STAFF
Dr. Youn KIM
Dr. Youn KIM
Associate Professor
        
E younkim@hku.hk          

Youn KIM obtained her PhD in music theory from Columbia University. Her research interests include history of music theory, psychology of music, theory and analysis, history of listening, and in particular, the interrelationship between music theory and the science of the mind. Kim’s previous publications include a monograph, History of Western Music Theory (2006; awarded as "Outstanding Books in the Field of Basic Sciences" in 2008 by The National Academy of Sciences, Republic of Korea), and articles and reviews in Journal of Musicology, Psychology of Music, Journal of Musicological Research, Music and Letters, and Current Musicology, among others. She has presented papers at various international conferences, including International Musicological Society, International Conference on Music Perception and Cognition, Annual Meeting of the Society for Music Theory, Royal Musical Association, and Congress of the Gesellschaft für Musiktheorie, and her work has been supported by the University Grants Committee of Hong Kong under the General Research Fund (2011/12 and 2017/18). Recently, she coedited (with Sander Gilman) and authored chapters in the Oxford Handbook of Music and the Body (OUP, 2019). She also collaborated with researchers in psychology and neuroscience and contributed to works appearing in Scientific Reports and PLOS One. Kim is currently working on a monograph entitled Body and Force in Music: Metaphoric Constructions in Music Psychology (Routledge, forthcoming) as a part of SEMPRE Studies in the Psychology of Music series.

Selected Publications
  • 2019
    The Oxford Handbook of Music and the Body, coedited with Sander Gilman. Oxford: Oxford University Press. [Also published in Oxford Handbooks Online]
  • 2006
    History of Western Music Theory. Seoul: Simsuldang.
  • 2019
    “Contextualizing Music and the Body: An Introduction.” In The Oxford Handbook of Music and the Body, edited by Youn Kim and Sander L. Gilman, 1-18, Oxford: Oxford University Press.
  • 2019
    “Listening to the Musicking Body: A Cross-Disciplinary and Historical Perspective.” In The Oxford Handbook of Music and the Body, edited by Youn Kim and Sander L. Gilman, 418-435. Oxford: Oxford University Press.
  • 2019
    “Is There Disabled Music? Music and the Body From Dame Evelyn Glennie’s Perspective.” Coauthored with Evelyn Glennie and Sander Gilman. In The Oxford Handbook of Music and the Body, edited by Youn Kim and Sander L. Gilman, 318-330. Oxford: Oxford University Press.
  • 2013
    "Music in the Ear's Mind." In Music Perception and Cognition II, ed. by Suk Won Yi, 35-58. Seoul: Eumaksekye.
  • 2010
    ​​​“Interdisciplinarity and Metaphors: Historical Reflections on Music Theory and the Psychology of Music.” In Musiktheorie als interdisziplinäres Fach, edited by Christian Utz, 577–588. Saarbrücken: PFAU-Verlag. ISBN: 978-3-89727-448-8
  • 2005
    "Theory, Analysis and Analytic Theory." In Music Theory and Analysis, ed. by Youn Kim, 13–54. Seoul: Simsuldang.
  • 2005
    "Perception and Cognition of Rhythm: Metric Structure and Grouping Structure." In Music Perception and Cognition I, ed. by Suk Won Yi, 183–216. Seoul: Eumaksekye.
  • 2003
    "Elliot Carter." In 20th-century Composers, ed. by Suk Won Yi and Hee Sook Oh, 203–244. Seoul: Eumaksekye.
  • 2021
    “Music Psychology of the Piano-Playing Hands in Historical Discourse.” Journal of Musicology 38, no. 1 (forthcoming).
    2020
    “Increased Fronto-Temporal Connectivity by Modified Melody in Real Music.” Coauthored with Chan Hee Kim, Jaeho Seol, Seung-Hyun Jin, June Sic Kim, Suk Won Yi, and Chun Kee Chung. PLOS ONE 15, no. 7: e0235770
    2019
    “Eye-Hand Span Is Not an Indicator of but a Strategy for Proficient Sight-Reading in Piano Performance.” Coauthored with Yeoun Lim, Jeong Mi Park, Seung-Yeon Rhyu, Chun Kee Chung, and Suk Won Yi. Scientific Reports 9, no. 1: 17906.
    2019
    “Change in Left Inferior Frontal Connectivity with Less Unexpected Harmonic Cadence by Musical Expertise.” Coauthored with Chan Hee Kim, June Sic Kim, Yun Hee Choi, Jeong-Sug Kyong, Suk Won Yi, and Chun Kee Chung. PLOS ONE 14 (11): e0223283.
    2014
    “‘Boundaries’ and ‘Thresholds’: Conceptual Models of the Musical Mind in the History of Music Psychology." Psychology of Music 42, no. 5, 671–691.
  • 2013
    “‘The Voice in Silence’: Hugo Riemann’s Pausenlehre and Its Psychological Implications.” Journal of Musicological Research 32, no. 4, 287–313.
  • 2006
    "The Multi-level Structure of Schumann's Song Cycles, Opp. 24 and 39." Journal of Music and Theory 11: 169–215.
  • 2006
    "Ambiguity in the Analysis of Tonal Harmony: Case Studies and Reflections." Journal of the Musicological Society of Korea 9 (3): 169–216.
  • 2005
    "The Significance of Speculative Theory of Music: A Case Study of Scientific Metaphors in Music Theories." Journal of the Musicological Society of Korea 8 (2): 57–83.
  • 2005
    "Historical Approach to Music Theory: Case Studies." Nangman Quarterly 17 (2): 5–54.
  • 2010
    "Review of Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany by Myles W. Jackson." Music & Letters, 431-435.
  • 2003
    "Review of Hugo Riemann and the Birth of Modern Musical Thought by Alexander Rehding." Current Musicology 76: 81–96.