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Judith Peraino's research in the areas of both medieval song and rock music concerns the intersection of subject formation, social identity, and musical expression. She is the author of two books: Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig (2006), which investigates how music has been used throughout history to call into question norms of gender and sexuality; and Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut (2011), which investigates how the music of medieval Occitan and French “courtly love” songs encodes the self-conscious complexity of subjectivity expressed in the lyrics. She is also the editor of the collection Medieval Music in Practice: Studies in Honor of Richard Crocker (2013).
Peraino’s publications on rock music and constructions of gender and sexuality include articles on Blondie, David Bowie, PJ Harvey, Mick Jagger, and early synthpop. In 2016 she co-curated the exhibit “Anarchy in the Archive” featuring materials from Cornell’s Punk Collection. Her video gallery tours for this exhibit, and on-stage interviews with Masha Alyokhina (Pussy Riot), and John Doe and Exene Cervenka (X) are available on YouTube.
Peraino is currently working on a book that explores Andy Warhol’s involvement with, and influence on, rock and pop musicians in the 1970s, and the intersection of queer and dissident identities, capitalism, and Warholian “popism” and “business art” aesthetics. She is also conducting research on the musical soundtrack of Warhol’s 1960s films; and will be co-editing a volume on punk rock identities and communities.
Her undergraduate courses include: The History of Rock Music; Punk Culture: the Aesthetics and Politics of Refusal; The Beatles; Rock, Rap, and Ethics; and Music and Queer Identity.
Her graduate courses include: Synthesizing Pop: Electronics and the Musical Imagination; The Velvet Underground Archive; Vocality and Embodiment; The Chansons of Guillaume de Machaut, The Songs of the Troubadours and Trouvères; and Gender, Sexuality and Glam Rock.
Peraino plays conga drums and djembe, and performs with a number of Cornell ensembles and local Latin jazz and salsa groups.
medieval music, rock, queer theory
- American Studies Program
- Feminist, Gender & Sexuality Studies Program
- Lesbian, Gay, Bisexual and Transgender Studies Program
- Medieval Studies Program
- Feminist, Gender and Sexuality Studies
- Lesbian, Gay, Bisexual and Transgender Studies
- Medieval Studies
- Performing and Media Arts
- Visual Studies Program
- constructions of gender and sexuality in music
- punk rock, synth pop
- medieval song
- Editor, Medieval Music in Practice: Essays in Honor of Richard Crocker (Middleton WI: American Institute of Musicology, 2013).
- Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut (Oxford and New York: Oxford University Press, 2011).
- Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig (Berkeley: University of California Press, 2006).
- “Taking Notae on King and Cleric: The Social Worlds of Song in the Chansonnier de Noailles,” Musical Culture in the World of Adam de la Halle, ed. Jennifer Saltzstein (Leiden: Brill Academic Publishers, 2019), 121-50.
- "Sonograms of Desire, Medieval and Modern," Paragraph: A Journal of Modern Critical Theory 41, no. 1 (March 2018): 26-41.
- “Mick Jagger as Mother,” Social Text Vol. 33, No. 3 (September 2015): 75-113.
- “Synthesizing Difference: The Queer Circuits of Early Synthpop,” Rethinking Difference in Musical Scholarship, ed. Olivia Bloechl, Melanie Lowe, and Jeffery Kallberg (Cambridge University Press, 2015): 287-313.
- “The Same, but Different: Sexuality and Musicology, Then and Now,” Journal of the American Musicological Society 66, no. 3 (2013): 825-31.
- “Plumbing the Surface of Sound and Vision: David Bowie, Andy Warhol, and the Art of Posing,” Qui Parle 21, no. 1 (Fall/Winter 2012): 151-84.
- “Listening to Gender: A Response to Judith Halberstam,” Women and Music: A Journal of Gender and Culture 11 (2007): 59-64.
- “Listening to the Sirens: Music as Queer Ethical Practice,” GLQ: A Journal of Lesbian and Gay Studies 9 (2003): 433-70.
- “Monophonic Motets: Sampling and Grafting in the Middle Ages,” The Musical Quarterly 85 (Winter 2001): 644-80.
- “Re-Placing Medieval Music,” Journal of the American Musicological Society 54 (Summer 2001): 209-64.
- “Girls with Guitars and Other Strange Stories” (review article), Journal of the American Musicological Society 54 (Fall 2001): 692-709.
- “PJ Harvey’s ‘Man-sized Sextet’ and the Inaccessible, Inescapable Gender,” Women and Music: A Journal of Gender and Culture 2 (1998): 47-63
- “Et pui conmencha a canter” : Refrains, Motets, and Melody in the Thirteenth-Century Narrative Renart le nouvel,” Plainsong and Medieval Music 6 (Spring 1997): 1-16.
- “Courtly Obsessions: Music and Masculine Identity in Gottfrired von Strassburg’s Tristan,” repercussions 4 (Fall 1995): 59-85.
- “I am an Opera: Identifying with Henry Purcell’s Dido and Aeneas,” in En Travesti: Women, Gender Subversion, Opera, ed. Corinne E. Blackmer and Patricia Juliana Smith (New York: Columbia University Press, 1995): 99-131.
- “‘Rip Her to Shreds’ : Women’s Music According to a Butch-Femme Aesthetic,” repercussions 1 (Spring 1992): 19-47.