Scholar specializing in popular music and the Global Media Industries. I teach courses on popular music, jazz, film music, and world music. Prior to Wellesley College, I worked for University of Cambridge, Ringling College of Art and Design, New College of Florida, and Colby College.

Pronouns: they/their/them


Ph.D., University of California, Los Angeles, 2009

M.A., University of California, San Diego, 2004

B.A., University of California, Los Angeles, 2001

Other Publications

co-editor (with Kate Galloway and Paula Harper) for Twentieth-Century Music v.19.3, special issue: “Listening In: Musical Digital Communities in Public and Private,” (28 November 2022).

“Anitta’s Girl From Rio, Digital Fatigue, and Stereotype,” Twentieth-Century Music v.19.3: 495-516. DOI: https://doi.org/10.1017/S1478572222000317

co-editor (with Kate Galloway and Paula Harper) for American Music v.38.2, special issue: “Platforms, Labor, and Community in Online Listening” (Summer 2020).

“The Long History of the 2017 Spotify ‘Fake Music’ Scandal,”  American Music v.38.2 (Summer 2020): 131-152. DOI: 10.5406/americanmusic.38.2.0131

Bossa Mundo: Brazilian Music in Transnational Media Industries (Oxford University Press, online copyright September 2019, text copyright 2020).

“Shaping the Stream: The techniques and troubles of algorithmic recommendation,” The Cambridge Companion to Music and Digital Culture, eds. N. Cook, D. Trippett, and M. Ingalls (co-authored with Nick Seaver). (expected October 2019)

English Translation of Rodrigo Cantos Savelli Gomes and Maria Ignez Cruz Mello, “Gender Relations and Brazilian Popular Music: A Study of Female Bands,” A Latin American Music Reader: A View from the South, edited by Javier León and Helena Simonett, University of Illinois Press (2016).

“Eumir Deodato,” “Astrud Gilberto,” “Bebel Gilberto,” “Samba,” “Carmen Miranda,” “Milton Nascimento,” “Charo,” “Menudo,” “Macarena,” and “Hybridity” in The New Grove Dictionary of American Music, 2nd edition, edited by Charles Garrett, Oxford University Press (2013).

“Joga Bonito Pelo Mundo, Guerreiro: Music, Transmedia Advertising, and Brasilidade in the 2006 World Cup,” Popular Music and Society, special issue on Music and Marketing, edited by Bethany Klein, Vol. 34, Number 4 (September 2011): 417-436.

“Doing the Bossa Nova: The Curious Life of a Social Dance in 1960s North America,” Luso-Brazilian Review, special issue on Brazilian Instrumental Music, edited by Bryan McCann, Vol. 28, Number 1 (2011): 61-78.

Book Reviews
Daniel Sharp, Between Nostalgia and Apocalypse: Popular Music and the Staging of Brazil. Yearbook for Traditional Music (2018).Melissa Blanco Borelli, She is Cuba: A Geneology of the Mulata Body and Marc Gidal, Spirit Song: Afro-Brazil Religious Music and Boundaries. Music and Letters (2017).
Matt Stahl, Unfree Masters: Recording Artists and the Politics of Work. Ethnomusicology (2017).
Georgina Born, ed., Music, Sound and Space: Transformation of Public and Private. Ethnomusicology Forum (2015).
Felipe Trotta, O Samba e Suas Fronteiras: ‘Pagode Romântico’ e ‘Samba de Raiz’ nos Anos 1990. Yearbook for Traditional Music 44 (2012): 90-92.
Deborah Pacini Hernandez, Oye Como Va! Hybridity and Identity in Latino Popular Music. American Music Vol. 28, Issue 3 (Fall, 2010): 386-388.
Hazel Dickens and Bill C. Malone, Working Girl Blues: The Life and Music of Hazel Dickens. Labour/Le Travail 64 (Fall 2009): 253-355.
Bryan McCann, Hello, Hello Brazil: Popular Music and the Making of Modern Brazil. Pacific Review of Ethnomusicology, Vol. 11 (Winter, 2006).

Blog Posts


    Co-editing the Oxford Handbook on the Global Music Industry Studies.

    Starting a long-term project on invisible disabilities in the music industry workforce


    Society for Ethnomusicology, American Musicological Society, Society for American Music, Society for Cinema and Media Studies, Latin American Studies Association, International Association for the Study of Popular Music (US, UK)

    Kaleb E. Goldschmitt

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