plans to defend her doctoral dissertation in music composition at the University of Toronto, where her principal teacher is Chan Ka Nin. Upcoming performances include her Seven Last Words from the Cross for chorus, soloists and orchestra, to be premièred by the Yale Camerata on April 5, and a new work commissioned by the Vancouver Chamber Choir, to be performed on May 1. As a graduate student, Ms. Olson taught music composition and theory at the Yale School of Music and the Yale Department of Music. For the past four years, she has taught composition classes at the Educational Center for the Arts in New Haven, Connecticut.

    Face Chamber Orchestra

    Face Chamber Orchestra

    Theodora Stathopoulos, Conductor

    Founded in September, 1999 by its conductor, Theodora Stathopoulos, The FACE Chamber Orchestra (FCO) provides the Fine Arts Core Education (FACE) school’s most advanced string players (10-16 year old) the opportunity to further develop their ensemble skills through the study of advanced chamber music repertoire. The students’ experience is enhanced through community concerts, tours and festival participation. In 2003 the Canadian Music Educators’ Association awarded the FACE Chamber Orchestra with the Wilfred Harvey Award for the Best Small Ensemble. In 2004 and 2008 the FCO performed at the ISME Conference in Tenerife and Bologna respectively while in 2005 it was invited by United Nations to give a commemorative concert in memory of the former Executive Secretary at the World Conference on Climate Change. Provincial and National gold medalist the FCO is also the recipient of a congratulatory letter from Canada’s former Prime Minister for their outstanding performance at the inauguration of a new Canadian stamp.

    Alex Pauk (photo: Bruce Zinger)

    Alex Pauk

    Composer / Music Director & Conductor, Esprit Orchestra

    Alex Pauk was the 2007 winner of The Canada Council for the Arts Molson Prize. As composer, conductor, educator and entrepreneur, Alex Pauk had much to do with revitalizing Canadian orchestral musical life for composers by founding Esprit Orchestra in 1983 as Canada’s only orchestra devoted to new music. Esprit, with a core of 50 of Canada’s best new music instrumentalists, and an annual subscription series in Toronto, encourages composers from across Canada to take bold new directions. Through building and sustaining its high calibre performances, commissioning programme, innovative programming (80% Canadian), recordings, performing arts videos and DVDs, Toward a Living Art Education Programme, Creative Sparks mentoring and creative leadership programme, New Wave Composers Festival, outreach initiatives, Canadian and International tours and interdisciplinary arts and multi-media ventures, Pauk has made Esprit a major force for developing and promoting Canadian music at home and abroad. Currently Pauk is composing a work for large ensemble commissioned by La Société de musique contemporaine du Québec.

    Jerry Pergolesi

    Jerry Pergolesi

    Artistic Director, Contact Contemporary Music | | Facebook: CONTACT contemporary music, Music From Scratch

    Jerry Pergolesi is a founding member and 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, Jeff Herriot, Theo Mathien, Jordan Nobles, Deirdre Piper, Marci Rabe, Ann Southam and Barry Truax..

    Valerie Peters

    Valerie Peters

    Professor of Music Educations, Université Laval

    Valerie Peters is currently Assistant Professor of Music Education at Université Laval in Quebec City where she is primarily responsible for the secondary pedagogy classes and is a member of the Centre d’excellence en pédagogie musicale (GRePIM). She holds Bachelors degrees in Music and Education from the University of Manitoba, a Masters in Music Education from the University of Northern Colorado, and a Ph.D. (2007) from Northwestern University. Valerie taught Band, Choir, Jazz Band, French, and Technology at Rosemount High School in Montreal. Her research interests include intercultural approaches to music education, musical creativity, and identity construction of music teachers.

