{"id":14806,"date":"2026-03-03T14:57:44","date_gmt":"2026-03-03T19:57:44","guid":{"rendered":"https:\/\/carleton.ca\/music\/?post_type=cu_people&#038;p=14806"},"modified":"2026-03-03T15:27:13","modified_gmt":"2026-03-03T20:27:13","slug":"keillor-elaine","status":"publish","type":"cu_people","link":"https:\/\/carleton.ca\/music\/people\/keillor-elaine\/","title":{"rendered":"Elaine Keillor"},"content":{"rendered":"<header class=\"mb-6 cu-pageheader cu-component-updated md:mb-12\">\n    <h1 class=\"cu-prose-first-last font-semibold !mt-2 mb-4 md:mb-6 text-3xl md:text-4xl lg:text-5xl lg:leading-[3.5rem] relative after:absolute after:h-px after:bottom-0 pb-5 after:w-10 after:bg-cu-red after:left-px\">\n                    \n             \n                \n            <\/h1>\n\n    \n    <\/header>\n\n\n\n\n\n<p>Born in London, Ontario, Elaine Keillor received the Associate (ARCT) piano performance degree from the Royal Conservatory of Music (Toronto) with all of the theory exams completed at the age of ten, a record that stood for over six decades. Becoming the first woman to receive a Ph.D. in musicology from the University of Toronto, Dr. Elaine Keillor has performed in recitals and as soloist with orchestra on piano and harpsichord throughout North America and in Europe. After teaching at the University of Toronto, York, Queen\u2019s, and McMaster Universities, she has been since 1977 a professor at Carleton University, Ottawa, lecturing on Baroque, Classical periods, Canadian musics, ethnomusicology, keyboard performance and literature.<\/p>\n\n\n\n<p>As principal investigator of the Canadian Musical Heritage Society, Dr. Keillor edited <em>Piano Music I <\/em>(1983). <em>Piano Music II<\/em> (1986), <em>Music for Orchestra<\/em> (1994), and <em>Music for Orchestra III<\/em> (1995). She is also the author of <em>John Weinzweig: The Radical Romantic of Canada<\/em> (Scarecrow Press, 1994), <em>Music in Canada: Capturing Landscape and Diversity <\/em>(McGill\/Queen\u2019s Press, 2006; paperback, 2008), plus numerous essays in compilations, periodicals, and encyclopedias including the <em>Encyclopedia of Music in Canada<\/em>, <em>The Canadian Encyclopedia<\/em>, <em>New Grove Dictionary<\/em>, <em>Die Musik in Geschichte und Gegenwart<\/em>, and <em>The Garland Encyclopedia of World Music<\/em>. Her latest book publication as principal author was the <em>Encyclopedia of Native American Music of North America <\/em>(2013).<\/p>\n\n\n\n<p>In January 1999 she was the inaugural recipient of the Canadian Women\u2019s Mentor Award in the \u201cArts and Culture\u201d category. Keillor was the 2004 Helmut Kallmann Award recipient for Distinguished Service relating to music libraries and archives, for outstanding contributions in documenting and improving access to resources in Canadian music. In 2009 the Canadian Music Centre named her one of 50 Ambassadors for Canadian music. Dr. Keillor received the SOCAN Foundation 2013 Award of Excellence for the Advancement of Research in Canadian Music.<\/p>\n\n\n\n<p>Being the team leader for their production Keillor invites visitors to the websites, <a href=\"https:\/\/www.indigenousdrums.ca\/en\/home\" target=\"_blank\" rel=\"noreferrer noopener\">indigenousdrums.ca\/en\/home<\/a> and <a href=\"https:\/\/www.indigenousdance.ca\/en\/home\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>indigenousdance.ca\/en\/home<\/strong><\/a>\u00a0to explore the musical expressions of the First Peoples within Canada.