Laura Gray is Associate Professor, Music at the University of Waterloo, where she has taught and served in administrative roles for over 20 years, after earning degrees in Music from UWO, UBC and Yale. Her main areas of research include the British reception of Jean Sibelius and British music criticism between the wars.
Stephen Runge is Professor and Head of the Department of Music at Mount Allison University, where he teaches Piano, Chamber Music, Keyboard Literature, and Piano Pedagogy. He has performed and presented workshops across Canada, receiving special recognition as soloist and for his frequent performances of chamber music and art song. Stephen is currently serving as Vice-President of the Canadian Music Festival Adjudicators’ Association.
Catrina Flint de Médicis works on the music of the French fin-de-siècle including topics related to the Schola Cantorum, sacred music, and puppet theatre. She has published articles in Nineteenth-Century Music Review and Intersections as well as several edited collections and presented at numerous conferences. In 2017, she oversaw the restoration of one act from Maurice Bouchor’s adaptation of Shakespeare’s The Tempest for puppet theatre, with music by Ernest Chausson. Her work has been funded by both SSHRC and FRQSC. Catrina teaches music history and ear training at Vanier College, and is also a regular member of the Observatoire interdisciplinaire de création et de recherche en musique (OICRM).
Maria Virginia Acuña is Assistant Teaching Professor (Music History and Musicology) at the University of Victoria. Her research focuses on Spanish music and culture of the early modern era, specifically the intersection of gender, politics, and race in Baroque musical theatre. Her research appears in Eighteenth-Century Music, Early Music, the Bulletin of the Comediantes, and in conference proceedings. She is also co-author of Claudio Monteverdi: A Research and Information Guide (Routledge, 2018).
Currently Associate Professor of Musicology at the University of Manitoba, Colette Simonot-Maiello’s research focuses on politics, gender, and religion in modern Canadian and French opera. Her scholarship includes numerous conference presentations and public talks as well as publications in Intersections, UofT Quarterly, and other fora.
Trained as a pianist, Ariane Couture is Assistant Professor of Musicology at Université de Sherbrooke. A socially engaged academic, she is Francophone Editor for Intersections and on the board of many cultural and digital organizations. She published La création musicale à Montréal de 1966 à 2006 vue par ses institutions (PUL).
Paul Sanden is Associate Professor (Music History) at the University of Lethbridge. His research investigates meaning formation in contemporary music, and especially the impact of electronic technologies on music’s performance. Author of Liveness in Modern Music. English editor, Intersections: Canadian Journal of Music.
Meghan Forsyth is Assistant Professor of Ethnomusicology at Memorial University of Newfoundland and Labrador. Her main areas of research include music and dance traditions of the Acadian diaspora and the cultural legacies of twentieth-century woods workers from Newfoundland and Labrador. She works on a variety of applied ethnomusicology projects, ranging from exhibits and digital archives to CDs and public programming.
Anthony Grégoire (Ph.D. in anthropology, Université de Montréal; Ph.D in ethnomusicology, EHESS – Paris) specializes in intercultural and postcolonial dynamics in West Africa and the performance of identity through music and dance. He is currently a post-doctoral fellow (FRQSC) at the Laboratoire audionumérique de recherche et creation (LARC) at Laval University where he studies the emergence of new indigenous dynamics in the performance arts in Senegal and their intercultural mediation in creating a space for sociopolitical activism in the public sphere.
Kip Pegley is Professor of Music in the DAN School of Drama and Music, Queen’s University, where he teaches popular music, music and culture, and music and gender. His work has explored music, commemoration and nationhood, the politics of North American benefit concerts, and, more recently, music, conflict and Canadian identity.
Kamille Gagné (she/they) has a background in music and anthropology. She has been enrolled in a Master’s of musicology program at Université de Montréal, under the supervision of Marie-Hélène Benoit-Otis, since 2021. Her research explores the social, cultural, and political aspects of traditional vocal repertoire of Alsace. She has received funding from SSHRC and FRQCS and OICRM, as well as from the Canada Research Chair in Music and Politics. She is also a research assistant and coordinator of EMF-OICRM.
Jon-Tomas Godin is Associate Professor of Music Theory at Brandon University, specializing on form and structure in 19th century music and broader connections between music theory and the history of ideas. He also works with the academic union movement in Canada.