Susanne Scheiblhofer, PhD
Fachbereichsreferentin Department of Music and Dance Studies
Universität Salzburg, Unipark Nonntal
Erzabt-Klotz-Straße 1, Room Number 2.434, 5020 Salzburg
Tel.: +43 662 8044 ext. 4650
E-Mail:
Office Hours
By appointment
Research Interests
- musicals, music theatre
- film and television music
- interplay of music and politics in society
- new musicology/critical race theory
- reception history
- gender and mobility studies
Biography
After earning her master’s degree from the University of Vienna, where she studied musicology, English as well as theatre, film and media studies, Susanne Scheibhofer received a Fulbright scholarhip in 2007 to continue her studies in musicology and arts administration in the United States. In 2014, she earned her PhD from the University of Oregon with the dissertation “The Singing Nazi: Representations of National Socialism in Broadway Musicals.” Between 2018 and 2021 she worked as a Postdoc for the inter-university research initiative “Music and Migration,” where she co-edited the upcoming Routldge Handbook of Music and Migration: Theories and Methodologies – slated to come out in fall 2023 – with Wolfgang Gratzer, Nils Grosch and Ulrike Präger. Since 2021 she works for the Department of Music and Dance Studies as a Fachbereichsreferentin. Current research includes the German-speaking reception history of Rodgers & Hammerstein, Marcel Prawy’s early efforts to bring Broadway musicals to Europe, musical hallucinations in TV series, musical cryptography in film, TV and video games, as well as the search toward and aural equivalent of the “male gaze.”
Publications
2025
“’The Hills Are Alive with the Sound of Music’: Zur Demonstration alpenländischer Folkloristik in Broadway Musicals”. In: Klang der Berge? Populäres Musiktheater und Musikfilm zwischen Weltflucht, Alpenmythos und Gipfelsturm, edited by L. Roman Duffner, Thomas Krettenauer and Carolin Stahrenberg. Münster: Waxmann, 2025: 167–184.
„Rodgers and Hammerstein in Cold War Europe.“ In: Rodgers and Hammerstein in Context, edited by Dominic Broomfield McHugh and William Everett. Oxford University Press. (In print)
2024
“Agency.” In: Routledge Handbook of Music and Migration: Theories and Methodologies, edited by Wolfgang Gratzer, Nils Grosch, Ulrike Präger, Susanne Scheiblhofer. Routledge 2024.
“Culture.” In: Routledge Handbook of Music and Migration: Theories and Methodologies, edited by Wolfgang Gratzer, Nils Grosch, Ulrike Präger, Susanne Scheiblhofer. Routledge 2024.
The Routledge Handbook of Music and Migration: Theories and Methodologies. Edited with Wolfgang Grater, Nils Grosch and Ulrike Präger. Routledge. *2025 Ruth A. Solid Award, AMS Nominee*
2023
“‘Ev´ry Hotsy Totsy Nazi Stand and Cheer’: Cultural Sensitivity to Musicals about the Third Reich.” In: The Oxford Handbook of the Global Stage Musical, edited by Olaf Jubin and Robert Gordon. New York: Oxford University Press. (Mit Nils Grosch).
„ Zwischen Nachkriegspropaganda, Kulturimperialismus und Kulturkritik: Marcel Prawys Lecture-Performances am Wiener Kosmos-Theater Anfang der 50er Jahre.“ In: Act – Zeitschrift für Musik und Performance, 11(1).
„Confronting the Past through Popular Musical Theatre: The Effects of Austrian Postwar Cultural Policies on the Reception History of Musicals“. In: Musicologica Austriaca: Journal for Austrian Music Studies.
„Agency“. In: Musik und Migration: Ein Theorie- und Methodenhandbuch, edited by Wolfgang Gratzer, Nils Grosch, Ulrike Präger and Susanne Scheiblhofer. Münster: Waxmann, 2023.
„Kultur“. In: Musik und Migration: Ein Theorie- und Methodenhandbuch, edited by Wolfgang Gratzer, Nils Grosch, Ulrike Präger and Susanne Scheiblhofer. Münster: Waxmann, 2023.
2017
“Tomorrow Belongs to Me:” The Journey of a Song from Show Tune to Rechtsrock. Studies in Musical Theatre. Volume 11(1): 5-22.
Conferences
2024
Black Death Spectacle: Kander und Ebbs The Scottsboro Boys als dramaturgisches Problem. GfM-Arbeitstagung der Fachgruppe Soziologie und Sozialgeschichte der Musik, Linz, Austria.
