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.
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.
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.
Bill chairs Music at MacEwan University and is the architect of MacEwan’s BMus. He directs ensembles and teaches theory, composition/arranging and electronica. Bill was the Local Arrangements Chair, MusCan 2018 (MusEcologies), and has chaired SCIM since then.