Guy Bellavance is Professor at the Urbanisation Culture Société Research Centre at the Institut national de la recherche scientifique (INRS) in Montreal. He is particularly interested in issues of consumption and work in the cultural sector. Over the last few years, his research has focused mainly on living and professional working conditions in the arts sector, the participation of the new elites in cultural activities, the strategies put in place by the government regarding cultural matters, and the socio-economic structure of the cultural sector. Much of his work reflects on the function and status of arts and culture in urban centres and metropolitan agglomerations. Since 2002, some of his research has also focused on creative work in the new digital media sector. Director of the laboratoire/art et société/terrains et théories (l/as/tt) and holder of the Chair Fernand-Dumont sur la culture, he is also one of the university community representatives at the Observatoire de la culture et des communications du Québec (Institut de la statistique du Québec). Email: guy.bellavance * ucs.inrs.ca
André Courchesne is Director of Business Development of the Carmelle and Rémi-Marcoux Chair in Arts Management at HEC Montréal. A graduate of the Université de la Sorbonne Nouvelle (Paris) in theatre and the Université du Québec à Montréal in business administration, he has conducted various studies and training sessions in arts administration throughout his career. He has been involved in the administrative management of several theatre companies since 1980 and in 1989 he became Administrative Director of the Festival Trans-Amériques. In 1993, he joined the Canada Council for the Arts and became Head of Theatre from 1996 to 2004. In 2005, he was promoted to the senior management of the Council as Director of the Arts Division. He is currently finishing his doctoral studies at HEC Montréal, where he is pursing research and teaching courses on cultural politics. Email: andre.courchesne * hec.ca
Danilo Dantas is Assistant Professor of Marketing at HEC Montréal. He holds a diploma from the Universidade Federal do Rio Grande do Sul (Brazil) in business administration and a doctorate in consumer behaviour from the Université de Grenoble. He has taught marketing at European and North American universities for over ten years, and conducts training workshops on the use of data in the cultural sector. His research focuses primarily on the use of marketing in music and electronic communication. Email: danilo.dantas * hec.ca
Michel Duchesneau is Chair of Musicology at the Université de Montréal. Duchesneau is the author of L’avant-garde musicale en France et ses sociétés de 1871 à 1939 (Margada, 1997), an edited collection entitled Musique et modernité en France (PUM, 2006), and several articles and conference papers on French music in the first half of the 20th century. Supported by a grant from the Social Sciences and Humanities Research Council of Canada, he has edited two volumes on the writings of French pedagogue and composer Charles Kœchlin (Mardaga, 2006 and 2009). In 2002 he founded the Observatoire interdisciplinaire de création et de recherche en musique (OICRM) and has since held the position of Director. Duchesneau is also head of the sociomusicology team that is pursuing a project on the Development of Musical Audiences in Quebec (DMAQ). In 2012, he received the Dent Medal in recognition of his exceptional contribution to the field of musicology. Email: michel.duchesneau * umontreal.ca
Rosaire Garon is Associate Professor in the Department of Studies in Leisure, Culture, and Tourism at the Université du Québec à Trois-Rivières (UQTR). He has a wide range of experience in sociology of culture, developed during thirty-five years of research at the Québec Ministry of Culture and Communications. He supervised the Survey on Cultural Practices in Quebec from 1979 to 2006. In addition to his research on cultural practices and audiences, he has written and published several studies in the fields of cultural politics, cultural economy, statistics and cultural indicators. In recognition of his contributions to the understanding of cultural behaviour in Québec, the Ministry established a scholarship in his name, the Rosaire-Garon Scholarship, a research fellowship for doctoral students in Social Sciences, Humanities, and the Arts. Email: rosgaron * videotron.ca
Flavia Gervasi is Assistant Professor in Sociomusicology in the Faculty of Music at the Université de Montréal. She holds degrees in social sciences and in music, including a Ph.D. in Musicology. Her sociomusicology research focuses on the use of qualitative methods for the musical ethnography of festivals, as well as popular music and the cultural politics of world music. Since completing her doctorate, she has become particularly interested in the sociocultural and political problems surrounding the public performance of music from oral traditions. These studies lead her, on the one hand, to bring to light and comprehend the relationship between aesthetic criteria and social systems and, on the other, to assess the interaction between artistic creation and cultural politics. She is responsible for coordinating the DMAQ project research teams and also leads the survey project for the Théâtre Hector-Charland. Email: flavia.gervasi * umontreal.ca
