Pianist Janina Fialk...

From Céline Dion to Lauryn Hill: 30 women who have changed music

Whether it was Ma Rainey’s soulful groan, Dolly Parton’s heartfelt lyrics or Patti Smith’s experimental style, women have been a force to be reckoned with, inspired by and pay attention to since music existed. They’ve created their own identities by breaking records, shattering barriers and changing the landscape.

In the list below — whether the genre is jazz, punk, pop or R&B — we look at women who are pioneers and trailblazers, changing the music industry by challenging social norms. These women have not only paved a path for their own music, but have inspired a new generation of sound and confidence.

We’ve also curated a stream for all the amazing women on this list. Take a listen above while you read and scroll.

Buffy Sainte-Marie

Buffy Sainte-Marie has always been fearless with her work. The result? A distinct, original sound that’s timeless. In addition to her musical catalogue, she’s been outspoken throughout her career, as early as when her song “Universal Soldier” became an anthem for the 1960s peace movement. That, combined with her efforts fighting for Indigenous rights, led Sainte-Marie to be blacklisted in the Lyndon Johnson and Richard Nixon years.

In the 1970s, Sainte-Marie re-emerged on Sesame Street. Instead of the requested counting appearance, she wanted to do Native American programming on the show, making Indigenous culture visible on an international platform. From 1976-1981, Sainte-Marie was a regular on Sesame Street, speaking about breastfeeding, music and Indigenous culture. In an interview with CKOM she says, “At the time, breastfeeding was totally overwhelmed by the formula companies so that young mothers recovering from childbirth, they would have a big basket of formula. The doctors didn’t understand how to teach them how to breastfeed.” For more than half a century, Sainte-Marie has been an inspiration to many, carving a path for Indigenous artists and inspiring musicians, educators and activists of all backgrounds.

— Kiah Welsh (@simplykiah)
Joni Mitchell

Buffy Sainte-Marie carried Joni Mitchell’s tape in her bag and played the unknown singer-songwriter’s music for anyone who would listen, so convinced was she of Mitchell’s genius. By 1971, the rest of the world shared Sainte-Marie’s view: Mitchell was among the greatest new talents of her generation, and one of the only women in a landscape crowded by male folkies who monopolized the conversation and sought to establish themselves as the authoritarian voices of the counter-culture.

Mitchell’s contributions were radical in ways that had nothing to do with macho posturing and everything to do with writing narratives that presented as both feminine and universal, and crafting song structures that were the envy of every songwriter around the world. Her fourth album, 1971’s Blue, is among the most perfect records of all time (“River,” “A Case of You,” “Blue”) and it’s easy to hear its influence on the latter half of the folk-rock movement as it morphed into AM gold.

— Andrea Warner (@_AndreaWarner)
Tanya Tagaq

Many of the names we have on this list are here because of each artist’s historical accomplishments, but Tanya Tagaq is an artist who is here for what she is doing in music right now. A celebrated songwriter and live performer who won the Polaris Music Prize with her 2014 album Animism, Tagaq was named to the Order of Canada last year for her contributions to Canadian culture. On her latest album, Retribution, you can hear her fearlessly advocate for the things that matter to her most: the environment, missing and murdered Indigenous women, sexism and racism in music — the list goes on. Outspoken, trailblazing and utterly unique, Tagaq is bringing throat singing into the mainstream and changing our idea of what Canadian music sounds like today.

— Andrea Gin (@andreagin)
Leontyne Price

Perseverance personified, Leontyne Price began her trajectory in segregated Laurel, Miss., and ended up in the world’s leading opera houses where she was hailed as the greatest soprano of her age. “That’s what makes our country so great, you can achieve what you set out to, you just got to want it,” she said. It didn’t hurt that she had a voice that combined power and precision with astonishing beauty. Within weeks of her January 1961 Metropolitan Opera debut in Verdi’s Il Trovatore, she sang four other leading roles, landing her on the March cover of Time magazine. Her Aïda, Tosca and Leonora are still references. A Black woman who rose to the top of the all-white opera world at the height of the civil rights movement in the U.S., Price opened doors for generations to follow.

— Robert Rowat (@rkhr)
Tina Turner

Born Anna Mae Bullock, Tina Turner grew up in rural Tennessee and began her career at the side of a notoriously controlling, abusive husband — but not only did she manage to emerge from that abuse, Turner propelled herself to the top of the charts with her groundbreaking hybrid of rock and R&B. Her hits with Ike Turner included the high-octane covers “Proud Mary,” “River Deep, Mountain High” and “A Fool in Love.” But the worldwide megahits began in the early ’80s with a string of powerhouse songs that included an unforgettable cover of the Al Green classic “Let’s Stay Together; What’s Love Got to Do With It” (which landed three Grammys including record of the year), the title track from her top-selling album Private Dancer, the stadium rock-sized “We Don’t Need Another Hero (Thunderdome)” (featured in Mad Max Beyond Thunderdome), and “The Best,” which remains a staple of rock radio.

In the process, Turner’s also become one of the most revered live performers — and one of the best-selling artists of all time. In her 1986 autobiography, Turner wrote, “Sometimes you’ve got to let everything go — purge yourself. I did that. I had nothing, but I had my freedom. My message here … is: If you are unhappy with anything — your mother, your father, your husband, your wife, your job, your boss, your car — whatever is bringing you down, get rid of it. Because you’ll find that when you’re free, your true creativity, your true self comes out.”

— Jennifer Van Evra (@jvanevra)
Gloria Estefan

In 1985, when the Miami Sound Machine released “Conga” on its album Primitive Love, crossover dreams came true. And with it, one of the group’s four members, Cuban singer Gloria Estefan, earned the title of original crossover queen. With seven Grammys, numerous other awards and more than 100 million albums sold, Estefan is arguably the most popular and pioneering crossover artist in Latin music history. An inductee to the Latin Songwriters Hall of Fame, in 2015 Estefan received the Presidential Medal of Freedom from U.S. President Barack Obama for her musical achievements and for “paving the way for countless other Latin artists to follow.”

— Tahiat Mahboob (@tahiatmahboob)
Alanis Morissette

While “Too Hot” Alanis created teen pop music for the industry machine, Jagged Little Pill Alanis gave voice to a woman who was done letting other people use her for their benefit. Released exactly in the middle of the ’90s — June 1995 — Morissette’s confessional reached women who didn’t see themselves at the front with Riot Grrrls or in Lilith Fair’s tents — while effectively making music for all of us. She paved a 33-million-albums-sold-sized lane for musicians like Fiona Apple, Avril Lavigne, Katy Perry and even Taylor Swift at a time when Morissette was told that radio stations were already playing one female musician, and didn’t need another — which didn’t last long after “You Oughta Know” was released. With one eponymous pill, Morissette added a fierce, mainstream wave to the changing tide.

— Holly Gordon (@hollygowritely)
Lauryn Hill

Lauryn Hill redefined hip-hop with the release of her debut solo album, The Miseducation of Lauryn Hill. She infused R&B and reggae with hip-hop, creating a different sound that would be influential to artists after her such as Adele, Beyoncé, John Legend and many more. In a 1999 interview with Rolling Stone, Hill explained her creative process: “[I wanted to] write songs that lyrically move me and have the integrity of reggae and the knock of hip-hop and the instrumentation of classic soul.”

