Originally from British Columbia, I completed a BMus in Music History and Literature at University of Victoria, and an ARCT in piano performance from the Royal Conservatory of Music before embarking on an MA and PhD in Musicology from the State University of New York (SUNY) at Stony Brook. Prior to my appointment at Laurier, I taught at SUNY Stony Brook and the University of Karlstad, Sweden.
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 music by Dead Can Dance and Enigma, contemporary concert music by Arvo Pärt and John Tavener and historically-informed performances of medieval music dating from the 1950s-1990s. I continue to work in the area of medievalism, editing, with Stephen C. Meyer, The Oxford Handbook of Music and Medievalism (2020). I have also published articles on the ‘madwoman;’ on popular music; and film music. My latest interest is in the music of Carl Orff, working with theories of gender, sexuality and modernism in the context of Orff’s interest in ancient Greece.
Besides presenting my research at numerous international and national conferences including the American Musicological Society, the International Musicological Society, the International Association for the Study of Popular Music, and Studies in Medievalism, I was the president of the NYSSL branch of the AMS from 2015-2021. I was also the program chair for the national conference of the Canadian University Music Society, held with Congress at Laurier May 31- June 3, 2012.
At Laurier, I teach courses in music and modernism, women and music, public musicology, opera, as well as a series of seminars in musicology; cross-cultural intersections; music, culture and technology; music in popular culture; and medievalism. My courses incorporate critical theories from disciplines such as gender 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 available to take on the role of supervisor, as well as be an outside reader within my areas of research or expertise.
I have just published (with Stephen C. Meyer) The Oxford Handbook of Music and Medievalism, a collection of 33 essays on medievalism in music of the past two centuries. Topics range from romanticism, nationalism, and opera to film music, rock music and video games. My current research project is a book investigating the musical settings and texts in Carl Orff’s Carmina Burana, Catulli Carmina, and Trionfo di Afrodite in the context of modernism in Germany between 1933 and 1951.
I have published articles on medievalism in a variety of musical settings. My articles on medievalism in the area of popular music have explored the alternative rock band Dead Can Dance; the heavy metal band Black Sabbath; and Corvus Corax from the German ‘mittelalter-Szene.’ I have also published widely on medievalism and the early music revival, specifically the New York Pro Musica; Sequentia and Anonymous 4; the Studio der Frühen Musik; Rondellus, among others. My interest in representations of the ‘Other’ is a thread that weaves through some of my work, most notably in the representation of ‘madwomen’ (in Linda Bouchard’s Black Burned Wood); and the portrayal of Muslims in Ridley Scott’s Kingdom of Heaven.
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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