A professor at the Conservatoire national supérieur de musique de Paris (Professions associated with musical culture), Lucie Kayas specializes in French music of the early twentieth century (Roussel, Poulenc, Jolivet, Messiaen). Her biography of André Jolivet (2005), as well as her translation of Peter Hill and Nigel Simeone’s biography of Messiaen (2008) are both published by Fayard. Head of Educational Services for Théâtre du Châtelet from 2000 to 2012, she also wrote a survey of young audiences for the Ministry of Culture (Musiques et jeune public : écouter, interpréter, inventer). With her students, she explores different types of outreach in partnership with cultural institutions like the Philharmonie de Paris, the Auditorium of the Louvre, and the Opéra de Nancy. Email: maudot-kayas.lucie * neuf.fr
Philippe Le Guern is a professor at the Université de Nantes, a member of the Atlantic Center for Philosophy, and an associate researcher at the Research Center for Arts and Language (CRAL-EHESS). Initially focussed on fan culture from an ethnographic perspective, his work now looks at the impact of the digitization of the cultural sphere, especially in the music field, whether related to careers, audiences, industry, new ways of conferring heritage status, or technological innovation. He has directed two programs funded by the Agence Nationale de la Recherche: the first on the transformation of technical-artistic professions in a digital world, the second on the “musicalization” of everyday life and its various mutations. His work has recently lead him to be welcomed as a visiting research associate at the University of Malaya in Kuala Lumpur and a research fellow at the University of Edinburgh’s Institute for Advanced Studies in the Humanities. Email: philippe.leguern * univ-nantes.fr
Assistant Professor at Université de Montréal, Mathieu Lussier is Associate Conductor of Les Violons du Roy. He has led the orchestra in numerous concerts in Quebec and on tour throughout Canada, the United States, and Mexico. In 2014, Lussier was awarded the prestigious Jean-Marie-Beaudet Conducting prize by the Canada Council for the Arts. He previously served as Artistic Director of the Lamèque International Baroque Music Festival from 2008 to 2014. As a soloist, Mathieu Lussier has been an energetic and passionate promoter of both the modern and baroque bassoon as solo instruments for nearly two decades throughout North America and Europe. He also devotes considerable time to chamber music as a member of Ensemble Pentaèdre de Montréal. He has numerous solo recordings and is also a respected composer, with a catalogue of over 40 titles heard regularly in the concert halls of North America, Europe, Asia, and Australia. Email: lussier.mathieu * videotron.ca
Sylvie Pébrier is Music Inspector at the Ministère de la Culture and a music history instructor at the Conservatoire national supérieur de musique et de danse de Paris. She has a background in both political science and musicology. Sylvie Pébrier has completed a study on classical music audiences (numerical data, discourse, and actions), and also works on cultural politics, methods of cultural mediation, and the political and sensitive issues surrounding aesthetic experience. She brings her knowledge of strategies undertaken by cultural institutions in France, studies carried out through the initiative of the Ministère de la Culture, and her observations on the methodology of designing and evaluating mediation projects. Email: sylvie.pebrier * culture.gouv.fr
Valerie Peters is Associate Professor of Music Pedagogy in the Faculty of Music at Université Laval. She was a secondary school music teacher for many years and has been responsible for the Didactics of Music course since 2004. As program director of the Bachelor in Music Education since 2014, she is a researcher for the Research group in musical and instrumental pedagogy and a regular member of the Observatoire interdisciplinaire de création et de recherche en musique (OICRM). Her research interests include: 1) Identity construction of undergraduate music education students; 2) Multicultural and intercultural music education (FQRSC Research Grant, 3 years); 3) Artistic learning and youth arts engagement in a digital age (SSHRC Insight Grant, 5 years); 4) collaborative research on the working conditions, knowledge, and practices of music students in Quebec (OICRM, CMEA, CRSH Institutional Grants); and 5) the project Implementation of a Knowledge Mobilization Plan for a Community Music Organization (Fonds de soutien à l’innovation sociale, Université Laval). Email: Valerie.Peters * mus.ulaval.ca