Miseducation sold more than 420,000 copies in its first week, and would later be the first hip-hop album to win a Grammy for album of the year. Throughout Hill’s album she was honest, writing about her personal experiences in her lyrics, helping to create an avenue for socially conscious dialogue in that genre of music. — KW
Sister Rosetta Tharpe

Tharpe was gospel royalty and the godmother of rock ‘n’ roll, but she was also among the greatest living electric guitarists throughout her incredible life. She inspired everybody from Little Richard and Johnny Cash to Elvis Presley and Chuck Berry, and was the first person to have a gospel hit cross over to the R&B charts. Watching Tharpe behind her instrument and her microphone, it’s a total thrill to watch her own the spotlight, to see this extraordinary woman showcase her talent and virtuosity with so much joy and conviction. — AW
Nina Simone

Storyteller, singer, songwriter, pianist, arranger, civil rights activist — Nina Simone is a singular artist whose music was popular around the globe. From 1959’s breakthrough song “I Loves You Porgy” to “A Single Woman” in 1993, Simone recorded 40 original albums during a career that spanned four decades. Her music is known for being so innovative that it was uncategorizable; it included classical influences and piano technique influenced by cocktail jazz, and also incorporated elements of folk, pop, gospel and blues. She was also a leading voice of the U.S. civil rights movement, writing “Mississippi Goddam” in response to the 1963 assassination of Medgar Evers and the Birmingham church bombing that killed four young African-American girls. — AG
Beyoncé

If we started listing Beyoncé’s exhaustive list of awards and nominations, the entire essay would write itself. So here are a few: she is the most nominated woman ever in Grammy history; she has the most MTV Video Music Awards; she has the most simultaneous Billboard hits of any female artist. But how she has reshaped the music industry goes far beyond her accolades. From redefining how new music is released to putting an emphasis on the visual consumption of it, Beyoncé has been a trailblazer. Not only has she refused to conform, but she has constantly found ways to challenge the status quo with each new album. In 2016, she took it to a whole new level, first with the song “Formation” and then with the release of her sixth album, Lemonade. With it, the unapologetic feminist drew attention to gender politics while paying homage to Black women, and reshaped conversations around these issues all at once. — TM
Marian Anderson

A contralto with a wide vocal range and an otherworldly timbre, Marian Anderson also became a pseudo-political figure. Her voice caught the attention of Arturo Toscanini, who called her a once-in-a-century singer, and yet because she was Black, the Daughters of the American Revolution blocked her from giving a concert at Constitution Hall in Washington, D.C., in 1939. In response, President Roosevelt invited Anderson to sing (for more than 75,000) on the steps of the Lincoln monument, an occasion later immortalized in a speech by Martin Luther King, Jr. In 1955, Anderson became the first Black soloist to sing a role at the Metropolitan Opera in New York. Today, we marvel at her ability to create art in such fraught circumstances, and wonder what might have been had so many doors been opened instead of slammed shut. — RR
Shania Twain

In the late ’90s, Shania Twain shot to stardom by creating the modern pop and country crossovers that we know today. Twain’s second album, The Woman in Me, sold more than 20 million copies worldwide and her third album, Come on Over, became the best-selling studio album of all time by a female act in any genre, as well as the best-selling country album, with more than 40 million copies sold worldwide. Twain gave country music a new twist with songs such as “From this Moment On” and “Honey I’m Home,” making country music that appealed to a wider audience. Her influence can be heard in artists such as Carrie Underwood, Taylor Swift and more. — KW
Emily Lazar

Each one of Emily Lazar’s Grammy nominations have been firsts. In 2012: first female mastering engineer nominated for album of the year (Wasting Light, Foo Fighters). In 2014: first female mastering engineer up for record of the year (“Chandelier,” Sia). In 2016: first female mastering engineer nominated for best engineered album, non-classical (Recreational Love, the Bird and the Bee). Since opening her Greenwich Village-based studio, the Lodge, in 1997, Lazar has mastered more than 2,000 albums, including projects from Tegan and Sara’s Love you to Death and Braids’ Deep in the Iris (and its accompanying EP, Companion) to Angel Olsen’s My Woman and Haim’s Days are Gone to Sia’s This is Acting and a handful of David Bowie projects. She is literally changing music on a daily basis, but as a woman chipping away at the male stronghold that is master engineering, she continues to, as she told Billboard, “master everything like a girl.” — HG
Bessie Smith

There are many things that aren’t fully known about Bessie Smith — what day she was born, how she got her start, and who exactly helped her rise to fame. But one thing is certain: for years she held court as the “empress of the blues.” Known for her powerhouse vocal style, Smith helped to popularize the blues with hits such as “Crazy Blues” and “Downhearted Blues,” and sold hundreds of thousands of records — almost unheard of for the 1920s. Smith also worked with famed performers including Louis Armstrong, Coleman Hawkins and Joe Smith. Because of the Great Depression and the end of the vaudeville era, in the 1930s Smith’s star faded. But even so, after she died from a serious car accident at roughly 43 years old, 7,000 mourners attended her funeral. She paved the way for jazz, blues and rock greats from Billie Holiday to Etta James, as well as Janis Joplin — who, in 1970, had a headstone made for Smith’s unmarked grave. It reads, “The Greatest Blues Singer in the World Will Never Stop Singing.” — JVE
Aretha Franklin

Even though she is widely acknowledged as a cultural and musical icon, one cannot help but still be blown away by reading a list of Aretha Franklin’s achievements. The singer, songwriter and musician has had a career spanning six decades, recording countless hit songs like “(You Make Me Feel Like) A Natural Woman,” “I Never Loved a Man (The Way I Love You)” and “Think.” Her hit song “Respect” became an anthem for women and Black empowerment during the civil rights movement in the United States, and in 1968 she performed at the funeral of Dr. Martin Luther King, Jr. She has won 18 Grammy Awards, and been honoured with a Grammy Lifetime Achievement Award and a Grammy Living Legend Award. To top things off, Rolling Stone put her at No. 1 in their ranking of “The Greatest Singers of All Time.” In 2014, she celebrated having her 100th hit on Billboard’s R&B/Hip-Hop charts with the single “Rolling in the Deep (the Aretha Version),” making her the first woman and fourth artist in history to have done so. — AG
Patti Smith

From “rock royalty” to “godmother of punk,” Patti Smith has earned many titles as a pioneering catalyst for punk music. While she has tried to dismiss the misnomer of being a punk musician, her influence on the music world, which began with her 1975 debut album, Horses, is undeniable. From Madonna to Garbage’s Shirley Manson, scores of musicians who followed list Smith as an influence. “One hopes that a work they do will resonate; it’s still hard for me to comprehend that, but I just feel that if it’s inspired people to do their own work, or gave them some kind of energy or helped them feel they’re not alone … if it’s done any good and continues to do any good, I’m really happy,” said Smith, when asked about her impact. — TM
Madonna

Since her debut in 1983, Madonna has been shaking up the music industry. Her controversial image and hard-hitting lyrics created a different dichotomy for women in music. Before her, every major pop star was male, ranging from Aerosmith to Elvis Presley. But as Madonna’s popularity grew, so did her image. Her influence spread from music to video to fashion. Madonna’s success showed that a woman could take control of her destiny, as well as the limelight. Her self-expression was fearless, speaking on issues considered taboo such as race, sex and power. Madonna has sold more than 300 million records worldwide, and is recognized as the best-selling recording artist of all time by the Guinness World Records. — KW
Billie Holiday

Even though she is considered a legendary musician, songwriter and performer, it’s really Billie Holiday’s innovative vocal style that is responsible for her ongoing influence on American music. Her vocals were strongly influenced by jazz instrumentalists, and she developed a distinct way of manipulating phrasing and tempo in her songs. She is the recipient of four Grammy awards, all of them posthumous, and was inducted into the Grammy Hall of Fame in 1973.