    Barbara Scales

    Owner & Director, Latitude 45 Arts Promotion

    Founder and Director of Latitude 45/Arts Promotion, an artist management and agency that represents artists in all fields of the performing arts. Latitude 45 works globally with one-third of its activities in Canada, one-third in the United States and one third in Europe, Asia-Pacific and South America. Most of the work of Latitude 45 involves art on the leading edge of today’s performing arts practice in music. The market for this work is global rather than local or national and our experience has been in the international marketplace of the new performing arts. Among the artists we have represented and/or managed: Nouvel Ensemble Moderne, Arditti Quartet (UK), Les Percussions de Strasbourg (Fr), Alain Trudel, Mark Fewer, Louise Bessette, Lucille Chung, Nadina Mackie Jackson, Boleslav Polivka (Czech) and Pierre Hébert (filmmaker).

    R Murray Schafer (photo: André Leduc)

    R Murray Schafer

    Composer & Music Educator

    Born in Sarnia, Ontario in 1933, R Murray Schafer has gained an international reputation not only for his work as a composer, but also as an educator, researcher, writer, ecologist, and visual artist. A highly prolific composer, R Murray Schafer has produced works in every musical genre, from opera to music theatre, to chamber and orchestral music, by way of pieces for choir and a variety of soloists. The richness and depth of works such as Loving (1965), Lustro (1972), Music for Wilderness Lake (1979), Flute Concerto (1984), the World Soundscape Project, and the twelve-part work for music theatre Patria, illustrate the wide range of Schafer’s artistic interests. His ten string quartets are among his most significant works.

    The composer’s celebrated book, The Tuning of the World (1977), documents the results of the World Soundscape Project—research that brings together the social, scientific, and artistic aspects of sound and which introduced the notion of sonic ecology. A number of Schafer’s compositions and writings have become reference points for the evolution of music and musical thought during this and the past century. He has received commissions from countless organizations and has been recognized with a number of prestigious prizes. Schafer was the first recipient of the Glenn Gould Prize, and was also awarded the Molson Prize for his contribution to the arts.

    R Murray Schafer holds six honourary doctorates from universities in Canada, France, and Argentina. In September 2003, scholars paid hommage to Schafer with a conference in Rome entitled The Tuning of Italy, L’influenca di R Murray Schafer sulla ricerca musicale in Italia. At the same time, Schafer conducted a major event featuring over one thousand musicians entitled “Coimbra Vibra” to celebrate the city of Coimbra as the cultural capital of Portugal. In May 2004, Schafer was honoured for his contribution to radio at the Quinta Bienal International de Radio in Mexico City.

    Theodora Stathopoulos

    Theodora Stathopoulos

    President, Quebec Music Educators Association (QMEA), Head of String Department, FACE (Fine Arts Core Education) School

    Theodora Stathopoulos is the recipient of the 2006 Prime Minister’s Award for Teaching Excellence (Achievement) — one of two Canadian music teachers to receive the award in 2006 and the only music teacher from the province of Quebec. As well, in 2007, she was awarded both the Annual Achievement Award from the Business and Professional Women of Montreal and the Diplome d’Honneur from the Hellenic Community of Montreal. Ms. Stathopoulos has been a music specialist at FACE (Fine Arts Core Education) School in Montreal, Quebec since 1992. An active music educator since 1978, she collaborates regularly with the Music Education Department of the Université de Québec à Montréal (UQAM) in their teacher training Program. She has also been a reviewer and arts professional presenter for the Quebec Ministry of Education, serves on various national and provincial music and art education steering committees and is President of the Quebec Music Educators Association. A regular contributor to the Canadian Music Educators’ Journal, she has been an invited presenter for performing student ensembles at the International Society’s for Music Education (ISME) Conference (Tenerife, 2004/Bologna, 2008) and the United Nations’ World Conference on Climate Change (Montreal, 2005) as well as panelist at the Greek Society’s for Music Education Conference (Lamia, 2005 & Thessalonika, 2007), UNESCO’s World Conference on Art Education (Lisbon, 2006), National Arts & Learning Symposium (Ottawa, 2007), Resonant Learning Symposium on Arts, Children & Youth in a Multicultural Setting (Toronto, 2007) and the Canadian Arts and Learning Symposium (Kingston, 2008).

