Catrina Kim is a music theorist interested in Romantic form, music theory pedagogy, feminist theory, and cultural studies, whose diverse research portfolio often brings these themes into contact with one another. Her work in Romantic form focuses on fragmentary treatments of the sonata and the slow introduction in the music of Fanny Hensel, Felix Mendelssohn, Robert Schumann, and Ludwig van Beethoven; articles on Hensel’s chamber music is forthcoming in Music Theory Spectrum and Modeling Musical Analysis, edited by John Peterson and Kim Loeffert (Oxford University Press). Catrina also writes on the intersections of music theory pedagogy with service, labor, diversity, and feminist thought. Her publications in this vein appear in Theory and Practice, Music Theory Spectrum (forthcoming), and Expanding the Canon: Black Composers in the Music Theory Classroom, edited by Melissa Hoag (Routledge Press, forthcoming)—this last essay is coauthored with Aaron Grant. Catrina serves on the editorial board of Music Theory Online (the Society for Music Theory’s peer-reviewed online, open-access journal), co-chairs UNCG’s Irna Priore Music and Culture Lecture Series with David Aarons, and is a Faculty in Residence.