STAFF
Professor Daniel CHUA
Professor Daniel CHUA
Chair Professor
Mr & Mrs Hung Hing-ying Professor in the Arts

Chairperson
E dchua@hku.hk           k Room 11.14, 11/F Run Run Shaw Tower

Daniel KL CHUA earned his PhD in musicology from Cambridge University and is currently Professor and Chair of music at the University of Hong Kong. Before joining HKU, he was the Director of Studies at St John’s College, Cambridge, and later Professor of Music Theory and Analysis at King’s College London. He was a Visiting Senior Research fellow at Yale (2014-15), a Henry Fellow at Harvard (1992-3), and a Research Fellow at Cambridge (1993-7).  He is the recipient of the 2004 Royal Musical Association’s Dent Medal.  He was editor of Music & Letters, and is on the editorial board of major musicological journals.  He was a Director-at-Large of the International Musicological Society and is currently the Society’s President (2017-2022).  He has written widely on music, from Monteverdi to Stravinsky, but is particularly known for his work on (i) Beethoven, (ii) the intersection between music, philosophy and theology, and (iii) the history of ‘absolute music’. His publications include The ‘Galitzin’ Quartets of Beethoven (Princeton, 1994), Absolute Music and the Construction of Meaning (Cambridge, 1999), Beethoven and Freedom, (Oxford, 2017), ‘Rioting With Stravinsky: A Particular Analysis of the Rite of Spring’ (2007), ‘Beethoven’s Other Humanism’ (2009), and ‘Listening to the Self: The Shawshank Redemption and the Technology of Music’ (2011). In recent years, he has collaborated on various theologically inflected projects based at Duke and Yale Divinity Schools, and has just complete a post-human manifesto on an ‘Intergalactic Music Theory of Everything’ (IMTE) entitled Alien Listening: Voyager’s Golden Record and Music from Earth (Zone Books 2021). He is currently working on a book with Yale University Press on the topic of music and joy.