  • Round Tables

    Round Table 1

    Creative Music Education: the Key to the Future

    • Moderator: Louise Campbell, Clarinetist / Educator / Member of the CNMN Board of Directors
    • Mary Dinn: President, CMEA (St. John’s)
    • Iwan Edwards: Artistic Director, Concerto Della Donna (Montréal)
    • Tawnie Olson: Composition Instructor, ACES Educational Center for the Arts (New Haven, USA)
    • Valerie Peters: Professor of Music Educations, Université Laval (Québec)
    • Theodora Stathopoulos: President, QMEA / Music Educator, FACE (Montréal)

    The music lovers of tomorrow begin their journey in today’s classrooms. If today’s kids get excited about music, they will be more likely to make music a part of their adult life, whether as amateur musicians, concert goers, avid listeners, music educators or professional artists.

    What are the issues involved in making music in the classroom, and more specifically, making the music of today in today’s classrooms? Teachers in the class are faced with many challenges: students of varying levels of knowledge, ability and aptitude; limited class time, equipment and budgetary constraints, expectations and pressures from the school’s administration and students’ parents, and curriculum requirements from the provincial Ministries of Education. The guests of this panel present real-life experience, knowledge and advice in creating situations that help kids be excited about today’s music.

    Round Table 2

    Audience Development: Creative Music Strategies

    • Moderator: Patricia Abbott, Executive Director, ACCC (Montréal)
    • René Bosc: Composer / Head of Music, Radio-France (Paris)
    • Coat Cooke: Artistic Director, New Orchestra Workshop Society (Vancouver)
    • Nancy Evans: Education Manager, Birmingham Contemporary Music Group (RU | UK)
    • Matt Haimovitz: Cellist / Educator, Université McGill (Montreal)
    • Alex Pauk: Composer / Music Director and Conductor, Esprit Orchestra (Toronto)

    Who is listening? The average concert hall is filled mainly with people who already attend concerts on a regular basis. If this is the case, then live contemporary music is getting to a very restricted number of people — so how do we get to everybody else, to all of those people who don’t usually go to concerts? The marketing buzzword is audience development, and the interest is sincere; music has the potential to speak to anyone, regardless of their demographic or manner of engaging with the music. The guests of this panel share their innovative thinking, motivation, strategies and initiatives in reaching out to a larger, more diverse public.

    Round Table 3

    Creative Music, Education and Society: a Critical Connection

    • Moderator: Nicole Doucet, Director of Arts Disciplines, Canada Council for the Arts (Ottawa)
    • Claude de Grandpré: Artistic Director, Théâtre Hector-Charland (L’Assomption) Raffi Armenian: Director, Conservatoire de musique de Montréal
    • R. Murray Schafer: Composer & Music Educator (Indian River)

    Presently, there is little connection between creative music making and the current education system. However, Forum 2009 brings together many of those who experience this rare and powerful connection, and there’s a lot to learn from them!

    At every stage of the public school system, Canadians find countless opportunities to learn art by creating their own art — when it comes to literary and visual arts, that is. In music class, they are taught to re-create the compositions of others, or at best, to improvise within a preconceived framework (i.e. jazz). For this reason, the art of creative music making remains an alien phenomenon to the majority of both amateur and serious music students. Can we really wonder, then, why the average member of society has such difficulty appreciating a work of creative music, compared to a new work of literature or visual art?

    This disparity among the arts in the educational system is partly due to economic factors: most jobs require strong language skills, not musical skills. The result is a cycle that works to the detriment of musical culture: students are not given a chance to create music, they go on to become uncritical music consumers, and those who pursue creative music struggle to exist and to connect with their potential listeners. How can we break this cycle? Is it in the whole of society’s interest to invest in the education of musical creation? What kind of society would we see if creative music had an important, critical connection with it?