She is best known for singing “Strange Fruit,” a powerful anti-racism statement about the lynching of African-Americans in the South, originally written by teacher Abel Meeropol as a poem. When, fearing controversy, her label Columbia refused to record it, Holiday recorded it for Commodore, a tiny label dedicated to alternative jazz run by her friend Milt Gabler. Her version of the song was inducted to the Grammy Hall of Fame in 1978. The power of her music, coupled with her emotive style and distinctive phrasing, have had a seminal influence on not only jazz music but also pop singing today. — AG
Ma Rainey

Known as the “mother of blues,” Ma Rainey was one of the earliest African-American blues singers and one of the first generation of blues singers to record. She combined country and jazz, captivating a room whenever she’d perform onstage. She spoke about the Black experience, a first for her time. Musicians such as Billie Holiday would have never developed their bluesy style without Ma Rainey’s influence. — KW
M.I.A.

She’s the only artist in history to be nominated for an Academy Award, a Grammy Award, a Brit Award, a Mercury Prize, and an Alternative Turner Prize. She’s also the first artist of Asian descent to receive an Academy and a Grammy nomination in the same year. But the trailblazing feats of English-Tamil rapper Mathangi “Maya” Arulpragasam go beyond her accolades. Better known by her stage name M.I.A., she is most known for her protest through music. Born in Britain to Tamil parents from Sri Lanka, much of her career has been a pushback against the Sri Lankan government as well as calling out things as she sees and experiences them, including the time she was denied re-entry to America because she matched the profile of a terrorist. Named one of Time Magazine’s 100 most influential people in 2009, M.I.A. has always striven to make music on her own terms, even when it means not confirming or caring about what critics think. — TM
Annie Lennox

Annie Lennox has never been afraid to stand out. Aside from her creative style and trademark cropped, bright hair, Lennox introduced R&B to new wave with her group Eurythmics. In her solo career, she invented, as Rolling Stone notes, “a sort of new age soul, based around shimmering synths, horn blasts and, most important, layer upon layer of that voice.” Lennox has won eight Brit Awards (including for best female British artist six times), several Grammys, a Billboard Century Award, and many more. Her debut solo album, Diva, sold more than 1.2 million copies, earning her a quadruple platinum certification. Whether it was through pop-punk, rock or jazz, Lennox never failed to push boundaries with her music. — KW
Marin Alsop

Glass ceiling, meet Marin Alsop. Whether it was making history as the first woman to head a major American orchestra or as the first female conductor of BBC’s Last Night of the Proms, the 12th music director of the Baltimore Symphony Orchestra has all kinds of “first-ever” accolades on her extensive resumé. From a MacArthur Fellowship to an induction as a fellow of the American Academy of Arts and Sciences, Alsop is a household name in her field, actively working to ensure more women conductors become part of the profession. — TM
Miriam Makeba

Legendary South African singer Miriam Makeba was a civil rights activist who spoke for millions in her country. Though her music was banned by apartheid authorities, Makeba stirred hopes of freedom. She was the first artist from Africa to popularize African music around the world, while her harmonic, eclectic style included Hebrew and Yiddish melodies, Haitian chants, Brazilian bossa novas and more. Makeba’s first hit single, 1957’s “Pata Pata,” sexually satirizes the police’s method of frisking. The song introduced a new genre of anti-apartheid music. — KW
Bjork

Björk’s is a world entirely of her own creation. She invites us inside it, presenting to us these monuments of human complexity (her extraordinary international 1993 debut, called, cleverly, Debut) and a woman’s infinite capacity (her 2015 release, Vulnicura, with its resilient, jagged heart), and more artistry, experimentation and innovation than can be contained in any one museum.

Precise observations and excavations, animalistic gut instincts and bruised-heart storms, lush forests and sparse moonscapes, tiny miracles and cavernous, all-consuming dreams — and that’s just considering the creative and technical achievement of her 2011 concept album, Biophilia, which was also a multimedia project and app. Björk listens, looks and feels with every nerve and synapse, ready to witness, consider, absorb, reflect and react all the time. She’s not overly precious about her art, and yet this doesn’t diminish its power or importance — if anything, in acknowledging the amount of actual work and time that goes into her carefully crafted executions, Björk roots even the most fantastical and outlandish creation in the labour of her genius.

She has no interest in the myth of creation; she yanks back the curtain and instead offers to show us the mechanisms of her moving parts, the intricacies of her wild creativity. The art is in the thinking, the utility, the manifestation and the experience, and there’s nobody else on the planet who makes music like her, with limbs outstretched into so many different spheres — technology, science, music, art, communication — and with so much clarity and imagination. — AW
Céline Dion

Dion started off her career as a teen star in Quebec, singing only in French. Now, more than 30 years later, she holds the record for the best-selling French-language album of all time with 1995’s D’eux. Throughout her career Dion has scored international No. 1 hits, including “The Power of Love” and “I’m Your Angel.” Her 1997 hit song “My Heart Will Go On,” made for the film Titanic, shot to No. 1 globally and is currently one of the best-selling singles of all time. It dominated the 1999 Grammy Awards, including a win for record of the year, marking the first time the category was won by a Canadian. Dion’s incredibly successful crossover from French to English proved that it’s possible to perform in any language and still be on top. — KW
Cher

Cher has achieved a lot throughout her five-decade-long career, but it’s her song “Believe” that changed the music industry. Released in 1998, it’s recognized as the first prominent use of Auto-Tune. Cher’s producers played with the idea of cranking up the Auto-Tune, creating that now familiar effect that is part synthesizer, part robotic voice. The technique would later be referred to as the “Cher effect.”

It’s also impossible to note Cher’s importance to music without also mentioning her iconic status within the LGBTQ community. As Alec Mapa of the Advocate notes after asking the question “Why do gay people love Cher?”: “While the rest of us were sleeping, Cher’s been out there for the last four decades living out every single one of our childhood fantasies … Cher embodies an unapologetic freedom and fearlessness that some of us can only aspire to.” — KW
k.d. lang

When k.d. lang released her major label debut in 1987 with Angel with a Lariat, she challenged the traditional parameters of country music. According to CMT, lang had an “androgynous appearance, and edgy, rock-inflected music … although no one questioned her vocal talent.” Despite her critics, lang stayed true to herself and defied the norms prescribed for women in country music — and it paid off. She would go on to win music’s top honours with both Juno and Grammy awards for her performances in songs “Constant Craving” and “Miss Chatelaine.”

