Books
Embedded Files
Finding the Beat: Entrainment, Rhythmic Play, and Social Meaning in Rock Music. New York: Bloomsbury Academic, 2023.
P’ungmul: Han’guk ŭi puk nori-wa ch’um (P’ungmul: South Korean Drumming and Dance), by Nathan Hesselink, translated by Sheen Dae-cheol. Academy of Korean Studies Translation Series 2. Seoul: Academy of Korean Studies, 2015. [Korean translation of P’ungmul: South Korean Drumming and Dance, published by the University of Chicago Press, 2006, with new author Preface]
SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture. Chicago Series in Ethnomusicology. Chicago: University of Chicago Press, 2012.
P’ungmul: South Korean Drumming and Dance. Chicago Series in Ethnomusicology. Chicago: University of Chicago Press, 2006. Winner of 2008 Lee Hye-gu Award, Korean Musicological Society.
Edited Volumes
Hesselink, Nathan and Heather Sparling, co-editors. Stories of Emergence, Opportunity and Challenge in Canada’s University Music Programs. Special Feature in MUSICultures (48). 2021.
Music and Politics on the Korean Peninsula. Special Volume of The World of Music (49.3). Berlin: Verlag für Wissenschaft und Bildung, 2008.
Contemporary Directions: Korean Folk Music Engaging the Twentieth Century and Beyond. Korea Research Monograph 27. Berkeley: University of California Press, 2001.
Chapters in Books
Springate, Michael and Nathan Hesselink. “Küt: Shock and Awe.” In Revolt/Compassion: Six Scripts for Contemporary Performance, by Michael Springate, 259-84. Toronto: Guernica Editions, 2019.
“Early Voices in SamulNori’s Historical Record.” In SamulNori: Korean Percussion for a Contemporary World, by Keith Howard, 76-86. Surrey, UK: Ashgate (SOAS Musicology Series), 2015.
“Beopgo Changshin: New Music for Samul nori.” In Musicology in Korea, ed. Kim Sejung, 495-507. Seoul: Minsogwŏn, 2014.
“Taking Culture Seriously: Democratic Music and its Transformative Potential in South Korea.” In The World of Music: Readings in Ethnomusicology, ed. Max Peter Baumann, 670-701. Intercultural Music Studies 17. Berlin: Verlag für Wissenschaft und Bildung, 2012.
“Rhythm and Folk Drumming (P’ungmul) as the Musical Embodiment of Communal Consciousness in South Korean Village Society.” In Analytical and Cross-Cultural Studies in World Music, ed. Michael Tenzer and John Roeder, 263-87. New York and Oxford: Oxford University Press, 2011.
“Coming to the City: SamulNori and 1970s’ Korean Music Culture.” In Mandang Yi Hyegu paksa paeksu songch’uk nonmunjip (Essays on Music Offered to Dr. Lee Hye-ku in Honor of His Hundredth Birthday), ed. Hwang Junyeon et al, 661-91. Seoul: Minsogwŏn, 2008.
“Pungmul and Samulnori.” In Music of Korea, ed. Byong Won Lee and Yongshik Lee, 93-104. Korean Musicology Series 1. Seoul: National Center for Korean Traditional Performing Arts, 2007.
“On the Road with ‘Och’ae Chilgut’: Stages in the Development of Korean Percussion Band Music and Dance.” In Contemporary Directions: Korean Folk Music Engaging the Twentieth Century and Beyond, ed. Nathan Hesselink, 54-75. Berkeley: University of California Press, 2001.
Articles
"Space Fantasy: Nagaoka Shusei's Contributions to Afrofuturist Visual Culture." Journal of American Culture 48.1:3-22 (2025).
“Catching a Groove: Stan Lynch’s Relationship with Time.” Journal of Popular Music Studies 36.3:6-17 (2024).
“Cross-Cultural Resonance in the Cadential Hemiola.” Analytical Approaches to World Music 10.1 [8,058 words] (2022).
“Western Popular Music, Ethnomusicology, and Curricular Reform: A History and a Critique.” Popular Music and Society 44.5:558-78 (2021).
“From Point Grey to Little Mountain: Connections and Intersections between UBC Music and Little Mountain Sound.” MUSICultures 48:205-33 (2021).
Hesselink, Nathan and Heather Sparling. “Introduction / Music in Canadian Higher Education: Institutional Histories and Entanglements.” MUSICultures 48:171-77 (2021).
“The Ethnomusicologist as Composer.” Music and Culture 31:31-44 (2014).
“Rhythmic Play, Compositional Intent, and Communication in Rock Music.” Popular Music 33.1:69-90 (2014).
“Radiohead’s ‘Pyramid Song’: Ambiguity, Rhythm, and Participation.” Music Theory Online 19.1.3 [13,500 words] (2013).
