In this dissertation, I propose a framework of queer temporalities in music scholarship. In four contrasting chapters exemplifying its application, I explore musical time travel between the past and the present. I consider Benjamin Britten's unconventional neoclassical style, using his Six Metamorphoses after Ovid as a case study. Next, I explore a lesser-known history of EDM and its early practitioners, exposing EDM as a style of music that has had a queer temporality from its inception. I follow the style’s continuity in the work of 21st-century Belgian EDM artist, Stromae (Paul van Haver). His deliberate referencing of the past sometimes functions as parody, sometimes as homage, and sometimes as temporal drag. While he has found a significant measure of commercial success in his sound creations, when Stromae does invoke past styles and texts, the effect challenges something about present society. Finally, I consider the expressive potential of the queer performative arts scene in Athens, GA. Diving into the history of Georgia's longest running drag show, I contemplate the motivations behind Boybutante's rise and meanings generated in iterative themed drag balls. Athens' multiple amateur drag troupes parody events, cultural figures, and ideas from the past in their sets, creating a clever, multi-layered commentary. What distinguishes my analysis from a simple investigation into an artist's use of classic techniques is my focus on the affect and meanings generated by a performative engagement with multiple temporalities. The artists and texts that I focused on all employ references to the past to question something about present norms, rather than connect to a lineage or tradition. I consider how performers, composers, and artists queer, or challenge present norms of social organization and offer visions of a time and place when queer diversity is freely expressed.