Cécile Prévost-Thomas, a sociologist and musicologist, is Associate Professor (maître de conférences) at the Université Sorbonne Nouvelle-Paris 3 in the department of Cultural Mediation where she created the master’s programme Médiation de la Musique in 2014 (in collaboration with Hyacinthe Ravet from Paris-Sorbonne). A researcher at Cerlis (Centre de Recherche sur les Liens sociaux), she is also the editor-in-chief of the journal Sociologie de l’Art and a corresponding member of CRILCQ. Her research is focused, on the one hand, on the analysis of the practices and representations of contemporary song in the Francophone sphere and, on the other, on the observation of the musical mediation methods developed during the 2010s by several institutions (Orchestre Français des Jeunes, Les Talens Lyriques, Philharmonie de Paris, Hall de la Chanson) for different target audiences (young musicians, school-aged children, underprivileged social sectors, etc.). She was a co-organizer of the international conference “Les mondes de la médiation culturelle”; proceedings from this conference will be published in the fall of 2015. She has published, in collaboration with Lise Bizzoni, La chanson francophone engagée (Triptyque, 2008). Her book, Sociologie de la Chanson (Repères, La Découverte), is forthcoming in 2016. Finally, she is currently preparing her HDR (Habilitation à Diriger des Recherches), focusing on the issues surrounding musical mediation. Email: cecile.prevost-thomas * univ-paris3.fr
Hyacinthe Ravet is Associate Professor with an accreditation to supervise research at the Université Paris-Sorbonne. A sociologist and musicologist, Ravet teaches sociology of music and arts at the UFR de Musique et Musicologie and in the Department of Sociology. She supervises the “Médiation de la musique” master’s programme initiated in 2014 in partnership with the Université Sorbonne Nouvelle-Paris 3. Author of Musiciennes: Enquête sur les femmes et la musique (Paris: Autrement, 2011), she devotes her research to the sociology of music, the process of artistic creation, and the analysis of genre. More specifically, she has recently completed a research project on the process by which conductors and musicians collectively develop musical interpretations (forthcoming with Vrin). She also studies female orchestral conductors and the resurgence of klezmer music. Email: Hyacinthe.Ravet * paris-sorbonne.fr
Danick Trottier is Lecturer in the Department of Music at Université du Québec à Montréal (UQAM) and Associate Researcher at the Observatoire interdisciplinaire de création et de recherche en musique (OICRM) at the Université de Montréal. He holds a doctorate in musicology from the Université de Montréal in collaboration with the École des Hautes Études en Sciences Sociales de Paris (EHESS). From 2008 to 2010, he pursued postdoctoral research at Harvard University, supported by a fellowship from the Social Sciences and Humanities Research Council of Canada (SSHRC). From 2011 to 2013, he co-directed the sociomusicology research team of the OICRM, and participated on the editorial board of La Revue musicale OICRM. He has published articles in journals including Argument, Circuit, Filigrane, Intersections, Les Cahiers Debussy et Perspectives of New Music. His research, which spans the fields of musicology, aesthetics, and sociomusicology, focuses on the musical avant-garde, works of homage, musical prodigies, musical audiences, and Québécois pop music. Email: trottier.danick * uqam.ca
Jean-Claude Yon is a professor of contemporary history at the Université de Versailles Saint-Quentin-en-Yvelines. Specializing in nineteenth-century performances, he is the Director of the Centre d’histoire culturelle des sociétés contemporaines (CHCSC). He is concurrently the Director of Studies at the École Pratique des Hautes Études (EPHE) where he holds the Chair in the History of Performances in the Contemporary Era. From 1992 to 2006, he was a project manager at the Musée d’Orsay, for which he curated 12 exhibit-projects. His publications include the biographies of Offenbach and Scribe, and, published by Armand Colin in its “collection U”: Le Second Empire. Politique, société, culture (2012 ) and Histoire culturelle de la France au XIXe siècle (2010). He also directed Les Spectacles sous le Second Empire (Armand Colin, 2010) and published, with Aubier in 2012, Une histoire du théâtre à Paris de la Révolution à la Grande Guerre. Since 2013, he has been Vice-President of the Société des Études romantiques et dix-neuviémistes (SERD). He has edited plays by Feydeau (2013) and Labiche (2016) in the Folio-Théâtre collection. Email: jeanclaudeyon * wanadoo.fr
