Glenda Goodman is an Assistant Professor of Music. Her research focuses on the early modern Atlantic world, with a particular emphasis on North America in the seventeenth and eighteenth centuries. Her first book investigates the robust but surprisingly controversial culture of genteel amateur music-making around the time of the Revolution. Prof. Goodman also works on musical encounters between Native Americans and Europeans in colonial America, transatlantic music studies, and music and the history of the book.
Glenda Goodman’s approach to scholarship is fundamentally interdisciplinary. At the University of Pennsylvania she participates actively in the Material Texts Seminar on the history of the book and the McNeil Center for Early American Studies. She publishes and presents her research in both musicology and early American history venues, and her research has been awarded prizes from the William and Mary Quarterly, the Society for American Music, the Society for Early Americanists, and the American Society for Eighteenth-Century Studies. Before coming to the University of Pennsylvania Prof. Goodman was an ACLS New Faculty Fellow in the History Department at the University of Southern California, and earned her PhD in Music at Harvard University.
Prof. Goodman teaches courses on American music, popular music, and methods for the study of music history. Her freshman seminar on local music history in Philadelphia introduces students to the long history of music and sound in the area, from Native American traditions to contemporary hip hop. Her graduate seminars address topics in eighteenth-century studies, such as music and revolution, the Atlantic world, and material culture. Her approach to graduate teaching Her Spring 2015 graduate seminar on Music and the History of the Book used the rare book and manuscript special collections at the Kislak Center.
In addition to her scholarly pursuits, Prof. Goodman is a violist. She received a Masters degree from the Juilliard School and a Bachelor of Music and Bachelor of Arts from Oberlin College, and avidly supports experimental music.
Cultivated by Hand: Amateur Musicians in the New American Republic (in progress)
American Identities in an Atlantic Musical World: Transhistorical Case Studies (Harvard 2012)
Peer-reviewed articles and chapters
“The Power to Please: Gender and Celebrity Self-Commodification in the Early American Republic.” Consuming Music, Commodifying Sound, Emily Green and Catherine Mayes, eds. (University of Rochester Press, forthcoming)
“Transatlantic Music Studies.” In Oxford Handbooks Online, Oxford University Press 2015
Musical Sleuthing in Early America: “Derry Down” and the XYZ Affair. Common Place, Special Issue on Music, Vol. 13, No. 2 (2013)
“The Tears I Shed at the Songs of Thy Church”: Seventeenth-Century Musical Piety in the English Atlantic World. Journal of the American Musicological Society Vol. 65., No. 3 (Fall 2012) pp. 691-726
“But they differ from us in sound”: Indian Psalmody and the Soundscape of Colonialism, 1651-75. William and Mary Quarterly, 3rd ser., Vol. 69., No. 4 (Fall 2012) pp. 793-822
American Music vol. 33 no. 3 (Fall 2015), Special Issue on Transatlantic Perspectives
American Music before 1800, Grove Dictionary of American Music (Oxford University Press). Journal for the Society for American Music, Vol. 9, No. 4 (Fall 2015) pp. 470 – 476
“Mozart in America”: a review of Dorothy Potter, Food For Apollo: Cultivated Music in Antebellum Philadelphia. Common-Place Vol. 13, No. 2.5 (2013)