Isaac is an incoming 2nd year majoring in Music and Public Policy. As president, he supports and oversees Music 303's club operations, and he would like to thank his executive, faculty, staff, and (last but not least!) UTSC musicians for supporting this great community.  

Pri (she/her) is a 4th year student pursuing a major in Psychology, as well as minors in Music and Biomedical Ethics She became passionate about music after finding a space for identity exploration and community via this art form. She strives to use her position as Vice President to bring that same welcoming (and perhaps even spiritual) space to students, faculty, and anyone who is engaged in the UTSC space.

Hi, I’m Coco, I’m a student specialist in global environmental change and minor in music. I play flute and piano. I can tell the origins of mangos just by tasting them!

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Hi! I'm Aysha, Music 303's Creative Coordinator :-) You can find me in 303 either playing in UTSC's Concert Band, Small Ensembles Amplified, or mahjong with other 303 regulars. I love growing the lovely musical community we have here, please don't be a stranger if you're looking to get more involved in music at UTSC! 

Hi y’all! My name is Mya (they/she). I’m a singer/songwriter studying Music Industry and Technology at UTSC, and I’m excited to be your Music303 Marketing Coordinator. I’ve been performing and creating music for over 10 years, and I can’t wait to help bring even more music to both my life and UTSC through Music303! 

Hi, my name is Kyla and I am the event coordinator for Music303! I am going into my third year and specializing in Mental Health Studies. Outside of school, music is one of my favourite things and I am excited for what my second year as Music303's event coordinator has to offer! 

meow :3 🎷🐈

Hey guys! Paolo here - I'm the Soundwaves Executive for Music 303. As an affiliate club of music 303, my main goal is to just give participants (whether they're music enjoyers, music makers, or even art makers) a toolset to compose and create compositions through any medium (DAWS, recordings, improvisation etc).

I love to be involved with the music community (... to a point where I sometimes loiter in a performance course just to listen). I also dabble on the piano every now and then ... Most of the time you might just see me playing mahjong ... on campus - w - ' 

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Mark V. Campbell is a DJ, scholar and curator. His research explores the relationships between Afrosonic innovations and notions of the human. Dr. Campbell is currently the Principal Investigator in the SSHRC funded research project, Hip Hop Archives: The Poetics and Potentials of Knowledge Production. His recent books include the monograph AfroSonic Life (2022), the co-edited collection of essays, We Still Here: Hip Hop in North of the 49th Parallel published (in 2020) and his forthcoming co-edited collection Hip Hop Archives: The Politics and Poetics of Knowledge Production with Murray Forman is due out in 2023. Mark is Assistant Professor of Music and Culture at the University of Toronto Scarborough and holds Research Fellow positions with the Laboratory for Artistic Intelligence and the Research Centre for Music, Sound and Society in Canada.  

Educator and conductor, Dr. Tony Nam-Hai Leong completed his Ph.D. at the University of Toronto. An advocate for well-being and social change through accessible and lifelong music-making, community engagement is central to his work. Dr. Leong serves as MusicFest Canada’s Chairman of the Orchestra/Strings Division; Executive Member of the Canadian Music Educators’ Association; Past-President and member of the Ontario Music Educators’ Association Board of Directors; co-founding director of the Ontario Strings Association; Conn-Selmer Educational Clinician; and past Board Member of the Coalition for Music Education in Canada. With a passion for public and post-secondary education, Dr. Leong is an Assistant Professor, Teaching Stream at the University of Toronto Scarborough; an instructor at Queen’s University; and Head of the Arts Department at Sir Oliver Mowat Collegiate Institute. His research includes the intersections of string music education, technology, adolescents, community music, and Music for Life. 

Roger Mantie's teaching and scholarship, informed by his fourteen years as a school music educator in Manitoba, emphasizes connections between schooling and society, with a focus on lifelong engagement in and with music and the arts. He is on the editorial boards of Bulletin of the Council for Research in Music Education, Action, Criticism, and Theory for Music Education, International Journal of Community Music, Journal of Popular Music Education, and the Canadian Music Educator, and is co-editor of the Oxford Handbook of Music Making and Leisure (2016) and the Oxford Handbook of Technology and Music Education (2017). For more, visit rogermantie.com. 

Laura Risk is Assistant Professor of Music and Culture in the Department of Arts, Culture and Media at the University of Toronto Scarborough, with a graduate cross-appointment at the Faculty of Music at the University of Toronto. Her research proactively builds out public archives in order to amplify unheard voices and critically interrogates the notion of tradition, with a focus on traditional music historiography in Quebec. She has published in the Journal of the Society for American Music, Ethnomusicology, MUSICultures, and Critical Studies in Improvisation, as well as The Globe and Mail, The National Post, and Strings Magazine. Dr. Risk is the recipient of the 2014 Prix Mnémo for her co-production of the CD Douglastown: Music and Song from the Gaspé Coast. She is also a fiddler and in 2024 her album Traverse was awarded Quebec’s prestigious Prix Opus for Album of the Year in the category Traditional Québécois Music. www.laurarisk.com 

Dr. Alan Stanbridge is an Associate Professor in the Music and Culture program in the Department of Arts, Culture and Media at the University of Toronto Scarborough, and in the Master of Museum Studies (MMSt) program in the Faculty of Information at the University of Toronto. His undergraduate courses include Critical Issues in Music and Society, Exploring Music in Social and Cultural Contexts, and Jazz Roots and Routes, and he offers graduate Museum Studies courses in Contemporary Theories of Art and Culture and Issues in Cultural Policy and Contemporary Culture. Stanbridge is the recipient of a Faculty Teaching Award for his contribution to undergraduate teaching.

