I received my MA and PhD in Musicology from the State University of New York (SUNY) at Stony Brook after completing a BMus in Music History and Literature at University of Victoria, and an ARCT in piano performance from the Royal Conservatory of Music.
My dissertation, Medieval Uncloistered: Uses of Medieval Music in Late Twentieth- Century Culture, examined the influences, interpretations and reconfigurations of medieval music in late twentieth-century popular music by Dead Can Dance and Enigma, contemporary concert music by Arvo Pärt and John Tavener and historically-informed performances of medieval music.
Prior to my appointment at Laurier, I taught at SUNY Stony Brook and the University of Karlstad, Sweden.
I have presented my research at numerous international and national conferences including the American Musicological Society, the Canadian University Music Society, the International Musicological Society, the International Association for the Study of Popular Music, and Studies in Medievalism and remain active in these organizations. In 2012, I was the program chair for the national conference of the Canadian University Music Society, held at Laurier May 31- June 3, 2012.
At Laurier, I teach surveys of 19th and 20th century music, as well as a series of seminar courses in musicology; cross-cultural intersections; music, culture and technology; music in popular culture; and medievalism. My courses incorporate critical theories from disciplines such as women’s studies, postcolonialism, literary criticism and cultural studies in an effort to shed light on the role and meaning of music in both contemporary and historical times.
I am a member of the graduate faculty and am willing to take on the role of an advisor, as well as be an outside reader within my areas of research or expertise.
I am currently editing a collection of essays on medievalism in 20th century musical culture. Topics range from modernist music to film music, rock music and video games. Continuing with the theoretical framework of medievalism, my major research project investigates the musical settings and poetry in Orff’s Carmina Burana, Catulli Carmina and Trionfo di Afrodite in the context of medievalism under fascism in Germany.
I have published articles on medievalism in early music ensembles including, the New York Pro Musica and the ‘cultural front’ (American Music); feminist spirituality in Anonymous 4 and Sequentia (Women and Music); orientalism and Binkley’s Studio der Frühen Musik (Early Music); and a history of recording Machaut’s Messe de Nostre Dame (A Companion to Guillaume de Machaut—An Interdisciplinary Approach to the Master). Other publications are on the rock band Dead Can Dance (Current Musiscology); the contemporary composer Arvo Pärt (IAML-IAMIC-IMS Conference Papers), and madness in works by Linda Bouchard (Intersections).
My courses are influenced by my desire to contextualize music as broadly as possible, and to make music relevant to non-specialist audiences. By borrowing cultural and critical theories from the humanities, I will teach you to learn different ways to position and understand how music functions in society.
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