Lang also challenged what it meant to be a female performer, period. On a 1993 Vanity Fair cover, Cindy Crawford is shown shaving lang’s face, as lang is dressed in a suit and vest, meant to be controversial at the time because lang had recently come out as a lesbian. According to novelist Sheila Whitelay in her 2000 book Women and Popular Music: Sexuality, Identity, and Subjectivity, everything lang represented helped create a shift in the music industry: “With lesbian chic firmly established in the public eye and with the seeming indifference of fans to her sexuality, the bigotry of the music industry was finally being challenged.” In a career spanning three decades, lang has always made music that is unapologetic about individual sexuality. — KW
Dolly Parton

At a time when men dominated the airwaves, Parton’s empowering lyrics gave a real voice to working-class women in 1960s America. Her song “9 to 5” is a great example of how she used her lyrics to speak out on various issues in the workplace, including double standards between men and women.

Parton’s possibly best known for her song “Coat of Many Colours,” which country singer Charlie Worsham has singled out as a trademark: “Dolly is the only person who could’ve written this, and she wrote it unflinchingly from a place of pain and truth. Her vulnerability is what makes the song universal, because we’ve all been excluded or made fun of at some point in our lives.” Parton has 25 songs that have reached No.1 on the Billboard country music charts, has had 41 top 10 country albums and has had 110 charted singles over the last 40 years. — KW
Carole King

Whether it was the Beatles’s “Chains,” or James Taylor’s “You’ve Got a Friend in Me,” the voice behind the lyrics was often Carole King. During a time when male voices were dominant, King evened the playing field by penning smashing hits for big-name artists. King’s second album, Tapestry, released in 1971, is one of the best-selling albums of all time, with more than 25 million copies sold worldwide. King’s the most successful female songwriter of the latter half of the 20th century, having written or co-wrote 118 pop hits on the Billboard 100 between 1955 and 1999. — KW

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(2) Non-Personal Information: We use non-personal information in a variety of ways, including to help analyze site traffic, understand customer needs and trends, carry out targeted promotional activities, and to improve our services. We may use your non-personal information by itself or aggregate it with information we have obtained from others. We may share your non-personal information with our affiliated companies and third parties to achieve these objectives and others, but remember that aggregate information is anonymous information that does not personally identify you.

C. COOKIES AND PREFERENCE BASED ADVERTISING

(1) Cookies and Web Beacons: We automatically receive and store certain types of non-personally identifiable information whenever you interact with us. For example, like many websites, we use “cookies” and “web beacons” (also called “clear gifs” or “pixel tags”) to obtain certain types of information when your web browser accesses our Website. “Cookies” are small files that we transfer to your computer’s hard drive or your web browser memory to enable our systems to recognize your browser and to provide convenience and other features to you. “Web beacons” are tiny graphics with a unique identifier, similar in function to cookies, and may be used to track the online movements of users, when an email has been opened, and to provide other information.
Examples of the information we collect and analyze in this manner include the Internet Protocol (IP) address used to connect your computer to the Internet; computer and connection information such as browser type and version, operating system, and platform; your activities our Website, including the products you view or searched for, as well as the URL you come from and go to next (whether this URL is on our Website or not); and cookie number. It is important to note that the cookies and Web beacons that we use do not contain and are not tied to personally identifiable information about you.
If you are concerned about the storage and use of cookies, you may be able to direct your internet browser to notify you and seek approval whenever a cookie is being sent to your web browser or hard drive. You may also delete a cookie manually from your hard drive through your internet browser or other programs. Please note, however, that some parts of our Website will not function properly or be available to you if you refuse to accept a cookie or choose to disable the acceptance of cookies.

D. OTHER USES & INFORMATION

(1) IP Addresses: An IP address is a number that is automatically assigned to your computer whenever you are surfing the Internet. Web servers (computers that “serve up” web pages) automatically identify your computer by its IP address. When visitors request pages from our Website, our servers typically log their IP addresses. We collect IP addresses for purposes of system administration, to report non-personal aggregate information to others, and to track the use of our Website. IP addresses are considered non-personal information and may also be shared as provided above. It is not our practice to link IP addresses to anything personally identifiable; that is, the visitor’s session will be logged, but the visitor remains anonymous to us. However, we reserve the right to use IP addresses to identify a visitor when we feel it is necessary to enforce compliance with our Website rules or to: (a) fulfill a government request; (b) conform with the requirements of the law or legal process; (c) protect or defend our legal rights or property, our Website, or other users; or (d) in an emergency to protect the health and safety of our Website’s users or the general public.

(2) Email Communications: If you send us an email with questions or comments, we may use your personally identifiable information to respond to your questions or comments, and we may save your questions or comments for future reference. For security reasons, we do not recommend that you send non-public personal information, such as passwords, social insurance numbers, or bank account information, to us by email. However, aside from our reply to such an email, it is not our standard practice to send you email unless you request a particular service or sign up for a feature that involves email communications, or you consented to being contacted by email for a particular purpose. In certain instances, we may provide you with the option to set your preferences for receiving email communications from us; that is, agree to some communications but not others. You may “opt out” of receiving future commercial email communications from us by clicking the “unsubscribe” link included at the bottom of all emails we send, or as provided below; provided, however, we reserve the right to send you transactional emails such as customer service communications.

(3) Transfer of Assets: As we continue to develop our business, we may sell or purchase assets. If another entity acquires us or all (or substantially all) of our assets, the personally identifiable information and non-personal information we have about you will be transferred to and used by this acquiring entity, though we will take reasonable steps to ensure that your preferences are followed. Also, if any bankruptcy or reorganization proceeding is brought by or against us, all such information may be considered an asset of ours and as such may be sold or transferred to third parties.

(4) Other: Notwithstanding anything herein to the contrary, we reserve the right to disclose any personally identifiable or non-personal information about you if we are required to do so by law, with respect to copyright and other intellectual property infringement claims, or if we believe that such action is necessary to: (a) fulfill a government request; (b) conform with the requirements of the law or legal process; (c) protect or defend our legal rights or property, our Website, or other users; or (d) in an emergency to protect the health and safety of our Website’s users or the general public.

(5) Storage of Information in the United States: Our Website is maintained in Canada, although personally identifiable information may be shared with entities in the United States, in accordance with this Privacy Policy. You understand that the data protection laws in the United States differ from those in Canada. By using the Website, participating in any activities on the Website, and/or providing us with your personally identifiable information, you consent to the collection, transfer and processing of your personally identifiable information to and from both the United States and Canada and agree that your personally identifiable information may be subject to access requests from governments, courts or law enforcement in the United States according to the laws of the United States.

E. PUBLIC FORUMS

We may offer chat rooms, blogs, message boards, bulletin boards, or similar public forums where you and other users of our Website can communicate. The protections described in this Privacy Policy do not apply when you provide information (including personal information) in connection with your use of these public forums. We may use personally identifiable and non-personal information about you to identify you with a posting in a public forum. Any information you share in a public forum is public information and may be seen or collected by anyone, including third parties that do not adhere to our Privacy Policy. We are not responsible for events arising from the distribution of any information you choose to publicly post or share through our Website.

F. CHILDREN

Children twelve years of age and under are permitted to participate in the Website and in various promotions we may offer in accordance with the specific terms of use or rules for such promotions. Personal information collected in such circumstances will be collected solely for such purpose and will not be retained after delivery of the prizes and/or closing of the contest, as relevant. Children will not generally be permitted to participate in a promotion unless the child’s parent or legal guardian has expressly consented to the collection of that child’s personal information as aforesaid. If you are a parent or legal guardian of a child under the age of 13 and believe he or she has disclosed personally identifiable information to us without your consent please contact us as provided in Section I below. A parent or legal guardian of a child under the age of 13 may review and request deletion of such child’s personally identifiable information as well as prohibit the use thereof.

