Michelle Boyd is an instructor at Acadia University in Wolfville, Nova Scotia, where she teaches courses in musicology and musicianship. Her doctoral dissertation addressed the social-cultural context of music-making in nineteenth-century Nova Scotia, and was supported by a graduate scholarship from the Social Sciences and Humanities Research Council of Canada. Her research continues to explore Nova Scotia's transatlantic connections with Britain and the United States, with emphasis on the musicians and other cultural producers active in Nova Scotia in the late nineteenth and early twentieth centuries. She has presented papers on Nova Scotia's musical life for the American Musicological Society, the Canadian University Music Society and the Society for American Music, and at the Eighteenth Biennial International Conference on Nineteenth-Century Music.

Brian C. Thompson teaches courses on Western music history at the Chinese University of Hong Kong. He previously held positions with the Naxos CD label, at the University of Hong Kong, at McGill University and with the Canadian Broadcasting Corporation. His research on nineteenth-century music has focused on nationalism, migration and popular culture. His biography of Calixa Lavallée will be published by the McGill-Queen's University Press in 2015. He is currently completing a biography of the minstrel show performer James Unsworth, which will explore aspects of the trans-Atlantic culture of the 1860s.

Robin Elliott holds the Jean A. Chalmers Chair in Canadian Music at the University of Toronto, and served as the Craig Dobbin Professor of Canadian Studies at University College Dublin during the 2013–14 academic year. In the field of Canadian music studies, he has published 10 edited books and volumes of music, 30 articles, and 60 reviews and shorter articles. His interest in Canada's composed music legacy begins in the present day but extends back in time to the nineteenth century and earlier. He edited three volumes of chamber music dating from 1875 to 1945 for the Canadian Musical Heritage series (1989, 1992, 1998) and was an associate editor for the second edition of the Encyclopedia of Music in Canada (1992). For Wilfrid Laurier University Press he has co-edited three monographs in the field of Canadian music (2010, 2011, 2013) and was recently named the General Editor of the press's Canadian music publication series.

Mary Ingraham is Professor of Musicology at the University of Alberta and Interim Chair of the Department of Music. Her primary research area is the socio-political context of music creation, focusing on issues relating to cultural identity and the expression of intercultural encounters. She teaches undergraduate and graduate musicology courses on nineteenth to twenty-first century music, with a specialization in Canadian art music. In addition to writing on Canadian opera, she is co-coordinator of the national research group Interdisciplinary Perspectives on Music in Canada and is Principle Investigator of a collaborative project funded by the Social Sciences and Humanities Research Council (SSHRC) on the social efficacy of creative partnerships between First Nations communities and arts organizations in Canada.

David Gramit is professor of musicology at the University of Alberta. His publications include Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770–1848 (University of California Press, 2002) and the edited volume Beyond “The Art of Finger Dexterity”: Reassessing Carl Czerny (University of Rochester Press, 2008). His work on musical life in settler colonial cities is supported by a grant from the Social Sciences and Humanities Research Council of Canada.

Nancy Yunhwa Rao teaches at Rutgers University. She has published articles on Cowell, American ultra-modern music, contemporary Chinese compositions and Mei Lan-fang. Her article ‘Ruth Crawford's Imprint on Contemporary Music’ received Lowens Award from Society for American Music. She is finishing a book on Chinatown Theaters in North America of the 1920s.