  • Portraits

    Portrait 1

    New Music in the Canadian Choral Landscape

    • Patricia Abbott: Executive Director of the Association of Canadian Choral Communities (Montreal)

    The Canadian choral landscape is teeming with choirs eager to perform new music and especially that of Canadian composers. The Association of Canadian Choral Communities’ Patricia Abbott describes the current choral music scene and offers insight for composers keen on writing for this medium. She will also offer contact information and ways in which composers can make their work known to choral conductors.

    Portrait 2

    Audience Development in Orchestras

    • Katherine Carleton, Executive Director, Orchestras Canada (Toronto)

    “Community engagement”, “audience development”, and “education and outreach” are terms that have been used by orchestras to describe their efforts to reach and engage less traditional audiences. Katherine Carleton, executive director of Orchestras Canada (the national membership organization for Canadian orchestras), will talk about the history, evolution and future of this work, with a particular emphasis on orchestras’ efforts to actively enlist audience members as performers and creators.

    Portrait 3

    Composition and Musical Creativity in the Quebec Education System

    • Valerie Peters, Professor of Music Education, Université Laval (Québec)

    This talk will present electronic case studies featuring students and teachers from primary and secondary schools in the province of Quebec. These case studies are the result of a pedagogical project in collaboration with the Office of Pedagogical Services at Université Laval. The video clips feature students in the different stages of the creative process in music classrooms. Also, there are interviews with students as they explain how they compose/create music as well as interviews with teachers, explaining the pedagogical context and organization of the creative activities. I will make links between the case studies and recent literature about creativity and music composition in schools. After the presentation, there will be time to discuss the different challenges in relation to musical creativity in the classroom setting.

    Portrait 4

    Canadian repertoire for young musicians

    • Elisabeth Bihl, Executive Director, Canadian Music Centre (Toronto)
    • Mireille Gagné, Director of the CMC-Quebec (Montréal)

    Over its 50-year history, the Canadian Music Centre has always worked in close partnership with Canada’s music educators and organizations. CMC’s longstanding outreach programs such as the Composer kit, Composer in the Classroom or Composers in Electronic Residence were valued and recognized by students and teachers alike. Upon launching the CMC’s new website in 2004, the tradition was continued. Today, CMC offers three online educational programs complete with downloadable teachers guides. SOUND ADVENTURES is an introduction to music and is aimed at children from 5-—10 years of age. SOUND PROGRESSION provides a comprehensive overview of the various genres within the contemporary music sphere, offering information to all ages; INFLUENCES OF MANY MUSICS presents a unique look at music from CMC Associate Composers who are new Canadians, and the reflection of their duel heritage in their music. The presentation will take a closer look at these CMC online educational tools. — Elisabeth Bihl

    Canadian repertoire for young musicians exists, but too often the works are not sufficiently adapted to the conditions of presentation and performance in Quebec schools. For twenty years, CMC Québec has collaborated with the Fédération des associations de musiciens éducateurs du Québec (FAMEQ) on the annual commission of a work for school band, which is premiered at every annual Congress of the Federation. Moreover, and very recently, FAMEQ and CMC Québec agreed to a memorandum of understanding that aims to revitalise music education, by providing teachers the necessary tools to help them accomplish the task of teaching and exploring this special repertoire and, vice-versa, by inviting and sustaining composers who are ready to invest in actively composing for young musicians. — Mireille Gagné

    Portrait 5

    New Music and Presenters Networks

    • Angela Drainville-Ashick, Director, CAPACOA & General Manager, Classic Theatre (Cobalt)
    • Barbara Scales, Owner and Director, Latitude 45 Arts Promotion Inc. (Montréal)

    This is an exchange between Barbara Scales, artist manager and agent, and Angela Drainville-Ashick, community presenter. The themes discussed will include the roles of the artist, the agent and the presenter, their particular realities and the expectations that each may have of the other. CAPACOA Director, Angela Drainville-Ashick will review the barriers and opportunities in presenting new music at soft-seat venues across Canada. With a unique presenting perspective, Drainville-Ashick will discuss the needs of facility programmers in understanding and collaborating to present new music.