Natassja Oliveira-Menezes holds a master’s degree in sociomusicology (The development of classical music audiences among university students in Montreal), under the supervision of Michel Duchesneau. As a member of the sociomusicology team at the OICRM, she worked as a research assistant and head of communications at DMAQ. For her master’s project, she received scholarships from the OICRM, the Faculty of Music and the musicology chair of the University de Montréal. She holds a bachelor’s degree in communications from the Federal University of Rio de Janeiro. In Brazil, she worked in journalism and cultural communication in classical music, contemporary art and the audiovisual field. Email: natassjarj * yahoo.com.br
Xavier Roy is a graduate of the Master’s of Management of Cultural Enterprises program at HEC Montréal. His research project, jointly supervised by the Carmelle and Rémi-Marcoux Chair of Arts Management and the OICRM, examines the fragmentation of public funding in classical music and its impact on the financial health of organizations in this sector. The project was presented at the International Conference on Cultural Economics in June 2014. Xavier Roy is the Executive Director of the Festival international de la littérature (FIL), in addition to his role as Chairman of the Orchestre symphonique de l’Agora and Board Member of the Musicaction Foundation. Before studying arts administration, he completed a bachelor’s degree in Vocal Performance (Classical and Baroque) at the Université de Montréal and has given more than 200 concerts in Canada and Europe with the group QW4RTZ, for which he managed the educational activities for three years. Email: xavier.roy.mu * gmail.com
Daniel Turp is Professor in the Faculty of Law at the Université de Montréal (UdeM), and is currently pursuing a master’s degree in musicology in the Faculty of Music at UdeM. His master’s thesis will take the form of a “Study for a musical policy in Québec.” He has published articles on opera and conducted interviews with singers for the Cahiers de la Société québécoise de recherche en musique, as well as the magazines Infopéra and La Scena musicale. He writes weekly in his blog, Le blogue lyrique de Daniel Turp, and is preparing to launch the magazine L’Opéra: Revue québécoise d’art lyrique, where he also serves as director. Daniel Turp chairs the Société pour les arts en milieu de santé and the Fondation de la Chapelle historique du Bon-Pasteur (Maison de la Musique). He initiated the Mouvement Radio-Québec, whose objective is to provide public radio with cultural and musical programming for the province of Québec, and hosts two other radio programmes on the station Radio Ville-Marie, Le mélomane and L’opéra … le dimanche aussi! He is currently writing a libretto for an opera dedicated to the life of Louis-Joseph Papineau and inspired by Lettres à Julie (Éditions Septentrion 2000). Email: daniel.turp * umontreal.ca
Margalida Amengual Garí, a native of the Mediterranean island of Majorca, was trained in classical guitar at the Conservatory of Palma (Majorca) and holds a bachelor’s degree in journalism and in musicology from the Université Autonome de Barcelone. In the Catalan capital, she worked in cultural journalism for the Agence Catalane de Presse for three years. Upon arriving in Montréal, she joined the communications team for the Société de musique contemporaine du Québec (SMCQ) and the contemporary art festival, Art Souterrain. She is currently pursuing a master’s degree in musicology in the Faculty of Music at the Université de Montréal under the supervision of Flavia Gervasi. Drawing on her background in musicology and communications, she is working on an ethnographic project in popular music featuring the Montréal-based group Arcade Fire. Margalida joined OICRM through DMAQ, where she is responsible for audiovisual materials for the communications team and works as head of fieldwork for the SMCQ. She is also a member of the fieldwork team for the Théâtre Hector-Charland. Email: margalida.amengual.gari * umontreal.ca
Marc-Antoine Boutin is currently finishing his Bachelor of Musicology degree at the Faculty of Music at Université de Montréal. He began working as a research assistant in the documentation centre at the Laboratoire musique, histoire et société (LMHS) in 2014 and is a member of the DMAQ project, serving as the fieldwork director for the Violons du Roy since 2015. Marc-Antoine has also worked as a research assistant for Professor Marie-Thérèse Lefebre on music criticism in Québec and as music librarian at the Canadian Music Centre. In addition to these projects, he writes programme notes and plays the trumpet. As a devotee of circus arts, Marc-Antoine intends to explore the compositional process in the circus milieu in his graduate studies. Email: marc-antoine.boutin * umontreal.ca
