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I hold a PhD in musicology as well as a Bachelor of Music degree from the University of Toronto and an ARCT in piano performance from the Royal Conservatory of Music. I work as a sessional instructor in music history at Wilfrid Laurier University, and I also teach piano at the Laurier Academy for Music and Arts (LAMA). Prior to coming to Laurier, I held teaching appointments in music history at the University of Waterloo and Western University.
For my dissertation, I investigated the Czech reception of Antonín Dvořák (1841–1904), highlighting some of the debates that were waged by Czech critics in the late nineteenth-century press. With special attention to Dvořák, my ongoing research has continued to deal primarily with issues of reception and genre as well as considerations of the impact of politics on the musical life of fin-de-siècle Prague. Shifting slightly in focus, my current research explores themes of death and lament in the late output of Dvořák through a variety of ideological perspectives, ranging from the aesthetic to the autobiographical.
- “Symphonic Music in the Nineteenth-Century Czech Lands.” In A History of Music in the Czech Lands, edited by Martin Nedbal, Kelly St. Pierre, and Hana Vlhová-Wörner, 212–225. Cambridge: Cambridge University Press, forthcoming 2025.
- “Evaluating Dvořák’s ‘Niche’: The 1892 Farewell Tour, the Dumky Piano Trio Op. 90, and Perceptions of Dvořák as Chamber Music Composer.” In Chamber Music in Europe (1850–1918): Composition, Mediation, and Reception, edited by François Médicis and Catrina Flint, 209–227. Turnhout, Belgium: Brepol, 2024.
- “A ‘Scrim of Romantic Nationalism’: Audience Perceptions of Dvořák in Late Nineteenth-Century Prague.” Acta Musicologica 95, no. 1 (2023): 1–18.
- “An ‘Execution’ at the Hofoper: Czech Perspectives on the Viennese Premiere of Dvořák’s The Cunning Peasant.” Cambridge Opera Journal 34, no. 1 (2022): 67–96.
- “Letting the music ‘speak for itself’? Dvořák as strategist.” Nineteenth-Century Music Review 19, no. 1 (2022): 1–26.
- “Capturing the Zeitgeist: Dvořák’s Prague Debut and the Politics of Patriotism.” Music & Letters 102, no. 2 (2021): 1–39.
- “Speaking German, Hearing Czech, Claiming Dvořák.” Journal of the Royal Musical Association 142, no. 1 (2017): 109–136.
My work has appeared in various journals, including the Journal of the Royal Musical Association, Music & Letters, Nineteenth-Century Music Review, Cambridge Opera Journal, and Acta Musicologica. I also have a chapter on Dvořák’s “Dumky” Piano Trio, Op. 90 in Chamber Music in Europe: 1850–1918 (published in 2024), and my chapter on the nineteenth-century Czech symphonic tradition will appear in A History of Music in the Czech Lands (to be published by Cambridge University Press later this year).
Overall, I aim for clarity when communicating with my students, and I seek to cultivate interest and enthusiasm for the content that I teach. The community feel that is so palpable at Laurier in particular allows me to get to know my students well, and it is a privilege to contribute in some measure to their academic development and success.