The Screen Composers Guild of Canada has launched, a website designed to answer the common questions of songwriters, composers, lyricists, and others in the Canadian music ecosystem.

The website includes articles, videos, and interactive resources, grouped under the core topics of Rights & Revenue; Deals & Contracts; Career Management; and Diversity, Equity & Inclusion.

In an industry that’s constantly changing, especially with the rapid evolution of digital media consumption, addresses important questions, including complex copyright issues; who the key players are in the music-revenue ecosystem; how royalties are generated and distributed; and how can creators champion the principles of diversity, equity, and inclusion.

The site includes:

  • More than 50 easy-to-understand articles, with insights from more than 20 subject-matter experts from across the industry.
  • More than a dozen informative videos, including animated explainers that cover key concepts and helpful tips.
  • An interactive “Deal Gauge” to inform negotiations, that consolidates global information to suggest a likely compensation range, depending on the project.
  • A “From the Trenches” video series featuring composer Darren Fung, which allows visitors to hear directly from successful Canadian music creators as they share invaluable information, anecdotes, and career advice.

Visit it now, at

SOCAN is mourning the loss of Vancouver-based composer and teacher Jocelyn Morlock, whose death, at the age of 53, was confirmed on March 28, 2023, in a press release from the University of British Columbia’s (UBC) School of Music, where she taught. No cause of death has been released yet, and no plans for a memorial have been made public yet. Canadian new classical music listeners, and especially Vancouver’s classical music community, are grieving, as Morlock is being remembered for her kindness, love of nature, teaching skills, and expressive music.

Recognized in Canada and internationally, Morlock was especially well-known and beloved in Vancouver, where she was the Composer in Residence for the Music on Main concert series from 2012-2014, and for the Vancouver Symphony Orchestra from 2014-2019. In 2016, she earned the Mayor’s Arts Award for Music in Vancouver. Her symphonic piece My Name is Amanda Todd – inspired by the online-bullied Canadian teen who took her own life – won the 2018 JUNO Award for Classical Composition of the Year. The same year, she earned SOCAN’s Jan V. Matejcek Award, our annual prize for new classical music. Her compositions have been performed by, among others, the Vancouver Cantata Singers; the Pacific Baroque Orchestra; the Vancouver Symphony Orchestra; the Saskatoon Symphony; and the Niagara Symphony.

Morlock’s music could be heartfelt and intense, deeply engaged with nature, or light and humourous. Among her influences, she listed “birds, insomnia, nature, fear, other people’s music and art, nocturnal wandering thoughts, lucid dreaming, death, and the liminal times and experiences before and after death.”

Born in St. Boniface, MB, Morlock became interested in music when her grandmother bought an upright piano for the family. She was instantly fascinated, and took piano lessons from a young age. After high school, Morlock studied piano performance at Brandon University, and then attended graduate school at UBC in Vancouver, where she eventually became an instructor. Her compositions have since become part of the fabric of new classical music in Vancouver, and across Canada.

SOCAN extends its condolences to Morlock’s family, friends, and listeners, whether in Vancouver, across Canada, or around the world.

Jocelyn Morlock, Solace

Click on the image to play the video of Jocelyn Morlock’s “Solace”

Guillaume Morin, Saga Stratégie sonoreThe Association des professionnels de l’édition musicale (APEM) successfully hosted the seventh edition of its Music Tech Summit (Sommet musique et technologie) on March 23, 2023, at Centre Phi. This annual conference event aims to provide music publishers and other industry professionals with the tools they need to make the most of technology, and to keep them up-to-date about trends and technological developments in the industry.

Attendees were offered insightful presentations from several industry experts. The first was from Guillaume Morin of Saga Stratégie sonore and Andréa Leydet-De-Mendonsa of Gradiant AI,who discussed the collaboration between sound strategy and AI for music creation. Lysandre Champagne of the Observatoire de la culture et des communications du Québec (OCCQ) hosted the second presentation, during which she shared interesting data on music listening and consumption habits, spending, and how the Internet can be used for music.

Pierre B. Gourde, General Manager of MétaMusique, presented a session on the development of MétaMusique and the upcoming launch of its tool for capturing, indexing, and distributing music metadata. This introduction allowed attendees to discover the features and tools that simplify the task, and increase the discoverability of new releases.

Catalina Briceño, Chloé Sondervorst, Philippe Beaudoin, Sandra Rodriguez]Andreas Katsambas, President and COO of Chartmetric, gave a presentation in English that turned out to be a highlight of the day. He presented the types of metrics currently available to measure a title’s exposure to its potential audience, and how industry professionals can leverage those metrics.

The day’s activities ended with a round-table discussion, moderated by Catalina Briceño, with Chloé Sondervorst from Radio-Canada, Philippe Beaudoin from Waverly, and creator Sandra Rodriguez. They discussed the challenges and opportunities of artificial intelligence for the music industry. Finally, a networking cocktail party was organized, allowing attendees to connect and exchange ideas.