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S Goldin Perschbacher

Departments:

Music Studies: Music History

 

    • B.M.A.: Viola Performance, University of Michigan

      M.A. and Ph.D.: Critical and Comparative Studies in Music, University of Virginia

      Dr. Shana Goldin-Perschbacher, a specialist in interdisciplinary popular music studies and identity studies, joined the Boyer faculty in 2014. Motivated by musical articulations of social justice issues, her explorations of contemporary sonic, visual, and social media take shape through critical, ethnographic, analytical, and historical methods. Her book in progress, TransAmericana and Queer Sincerity: Gender and Genre in Contemporary Folk Music, examines transgender and queer performances of country and Americana music through the lens of “queer sincerity.” Her essay “TransAmericana: Gender, Genre, and Journey,” drawn from this project, was commissioned for a special issue ofNew Literary Historyand won the 2016 Marcia Herndon Award from the Society for Ethnomusicology. She has also published in Popular Music, Women and Music, The Grove Dictionary of American Music, Oh Boy!: Masculinities and Popular Music, the Journal for the Society for American Music, and the forthcoming Oxford Handbook of Queerness and Music. She has presented at conferences including the American Musicological Society, the Society for Ethnomusicology, the International Association for the Study of Popular Music, the Society for American Music, the Experience Music Project, the American Studies Association, Feminist Theory and Music, and First International Trans* Studies Conference.

      Goldin-Perschbacher teaches courses for music majors, non-majors, and graduate students in popular music, critical theory (especially engaging issues of gender, sexuality, race, ethnicity, and class in relation to music and culture), interdisciplinary music methodologies, and other topics.

      Prior to joining the faculty at Temple, Goldin-Perschbacher was the first queer studies postdoctoral fellow at Stanford University, the postdoctoral fellow in music in the Andrew W. Mellon Fellowship of Scholars in the Humanities at Stanford, and a lecturer in LGBT Studies at Yale University. She graduated from the first class of Ph.D. students in Critical and Comparative Studies in Music at the University of Virginia where her dissertation was supported by an American Association of University Women fellowship.  As an undergraduate at the University of Michigan she studied viola performance, English literature, and visual art, and remains an active amateur chamber musician.

       

    • Book

      TransAmericana and Queer Sincerity: Gender and Genre in Contemporary Folk Music (in preparation).

      Articles in Peer-Reviewed Journals and Chapters in Edited Books

      "Gay Country, TransAmericana, and Queer Sincerity," in The Oxford Handbook of Queerness and Music, ed. Fred E. Maus, Oxford University Press, forthcoming.

      “TransAmericana: Gender, Genre, and Journey,” New Literary History 46, no. 4 (Autumn 2015): 775-803. Winner of the 2016 Marcia Herndon Award of the Society for Ethnomusicology.

      “Icelandic Nationalism, Difference Feminism, and Björk’s Maternal Aesthetic,” Women and Music 18 (2014): 48-81. Supported by an American Musicological Society publication subvention.

      “‘The World Has Made Me The Man of My Dreams’: Meshell Ndegeocello and the ‘problem’ of Black female masculinity,” Popular Music 32/3, 2013, 471-496.

       

      “‘Not With You But of You’: ‘Unbearable Intimacy’ and Jeff Buckley’s Transgendered Vocality.” In Oh Boy!: Masculinities and Popular Music, ed. Freya Jarman-Ivens, New York: Routledge, 2007 (213-233).

       

      Articles in Reference Works

      “Meshell Ndegeocello,” “Antony Hegarty,” “Olivia,” and “Michigan Womyn’s Music Festival,” in The Grove Dictionary of American Music, second edition, ed. Charles Hiroshi Garrett, 2013.

      Reviews

       

      “Ani DiFranco, Carnegie Hall 4/6/02 (2006) and Rome, Italy 11/15/04 (2005),” Righteous Babe Records. Journal for the Society for American Music, 1/1, 2007: 153-5.

        

    • Center for the Humanities at Temple University, “TransAmericana and Queer Sincerity: Gender and Genre in Contemporary Century Folk Music,” March 2018.

      University of Virginia, McIntire Department of Music, Colloquium Series, “TransAmericana and Queer Sincerity: Gender and Genre in Contemporary Folk Music,” October 2017.

      Stanford University,  Ten Years of Interdisciplinary Humanities, Stanford Humanities Center, “What is Interdisciplinarity Today?,” May 2017.

      Dickinson College, "'Stolen Song': Racial and Gender (Mis)representation and Musical Ownership in Two Songs," March 2017.

      Society for American Music, Montreal, "TransAmericana and Queer Sincerity," March 2017.

      Society for Ethnomusicology, Washington, D.C., "TransAmericana and Queer Sincerity," November 2016.

      American Musicological Society, LGBT Study Group, Vancouver, "'Stolen Song': Racial and Gender Representation and Musical Ownership in Two Songs," November 2016.

      Trans* Studies Conference, Institute for LGBT Studies, University of Arizona, "TransAmericana and Queer Sincerity," September 2016.

      With Craig Jennex, International Association for the Study of Popular Music, Calgary, "Musician Rae Spoon in Conversation," May 2016.

      West Chester University, School of Music, Annual Wilkinson Lecture: "TransAmericana: Gender, Genre, and Journey," October 2015.

      International Association for the Study of Popular Music, Louisville, “TransAmericana,” February 2015.

      American Musicological Society, Milwaukee, “Trans*Americana,” November 2014.

      STUDENTS’ ACHIEVEMENTS

      Olivia Broderick, “Sapphic Odes and Serenades: Exploration of Queer Female Attraction in Brahms Lieder,” Feminist Theory and Music 14, San Francisco, July 2017.

      Kerri Lynn Rafferty, “Blond or Blonde? Examining Frank Ocean and Identity Construction,” Feminist Theory and Music 14, San Francisco, July 2017.

      Benjamin Safran, “A Kinder World than Ours: Narrative, Music, and “Camp” in the Queerness of Steven Universe,” Feminist Theory and Music 14, San Francisco, July 2017.

      Elizabeth Bergman, " Performing the Hollywood Musical’s Song and Dance: Camp Masculinity and Recycled Choreography in Michael Jackson’s The Way You Make Me Feel,” Approaching Dance: Transdiciplinary Methodologies and Modalities of the Moving Body in Performance, Graduate Center at The City University of New York, May 2017.

      Rebecca Rosenbloom, “Aural Substance: An Ethnographic Exploration of Regional Burn Soundscapes," MM May 2017.