<\/p>\n\n\n\n<p>As a pianist Keillor has appeared on 30 recordings to date including those released by Conservatory Canada, Gala, Centrediscs and NAXOS. Teraud\u2019s review of her recent four-CD set, <em>Sounds of North: Two Centuries of Canadian Piano Music<\/em>, states: &#8220;Thank goodness there is someone like Keillor, a devoted contributor to the storehouse assembled by the Canadian Musical Heritage Society, champion of women composers, the musical traditions of First Nations, and of new music. Keillor has an unaffected, elegant playing style that neatly lays out the many, many different styles and atmospheres she has chosen to represent.&#8221;<\/p>\n\n\n\n<h3 id=\"her-most-recent-cd-releases-include\" class=\"wp-block-heading\">Her most recent CD releases include:<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>When Music <\/em><em>Sounds: Canadian Cello Music \u2013 Coulthard, Weinzweig, Guerrero, Archer. <\/em>With Joan Harrison, cello. NAXOS 9.70126, 2014.<\/li>\n\n\n\n<li><em>Poetic Sketches. <\/em>Centrediscs CMCCD 21615, 2015.<\/li>\n\n\n\n<li><em>Narratives on Life: Music for Cello and Piano \u2013 Srul Irving Glick, Steven Gellman, H\u00e9l\u00e8ne Riese Liebmann, Maurice Gardner. <\/em>With Joan Harrison, cello. Marquis 81467, 2015.<\/li>\n<\/ul>\n\n\n\n<h3 id=\"two-reviews-for-poetic-sketches\" class=\"wp-block-heading\">Two reviews for &#8216;Poetic Sketches&#8217;<\/h3>\n\n\n<div class=\"not-prose cu-quote cu-component-spacing\">\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cCanadian composers, past and present, are blessed to have a champion as finely skilled and genuinely dedicated as Elaine Keillor, a veteran touring pianist as well as mentor, scholar and author whose six-decade career shows no sign of abatement. (On this beautifully recorded disc [Poetic Sketches], she performs on her own American Steinway piano and her playing illustrates the easy virtuoso assurance one associates with keyboard artists playing their own preferred instrument.) Born in London, Ontario, trained primarily in Toronto and now a Distinguished Research Professor Emerita with Ottawa\u2019s Carleton University, Dr. Keillor\u2019s performing and writing have focused on Canadian composers including two among her own mentors. \u2026<br><br>All of the music on this CD is challenging and imaginative, has genuine merit and deserves respect in these contexts. &#8230; it\u2019s a very real tribute to Canada\u2019s music community, since the mid-20th century, that composers can thrive well enough to produce such works and to have the satisfaction of seeing and hearing them performed and recorded by a pianist of warmth and brilliance such as Elaine Keillor.\u201d<br><br>&#8211; ConcertoNet.com\u00a0 Charles Pope Jr.<\/p>\n<\/blockquote>\n<\/div>\n\n<div class=\"not-prose cu-quote cu-component-spacing\">\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>With this new CD the Canadian Music Centre presents an entertaining and stylistically well- balanced set of previously unrecorded piano works, all composed during the past thirty years (the earliest is Elma Miller\u2019s Through a Narrow Window from 1985, followed by Morawetz\u2019s imaginative Five Poetic Sketches of 1991; the others were written between 2000 and 2006). &#8230;<br><br>Pianist Elaine Keillor needs no introduction as a champion of Canadian music. She previously premiered the pieces by Miller and Weinzweig on this disc (and, incidentally, published