Selected Publications
  • 2021
    Alien Listening: Voyager’s Golden Record and Music from Earth. Joint monograph with Alex Rehding. ZoneBooks (Princeton University Press).
  • 2021
    Theology, Music, and Modernity: Struggles for Freedom. Edited by Jeremy Begbie, Daniel KL Chua and Markus Rathey. Oxford University Press.
  • 2017
    Beethoven and Freedom. New York: Oxford University Press.
  • 1999
    Absolute Music and the Construction of Meaning. Cambridge: Cambridge University Press.
  • 1995
    The "Galitzin" Quartets of Beethoven. Princeton: Princeton University Press.
  • 2021
    ‘“Music is, by its very nature, essentially powerless to express anything at all”: The Context and Expression of Essentially not Expressing Anything’ in Stravinsky in Context, ed. Graham Griffiths. Cambridge: Cambridge University Press, 2021.
  • 2021
    ‘Revolutionary Freedom: An Image of Musical Autonomy in Beethoven’ in Theology, Music, and Modernity: Struggles for Freedom, eds. Jeremy Begbie, Daniel KL Chua and Markus Rathey, Oxford University Press, 2021.
  • 2012
    ‘Echoes of Hope in Monteverdi’s L’Orfeo and Beethoven’s Fidelio’ in Art, Imagination and Christian Hope: Patterns of Promise, eds. Trevor Hart, Jeremy Begbie and Gavin Hopps, 2012 Ashgate, pp. 69-89. ISBN-13: 9780754666769
  • 2011
    ‘Music as the Mouthpiece of Theology’, Resonant Witness: Essays in Theology and Music, ed. Jeremy S. Begbie and Steve R. Guthrie, 2011 Eerdmans. ISBN-13: 9780802862778
  • 2006
    ‘Mozart, Music, Money’, Mozart Studies, ed. Simon P. Keefe, 2006, Cambridge University Press, pp. 193-213. ISBN-13: 9780521851022
  • 2006
    ‘Drifting: the Dialectics of Adorno's Philosophy of New Music’, Apparitions: New Perspectives on Adorno and Twentieth-Century Music ed. B. Hoeckner, 2006, Routledge, pp1-17.
    ISBN-10: 0815335717. ISBN-13: 9780815335719
  • 2004
    ‘Ludwig van Beethoven’. Entry in Encyclopedia of the Romantic Era 1760-1850, ed. Chris Murray, 2004, Fitzroy Dearborn Publishers, volume 1 pp. 66-69. ISBN-10: 1579584233
  • 2001
    'Vincenzo Galilei, Modernity and the Division of Nature', Music Theory's Natures ed. S. Clarke and A. Rehding, 2001, Cambridge University Press, pp.1-17. ISBN-10: 0521771919
  • 1998
    'Haydn as Romantic', Haydn Studies ed. W. D. Sutcliffe, 1998, Cambridge University Press, pp.120-151. ISBN-10: 0521028353
  • 2020
    ‘貝多芬的空白美學.’ Translated by Sun Yue. Journal of the Central Conservatory of Music No. 4 volume 161,(2020): 89-106. ISSN 1001-9871. DOI: 10.16504/j.cnki.cn11-1183/j.2020.04.008
  • 2020
    ‘Global Musicology.’ Translated by Xu, Lu fan. Art of Music: Journal of the Shanghai Conservatory of Music 160, no. 1(2020): 142-50. 蔡寬量:“全球音樂學”,徐璐凡翻譯,音樂藝術: 上海音樂學院學報,第160期,2020年第1期,頁142-150。ISSN 1000-4270 CN31-1004/J
  • 2017
    ‘Global Music History: A Positionless Paper’ in New Sound International Journal of Music, Issue 50 vol. 2 (2017), 12-16.
  • 2016
    ‘Adorno’s Space-Time Dimension in Beethoven’, New German Critique, 43/3 (November, 2016), 113-137. DOI: 10.1215/0094033X-3625397
  • 2014
    ‘Beethoven Going Blank’, Journal of Musicology, 31/3 (2014), 299-325. DOI: 10.1525/jm.2014.31.3.299
  • 2011
    ‘Listening to the Self: The Shawshank Redemption and the Technology of Music’, Nineteenth-Century Music, 34/3 (Spring, 2011), 341-355. DOI: 10.1093/oq/kbi093
  • 2010
    ‘Listening to the Other: A Counter-Cultural Ear in Ipodic Times’, Journal of the Royal Musical Association, 135 (Special Issue, 2010), 103-8.
  • 2009
    ‘Beethoven’s Other Humanism’, Journal of the American Musicological Society, 62/3 (Fall, 2009), 571-645. DOI: 10.1525/jams.2009.62.3.571
  • 2007
    ‘Rioting With Stravinsky: A Particular Analysis of the Rite of Spring’, Music Analysis, 26/1-2 (2007), 59-109.
  • 2005
    ‘Untimely Reflections on Operatic Echoes: How Sound Travels in Monteverdi’s L’Orfeo and Beethoven’s Fidelio with a Short Instrumental Interlude’, The Opera Quarterly, 21/4 (2005), 573-596.
  • 2005
    ‘The Promise of Nothing: The Dialectic of Freedom in Adorno’s Beethoven’, Beethoven Forum, 12/1 (2005), 13-35.
  • 2004
    ‘The Metaphysics of Mourning: Adorno’s Farewell to Beethoven’, Musical Quarterly, 87/3 (2004), 523-545.
  • 2004
    ‘Rethinking Unity’, Music Analysis, 23/2-3 (2004), 353-359.
  • 2000
    ‘Believing in Beethoven: Adorno’s Philosophy of Music’, Music Analysis, 19/2 (2000), 409-21.
  • 2015
    Book review of Mark Evan Bonds’ Absolute Music: The History of an Idea, in Music Theory Online, volume 21/2.
  • 2005
    Book review of David Yearsley’s Bach and the Meanings of Counterpoint, in Music Theory Spectrum, volume 27/1, pp.113-117.
  • 2001
    Book review of Susan McClary’s Conventional Wisdom: The Content of Musical Form, in Journal of the American Musicological Society, volume 54/2, pp. 413-417.
  • 1999
    Book review of Beethoven Forum 5-6, in Music and Letters, volume 80/2, pp. 290-292.
  • 1997
    Book review of Fidelio: Cambridge Opera Handbook, ed. Paul Robinson, in Music and Letters, volume 78/3, pp. 432-433.
Achievement Highlights
Courses Offered 2021/22