2022
A Tale of Two Evitas: Towards a Sonic Equivalent of the Male Gaze. ÖGGF-Jahrestagung, Salzburg, Austria.
Do You Hear What I Hear? Musical Hallucinations in Primetime Television Series. Scoring Peak TV, Online.
2021
The Narrator as Antagonist: The Male Gaze in Evita and Elisabeth. Heroes, Canon Cults (isaScience Sommerakademie 2021), Reichenau an der Rax, Austria.
The Hammerstein Ban: German-speaking Reception of Rodgers & Hammerstein Revisited. Mobilities: Stage and Film Musicals in Motion (Song, Stage and Screen XV), Online.
“Gentlemen, Be Seated:” Minstrelsy as Social Criticism in Kander & Ebb’s The Scottsboro Boys. New England Historical Association Spring Conference, Online.
2020
From the Streets of Verona to the Gangs of New York: Shakespeare’s Romeo and Juliet Through the Lens of Greenblatt’s Theatrical Mobility. Shakespeare and Music: New Interdisciplinary Perspectives, Online.
2019
Vergangenheitsbewältigung und Vergangenheitspolitik in der Rezeptionsgeschichte von Cabaret, The Sound of Music und The Producers in Österreich. ÖGMW-Jahrestagung, Innsbruck, Austria.
Mehr als nur Musikillustration: Zu Richard Strauss’ Verständnis von Filmmusik. Strauss on the Record: Karajan and the Legacy of Sound Materiality, Salzburg, Austria.
Agency in the Pastiche-Style Musicals of Kander and Ebb. IMS Intercongressional Symposium “Agency and Identity in Music,” Lucerne, Switzerland.
2018
Who Am I Anyway? – A Lacanian Reading of Mirror Scenes in Film Musicals. When the Music Takes Over. Musical Numbers in Film and Television, Salzburg, Austria.
2017
„Tomorrow Belongs to Me”: The Journey of a Song from Show Tune to Rechtsrock. Music in Action, UCLA Echo Conference, Los Angeles, CA
2016
The Many Lives of “Edelweiss”. Song, Stage, and Screen XI, New York City, NY.
The Many Lives of “Edelweiss”. Music for Audio-Visual Media II Conference, Leeds, England.
2015
“Tomorrow Belongs to Me”: The Journey of a Song from Show Tune to Rechtsrock. Exoticism, Orientalism and National Identity in Musical Theater, International Conference on the Centenary of the Death of Karl Goldmark, Budapest, Hungary.
„The Spirits That I Called’“ Construction of Nazi Mythology in Cabaret’s “Tomorrow Belongs to Me.” Jahrestreffen der American Musicological Society, Louisville, KY.
Stagecraft and Statecraft: “The Sound of Music” in International Diplomacy. Music and Public Diplomacy, Dortmund, Germany.
‘The Spirits That I Called’: Construction of Nazi Mythology in Cabaret’s “Tomorrow Belongs to Me.” For Cryin’ Out Loud: Music and Politics. Gaudeamus Muziekweek, Utrecht, Netherlands.
2012
Sonic Consciences and Toxic Tonics: Masculinities in Crisis in Tim Roth’s “The War Zone”. 4th Music and Media Meeting, Turin, Italy.
2011
Der Tod, das muß ein Wiener sein. UCLA Echo Conference (Sonic Doom: Decay, Disease and Destruction in Music), Los Angeles, CA.
Balanchine and the Origins of the Dream Ballet. American Musicological Society Northwest Chapter Meeting, Bellingham, WA.
2010
The Influence of Comèdie Musicale on Musicals Exemplified by Luc Plamondon, Poster-Präsentation beim Jahrestreffen der Society for American Music, Ottawa, ON.
2009
How Do You Solve a Problem like…The Sound of Music in Austria? Song, Stage & Screen IV, College Park, MD.
Romancing Death: The Role of the Waltz as a Danse Macabre in the Austrian Musical “Elisabeth”. American Musicological Society Northwest Chapter Meeting, Cheney, WA.
Courses Taught
Summer 2023
PS Musikhistoriographie (Musik im Kalten Krieg)
Winter 2022/23
PS Musik, Tanz und Medien (Music in Science Fiction)
Summer 2022
VO Kulturgeschichte der Musik
Winter 2021/22
PS Musik, Tanz und Medien (Winter is Coming: Die Klangwelt von Game of Thrones)
Summer 2021
UV Musikhistoriographie (Brush Up Your Shakespeare: Shakespeare Vertonungen)
Summer 2020
PS Musik, Tanz und Medien (Maskenbälle und Kostümparties)
