The Coalition for the Diversity of Cultural Expressions (CDCE) has launched the “Save our Culture” campaign. SOCAN a member of the CDCE, supports this campaign.

For years, our national, regional and local culture flourished on radio, television, and in print. Our policies have enabled the development of dynamic and professional cultural ecosystems that nourish our identity, and our economy.

Technological developments and the arrival of web giants have greatly disrupted the cultural sector by bringing about changes in the way cultural content is produced, distributed, promoted, and accessed. Online platforms offer a wide choice of musical, audio-visual, and literary content. But can we really choose to see, listen to, and read our artists and creators on these platforms? Are our productions sufficiently present? Are they sufficiently supported and enhanced in this new environment?

The answer is no. Because our cultural policies don’t apply online.

As their market shares continue to grow, online platforms don’t have to comply with the same rules as our retailers, broadcasters, and cable operators. They’re not required to promote and finance local cultural content. In addition, foreign companies benefit from more favourable taxation! They accumulate valuable data on our habits and preferences, but they don’t provide any data on access to our culture!

Similarly, internet and mobile phone service providers are seeing their revenues increase thanks to access to online cultural content, but without being required to contribute to the financing of content creation.

Meanwhile, more and more artists, creators, professionals, and cultural entrepreneurs must make significant sacrifices. Some can no longer even make a living from their art or activities!

There is an urgent need to act to ensure that our cultural ecosystems remain alive and innovative, and continue to fuel our uniqueness, pride, and aspirations.

Let’s apply our policies to the web. Let’s put pressure on Ottawa.




The SOCAN Foundation has awarded almost $125,000 in total to 36 young music creators across Canada in three separate competitions

“These awards recognize the next generation of emerging songwriters, composers, and screen composers from across the country.” said Charlie Wall-Andrews, Executive Director of the SOCAN Foundation. “The awards are also designed to celebrate and cultivate these emerging music creators as they expand their careers.”

The 2019 edition of the SOCAN Foundation Young Canadian Songwriter Awards, presented in partnership with Sirius XM Canada Inc., has awarded a total of $25,000 (five awards of $5,000 each) to songwriters 21 years of age and under, across Canada.

The award recipients are:

  • Mahmoud Ismail (Mah Moud), for the song “Sigada”;
  • Lou-Adriane Cassidy, for the song “Poussière”;
  • Emily Gifford (GRAE), for the song “Your Hands”;
  • Kasia Thorlakson (Kasia Leigh), for the song “Love Song #1”; and
  • Arianna Ohlsson for the song “Heaven.”

The competition was evaluated by a jury of esteemed Canadian songwriters comprised of Basia Bulat, Jocelyn Bruno (Dramatik), Tarun Nayar (Delhi 2 Dublin), Frank Kadillac (Neon Dreams), and Fanny Bloom.

The annual SOCAN Foundation Awards for Emerging Audio-Visual Composers are designed to recognize Canadian screen composers who are 30 years of age or younger, for original music themes or scores created exclusively for to support TV programs, films, etc. A total of $27,000 in prizes was awarded to the winners in four categories in the 2019 edition. Jury panel members were well-known Canadian screen composers Nathalie Bonin, Schaun Tozer, and Laurel MacDonald.

The winners are:

Best Original Score — Animated
1st Prize: Yao Wang, for Brides of the Well
2nd Prize: Brandon Liew, for Starting Point
3rd Prize: Stéphanie Hamelin Tomala, for Orboros

Best Original Score — Fiction
1st Prize: Stéphanie Hamelin Tomala, for Final Curtain
2nd Prize: Virginia de Vasconcelos Kilbertus, for Astronaut
3rd Prize: Evan Macdonald, for Nothing Has Changed

Best Original Score — Non-Fiction
1st Prize: Evan MacDonald, for Canadian Immigration Matters
2nd Prize: Nick Grimshaw, for Karo
3rd Prize: Shaun Chasin, for The Queen’s New Clothes

Best Original Theme (opening or closing)
1st Prize: Isaias Garcia, for In the Mind’s Eye
2nd Prize: Spencer Creaghan, for Wife Me
3rd Prize: Joey Reda, for A Vulture’s Story

The SOCAN Foundation Awards for Young Composers are designed to recognize Canadian composers 30 years of age or under, for original concert-music works in six categories. Awards totalling $42,750 were presented to the finalists, and the jury panel members were composers Elisabeth Raum, Dinuk Wijeratne, and Alissa Cheung.

