Jee-Weon Cha
Jee-Weon Cha is a music theorist whose work explores the intersection of music, meaning, and human experience. His research encompasses such topics as analysis and interpretation, perception and cognition, semiotics and aesthetics, gender and sexuality studies, and the history of theory, with a particular focus on nineteenth- and twentieth-century repertoires.
His scholarship bridges disciplinary boundaries to understand how music communicates beyond the limits of language. He has recently completed an essay on ineffability and queerness in listening, as well as an article on music and addiction. His publications include 淟ack of Musicality? Explaining Anomalies in Some Senior Korean Christians Hymn Singing, 淭he Takadimi System Reconsidered: Its Psychological Foundations and Some Proposals for Improvement, 淢oment and Allegory: Hearing Richard Strauss Tod und Verkl盲rung, Op. 24, 淢usic, Power, Money: Reading Jacques Attali Noise: The Political Economy of Music, Ton vs. Dichtung: Two Aesthetic Theories of the Symphonic Poem and Their Sources, and Moments musicaux: Exact Imagination, or Hearing the Adornian Augenblick. He also translated Donald J. Grout, Claude V. Palisca, and J. Peter Burkholder A History of Western Music, 7th edition, into Korean.
At 黑料百科, he teaches music theory courses (such as 淢usic Theory I, 淢usic Theory II, 淭onal Counterpoint, 淎dvanced Tonal Theories, and 淐ognitive Theories of Music) and interdisciplinary topics (like 淢usic, Mind, and Brain, 淢usic and Language, 淕ender and Sexuality in Western Music, and 淢usic in Interdisciplinary Conversations). His teaching reflects a commitment to helping students engage with music as both an artistic practice and a mode of critical inquiry.
He holds a Ph.D. in Music History and Theory from the University of Pennsylvania, an M.A. in Music Theory and Systematic Musicology from the University of Washington, and a B.M. in Music Theory and Composition from Seoul National University.