“Korean Rock, Sanjo, and National Identity.” Perspectives on Korean Music 2:87-102 (2011).
“ ‘Yŏngdong Nongak’: Mountains, Music, and the SamulNori Canon.” Acta Koreana 12.1:1-26 (2009).
“Taking Culture Seriously: Democratic Music and its Transformative Potential in South Korea.” The World of Music 49.3:75-106 (2008).
“Music and Politics on the Korean Peninsula.” The World of Music 49.3:7-12 (2008).
“SamulNori, Wŏn-Pang-Kak, and Cosmological Didacticism.” Yearbook for Traditional Music 39:140-61 (2007).
“ ‘The Formation of Namsadang (Korean Itinerant Performer) Troupes’: Chapter One A Study of Namsadang Troupes,” by Shim Usŏng. Translated, edited, and with an Introduction by Nathan Hesselink. Acta Koreana 9.2:31-57 (2006).
“Samul nori as Traditional: Preservation and Innovation in a South Korean Contemporary Percussion Genre.” Ethnomusicology 48.3:405-39 (2004).
Hesselink, Nathan and Jonathan C. Petty. “Landscape and Soundscape: Geomantic Spatial Mapping in Korean Traditional Music.” Journal of Musicological Research 23.3/4:265-88 (2004).
“Kil kunak ch’ilch’ae (Seven-Stroke Road Military Music) Rhythmic Pattern: P’ungmul and the Bridging of the North-South Divide.” Tongyang ŭmak [Asian Music] 25:111-27 (2003).
“Modernization, Urbanization, and the Re-emergence of the Professional Korean Folk Musician.” Han'guk ŭmaksa hakpo [Journal of the Society for Korean Historico-Musicology] 29:519-49 (2002).
“‘P’ungmul is Played with Your Heel!’: Dance as a Determinant of Rhythmic Construct in Korean Percussion Band Music/Dance.” Music and Culture 4:99-110 (2001).
“Kim Inu’s ‘P’ungmulgut and Communal Spirit’: Edited and Translated with an Introduction and Commentary.” Asian Music 31.1:1-34 (2000).
“Two Sides of a Similar Coin: A Common Origin Hypothesis in Honam Region Percussion Band Music/Dance.” Tongyang ŭmak [Asian Music] 21:175-200 (1999).
“Of Drums and Men in Chŏllabuk-do Province: Glimpses into the Making of a Human Cultural Asset.” Korea Journal 38.3:292-326 (1998).
“Changdan Revisited: Korean Rhythmic Patterns in Theory and Contemporary Performance Practice.” Han'guk ŭmak yŏn'gu [Studies in Korean Music] 24:143-55 (1996).
“Geisha, Kouta, and Karaoke.” Kyoto Journal 32:18-23 (1996).
“Kouta and Karaoke in Modern Japan: A Blurring of the Distinction between Umgangsmusik and Darbietungsmusik.” British Journal of Ethnomusicology 3:49-61 (1994).
Book Reviews and Commentaries
“Book Review of Simon Barker’s Korea and the Western Drumset: Scattering Rhythms.” Ashgate, 2015. Asian Ethnology 78.2:515-17 (2019).
“Book Review of Brad Osborn’s Everything in its Right Place: Analyzing Radiohead.” Oxford University Press, 2017. Popular Music 36.3:446-48 (2017).
Program notes for Chan Centre’s presentation of Kim Duk Soo SamulNori (March, 2014).
“Book Review of Simon Mills’ Healing Rhythms: The World of South Korea’s East Coast Hereditary Shamans.” Ashgate, 2008. Ethnomusicology Forum 17.2:275-77 (2008).
“Book Review of Keith Howard’s Preserving Korean Music and Creating Korean Music.” Ashgate, 2006. Bulletin of the School of Oriental and African Studies 70.2:449-51 (2007).
“Book Review of Judy Van Zile’s Perspectives on Korean Dance.” Wesleyan University Press. 2001. Yearbook for Traditional Music 34:211-13 (2002).
“Book Review of Song Bang-song’s Korean Music: Historical and Other Aspects.” Jimoondang Korean Studies Series, 2000. World of Music 43.2/3:239-42 (2001).
“In’gan munhwajae Pak Kwihŭi” [Human Cultural Asset Pak Kwihŭi]. In Korean Music: A Listening Guide, ed. Keith Howard, 57. Seoul: National Center for Korean Traditional Performing Arts, 1999.
“Sŏdo minyo” [Folksongs of the Sŏdo Region]. In Korean Music: A Listening Guide, ed. Keith Howard, 108. Seoul: National Center for Korean Traditional Performing Arts, 1999.
“Yun Yusŏk ajaeng sanjo” [Ajaeng Sanjo of Yun Yusŏk]. In Korean Music: A Listening Guide, ed. Keith Howard, 117. Seoul: National Center for Korean Traditional Performing Arts, 1999.
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