G. KEEPING YOUR INFORMATION SECURE

We have implemented security measures we consider reasonable and appropriate to protect against the loss, misuse and alteration of the information under our control. Please be advised, however, that while we strive to protect your personally identifiable information and privacy, we cannot guarantee or warrant the security of any information you disclose or transmit to us online and are not responsible for the theft, destruction, or inadvertent disclosure of your personally identifiable information. In the unfortunate event that your “personally identifiable information” (as the term or similar terms are defined by any applicable law requiring notice upon a security breach) is compromised, we may notify you by e-mail (at our sole and absolute discretion) to the last e-mail address you have provided us in the most expedient time reasonable under the circumstances; provided, however, delays in notification may occur while we take necessary measures to determine the scope of the breach and restore reasonable integrity to the system as well as for the legitimate needs of law enforcement if notification would impede a criminal investigation. From time to time we evaluate new technology for protecting information, and when appropriate, we upgrade our information security systems.

H. OTHER SITES/LINKS

Our Website may link to or contain links to other third party websites that we do not control or maintain, such as in connection with purchasing products referenced on our Website and banner advertisements. We are not responsible for the privacy practices employed by any third party website. We encourage you to note when you leave our Website and to read the privacy statements of all third party websites before submitting any personally identifiable information.

I. CONTACT & OPT-OUT INFORMATION

You may contact us as provided below if you: (a) have questions or comments about our Privacy Policy; (b) wish to make corrections to any personally identifiable information you have provided; (c) want to opt-out from receiving future commercial correspondence, including emails, from us or our affiliated companies; or (d) wish to withdraw your consent to sharing your personally identifiable information with others.
Email: canadasound@gmail.com
We will respond to your request and, if applicable and appropriate, make the requested change in our active databases as soon as reasonably practicable. Please note that we may not be able to fulfill certain requests while allowing you access to certain benefits and features of our Website.

J. SOLE STATEMENT

This Privacy Policy as posted on this Website is the sole statement of our privacy policy with respect to this Website, and no summary, modification, restatement or other version thereof, or other privacy statement or policy, in any form, is valid unless posted to the Website by us.

CanadaSound Site Terms of Use

1. INTRODUCTION AND ACCEPTANCE

Welcome to www.canadasound.ca (“Website”). The Website is an interactive online service operated by CanadaSound Inc. and its subsidiaries (“us,” “we,” or “our”).
PLEASE READ THESE TERMS OF USE CAREFULLY BEFORE USING THE WEBSITE. BY ACCESSING AND/OR USING THE WEBSITE (OTHER THAN TO READ THESE TERMS OF USE FOR THE FIRST TIME) YOU ARE AGREEING TO COMPLY WITH THESE TERMS OF USE, WHICH MAY CHANGE FROM TIME TO TIME AS SET FORTH BELOW. IF YOU DO NOT AGREE TO BE BOUND BY THESE TERMS OF USE, DO NOT ACCESS OR USE THE WEBSITE.
In addition to these Terms of Use, we have established a Privacy Policy to explain how we collect and use information about you. A copy of this Privacy Policy can be found here: www.canadasound.ca and is incorporated by reference into these Terms of Use. By accessing or using the Website, you are also signifying your acknowledgement and agreement to our Privacy Policy.
The Website and the Canada Sound Initiative is open only to legal residents of Canada.

2. INTELLECTUAL PROPERTY
The Website and all content on or connected with the Website including, but not limited to, all text, illustrations, files, images, software, scripts, graphics, photos, sounds, music, videos, information, content, materials, products, services, URLs, technology, documentation, and interactive features (collectively, “Our Website Content”), and also including all derivative works or enhancements based on these, and all intellectual property rights to Our Website Content are owned by us, our licensors, or both. Additionally, all trademarks, trade names and trade dress that may appear on the Website are owned by us, our licensors, or both. Except for the limited use rights granted to you in these Terms of Use, you shall not acquire any right, title or interest in the Website or any of Our Website Content. Any rights not expressly granted in these Terms of Use are reserved to us.

3. WEBSITE ACCESS AND USE

• Access to the Website including, without limitation, Our Website Content is provided for your information and personal, non-commercial use only. When using the Website, you agree to comply with all applicable federal, provincial, and local laws including, without limitation, copyright law. Except as expressly permitted in these Terms of Use, you may not use, reproduce, distribute, create derivative works based upon, publicly display, publicly perform, publish, transmit, or otherwise exploit Our Website Content or third party User Content (defined below) for any purpose whatsoever without obtaining prior written consent from us or, in the case of third party User Content, its respective owner. In certain instances, we may permit you to download or print Our Website Content or both. In such a case, you may download or print (as applicable) one copy of Our Website Content or the relevant part of it for your personal, non-commercial use only. You acknowledge that you do not acquire any ownership rights by downloading or printing Our Website Content or any part of it.

• Except as expressly permitted in these Terms of Use, you may not:
(i) remove, alter, cover, or distort any copyright, trademark, or other proprietary rights notice on the Website or Our Website Content or third party User Content;
(ii) circumvent, disable or otherwise interfere with security-related features of the Website including, without limitation, any features that prevent or restrict use or copying of any content or enforce limitations on the use of the Website or Our Website Content or third party User Content;
(iii) use an automatic device (such as a robot or spider) or manual process to copy or “scrape” the Website or Our Website Content or third party User Content for any purpose without our (or their, as the case may be) express written permission;
(iv) collect or harvest any personally identifiable information from the Website including, without limitation, user names, passwords, email addresses;
(v) use the Website to solicit other users to join or become members of any commercial online service or other organization without our prior written approval;
(vi) attempt to or interfere with the proper working of the Website or impair, overburden, or disable the same;
(vii) decompile, reverse engineer, or disassemble any portion of any the Website;
(viii) use network-monitoring software to determine architecture of or extract usage data from the Website;
(ix) encourage conduct that violates any local, provincial or federal law, either civil or criminal, or impersonate another user, person, or entity (e.g., using another person’s Membership (defined below) without permission, etc.); and/or
(x) engage in any conduct that restricts or inhibits any other user from using or enjoying the Website.
(C) You agree to fully cooperate with us to investigate any suspected or actual activity that is in breach of these Terms of Use.

4. USER REGISTRATION

(A) In order to access or use some features of the Website, you may have to become a registered user. If you are under the age of thirteen, then you are not permitted to register as a user or otherwise submit personal information unless we receive appropriate consent from your parent or legal guardian.
(B) If you become a registered user, you will provide true, accurate and complete registration information and, if such information changes, you will promptly update the relevant registration information. During registration, you will create a user name and password (a “Membership”), which may permit you access to certain areas of the Website not available to non-registered users. You are responsible for safeguarding and maintaining the confidentiality of your Membership. You are solely responsible for the activity that occurs under your Membership, whether or not you have authorized the activity. You agree to notify us immediately at www.canadasound.ca of any breach of security or unauthorized use of your Membership.