a book- length study of Weinzweig back in the mid-1990s); and she was also a co-performer, twenty- five years ago, in the premiere of another piece by Patrick Cardy, Quant je suis mis, a short work for voice and piano. It is clear from her performances on the CD that she still enjoys coaxing sounds out of a piano\u2014there is a wonderful spectrum of nuance, and a sense of discovery and adventure here, born out of a lifetime of experience as a pianist and musical thinker. Those composers who are still living will surely be thrilled with this album.<br><br>&#8211; John Wagstaff\u2028, University of Illinois at Urbana-Champaign, <em>CAML Review <\/em>(Nov. 2015)<\/p>\n<\/blockquote>\n<\/div>\n\n\n<p>Among the three different invited lectures Dr. Keillor gave in England, February 2016 was one listed at the Institute of Musical Research: <a href=\"http:\/\/www.the-imr.uk\/performanceresearch-series\/\" target=\"_blank\">http:\/\/www.the-imr.uk\/performanceresearch-series\/<\/a><\/p>\n\n\n\n<p>=====<\/p>\n\n\n\n<p>Distinguished Research Professor Emerita<\/p>\n\n\n\n<p>Former co-director of the research centre, CIRCLE (Centre for Indigenous Research, Culture, Language and Education)<\/p>\n\n\n\n<h3 id=\"education\" class=\"wp-block-heading\">Education<\/h3>\n\n\n\n<p>1951: ARCT in piano, Royal Conservatory of Music<\/p>\n\n\n\n<p>1976: PhD, University of Toronto [first woman graduate in musicology]<\/p>\n\n\n\n<h3 id=\"honours\" class=\"wp-block-heading\">Honours<\/h3>\n\n\n\n<p>1958: Chappell Medal, awarded to most promising Commonwealth pianist<\/p>\n\n\n\n<p>1981: Merit Award, Carleton University<\/p>\n\n\n\n<p>2000: Outstanding Teacher Award, ORMTA<\/p>\n\n\n\n<p>2001: Biographical entry, <em>New Grove Dictionary of Music and Musicians<\/em><\/p>\n\n\n\n<p>2004: Helmut Kallmann Prize for Distinguished Service, Canadian Association of Music Libraries<\/p>\n\n\n\n<p>2009: Honorary Life membership, Canadian University Music Society; Named one of 50 Ambassadors, Canadian Music Centre<\/p>\n\n\n\n<p>2013: SOCAN Foundation\/CUMS Award of Excellence for the Advancement of Research in Canadian Music<\/p>\n\n\n\n<p>2025: Named a &#8216;<a href=\"http:\/\/frottawaw.ca\">Distinguished Woman of Ottawa<\/a>&#8216;.<\/p>\n\n\n\n<p>2025: Declared Friend of Canadian Music by SOCAN and the Canadian Music Centre<\/p>\n\n\n\n<p>2026: Named by the CBC to the <a href=\"https:\/\/www.cbc.ca\/listen\/live-radio\/1-428-in-concert-on-demand\/clip\/16199007-hall-fame-elaine-keillor\">Concert Hall of Fame<\/a><\/p>\n\n\n\n<h3 id=\"selected-publications\" class=\"wp-block-heading\">Selected Publications<\/h3>\n\n\n\n<h4 id=\"books\" class=\"wp-block-heading\"><strong>Books<\/strong><\/h4>\n\n\n\n<p><em>John Weinzweig and His Music: the Radical Romantic of Canada<\/em>. Metuchen, NJ: Scarecrow Press, 1994. xviii, 316 pp.<\/p>\n\n\n\n<p><em>Music in Canada: Capturing Landscape and Diversity<\/em>. McGill-Queen\u2019s University Press, 2006,&nbsp; x, 499 pp. Paperback edition, 2008.<\/p>\n\n\n\n<p><em>Encyclopedia of Native American Music of North America<\/em>, (Assisted with advice from Timothy Archambault and Dr. John Medicine Horse Kelly), Santa Barbara, California: Greenwood Press ABC-CLIO, 2013.<\/p>\n\n\n\n<h4 id=\"chapters-in-edited-books\" class=\"wp-block-heading\"><strong>Chapters in edited books<\/strong><\/h4>\n\n\n\n<p>\u201cMusical Activity in Canada\u2019s New Capital City in the 1870s\u201d in <em>Musical Canada: Words and Music Honouring Helmut Kallmann<\/em>, editors, John Beckwith and Frederick A. Hall, Toronto, 1988, pp. 115-133.