STAFF

Daniel CHUA

Professor and Chairperson

Office: 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). He is currently collaborating on various theologically inflected projects based at Duke and Yale Divinity Schools, and is working on a post-human manifesto modestly entitled an Intergalactic Music Theory of Everything (IMTE).

Selected Publication

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. 
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
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, 2015 , in Music Theory Online, volume 21/2.
2005
Book review of David Yearsley’s Bach and the Meanings of Counterpoint, 2005, in Music Theory Spectrum, volume 27/1, pp.113-117.
2001
Book review of Susan McClary’s Conventional Wisdom: The Content of Musical Form, 2001, in Journal of the American Musicological Society, volume 54/2 , pp. 413-417.
1999
Book review of Beethoven Forum 5-6, 1999, in Music and Letters, volume 80/2, pp. 290-292.
1997
Book review of Fidelio: Cambridge Opera Handbook, ed. Paul Robinson, 1997, in Music and Letters, volume 78/3, pp. 432-433.

Courses Offered 2017/18

MUSI2074  Introduction to contrapuntal techniques and styles

MUSI3035  Music analysis II

Selected Publications

Department of Music

the university of hong kong