5. USER CONTENT

(A) The Website permits users to post, upload, transmit through, link to or otherwise make available on the Website (collectively, “submit”) messages, text, illustrations, files, images, graphics, photos, comments, sounds, music, videos, information, content, and/or other materials (collectively, “User Content”). Subject to the rights and license you grant herein, you retain all right, title and interest in your User Content. We do not guarantee any confidentiality with respect to User Content even if it is not published on the Website. It is solely your responsibility to monitor and protect any intellectual property rights that you may have in your User Content, and we do not accept any responsibility for the same. User Content that you provide via a link to a third party site or service, such as YouTube, Vimeo and the like, may also be subject to terms of use of such provider. You represent and warrant that your User Content is in full compliance with such third party terms of use. Such third party providers are not in any way affiliated with the Website or the CanadaSound project.
(B) You shall not submit any User Content protected by copyright, trademark, patent, trade secret, moral right, or other intellectual property or proprietary right without the express permission of the owner of the respective right (or his/her parent or legal guardian if a minor). You are solely liable for any damage resulting from your failure to obtain such permission or from any other harm resulting from User Content that you submit.
(C) You represent, warrant, and covenant that you will not submit any User Content that:
(i) violates or infringes in any way upon the rights of others, including, but not limited to, any copyright, trademark, patent, trade secret, moral right, or other intellectual property or proprietary right of any person or entity (including without limitation, rights of publicity or personality);
(ii) impersonates another or is unlawful, threatening, abusive, libelous, defamatory, invasive of privacy or publicity rights, vulgar, obscene, profane, pornographic, or otherwise objectionable;
(iii) encourages conduct that would constitute a criminal offense, give rise to civil liability or otherwise violate any law;
(iv) is an advertisement for goods or services or a solicitation of funds; includes personal information such as messages which identify phone numbers, social insurance numbers, account numbers, addresses, or employer references;
(v) contains a formula, instruction, or advice that could cause harm or injury; or
(vi) is a chain letter of any kind.
Moreover, any conduct by a user that in our sole discretion restricts or inhibits any other user from using or enjoying the Website will not be permitted.
(D) By submitting User Content to us, simultaneously with such posting you automatically grant, or warrant that the owner has expressly granted, to us a worldwide, royalty-free, perpetual, irrevocable, non-exclusive, fully sublicensable, and transferable right and license to use, reproduce, distribute, create derivative works based upon (including, without limitation, translations), publicly display, publicly perform, transmit, and publish the User Content (in whole or in part, as is or as may be edited) as we, in our sole discretion, deem appropriate including generally in connection with the Canada Sound Initiative and Canada 150 celebrations. We may exercise this grant in any format, media or technology now known or later developed for the full term of any copyright that may exist in such User Content. Furthermore, you also grant other users permission to access your User Content and to use, reproduce, distribute, create derivative works based upon, publicly display, publicly perform, transmit, and publish your User Content for use as permitted by the functionality of the Website and these Terms of Use. You acknowledge that the Website and the Canada Sound project is intended to be collaborative in nature and you are encouraged to submit ideas that may inspire others. Please do not submit actual works such as musical compositions or recordings, as all of the rights granted herein apply to such works just as they do to ideas or concepts.
(E) By submitting User Content, you also grant us the right, but not the obligation, to use your biographical information including, without limitation, your name and geographical location (province and city only) in connection with broadcast, print, online, or other use or publication of your User Content. Notwithstanding the foregoing, you waive any and all claims you may now or later have in any jurisdiction to so-called “moral rights” or rights of “droit moral” with respect to the User Content.
(F) We reserve the right to contact you for permission to display advertisements directly in connection with your User Content and/or to use your User Content specifically for advertising and promotional purpose. You acknowledge and agree that your User Content may be included on the websites and advertising networks of our distribution partners and third-party service providers (including their downstream users).
(G) We have the right, but not the obligation, to monitor User Content. We have the right in our sole discretion and for any reason whatsoever to edit, refuse to post, remove, or disable access to any User Content.
(H) The Website takes the ideas and sounds submitted by users as User Content and creates and produces its own, or commissions the creation and production of, audio clips embodying the User submitted sounds (the “Clips”). The majority of the Clips have been commissioned from Sound Dogs Canada Inc. under license.

Registered users are permitted to use the Clips in their own sound recordings (“User Sound Recordings”), which User Sound Recordings they may reproduce and exploit as they see fit, PROVIDED that they shall not permit any portion of the User Sound Recordings in which a Clip or any part of a Clip is audible to be used in synchronization or timed relation or in any way in association with the products, services or messages of third parties.

Users who create User Sound Recordings are encouraged to share those Sound Recordings by submitting them to the Website. If you do submit one or more of your User Sound Recordings, you grant, on behalf of yourself and all writers and performers associated with such User Sound Recordings, a worldwide, royalty-free, perpetual, irrevocable, non-exclusive, fully sublicensable and transferrable right and license to use, reproduce, distribute, publicly display and perform, transmit and publish the User Sound Recordings solely in connection with the Website and the Canada Sound project. Some artists may be selected for potential inclusion on a digital compilation for charitable distribution, with separate terms and conditions.
(I) Technical Requirements:
(i) If your User Content is a video, it must be no more than 5 minutes in duration and in any of the following formats: .vob, .mov, .mpeg, .mpg, .mp4, .m4v, .flv, .avi, .asf, .divx, .wmv.
(ii) If your User Content is audio-only or other, it must be no more than 5 minutes in duration and in an audio file of a quality fit for radio play and in one of the following formats: .mp3 or .wav.
(iii) All User Content must have been recorded no earlier than one year prior to the commencement of the Canada Sound Initiative (i.e., not before July 1, 2015). All submissions must use the following hashtag: #CanadaSound.

6. WEBSITE CONTENT & THIRD PARTY LINKS

(A) We provide the Website including, without limitation, Website Content for educational, entertainment and promotional purposes only. You may not rely on any information and opinions expressed on any of our Website for any other purpose. In all instances, it is your responsibility to evaluate the accuracy, timeliness, completeness, or usefulness of Our Website Content. Under no circumstances will we be liable for any loss or damage caused by your reliance on any of Our Website Content.

(B) In some instances, Our Website Content may include content posted by a third party or will represent the opinions and judgments of a third party. We do not endorse or warrant and are not responsible for the accuracy, timeliness, completeness, or reliability of any opinion, advice, or statement made on the Website by anyone other than our authorized employees or spokespersons while acting in their official capacities.

(C) If there is a dispute between persons accessing the Website or between persons accessing the Website and any third party, you understand and agree that we are under no obligation to become involved. If there is such a dispute, you hereby release us, our officers, directors, employees, parents, partners, successors, agents, distribution partners, affiliates, subsidiaries, and their related companies from claims, demands, and damages of every kind or nature arising out of, relating to, or in any way connected with such dispute.

(D) The Website may contain links to other websites maintained by third parties. We do not operate or control, in any respect, or necessarily endorse the content found on these third-party websites. You assume sole responsibility for your use of third-party links. We are not responsible for any content posted on third-party websites or liable to you for any loss or damage of any sort incurred as a result of your dealings with any third-party or their website.

7. INDEMNIFICATION

(i) your access to or use of the Website;

(ii) User Content provided by you or through use of your Membership;

(iii) any actual or alleged violation or breach by you of these Terms of Use;

(iv) any actual or alleged breach of any representation, warranty, or covenant that you have made to us; or

(v) your acts or omissions. You agree to cooperate fully with us in the defense of any claim that is the subject of your obligations hereunder.