<\/p>\n\n\n\n<p>\u201cIndigenous Music as a Compositional Source: Parallels and Contrasts in Canadian and American Music,\u201d in <em>Taking a Stand: Essays in Honour of John Beckwith<\/em>, editor, T. McGee, Toronto: University of Toronto Press, 1995, pp. 185-218.<\/p>\n\n\n\n<p>\u201c<em>Auf Kanadischer Welle<\/em>: The Establishment of the Germanic Musical Canon in Canada\u201d in <em>Kanada-Studien: Music in Canada<\/em>, vol. 1,. Bochum: Brockmeyer, 1997, pp. 49 \u2013 76.<\/p>\n\n\n\n<p>\u201cThe Canadian Soundscape\u201d in <em>Profiles of Canada<\/em>, Second edition, editors, K. G. Pryke and W. C. Soderlund, Toronto: Irwin Publishing, 1998, pp. 339-368.<\/p>\n\n\n\n<p>\u201cOntario: Overview,\u201d pp. 1178-87, \u201cSharon: \u2018Make a Joyful Noise\u2019\u201d, pp. 136-7, and the performance of Mary Gardiner\u2019s <em>Mosaic<\/em> included on the accompanying CD in <em>Garland Encyclopedia of World Music, Volume III: North America<\/em>, ed. Ellen Koskoff,&nbsp; New York\/London: Garland, 2001.<\/p>\n\n\n\n<p>\u201cThe Canadian Soundscape\u201d in <em>Profiles of Canada<\/em>, third edition, editors, Kenneth G. Pryke and Walter C. Soderlund, Toronto: Canadian Scholars\u2019 Press, 2003, pp. 447-486.<\/p>\n\n\n\n<p>\u201cSusan Frances Harrison,\u201d pp. 416-426, in <em>Women Composers Music Through the Ages, Volume 7, Composers Born 1800-1899: Vocal Music<\/em>, edited by Sylvia Glickman, Martha Furman Schleifer, New Haven, CT\/New York: Thomson Gale, 2003.<\/p>\n\n\n\n<p>\u201cBarbeau as a Promotor of Folk Music Performance and Composition\u201d in <em>Around and About Marius Barbeau: Writings on Twentieth-Century Canadian Culture<\/em>, edited by Lynda Jessup, Andrew Nurse and Gordon Smith, Canadian Museum of Civilization, Gatineau, QC, 2007: 137-155.<\/p>\n\n\n\n<p>\u201cBarbeau encouraging \u2018the study, appreciation and enjoyment of the Folk Music of Canada in all of its aspects\u2019 (with Appendix: \u201cWhere the Society Has Been\u201d), in <em>Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present<\/em>, edited by Anna Hoefnagels and Gordon E. Smith, Newcastle, UK: Cambridge Scholars Press, 2007: 241-250.<\/p>\n\n\n\n<p>\u201cCritical Reception, Performance, and Impact of Schoenberg\u2019s Music and Thought in Canada Prior to 1960\u201d in <em>I Feel the Air of Another Planet: Schoenberg\u2019s Chamber Music, Schoenberg\u2019s World<\/em>, edited by Alan Gillmor and James Wright,Hillsdale, NY: Pendragon Press, 2009: 199-228.<\/p>\n\n\n\n<p>(With Lucy Lafferty) \u201cMusical Expressions of the Dene: Dogrib Love and Land Songs\u201d in <em>Music of the First Nations: Tradition and Innovation in Native North American<\/em> <em>Music<\/em>, edited by Tara Browner Urbana\/Chicago: University of Illinois Press, 2009:&nbsp; 21-33.<\/p>\n\n\n\n<p>&#8220;Music for Radio and Film&#8221; in <em>Weinzweig&#8217;s World, <\/em>edited by John Beckwith and Brian Cherney, Waterloo: Wilfrid Laurier Press, 2011, pp. 103-127.<\/p>\n\n\n\n<p>\u201cAlaskan Native Music\u201d in <em>Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture<\/em>, edited by Jacqueine Edmondson, Santa Barbara, CA\/Oxford, UK: Greenwood, 2013, pp. 29-32.<\/p>\n\n\n\n<p>\u201cDene Drums \u2013 Snares and Relationships to Vocal Projection,\u201d in <em>Working Papers in Dene (Athapaskan) Languages 2013, <\/em>edited by Siri Tuttle, Alaska Native language Center Working Papers, Number 12, (2014), pp. 5-14.