  • Case Studies

    Case Study 1

    Learning and Participation in the Context of a Contemporary Music Ensemble

    • Nancy Evans, Education Manager, Birmingham Contemporary Music Group (RU / UK)

    This talk will explore BCMG’s learning and participation programme. The programme is built around the resources of the group (virtuosic musicianship and links with composers) and reflects BCMG’s core values of excellence, innovation and quality relationships. The programme consists of: an extensive programme of out-of-school and in-school composition workshops; ground-breaking family and schools concerts; concerts involving young and non-professional musicians performing alongside BCMG musicians; play-throughs of works by university and conservatoire students; commissioning new works for young listeners and young performers; creating learning resources; and, a series of Insight events exploring the world of contemporary music in more depth. The talk will also touch on BCMG’s pioneering individual donor and audience development scheme Sound Investment in which audience members invest in new commissions. Nancy will share how the programme has evolved, how it works in partnership with other organisations, ongoing challenges and future developments. The talk will be illustrated by audio and video examples of work.

    Case Study 2

    Série Hommage No 1: Claude Vivier

    • Pierrette Gingras, General Manager, Société de musique contemporaine du Québec (Montréal)

    In the 2007-2008 season, the Société de musique contemporaine du Québec created the new series ’Hommage’. This series aims to unite the cultural milieu around one composer with the goal of recognizing this composer with the statue of ’national treasure’. The first edition of this series dedicated to Claude Vivier proved to be a great success: around 20 organisations responded to the call put out by the SMCQ by integrating one of Vivier’s works into their artistic season. The major accomplishment of this project was Le grand jeu/La grande écoute which gave more than 13000 children in Quebec the opportunity to discover the composer by listening to and playing one of his works in the classroom. The Hommage series demonstrates the extent to which diversity of the participating organisations is a key component to audience development.

    Case Study 3

    Music From Scratch

    • Jerry Pergolesi, Artistic Director, Contact Contemporary Music (Toronto)

    Music From Scratch is a free, weeklong summer workshop for youth presented by CONTACT contemporary music in association with University Settlement Music & Arts School. Community members with and without musical training are engaged in the process of creating music. The workshop provides a means for participants to explore alternative ways to be creative with music, that involves listening to their environment in a different way, and to organize their thoughts in new ways in order to convey their (musical) message. Together, participants in the workshop, along with artists create works that explore their environment and personal lives. Participants are given several new tools with which they are now able to think creatively in order to express their own realities.

    Case Study 4

    New Music and Community

    • Gilles Mottet, Composer / Director, Pourquoi pas…co-incidence? (Nice)

    Thanks to the structure of Pourquoi pas…, an association of composers and performers devoted to new music creation which I founded in 2001, we could imagine and put in practice different forms of creativity and communication to enable a large audience to discover music creation and new music repertoire. To reach this goal, we regularly build partnerships with local institutional structures such as museums and media libraries. We aim to integrate our new music into the programming of national cultural events that, originally, were not designed to accept this kind of work — events such as Journées du patrimoine, Mars aux Musées, Nuit des Musée, among others. To these special places, we provide the personnel and technical resources needed to create site-specific commissioned works that make use of, or are connected to, different artistic and scientific fields. Finally, we propose pedagogical actions such as meetings and debates with composers and musicians, new music residencies open to the public, student workshops on musical practices, and interventions in schools.

    Case Study 5

    Composing For Young Musicians: Experiences with School Bands and Choirs

    • Allan Bell, Composer / Professor, Calgary University (Cochrane)

    The session will focus upon practical approaches to the challenge of creating adventurous music for performance by young musicians.