Louis Bédard Giulione is a doctoral student in the department of Social and Political Communication at the Université du Québec à Montréal (UQAM) after completing a master’s degree in musicology at the Université de Montréal in 2015. His fields of interest include musical taste, social identity and musical communities. Since 2013, he has been the student coordinator for the Théatre Hector-Charland research team for the DMAQ project. Along with the rest of the research team, he presented some preliminary results at the annual conference of the Canadian University Music Society (MusCan) in May 2015 at the University of Ottawa. Email: bedard-giulione.louis * courrier.uqam.ca
Justin Bernard is a Ph.D. student in musicology at the Université de Montréal. His research interests include opera audiences, opera in the cinema, as well as modern communication tools for classical music. As part of his thesis project, he directs a series of short video clips for the Orchestre Symphonique de Montréal as part of a long-term audience development initiative, which promotes a work of music and draws awareness to a composer in a similar way to program notes. Musical mediation is also part of his professional activity as host of a radio broadcast at Radio VM and concert review writer for L’Opéra, Revue québécoise d’art lyrique. Email: justin.bernard * umontreal.ca
Claire Cavanagh is a Master’s student in music education in the Faculty of Music at the Université Laval and a research assistant for Professor Valerie Peters and the group Modal Research. Her thesis examines the impact of collaboration between cultural organizations and schools in the context of teaching musical creation. Since 2010 she has managed education projects for the Société de musique contemporaine du Québec, where she was also the coordinator of youth activities and audience development. Claire is an active piano teacher and also presents pre-concert talks for SMCQ concerts in primary schools. Email: claire.cavanagh.1*ulaval.ca
Cécile Delage, a French student, completed her bachelor’s degree in musicology at the Faculty of Music at Université de Montréal in May 2015. She is currently pursuing a master’s degree in harp performance at the same institution. Her interests range widely from Celtic music to introducing classical music to children and fostering their musical practice. Delage works as a research assistant for the DMAQ project.
Email: cecile.delage * umontreal.ca
Maëlle Dumont has a bachelor’s degree in business administration (HEC Montréal) and is a candidate in the master’s program at the same institution in management with a specialization in marketing. Awarded a graduate fellowship from the Social Sciences and Humanities Research Council of Canada (SSHRC), she seeks to focus on the arts and entertainment sector in her master’s thesis. She developed her love for classical music through nine years of study in the music program provided by the Commission scolaire de Laval. First violinist in the Orchestre à cordes des jeunes de Laval for three consecutive years, she had the pleasure of participating in several competitions and festivals in Québec and the United States. Although she left her instrument to devote herself to her studies in marketing, she remains passionate for the music world. Email: maelle.dumont * hec.ca
Etienne Galarneau is a master’s student in musicology at the Université de Montréal. A student of Professor Michel Duchesneau, his research centres on popular music and digital music platforms. His fields of interest are sociomusicology, history, and musical aesthetics. He has been a member of the Laboratoire musique, histoire et société since 2011, and has worked on several projects for the DMAQ as well as research on musical aesthetics in France between 1900 and 1950. Trained as a percussionist and drummer, Etienne is also active in the classical and popular music scene in Montréal. Email: etienne.galarneau * umontreal.ca
Jessica Hébert is the assistant coordinator of research activities for the Observatoire interdisciplinaire de création et de recherche en musique (OICRM). She is currently pursuing a bachelor’s degree in musicology in the Faculty of Music at the Université de Montréal. In addition, she works for the DMAQ as head of communications and as a research assistant. Her interest in music festivals will form the basis of an eventual master’s thesis in musicology. Email: jessica.hebert.2*umontreal.ca
Irina Kirchberg holds a doctorate in musicology from the Université Paris Sorbonne and is currently a postdoctoral researcher at the OICRM. Since completing her doctoral studies, where she analyzed the process of musical creation in synchronized swimming and co-directed the exhibit “Faire l’art: analyser les processus de création artistique,” she now centres her research on music in video games, seeking to understand its influence on a player’s listening career. Her work blends tools from musical analysis with methods and concepts from sociology in order to construct a sociomusicological approach that is attentive to musical works as well as to the material and social contexts of their production and reception. Email: irina.kirchberg*hotmail.fr