8. DISCLAIMERS

TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW: (A) YOU EXPRESSLY AGREE THAT USE OF THE WEBSITE IS AT YOUR SOLE RISK. THE WEBSITE AND WEBSITE CONTENT ARE PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED.

9. LIMITATION ON LIABILITY

(A) UNDER NO CIRCUMSTANCES SHALL CANADASOUND INC. OR ITS OFFICERS, DIRECTORS, EMPLOYEES, PARENTS, PARTNERS, SUCCESSORS, AGENTS, DISTRIBUTION PARTNERS, AFFILIATES, SUBSIDIARIES, OR THEIR RELATED COMPANIES BE LIABLE FOR INDIRECT, INCIDENTAL, SPECIAL, CONSEQUENTIAL OR EXEMPLARY DAMAGES (EVEN IF CANADASOUND INC. HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES), ARISING OUT OF, RELATING TO, OR IN ANY WAY CONNECTED WITH THE WEBSITE OR THESE TERMS OF USE. YOUR SOLE REMEDY FOR DISSATISFACTION WITH THE WEBSITE INCLUDING, WITHOUT LIMITATION, THE WEBSITE CONTENT IS TO STOP USING THE WEBSITE. SUCH LIMITATION SHALL ALSO APPLY WITH RESPECT TO DAMAGES INCURRED BY REASON OF SERVICES OR PRODUCTS RECEIVED THROUGH OR ADVERTISED IN CONNECTION WITH ANY OF THE WEBSITE OR ANY LINKS ON THE WEBSITE, AS WELL AS BY REASON OF ANY INFORMATION OR ADVICE RECEIVED THROUGH OR ADVERTISED IN CONNECTION WITH ANY OF THE WEBSITE OR ANY LINKS ON THE WEBSITE. SUCH LIMITATION SHALL ALSO APPLY WITH RESPECT TO DAMAGES INCURRED BY REASON OF ANY CONTENT POSTED BY A THIRD-PARTY OR CONDUCT OF A THIRD-PARTY ON THE WEBSITE.

(B) In some jurisdictions limitations of liability are not permitted. In such jurisdictions, some of the foregoing limitations may not apply to you. These limitations shall apply to the fullest extent permitted by law.

10. TERMINATION

(A) We reserve the right in our sole discretion and at any time to terminate or suspend your Membership and/or block your access to the Website for any reason including, without limitation if you have failed to comply with the letter and spirit of these Terms of Use. You agree that we shall not be liable to you or any third party for any termination or suspension of your Membership or for blocking your access to the Website.

(B) Any suspension or termination shall not affect your obligations to us under these Terms of Use. The provisions of these Terms of Use which by their nature should survive the suspension or termination of your Membership or these Terms of Use shall survive including, but not limited to the rights and licenses that you have granted hereunder, indemnities, releases, disclaimers, limitations on liability, provisions related to choice of law, dispute resolution, no class action, no trial by jury and all of the miscellaneous provisions in Section 14 below.

11. COPYRIGHT POLICY

(A) We respect the intellectual property rights of others and expect users to do the same. In appropriate circumstances and at our sole discretion, we may terminate and/or disable the Membership of users suspected to be infringing the copyrights (or other intellectual property rights) of others. Additionally, in appropriate circumstances and in our sole discretion, we may remove or disable access to material on any of our websites or hosted on our systems that may be infringing or the subject of infringing activity.

12. CHOICE OF LAW; JURISDICTION AND VENUE

These Terms of Use shall be construed in accordance with the laws of the Province of Ontario and the law of Canada applicable therein, without regard to its conflict of laws rules. Any legal proceedings against us that may arise out of, relate to, or be in any way connected with our Website or these Terms of Use shall be brought exclusively in the provincial and federal courts of Toronto, Ontario and you waive any jurisdictional, venue, or inconvenient forum objections to such courts.

13. AMENDMENT; ADDITIONAL TERMS

(A) We reserve the right in our sole discretion and at any time and for any reason, to modify or discontinue any aspect or feature of the Website or to modify these Terms of Use. In addition, we reserve the right to provide you with operating rules or additional terms that may govern your use of the Website generally, unique parts of the Website, or both (“Additional Terms”). Any Additional Terms that we may provide to you will be incorporated by reference into these Terms of Use. To the extent any Additional Terms conflict with these Terms of Use, the Additional Terms will control.

(B) Modifications to these Terms of Use or Additional Terms will be effective immediately upon notice, either by posting on the Website or by notification by email or conventional mail. It is your responsibility to review the Terms of Use and the Website from time to time for any changes or Additional Terms. Your access and use of any the Website following any modification of these Terms of Use or the provision of Additional Terms will signify your assent to and acceptance of the same. If you object to any subsequent revision to the Terms of Use or to any Additional Terms, immediately discontinue use of the Website and, if applicable, terminate your Membership.

14. MISCELLANEOUS

(A) Except where specifically stated otherwise, if any part of these Terms of Use is unlawful or unenforceable for any reason, we both agree that only that part of the Terms of Use shall be stricken and that the remaining terms in the Terms of Use shall not be affected. So, for example, if a provision in these terms is found to be unenforceable, we agree an arbitrator (or, if permitted, a court) shall only strike that provision and that the remaining terms of these Terms of Use shall remain in force.

(B) These Terms of Use (including the Privacy Policy and any Additional Terms incorporated by reference) constitute the entire agreement of the parties with respect to the subject matter hereof, and supersede all previous written or oral agreements between us with respect to such subject matter.

(C) You may not assign these Terms of Use or assign any rights or delegate any obligations hereunder, in whole or in part, without our prior written consent. Any such purported assignment or delegation by you without the appropriate prior written consent will be null and void and of no force and effect. We may assign these Terms of Use or our rights arising here under at any time without your consent and without notice to you.

(D) All Website users who are under the legal age of majority in their province of residence at the time of use of the Website (a “Minor”) shall use the Website and upload User Content only with the explicit consent of their parent or legal guardian. Parents/guardians will be required to provide consent by checking the relevant box on first use of the Website. Furthermore, all of these Terms of Use shall apply to the Minor and to the Minor’s parent or legal guardian. The collection of personal information of Minors is dealt with in our privacy policy.

Thank you for participating in the CanadaSound project in honour of Canada’s 150th –we hope you were inspired by the sounds and will join us on our journey to create the ultimate Canadian soundtrack. We’ll need a few personal details from you, as we may need to reach out to you again to talk more about your song, your story, and your musical contributions, or contact you for potential inclusion in CanadaSounds’ Ultimate Soundtrack. By filling out the form, you agree to be contacted by CanadaSound Inc.

First Name*

Last Name*

Band or Performer name*

E-mail*

Phone*

Website*

Address*

City*

Province*

Postal Code*

Country*

Are you the age of majority in your province of residence?
If not, please have your parents fill out this form.

I'm a*
Woman Man Non Binary Let me specify

Language*
English French Let me specify

Genre*

I have read and accepted the terms and conditions.*

Please contact me with updates.

After submitting you will be sent an email to verify your account.