<\/p>\n\n\n\n<p>\u201cMorawetz and Weinzweig: Looking Forward and Looking Back in Their Last Piano Compositions,\u201d (in press) in <em>Festschrift for Carl Morey<\/em>, edited by Gordon Smith and Robin Elliott, Waterloo: Wilfrid Laurier Press.<\/p>\n\n\n\n<p>\u201cPrinciples of Indigenous Policy and Putting Them into Practice for Arts Education,\u201d co-authored with John Medicine Horse Kelly, in\u00a0<em>The Wisdom of the Many \u2013 Key Issues in Arts Education: International Yearbook for Research in Arts Education,\u00a0<\/em>3\/2015<em>,\u00a0<\/em>edited by Shifra Schonmann, pp. 332-56.<\/p>\n\n\n\n<p>\u201c<em>Niimikaage\u00a0<\/em>into the 21<sup>st<\/sup>\u00a0Century,\u201d co-authored with Sandra Laronde, in\u00a0<em>Spiritual Herstories,<\/em>\u00a0edited by Amanda Williamson and Barbara Sellers-Young, Intellect Books, Bristol, England, 2019, pp. 266-87.<\/p>\n\n\n\n<p>\u201cHarrison, Susan Frances\u201d.\u00a0<em>The Palgrave Encyclopedia of Victorian Women\u2019s Writing,\u00a0<\/em>471955_0_En (Chapter 352-1), 2021.<\/p>\n\n\n\n<p>Sturman, Janet, ed.<em>\u00a0\u00a0The SAGE International Encyclopedia of Music and Culture<\/em>., 5 volumes, Los Angeles, CA: SAGE Publications, 2019: \u201cCanada: History, Culture and Geography of Music,\u201d Vol. 2, pp. 446-455; \u201cCanada: Modern and Contemporary Performance Practice (including Folk, Traditional, and Popular Music), Vol. 2, pp. 455-469; \u201d \u201cFirst Peoples,\u201d vol. 2, pp. 935-937;\u00a0\u00a0\u201cIndigenous\u201d Vol. 3, pp. 1167-1170.<\/p>\n\n\n\n<h4 id=\"essays-in-refereed-journals\" class=\"wp-block-heading\">Essays in refereed journals<\/h4>\n\n\n\n<p>\u201cAmerindians at the Rodeos and Their Music,\u201d in <em>Contemporary Indigenous Popular Music in North America, <\/em>Karl Neuenfeldt, ed. <em>The World of Music: Journal of the Department of Ethnomusicology Otto-Friedrich University of Bamberg<\/em>,vol. 44\/1 (2002): 75-94.<\/p>\n\n\n\n<p>\u201cMarius Barbeau and His Performers,\u201d <em>The Canadian Journal for Traditional Music<\/em> 31 (2004): 24 \u2013 38.<\/p>\n\n\n\n<p>\u201cLe <em>rababou <\/em>au Qu\u00e9bec: pass\u00e9, pr\u00e9sent et futur (essai sur la culture musicale qu\u00e9b\u00e9coise). <em>Les Cahiers de La Soci\u00e9t\u00e9 qu\u00e9b\u00e9coise de recherche en musique <\/em>10 \/1 (2008): 39 \u2013 46.<\/p>\n\n\n\n<p>\u201cParticipating in the Memorials for Helmut Kallmann.\u201d <em>CAML Review\/Revue de L\u2019ACBM <\/em> 40\/2 (August 2012): 11-13.<\/p>\n\n\n\n<h4 id=\"electronic-publications\" class=\"wp-block-heading\">Electronic Publications<\/h4>\n\n\n\n<p>\u201cDancing with the Onigoke-Algonquin,\u201d <a href=\"https:\/\/indigenousdance.ca\/en\/home\/\">indigenousdance.ca<\/a>, posted 21 January 2007.<\/p>\n\n\n\n<p>(With Stan Louttit) \u201cDancing of the Anishinaabe,\u201d <a href=\"https:\/\/indigenousdance.ca\/en\/home\/\">indigenousdance.ca<\/a>, for which Elaine Keillor was the team leader, posted 21 January 2007.<\/p>\n\n\n\n<p>\u201cWriting for a Market: Canadian Musical Composition before the First World War,\u201d commissioned by Library and Archives Canada, posted April 2004. http:\/\/www.collectionscanada.ca\/sheetmusic\/index-e.html<\/p>\n\n\n\n<p>\u201cNative Drums in the Context of World Instruments,\u201d this essay and much of the writing on the website, <a href=\"https:\/\/indigenousdrums.ca\/en\/home\/\">indigenousdrums.ca<\/a> was done by the team leader, Elaine Keillor, posted 21 June 2005.