    Case Study 6

    Composing With Young Musicians

    • Tawnie Olson, Composition Instructor, ACES Educational Center for the Arts (New Haven, USA)

    Composing With Young Musicians offers a window into one approach to contemporary composition pedagogy by discussing methods used at the Educational Center for the Arts (ECA), an arts magnet high school in New Haven, Connecticut. The history and philosophy of ECA and its music department will be summarized briefly, and a profile of its students will be given. Three key elements of the composition courses at ECA will be discussed: using contemporary compositions as models, creating frameworks that encourage students to use new techniques while allowing them to maintain stylistic freedom, and creating opportunities for collaborations, performances and recognition of student work. Examples of assignments, student compositions, and performances will be provided.

    Case Study 7

    The Importance of Music Education In Our Classroom

    • Ann La Plante, General Manager, Alliance for Canadian New Music Projects

    Ann La Plante details how the Alliance for Canadian New Music Projects produces their classroom projects, and due to its many years of undertaking such endeavours, she can show us the extent to which such projects are important in the public school classroom.

  • Demonstrations

    Demonstration 1

    FACE Chamber Orchestra

    • Theodora Stathopoulos, Conductor (Montréal)

    The programme consists of “Suite du promeneur” (1992) for string orchestra, by Quebec composer Louis Babin, as well as short works composed and performed by secondary level students from FACE.

    Demonstration 2

    Concerto Della Donna

    • Iwan Edwards, Conductor (Montréal)

    Join Concerto Della Donna, under the direction of Maestro Iwan Edwards, for a performance of Magnificat, a work for soloist and ten singers by Canadian composer Christine Donkin.

    Demonstration 3

    Ear Cleaning and improvisation pedagogy in the high school classroom

    • Douglas Friesen, Music Instructor, Rosedale Heights School of the Arts (Toronto)

    With the help of several of his students, Douglas Friesen provides us with a glimpse into the creative and improvisational teaching methods happening at a public arts school in Toronto, including elements of interdisciplinary experimentation. Mr. Friesen and his students have participated in workshops with Fred Frith, Marc Ribot, Iva Bittova, among others, and have gone on to present their own workshops to fellow students and imminent teachers. The information they present has proven successful and valuable to educators and students of all levels, from early years to post secondary, and can often act as a catalyst to the discovery of the best-suited exercises and games for each classroom situation.

    Demonstration 4

    Creative Music Technology

    • Blue Yeti: Magnolya Roy & Jean-Michel Couturier (France)

    Blue Yeti is a hybrid structure that bridges research activities and workshops in sound, visual and gestural experiments. It is particularly interested in digital music instruments design and their use for creative and educational purposes. The heart of this “digital lutherie” (or one could call it digital instrument design) centres on the search for new sounds and the most appropriate instrumental gestures with which to control these sounds. Grapholine is an example of an audiovisual instrument that enables the transformation of drawing gestures into sounds. Grapholine has been used to compose and play several electroacoustic pieces of music, and is also used in an educational project with children and teenagers. The aim of this project is to offer a creative tool that can deal with subjects as different as music and sound art, visual art, the relationship of the body and the environment, the intersections between art and science…

    Demonstration 5


    • Félix Boisvert, Composer (Montréal)

    Félix Boisvert presents the Musicolateur, an instrument for music creation designed specifically for children ranging in age from kindergarten to high school. On the cutting edge of digital technology, this instrument was designed to be usable by all, regardless of the level of formal musical training. The Musicolateur is the result of Yves Daoust’s forty years of work with children; this work led to the desire to create an instrument design with a distinctly modern conception, which allows a playful approach to initiating young ears to the world of contemporary music creation.

  • Team

    • Tim Brady
    • Louise Campbell
    • Mireille Gagné
    • Jean-Sébastien Gagnon
    • Pierrette Gingras
    • Theodora Stathopoulos
    • Emily Hall — RCMN Administration, communications, and production coordinator

    With the participation of the Festival Montréal/Nouvelles Musiques 2009 team.