Dr. Michelle Boyd is an Associate Professor at Acadia University in Wolfville, Nova Scotia, which is located in the ancestral and unceded territory of the Mi’kmaq. She teaches musicology and keyboard and directs the Acadia University Singers. Her research on “Singing ‘In Flanders Fields’” received two Harrison McCain Emerging Scholar Awards and is featured on the Society for American Music’s 2019 Digital Lecture Series. Michelle is the recipient of the several teaching awards, including the inaugural Evans Teaching Learning & Learning Scholar for Acadia’s Faculty of Professional Studies, for which she is developing an open-access e-book about activism, advocacy, and social justice in Canadian music.
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.
Margaret Walker is Professor of Ethno/Musicology at the DAN School of Drama and Music at Queen’s University in Kingston Ontario. She was Director of the School of Music between 2010 and 2015, and played a key role in the merge between drama and music. Her research has followed two trajectories: the history and historiography of North Indian dance (kathak); and anticolonial music curriculum and pedagogy with a particular focus on music history. She currently lives, works, and makes music on the traditional lands of the Haudenosaunee and Anishinabek peoples.
Kimberly Francis is Director of the School of Fine Art and Music as well as Professor of Music at the University of Guelph. With Tes Slominski, Francis currently serves as co-editor-in-chief for Oxford Music Online’s special project to revise content related to women, gender, and sexuality. Francis’s work has been featured internationally, including in the New York Times, in Gramophone Magazine, and most recently by Craig Norris on CBC Radio’s “The Morning Edition.” Francis’s most recent publication Nadia Boulanger: Thoughts on Music (with Jeanice Brooks) was shortlisted for the International C. B. Oldman award, and in 2023, she and Dr. Brooks won the Pauline Alderman Award for outstanding scholarship on women and music from the International Alliance for Women in Music. Francis is the author of Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon (Oxford, 2015), Nadia Boulanger and the Stravinskys: A Selected Correspondence (University of Rochester Press, 2018), and co-editor with Margot Irvine of Creative Women of the ‘Lost Generation’ (Routledge, 2023). She is currently working on her second monograph: Marcelle de Manziarly: Siren of the Occult, under contract with Oxford University Press.
Jamie Meyers-Riczu is a SSHRC Postdoctoral Fellow at Carleton University and an award-winning music history instructor at Concordia University of Edmonton. Her areas of research vary, from music-text relationships in nineteenth-century program music, local music histories, to music and the moving image. Her postdoctoral project, “Selling Black Gold: Audiovisual Mediations of Alberta’s Petroculture” examines how audiovisual media—particularly those that incorporate music and sound—have participated in constructing, reflecting, and critiquing Alberta’s oil culture from 1946 to 1970. She has presented her research at various conferences and invited talks. Her work can be found in Nineteenth-Century Music Review, Intersections, The Conversation, and in the forthcoming edited collection Critical Perspectives on Petrosonics (2027). She currently lives on Treaty 6 Territory, the traditional lands of the Papaschase and the homeland of the Métis Nation.
Amanda Lalonde is associate professor of musicology at the University of Saskatchewan on Treaty 6 Territory and the Homeland of the Métis. Her main research area is early nineteenth-century music, with work on music aesthetics, connections between music and literature, and women composer-pianists. She has also published work on early New York hip hop.
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).
Dr. Colleen Renihan is Acting Associate Dean (Teaching and Learning) in the Faculty of Arts and Science and Associate Professor in the DAN School of Drama and Music at Queen’s University. A musicologist and interdisciplinary researcher, her work investigates how artistic practices function as sites of memory, transmission, and selfhood. Working across musicology, performance studies, health humanities, and community-engaged arts research, she examines how bodies, voices, gestures, and creative practices act as living archives through which cultural knowledge, identity, and human experience are carried across generations. She is the author of The Operatic Archive: American Opera as History and has published widely in musicology, health humanities, and performance studies. She lives and works in Kingston, Ontario, on the traditional territories of the Anishinaabe and Haudenosaunee Peoples.
Simone Willmann is currently pursuing her PhD in Musicology at the University of Alberta (UofA). Her research focuses on music and elitism, and the impacts of social structures and class hierarchies within music performance spaces and institutions. She holds degrees in choral conducting from the University of Alberta, and in voice and violin performance from Ambrose University. Her care-centered research has been recognized with some of Canada’s most prestigious graduate research scholarships, including the Social Sciences and Humanities Research Council Doctoral Scholarship (SSHRC CGS-D) and the Izaak Walton Killam Memorial Scholarship. Simone is also a dedicated conductor and performer who thrives on fostering collaboration and inspiring others through music and community engagement.
Rena Roussin is a scholar of classical (“art”) music’s relationships to concepts of equity, embodiment, and social justice in historic and current contexts. She has particular research expertise on changing concepts of disability and gender in eighteenth-century Austro-German music, as well as Indigenous-led classical music initiatives in twenty-first century North America. She holds a doctorate in musicology from the University of Toronto, and is currently a postdoctoral associate at Western University, where she is working on her first book project, Identities, Indigeneities, Intersectionalities: Positioning Contemporary Opera in Canada. A committed public musicologist, Rena serves as musicologist-in-residence for the Toronto Mendelssohn Choir and on the Canadian Opera Company’s Circle of Artists. Rena is especially interested in ways music might contribute to Indigenous equity on Turtle Island, musical repa/matriation, and community-led research, interests that are informed both by her settler ancestry and her experiences as a reconnecting Indigenous person with heritage from the Haida and Métis communities.
Patrick Nickleson is a settler music historian who writes, teaches, hosts, collaborates, and broadcasts from amiskwaciy-wâskahikan, where he is Assistant Professor of Musicology at the University of Alberta. His research considers unfounded property claims on experimental, folk, popular, and Indigenous music as part of a SSHRC project, and second book, both titled How Music Renders Property.
Patrice Nicolas is associate professor of musicology and counterpoint at the Université de Moncton, which is located on the unceded ancestral lands of the Wolastoqiyik (Maliseet) and Mi’kmaq. His work focuses on early music from the 14th to the 18th centuries, particularly counterpoint and historically informed analysis. He is currently completing a book on counterpoint according to the French baroque masters.