Jee-Weon Cha is a music theorist with interests in analysis and interpretation of 19th- and 20th-century music, music perception and cognition, music aesthetics and semiotics, and the history of music theory. He holds degrees from the University of Pennsylvania (Ph.D. in Music History and Theory), the University of Washington (M.A. in Systematic Musicology and Music Theory), and Seoul National University (B.M. in Music Theory and Composition). His publications include “The Takadimi System Reconsidered: Its Psychological Foundations and Some Proposals for Improvement” (Psychology of Music, 2015), “Moment and Allegory: Hearing Richard Strauss’s Tod und Verklärung, Op. 24” (Ad Parnassum: A Journal of the Eighteenth- and Nineteenth-Century Instrumental Music, 2014), “Music, Power, Money: Reading Jacques Attali’s Noise: The Political Economy of Music” (Historical Research in Music, 2013; in Korean), Korean translation of Donald J. Grout, Claude V. Palisca, and J. Peter Burkholder’s A History of Western Music, 7th ed. (2009), and “Ton vs. Dichtung: Two Aesthetic Theories of the Symphonic Poem and Their Sources” (Journal of Musicological Research, 2007). He recently finished an article entitled “Lack of Musicality? Explaining Anomalies in Some Senior Korean Christians’ Hymn Singing” (under consideration for publication). Current projects include a monograph on music and addiction (“Are You a Musicoholic? Music, Addiction, and the Mesolimbic Dopamine Pathway”), a paper addressing Schoenberg’s unique technique of unifying the formal and the informal in his free atonal songs (“A Clockwork Orange: Analyzing the Fifteenth Song of Arnold Schoenberg’s Das Buch der hängenden Gärten, Op. 15”), a study of the convergence of music and language in Strauss’s early tone poems (“Richard Strauss’s Early Tone Poems and Imperatives of Musical Logic”), and a book that employs psychology, cognitive science, and neuroscience to understand a variety of musical practices (Music in the Interdisciplinary Mind: Essays in an Applied Cognitive Musicology). He has presented papers at regional, national, and international conferences and has been invited to present research at various venues in the United States, South Korea, and Singapore. At Grinnell, he teaches courses in music theory (including “Harmony,” “Form and Analysis,” and “Tonal Counterpoint”) and other interdisciplinary topics (“Music and Mind,” “Music and Language,” and “Music, Sexuality, and Other ‘Dangerous’ Things”). He previously taught at Youngstown State University (2007-2009) and the University of Pennsylvania (2004-2007).