Jonathan is currently principal bassoon with the Rocky Mountain Symphony, Symphony of the Kootenays, and Alberta Winds, and is a regular clinician in the area. 

Jonathan has given a dozen concerto performances with various orchestras including the Calgary Philharmonic as finalist in the RBC Competition. He is a chamber music enthusiast, including cofounding Perfect Cadence, a wind quintet that gave multimedia educational performances to students alongside regular public recitals across Calgary for a decade. He holds two music degrees from the University of Calgary, and also received advanced training at Banff Centre and the New England Conservatory. Passionate about sharing the joy of music, he interviewed multiple cultural figures for the 2021 podcast Culture Monster, and continues to write program notes, host preconcert talks, and give presentations on musical topics. 

Joan began playing clarinet at the age of ten in a school program in Boulder, Colorado, where her family lived for one year.  She continued with private lessons and in school programs through high school in Lethbridge.  She spent two summers as a member of the Band of the Ceremonial Guard on Parliament Hill in Ottawa.  Joan has been a member of the clarinet section of the Lethbridge Symphony Orchestra since 1977 and has held the principal clarinet position since 2016.  She performed with the string quartet Musaeus in January 2023 and again in January 2025, and was featured as a soloist with the Lethbridge Symphony Orchestra in October 2024.  Joan retired in 2022 as a teacher with Holy Spirit Catholic Schools, where she spent 30 years teaching Music and Math.

He holds a Bachelor of Music degree in performance (flute) from the University of Calgary, a Master of Music degree in performance (flute) from the University of Western Ontario, and a PhD in music (musicology) from the University of Western Ontario. While his primary teaching area has been the history of art music, Dr. Sanden has also taught several courses on theory and performance topics, on the history and analysis of popular music, and flute performance.

This diversity in the classroom is reflective of Dr. Sanden’s scholarship, which draws from several disciplines and musical traditions. A foundational basis in the practices of the twentieth and twenty-first centuries, and particularly in issues of contemporary performance, has led to a research approach that incorporates aspects of traditional Western musicology, popular music studies, performance studies, media theory, and his own experience as a performer. This research has been presented in a book titled Liveness in Modern Music: Musicians, Technology, and the Perception of Performance (2013), and more recently in a chapter on liveness in The Cambridge Companion to Music in Digital Culture (2019). He has also published on the role of recording and broadcast technologies in the career of Canadian pianist Glenn Gould, with a special focus on the relationship between Gould and the Canadian Broadcasting Corporation. Dr. Sanden has also just completed a six-year term as the English-language editor of Intersections, the journal of the Canadian University Music Society.

As his academic career has developed, Paul has also maintained a close connection to his performance roots. He has performed as principal flutist of the Lethbridge Symphony Orchestra and was a founding member of the University of Lethbridge Faculty Wind Quintet. For three years (2008-2011), he was also the conductor of the McMaster University Flute Ensemble. As a performer, as in his scholarship, he has a deep interest in music of the twentieth and twenty-first centuries, and has been involved in the premiere performances of several new works.

Liz was a semi- finalist in the Gillet International Young Artists Competition, and has been a featured soloist with the Charleston, Spoleto, and Nairobi (Kenya) Symphonies.

Liz has a large private studio in addition to doing masterclasses and recitals wherever they will have her. She is an active recitalist and chamber musician. In addition to these activities, she is the creator of LTK Reeds and the founder of LTK Oboe Camp in Fort Mill, South Carolina. The camp is geared towards young oboists ages 12-18. In 2011 she founded Music for East Africa, dedicated to soliciting donations of musical instruments, sheet music and accessories to assist struggling music students. While in Nairobi Ms. Knott began the first double reed department in East Africa. The non- profit was dissolved in 2018, however Ms Knott continues to teach lessons virtually and assist the oboists there with reed-making accessories, reeds, and music. She will establish a reed room for Nairobi oboists to use and a library when she returns in March of 2026 to perform the Mozart Sinfonia Concertante.