Florence Leyssieux holds a master’s degree in musicology from the Université de Montréal (“Musique, immigration et intégration au Québec”), where her studies were supported by scholarships from the Social Sciences and Humanities Research Council of Canada (SSHRC) and the OICRM/FESP. She is presently working on her doctoral dissertation, entitled “La France et les musiques d’Extrême-Orient (1889-1939): entre science et esthétique, l’appréhension d’un nouvel objet musical,” under the supervision of Michel Ducheneau. She is a member of the sociomusicology team of the OICRM, a research assistant, and an instructor at the Faculty of Music, and she also coordinates the fieldwork team for the Orchestra symphonique de Montréal for the DMAQ. Florence Leyssieux is a reviewer for the journal Intersections (the journal of the Canadian University Music Society). Her research examines the reception of music from the Far East in France in the early 20th Century, the development of musical audiences in Québec, the professionalization of young Québécois musicians, and the sociocultural and professional integration of immigrant musicians in Québec. She has given several conference papers (Acfas, MusCan, SysMus12, SQRM, McGill, and OICRM) and has published articles in La Revue musicale OICRM and Les Cahiers de la SQRM. Email: florence.leyssieux * umontreal.ca
Véronique Lussier is a doctoral student in orchestral conducting at Université de Montréal under the supervision of Jean-François Rivest and Paolo Bellomia. She holds a master’s degree in orchestral conducting from the same institution, as well as another master’s in choral conducting from Université de Sherbrooke. She has conducted under the supervision of renowned conductors including Johannes Schlaefli and James Lowe (Bulgaria), Kirk Trevor, Tomas Netopil, and Donald Schleicher (Czech Republic), as well as Lawrence Golan (United States). With a Bachelor of Music degree and a diploma in music pedagogy from Université du Québec à Montréal, Véronique Lussier has also taught classical piano and high school choral singing. Her doctoral dissertation will focus on the development of music audiences for symphonic music in a targeted area. To carry out her research, she seeks to found her own orchestra and propose a series of concerts with the goal of promoting and spreading classical music and a diverse set of repertoire. An audience survey will then be conducted in order to measure the impact of her project. Email: veronique.lussier.1 * umontreal.ca
Caroline Marcoux-Gendron is a Ph.D. student in Urban Studies at the Institut national de la recherche scientifique (INRS) under the supervision of Guy Bellavance (sociologist) and Michel Duchesneau (musicologist). She holds a bachelor’s degree in musicology, a certificate in anthropology and a master’s degree in ethnomusicology for which she was supported by scholarships from the Social Sciences and Humanities Research Council of Canada (SSHRC) as well as the Fonds de recherche de Québec – Société et culture (FRQSC). A member of the sociomusicology team of the OICRM since 2011, she published the results of a field study on the professionalization of musicians in Québec in 2012. In Spring 2014, she became the general coordinator of the DMAQ project, where she also leads the research team of the Festival du monde arabe. In addition to her studies, she has also been in charge of coordinating international conferences for the OICRM from 2011 to 2014. Email: caroline.marcoux-gendron * ucs.inrs.ca
Céleste Morisset is a classical violinist and a student in the Bachelor of Musicology programme at the Faculty of Music at Université de Montréal. As part of her musical training, she participated in the music programme at École des Cèdres in Laval, the Orchestre à Cordes des Jeunes de Laval, and Cégep de Saint-Laurent, where she obtained her diploma in performance in 2014. Her participation in the cultural sector has recently broadened to include research activities and event administration; she has contributed to the events presented by Scène 125, the Festival International de Littérature, and the student radio station at Cégep de Saint-Laurent. She currently works as a research assistant for the Group de recherche en interprétation musicale, analyse et expression as well as the DMAQ project. Email: celeste.morisset * umontreal.ca
Henda Ben Salah has a Ph.D. in Economics and has been in charge of programming for the Festival du monde arabe since 2009. She conceived and directed the project Arabitudes, l’altérité arabe au Québec (Fides 2010) that featured contributions from artists and intellectuals for the festival’s 10th anniversary. She provides the DMAQ team a direct line of communication with the festival in order to facilitate fieldwork within the organization, which poses unique problems with regard to the question of audiences due to the nature of music festivals and world music.