<\/p>\n\n\n\n<p>&#8220;The Beginning of Orchestral Music in Canada,&#8221; and co-author of &#8220;Cultural Influences and World Connections,&#8221; &#8220;Musical Structures,&#8221;, &#8220;Power of the Voice,&#8221; on the website, VMC Learning Collection of the National Arts Centre, www.artsalive.ca\/collections\/nacmusicbox\/en\/#1\/search.php, posted May 2010.<\/p>\n\n\n\n<h4 id=\"encyclopedia-contributions-to\" class=\"wp-block-heading\">Encyclopedia Contributions to<\/h4>\n\n\n\n<p><em>Encyclopedia of Music in Canada<\/em> (1981, 1983, 2001, and now online)<\/p>\n\n\n\n<p><em>New Canadian Encyclopedia <\/em>(1985, and now online)<\/p>\n\n\n\n<p><em>American National Biography<\/em> (1999)<\/p>\n\n\n\n<p><em>Continuum Encyclopedia of Popular Music of the World<\/em>: <em>Vol. II: Performance and Production <\/em>(2003)<\/p>\n\n\n\n<p><em>Die Musik in Geschichte und Gegenwart<\/em>: <em>Allgemeine Enzyklop\u00e4die der Musik. <\/em>Personenteil (2005)<\/p>\n\n\n\n<p><em>The SAGE Encyclopedia of Ethnomusicology <\/em>.<\/p>\n\n\n\n<h4 id=\"continuing-performances-as-professional-musician-collaborative-and-solo\" class=\"wp-block-heading\">Continuing Performances as Professional Musician, collaborative and solo<\/h4>\n\n\n\n<p>Ottawa Bach Choir [four CDs, four European plus Mexican, North American tours]<\/p>\n\n\n\n<p>Triolyrica with Wanda Procyshyn,soprano, Joan Harrison, cello<\/p>\n\n\n\n<p>Chamber musician with Ralitsa Tchiolokova in recital and on CDs<\/p>\n\n\n\n<p>Solo pianist: 24 CDs for Musicworks, Studea Musica, Carleton Sound, Gala, and NAXOS.<\/p>\n","protected":false},"author":19,"featured_media":6391,"template":"","meta":{"_acf_changed":false,"cu_people_first_name":"Elaine","cu_people_last_name":"Keillor","cu_people_initials":"EK","footnotes":"","_links_to":"","_links_to_target":""},"cu_people_type":[15],"cu_people_expertise":[],"class_list":["post-14806","cu_people","type-cu_people","status-publish","has-post-thumbnail","hentry","cu_people_type-distinguished-research-professor"],"acf":{"cu_people_job_title":"Distinguished Research Professor Emerita","cu_people_degree":"Ph.D. (University of Toronto)","cu_building":"","cu_people_office_num":"","cu_people_pronoun":"","cu_people_designation":"","cu_people_email":"","cu_people_phone":"","cu_people_phone_ext":"","cu_people_linkedin":"","cu_people_bluesky":"","cu_people_twitter":"","cu_people_instagram":"","cu_people_facebook":"","cu_people_website":"","cu_people_orcid":""},"_links":{"self":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_people\/14806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_people"}],"about":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/types\/cu_people"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/users\/19"}],"version-history":[{"count":2,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_people\/14806\/revisions"}],"predecessor-version":[{"id":14827,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_people\/14806\/revisions\/14827"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/media\/6391"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/media?parent=14806"}],"wp:term":[{"taxonomy":"cu_people_type","embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_people_type?post=14806"},{"taxonomy":"cu_people_expertise","embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_people_expertise?post=14806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}