Glenda Goodman

Assistant Professor of Music
329, Music Building

Glenda Goodman is a historian of music who specializes in American music of the seventeenth and eighteenth centuries. Her avenues of inquiry include the material culture of music and book history, amateur music-making and gender, and soundscapes of colonialism. Dr. Goodman teaches courses on American music, women and music, popular music, and methods for the study of music history. Her graduate seminars address topics in eighteenth-century studies, such as music and revolution, the Atlantic world, material culture, and archive studies.

Dr. 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, and was a 2017-2018 Mellon Price Digital Humanities Lab Faculty Fellow at UPenn. 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. She is a Senior Fellow in the Mellon Society of Fellows in Critical Bibliography. In 2018-2019 Dr. Goodman was a Member of the Princeton Institute for Advanced Study and an ACLS Fellow. 

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. 


Selected publications

Cultivated by Hand: Labor, Gender, and Amateur Musicians in the New American Republic (under contract with Oxford University Press, New Cultural History of Music series)


Articles and chapters:

“Bound Together: The Intimacies of Music Book Collecting in the Early American Republic,” Journal of the Royal Musical Association (forthcoming Autumn 2020)

“Joseph Johnson’s Gamuts: Objects of Exchange and Native American Hymnody in Early America,” Journal of the Society for American Music special Issue on Indigeneity and Colonialism, edited by Gabriel Solis and Jessica Bissett Perea (forthcoming Fall 2019)

Co-authored with Sam Parler, “White Noise: Nationalism, Citizenship, and the Racialized Construction of U.S. Music History,” in Reinventing U.S. Music Studies, Carol Oja and Charles Hiroshi Garrett, eds. (University of Michigan Press, forthcoming)

“The ‘Swinish Multitude’ come to America: Political Song and Transatlantic Print in the Age of Revolution.” TheOxford Handbook of Protest Music, Eric Drott and Noriko Manabe, eds. (forthcoming)

“Land and Conversion: New Frameworks for Colonial Hymnody,” in Crossing Boundaries: Music and Conversion in the Early Modern City, Fenlon, Marie-Alexis Colin,and Matthew Laube, eds. (Turnhout, Belgium: Epitome Musical Seriesof Brepols Pub., forthcoming)

“Captive Singing: Tribulation, Competition, Speculation, and the Unknowable,” in Sound, Music, and Alterities in Early Modernity, Suzanne Cusick and Emily Wilbourne, eds. (forthcoming) 

 “Sounds Heard, Meaning Deferred: Music Transcription as Imperial Technology,” Eighteenth-Century Studies Vol. 52, No. 1, Special Issue: Empires in the Eighteenth Century (Fall 2018): 39-45

“Transatlantic Contrafacta, Musical Formats, and the Creation of Political Culture in Revolutionary America,” Journal of the Society for American Music Vol. 11, no. 4 (Fall 2017), pp. 392-419

“The Power to Please: Gender and Celebrity Self-Commodification in the Early American Republic.” Consuming Music: Individuals, Institutions, Communities, 1730-1830, Emily Green and Catherine Mayes, eds. (University of Rochester Press, 2017), pp. 176-202

“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, 3rdser., Vol. 69., No. 4 (Fall 2012), pp. 793-822