The 2019 winners are:

John Weinzweig Grand Prize for the best overall work
Eugene Astapov, for Hear My Voice

The Godfrey Ridout Awards, for works of any number of voices with or without instrumentation and/or electroacoustics.
1st Prize: Roydon Tse, for And the Ocean was Gone
2nd Prize: Francis Choiniere, for A Clear Midnight
3rd Prize: Tristan Zaba, for Encroachment
Young Composer Prize: Leo Purich, for Flexible Fugue for Choir (SATB) and Piano

The Hugh Le Caine Awards, for live or recorded electroacoustics, where the intended performance is, at least in part, through loudspeakers. Works in this category may be multi-media and may include acoustic instrument(s) or voice(s), live or recorded. The principal element in the work must be electroacoustic.
1st Prize: Carmen Vanderveken, for At Play: 3 short pieces
2nd Prize: Xavier Madore, for Les loges de la suite
3rd Prize: Bekah Simms, for Skinned & Skinscape
Young Composer Prize: Kai Kubota-Enright, for Isaac

The Pierre Mercure Awards, for solo or duet compositions, with or without voices and/or electroacoustics.
1st Prize: Stephanie Orlando, for Scatterbrain
2nd Prize: Alison Yun-Fei Jiang, for Isles
3rd Prize: Liam Ritz, for Drei Klavierstücke
Young Composer Prize (ex æquo): Leonid Nediak, for Fantasie No. 2, and Thomas Cardoso-Grant, for artifact ii

The Serge Garant Awards, for compositions requiring a minimum of three performers to a maximum of 12 performers with or without voice and/or electroacoustics.
1st Prize: Eugene Astapov, for Hear My Voice
2nd Prize: Nolan Hildebrand, for HEATDEATH
3rd Prize: Corie Rose Soumah, for Reflet
Young Composer Prize: Jules Bastin-Fontaine, for Trio en hommage à Bruckner

The Sir Ernest MacMillan Awards, for compositions requiring no fewer than 13 performers up to a full symphony orchestra, which may include vocal participation and may be scored to include electroacoustics.
1st Prize: Luis Ramirez, for Chido
2nd Prize: William Kraushaar, for APOCALYPSIS 15
3rd Prize: Jared Miller, for Ricochet – Reverb – Repeat
Young Composer Prize: Leo Purich, for Variations and Fugue on Mozart

Thanks to a partnership with the National Youth Orchestra of Canada, three young composers will have an opportunity to hear their works in concert. These works will be “Variations and Fugue on Mozart,” by Leo Purich; “Chiaroscuro,” by Dan Jeremy Reyes; and “Prairie Frost,” by Stuart Beatch. One of these artists will also be offered a residence.

The SOCAN Foundation warmly congratulates all of these young winners!

Montréal’s Collège André-Grasset has become the first post-secondary educational institution to formally work with SOCAN to offer an enhanced copyright policy to its community. This inspiring agreement, which took effect Monday, Aug. 19, 2019, an example to follow in order to support creators, and contribute to the survival of art.

Thanks to this partnership, developed in the form of an innovation fund, the college, as well as the Institut Grasset, will from now on benefit from an execution right that encompasses 100% of the world’s catalogue, used during their academic and extracurricular activities and events.

Moreover, a reproduction right licence will allow the college to enrich their in-house audio and video productions. Staff and students alike will benefit from access to SOCAN’s reproduction rights music catalogue, which now also includes that of SODRAC, in the wake of SOCAN’s recent acquisition of the organization. This reproduction repertoire includes about 85% of Québec’s music, as well as a considerable number of international and Canadian musical works.

Geneviève Courcy, who teaches filmmaking and kickstarted this initiative, is convinced that this policy, doubled with an application guide, will facilitate the students’ task when they start looking for music to use in their film productions. Apart from educating people about the idea of intellectual property, this partnership will help them discover Québec artists, the teacher proudly believes. “It is our way of showing solidarity and encouraging our students to buy our local cultural products,” she says. “The music industry is suffering at a faster and faster pace.”

“Collège André-Grasset is leading the way, and sending a very strong signal, by standing up for music rights. They’re making it clear that we must fairly compensate songwriters, composers, and music publishers for their work. This kind of partnership is cause for applause, and will educate the new generation about the richness of SOCAN repertoire, and the importance of copyright and reproduction right,” said SOCAN Chief of Québec Affairs and Visual Arts, Geneviève Côté.

Grasset calls on all of Québec’s Cégeps and Universities to join them in this essential initiative defending the legal, fair, and ethical use of music. “The need for education is increasing,” said Emmanuelle Dupal, who’s in charge of the copyright at the college. “But that doesn’t mean we get a free pass to deny the work of artists, and turn a blind eye.”

SOCAN salutes the initiative of Collège André-Grasset, and is thrilled by this partnership, that will, hopefully, inspire other educational institutions to follow suit towards greater respect for the copyrights of music creators and publishers.