Stanbridge has published numerous journal articles and book chapters in the fields of popular music, jazz history, cultural policy, museum studies, and cultural theory, and his new book, Rhythm Changes: Jazz, Culture, Discourse, will be published by Routledge in 2022. He is a contributor to the Continuum Encyclopedia of Popular Music of the World, writing the main entries on Jazz and Postmodernism, with the main entry on the Hollywood Musical forthcoming in a future volume. Stanbridge has been a member of the Editorial Board of the International Journal of Cultural Policysince 2002, and a member of the Advisory Board of Critical Studies in Improvisation/Études critiques en improvisationsince 2003. He served on the Editorial Board of the Jazz Research Journal from 2004 to 2021, and he was a National Board Member of the Canadian Music Centre (CMC) from 2014 to 2019. Stanbridge has presented papers at conferences in Australia, New Zealand, Turkey, Spain, Germany, Austria, the Netherlands, Scotland, England, the United States, and Canada.

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Kotoka Suzuki is a Japanese-born composer and sound artist. Her work frequently investigates the relationship between visual elements and sound, often crossing into theater. Her compositions reflect on life, breath and nature, proposing sound as a physical form manipulated through the sculptural practice of composition. Inspired by the synthesis of technology and music, her work is written for a wide range of mediums, including acoustic instruments, electronics, video, dance, and multimedia, such as spatially interactive audio-visual work for both concert and installation settings. They are at times produced in collaboration with artists and scholars from other disciplines.

Suzuki’s work has been featured internationally by performers such as Arditti String Quartet, Eighth Blackbird, Pacifica Quartet, Nouvel Ensemble Moderne, Continuum, and Mendelssohn Chamber Orchestra (Germany). Her work has been presented at numerous venues and broadcasters such as Deutschland Radio, BBC Radio3, Ultraschall (Germany), ISCM World Music Days, The Stone, ZKM Media Museum (Germany), and Music at the Anthology (MATA).

She has taught at the University of Chicago and Arizona State University and is currently an Associate Professor at the University of Toronto Scarborough with a graduate appointment in the Faculty of Music on the St. George campus. Her work is published by Edition RZ, EMF Media, IMEB records and Signpost Music. She has been an associate composer at the Canadian Music Centre since 2001.

Aaron Tsang is a Canadian composer and producer who has provided original music, sound design and post-production audio to over a hundred titles and releases across videogames, commercials, television shows, films, and performance arts productions. In his most recent work, Bravo Niagara!’s full-length multimedia ballet “Kimiko’s Pearl”, he served as sound designer and recording engineer working closely with Meyer Sound Labs, whose live immersive audio setups are employed around the world with clients such as Cirque Du Soleil, Ed Sheeran and Metallica. Using Meyer's SpacemapGO system, a 60-channel immersive audio experience of composer Kevin Lau’s sweeping and powerful ballet score was mounted and is the first live ballet performance of its kind to feature a cinematic immersive audio soundtrack. As a recording, mixing and mastering engineer, his work for Christos Hatzis’ and the Royal Winnipeg Ballet’s “Going Home Star – Truth and Reconciliation” won a Juno award for “Classical Album of the Year” in 2017. Using a cinematic soundtrack approach to producing classical recordings, Aaron has become increasingly sought after as the producer and recording engineer of new music. His other recent collaborations include recording and mixing Matthias McIntire and Rachel Fenlon’s song cycle “Sing Nature”; producing, recording, and mixing Sarah Slean and Christos Hatzis’ orchestral song “Nothing But The Light”. 

In 2021 the University of Toronto commissioned Aaron to compose an orchestral overture for the inauguration of their new campaign “Defy Gravity”. The premiere was performed by the UTSO and conducted by Lorenzo Guggenheim, marking an exact decade since Aaron was first commissioned by the University of Toronto for the previous campaign “Boundless” in 2011, where he was commissioned to compose a brass fanfare anthem for a 30-piece brass band which was performed at every faculty and campus during its launch. During the covid pandemic, Aaron was again commissioned by the University of Toronto to compose an orchestral score for six consecutive virtual convocations held in absentia and streamed online between 2020-2022. This music is still played yearly during the now in-person convocations at the University of Toronto. 

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Lynn Tucker is the Associate Dean Experiential & Global Learning and is responsible for the prioritization of expanded experiential learning opportunities at U of T Scarborough including enhanced student mobility, local and global partnerships integrated in the curriculum, and coordination and oversight of the Experiential Learning Fund in support of academic departments as they continue to strengthen and grow experiential learning offerings.

Lynn is an Associate Professor, Teaching Stream in Music and Culture. She has proudly conducted the UTSC Concert Band since 2004 and teaches additional courses in community music, musicianship, and small ensembles. Lynn’s research interests include learner-centered pedagogy, instrumental pedagogy, facilitation, community music, avocational music-making, and leadership. Engaging students in lifelong music-making, regardless of career path, is at the forefront of her work and was recognized with the Canadian Music Educators’ Association 2015 Excellence in Leadership Award.

In 2022, Lynn co-founded SoundLife Scarborough, a vibrant research centre for music and community engagement at UTSC. Project priorities include those that foster healthy communities through participatory music-making; support community partnerships and community engaged-research excellence grounded in the principle of reciprocity; and, inspire participants in developing creative, flexible, and participatory approaches to music-making as a lifelong practice. She currently serves as Co-Director with colleague, Laura Risk.