Évelyne Chagnon has a D.E.S.S. in Arts Management, and significant experience in marketing and communications. Her position at the Théâtre Hector-Charland will permit the research team to benefit from her exceptional expertise in understanding audiences. She will also provide a link between the team and other broadcasters for whom the development of musical audiences is a subject of concern.
Astrid Chouinard is Executive Director of Les Violons du Roy and La Chapelle de Québec since 2010. She had previously held various administrative and management positions at Les Violons du Roy, as well as numerous other appointments, including: Assistant Director of Development at the Fondation de l’Université Laval, Director of Private Funding at the Fondation du Théâtre du Nouveau Monde, Montreal Office Supervisor at Entraide diabétique du Québec de l’Association diabète Québec, and Telemarketing Supervisor at the Orchestre symphonique de Montréal. Chouinard holds a degree from Université de Montréal in sociology, psychology, and film studies. She is an executive member of the Table de la musique du Conseil de la culture des régions de Québec et de Chaudière-Appalaches, the Comité sur la mutualisation des services entre les organismes musicaux majeurs de Québec, and the Association des professionnels en gestion philanthropique.
Liette Gauthier is a trained musician (with a diploma from the Conservatoire de musique du Québec) and a cultural officer for the City of Montreal since 1994. She has created innovation by defining and positioning local world music on the exchequer of Quebecois distribution from 1989. Founder and Artistic Director of Musique Multi-Montréal for 20 years, she has launched and managed the Festival MMM, the residency programme UNESCO-ASCHBERG, the FORUM on world music in 2010, and BABEL MUSIQUES the following year. A speaker on various topics relating to matters of training, creation, production, and distribution, she has participated on different boards and has sat on numerous committees for both private and public cultural organisations. She has been awarded several prizes including the Prix Opus Évènement musical de l’année in 2005 and, more recently, the Prix Initiative RIDEAU 2014.
Sophie Laurent is the Senior Education Advisor for the Montreal Symphony Orchestra (OSM). She is involved in a number of projects related to the OSM’s education and accessibility mission. From 2004 to 2014, she was a producer for music programs at CBC/Radio-Canada. She worked for a wide variety of shows in addition to producing many innovative projects for radio and internet. She holds a Master’s degree in ethnomusicology from the Université de Montréal, and her research looks at the traditional music of Nepal. Her field recordings are included on an album in the UNESCO Collection of Traditional Music of the World. She also works as a consultant for the Conseil québécois de la musique and the Montreal Arts Council.
Noémie Pascal holds a doctorate in musicology. She is Assistant to the General Director and Head of Communications for the Société de musique contemporaine du Québec. Her knowledge of contemporary music audiences accumulated during her doctoral research on contemporary music, combined with her management experience in the field, will provide the research team with essential expertise; this is particularly vital in a field that historically has had a complex regarding the question of audience and remains an on-going problem.
Pierre-David Rodrigue holds a master’s degree in cultural business management from HEC Montréal. He is in charge of the music circulation project and dissemination at the Conseil québécois de la musique (CQM). He runs the website circulationmusique.com and co-organizes the Grands Rendez-vous de la musique. He participates in a working group on audience attendance for the performing arts and, for the Comité de concertation, on cultural school fieldtrips.
Hugo Sanschagrin is the Senior Manager of Funding, Marketing, and Communications of Les Violons du Roy and La Chapelle de Québec since 2011. With a diploma in music (cello) from the Conservatoire de musique de Montréal and McGill University, he also holds a specialized graduate diploma in management of cultural institutions from HEC Montréal. Having been active in the music scene as a cellist in various orchestras and ensembles locally and abroad in addition to his role as an instructor and administrator within numerous schools and music education institutions, he became the director of distribution of Les Violons du Roy and La Chapelle de Québec in 2008 and remained in the position until 2011. Sanschagrin is a member of the board of music consultation of the Conseil de la culture des régions de Québec et de Chaudière-Appalaches.