Department of Music

the university of hong kong

Giorgio BIANCOROSSO

Giorgio BIANCOROSSO

Professor 
Director, Society of  Fellows in the Humanities

Office: Room 11.20, 11/F Run Run Shaw Tower

Giorgio BIANCOROSSO is the author, most recently, of Situated Listening: The Sound of Absorption in Classical Cinema (Oxford University Press, 2016). His work on the history and theory of listening practices reflects a long-standing interest in musical aesthetics, film music, and the history of global cinema. Biancorosso studied music history and film studies at the University of Rome and King's College, London, before moving to Princeton University, where he obtained a Ph.D. in musicology in 2002. Having taught at Northwestern University in 2000-2001, he was a Mellon Fellow in Music at the Society of Fellows at Columbia University in 2001-2003 and a Visiting Assistant Professor in the Music Department at Columbia in 2003-2004. Aside from film music, film criticism, and musical aesthetics, his interests include musical dramaturgy and the psychology of music. Biancorosso is also active in Hong Kong as a programmer and curator. He is the Chairman of the Hong Kong New Music Ensemble and a member of the Programme Committee of the Hong Kong Arts Festival. In recognition of his work, HKU awarded him the Outstanding Young Researcher Award in 2009 and the Research Output Prize (Arts) in 2016-17.

Associate Professor

Director, Society of  Fellows in the Humanities

Email: rogopag@hku.hk

Office: Room 11.20, 11/F Run Run Shaw Tower

Giorgio BIANCOROSSO is the author, most recently, of Situated Listening: The Sound of Absorption in Classical Cinema (Oxford University Press, 2016). His work on the history and theory of listening practices reflects a long-standing interest in musical aesthetics, film music, and the history of global cinema. Biancorosso studied music history and film studies at the University of Rome and King's College, London, before moving to Princeton University, where he obtained a Ph.D. in musicology in 2002. Having taught at Northwestern University in 2000-2001, he was a Mellon Fellow in Music at the Society of Fellows at Columbia University in 2001-2003 and a Visiting Assistant Professor in the Music Department at Columbia in 2003-2004. Aside from film music, film criticism, and musical aesthetics, his interests include musical dramaturgy and the psychology of music. Biancorosso is also active in Hong Kong as a programmer and curator. He is the Chairman of the Hong Kong New Music Ensemble and a member of the Programme Committee of the Hong Kong Arts Festival. In recognition of his work, HKU awarded him the Outstanding Young Researcher Award in 2009 and the Research Output Prize (Arts) in 2016-17.

Selected Publications

2017
"From Steel to Silk: The Music for Wong Kar Wai's Ashes of Time (Redux)." In World Studies, ed. by Shi Shu Mei and Stephen Chu. Durham: Duke University Press (forthcoming).
2016
"Traccia, memoria, e riscrittura: le registrazioni." In Maria Callas, ed. by Luca Aversano and Jacopo Pellegrini. Macerata: Quodlibet (forthcoming) [In Italian].
2016
"The Value of Re-Exports: Wong Kar-wai's Use of Pre-existing Soundtracks." In A Companion to Wong Kar-wai, ed. by M. Nochimson, 182-204. London: Wiley Blackwell.
2015
"Double Agents and the Poor Man's Orchestra: Music and Place in Chunking Express." In The Blackwell Companion to Hong Kong Cinema, ed. by Marchetti, Cheung, and Yao, 440-461. London: Blackwell.
2013
"Songs of Delusion: Popular Music and the Aesthetics of the Self in Wong Kar-Wai's Cinema." In Popular Music and the New Auteur: Visionary Filmmakers after MTV, ed. by Arved Ashby, 109-125. New York: Oxford University Press.
2013
"Memory and the 'Leitmotif' in Cinema." In Representation in Western Music, ed. by Joshua Walden, 203-223. Cambridge: Cambridge University Press.
2010
"Global Music/Local Cinema: Two Wong Kar-wai Pop Compilations." In Hong Kong Culture: Word and Image, ed. by Kam Louie, 229-245. Hong Kong: Hong Kong University Press.
2010
"Ludwig's Wagner and Visconti's Ludwig." In Wagner and Cinema, ed. by J. Joe and S. Gilman, 333-357. Bloomington: Indiana University Press.
2009
"Sound." In The Routledge Companion to Film and Philosophy, ed. by P. Livingston and C. Plantinga, 260-267. New York: Routledge.
2007
"Melodrama, Anti-Melodrama and Performance: Rereading Le Mépris." In Il melodramma, ed. by E. Dagrada, 263-284. Rome: Bulzoni.
2004
"Film, Music, and the Redemption of the Mundane." In Bad Music, ed. by C. Washburne and M. Derno. 190-211. London: Routledge.
2013
"A Global Vernacular? Musing on European Art Music in Hong Kong." Musica Docta 3.
2010
"The Shark in the Music." Music Analysis 29 (1-3): 306-333.
2009
"The Harpist in the Closet: Film Music as Epistemological Joke." Music and the Moving Image 2 (3): 11-33.
2007
"Romance, Insularity, and Representation: Wong Kar-wai's In the Mood for Love and Hong Kong Cinema." Shima: The International Journal of Research into Island Cultures 1 (1): 88-95.
2006
"Music as World/Music Half Heard: The 'Cocktail-Party Effect' between Opera and Cinema." Journal of the Musicological Society of Korea 9 (2): 9-36.
2001
"Beginning Credits and Beyond: Music and the Cinematic Imagination." Echo: A Music-Centered Journal 3 (1).
2008
"Whose Phenomenology of Music? David Huron's Theory of Expectation." Review of Sweet Anticipation: Music and the Psychology of Expectation, by David Huron. Music & Letters 89 (3): 396-404.
2007
Review of Changing Tunes: The Use of Pre-existing Music in Film, edited by Phil Powrie and Robynn Stilwell. Current Musicology 83: 167-173.
2004
"Micromanaging Tradition." Review of "Seeing Double: Emulation in Theory and Practice," a multi-media exhibition at the Guggenheim Museum, New York. Future Anterior: Journal of Historic Preservation History, Theory, and Criticism 1 (2): 75-83.

Courses Offered 2019/20

MUSI2082  Music in Western Culture II

MUSI1018/2047/3019/4002 Advanced Music Performance

Achievement Highlights

2017
Awarded
Research Output Prize, Faculty of Art, HKU

2010
Awarded
Outstanding Young Researcher Award 2008/09, HKU