CANADASOUND ARTIST SUBMISSION TERMS

BY SUBMITTING MATERIALS TO THE CANADASOUND.CA WEBSITE, YOU ARE AGREEING TO COMPLY WITH THESE TERMS OF USE, WHICH MAY CHANGE FROM TIME TO TIME. IF YOU DO NOT AGREE TO BE BOUND BY THESE TERMS OF USE, PLEASE DO NOT SUBMIT ANY MATERIALS TO THE SITE. YOUR USE OF THE SITE IS ALSO GOVERNED BY THE GENERAL TERMS OF USE AND PRIVACY POLICY, WHICH YOU MAY ACCESS ON THE SITE.

1. The Website permits any and all Canadian residents to submit ideas, brief recordings, brief videos, photographs or other materials that represent their favourite sounds and sounds that evoke an idea of Canada. These are referred to “General Submissions” in these terms.

2. As we receive General Submissions, we will take some, but not necessarily all, of them and engage sound engineers to create original sound clips (the “Clips”) to create a CanadaSound Library. The majority of the Clips have been commissioned from Sound Dogs Canada Inc. under license.

3. The Website then also permits any and all Canadian residents to use the Clips to create original musical works. These are referred to as “User Sound Recordings” in these terms. You do not have to be a professional musician or band to create and submit User Sound Recordings, but if you are a musician or band that is a union member or is party to a contract with a record label or publisher or any other relevant third party, please ensure you comply with the terms specifically set out below. Where we refer to both General Submissions and User Sound Recordings together in these terms, we refer to them as “Submissions.”

4. Subject to the rights and license you grant herein, you retain all right, title and interest in your Submissions. However, we do not guarantee any confidentiality with respect to General Submissions even if they are not published on the Website. It is solely your responsibility to monitor and protect any intellectual property rights that you may have in your General Submission(s), and we do not accept any responsibility for the same. General Submissions that you provide via a link to a third-party site or service, such as YouTube, Vimeo and the like, may also be subject to terms of use of such provider. You represent and warrant that your General Submissions are in full compliance with such third-party terms of use. Such third-party providers are not in any way affiliated with the Website or the CanadaSound project.

5. You shall not submit any Submission that is protected by copyright, trademark, patent, trade secret, moral right, or other intellectual property or proprietary right without the express permission of the owner of the respective right (or his/her parent or legal guardian if a minor). You are solely liable for any damage resulting from your failure to obtain such permission or from any other harm resulting from any Submission that you submit.

6. You represent, warrant, and covenant that your Submissions do not and shall not:

(a) violate or infringe in any way upon the rights of others, including, but not limited to, any copyright, trademark, patent, trade secret, moral right, or other intellectual property or proprietary right of any person or entity (including without limitation, rights of privacy, publicity or personality);

(b) impersonate another or be unlawful, threatening, abusive, libelous, defamatory, invasive of privacy or publicity rights, vulgar, obscene, profane, pornographic, or otherwise objectionable;

(c) encourage conduct that would constitute a criminal offense, give rise to civil liability or otherwise violate any law; or

(d) be an advertisement for goods or services or a solicitation of funds; include personal information such as messages that identify phone numbers, social insurance numbers, account numbers, addresses, or employer references.

(e) Moreover, any conduct by a user that in our sole discretion restricts or inhibits any other user from using or enjoying the Website will not be permitted.

7. By submitting General Submission(s) to us, simultaneously with such posting you automatically grant, or warrant that the owner has expressly granted, to us a worldwide, royalty-free, perpetual, irrevocable, non-exclusive, fully sub-licensable, and transferable right and license to use, reproduce, distribute, create derivative works based upon (including, without limitation, translations), publicly display, publicly perform, transmit, and publish the General Submission(s) (in whole or in part, as is or as may be edited) as we, in our sole discretion, deem appropriate including generally in connection with the Canada Sound Initiative and Canada 150 celebrations. We may exercise this grant in any format, media or technology now known or later developed for the full term of any copyright that may exist in such General Submission(s) (if relevant). Furthermore, you also grant other users permission to access your General Submission(s) and to use, reproduce, distribute, create derivative works based upon, publicly display, publicly perform, transmit, and publish your General Submission(s) for use as permitted by the functionality of the Website and all applicable terms of use. You acknowledge that the Website and the CanadaSound project is intended to be collaborative in nature and you are encouraged to submit ideas that may inspire others. For General Submissions, please do not submit actual creative works such as musical compositions or recordings, as all of the rights granted herein apply to such works just as they do to ideas or concepts.

8. By submitting Submissions you also grant us the right, but not the obligation, to use your biographical information including, without limitation, your name and geographical location (province and city only) in connection with broadcast, print, online, or other use or publication of your Submission(s). Notwithstanding the foregoing, you waive any and all claims you may now or later have in any jurisdiction to so-called “moral rights” or rights of “droit moral” with respect to your Submission(s).

9. We reserve the right to contact you for permission to display advertisements directly in connection with your Submission(s) and/or to use your Submission(s) specifically for advertising and promotional purposes not otherwise covered in these terms. You acknowledge and agree that your General Submission(s) may be included on the websites and advertising networks of our distribution partners and third-party service providers (including their downstream users).

10. We have the right, but not the obligation, to monitor all user content submitted to the Website, including Submissions. We have the right in our sole discretion and for any reason whatsoever to edit, refuse to post, remove, or disable access to any user content and/or Submissions.

11. Registered Users (as defined in the General Terms of Use for the Website) are permitted to use the Clips in their own User Sound Recordings. All User Sound Recordings must be submitted to the username and password protected submission area of the Website. If you do submit and upload one or more of your User Sound Recordings, we shall keep the User Sound Recording(s) in a private area of the Website to which the public and other users of the Site will not have access. Some artists who upload Sound Recordings may be selected for potential further uses of the Sound Recording(s), including use in association with the CanadaSound project generally, for airing on CBC properties (including related social media of each), and potentially for inclusion on a digital “Canada 150 CanadaSound” compilation for charitable distribution. If your User Sound Recording is selected for further use, we will contact you with separate terms and conditions.

12. Registered Users may reproduce and exploit their User Sound Recordings as they see fit, PROVIDED that they shall not permit any portion of the User Sound Recordings in which a Clip or any part of a Clip is audible to be used in synchronization or timed relation or in any way in association with the products, services or messages of third parties.

13. Technical Requirements:

(a) If your Submission is a video, it must be no more than 5 minutes in duration and in any of the following formats: .vob, .mov, .mpeg, .mpg, .mp4, .m4v, .flv, .avi, .asf, .divx, .wmv.

(b) If your Submission is audio-only or other, it must be no more than 5 minutes in duration and in an audio file of a quality fit for radio play and in one of the following formats: .mp3 or .wav.

(c) All Submissions must have been recorded no earlier than one year prior to the commencement of the CanadaSound Initiative (i.e., not before July 1, 2015). All Submissions must use the following hashtag: #CanadaSound.

14. Indemnification

You agree to indemnify and hold us (including our officers, directors, employees, parents, partners, successors, agents, distribution partners, affiliates, subsidiaries and their related companies) harmless from and against any and all claims, liabilities, losses, damages, obligations, costs and expenses (including reasonable lawyers’ fees and costs) arising out of, related to, or that may arise in connection with: (a) your access to or use of the Website; (b) user content and/or Submissions provided by you; (c) any actual or alleged violation or breach by you of these Submission Terms and/or the General Website Terms of Use; (d) any actual or alleged breach of any representation, warranty, or covenant that you have made to us; or (e) your acts or omissions. You agree to cooperate fully with us in the defense of any claim that is the subject of your obligations hereunder.

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