Keri Hui
Biographic Data
| ID | 5961116 |
|---|---|
| NAME | Keri Hui |
| GIVEN NAMES | Keri |
| FAMILY NAME | Hui |
| SIGNATURE | HUI K |
| AFFILIATIONS | Hong Kong Baptist University Hong Kong China |
| ORCID | 0009-0000-1515-1504 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Thomas Merton’s Wu-Wei and Jazz as “New Liturgy”
Jazz in recent years has been interpreted as an embodiment of the Taoist idea of wu-wei and the concept of flow, often considered a psychological parallel to wu-wei . Looking at the American Trappist monk Thomas Merton’s love for jazz and his The Way of Chuang Tzu (1965), where he interprets wu-wei as a representation of spiritual freedom, this article suggests that similar ideas of jazz being an embodiment of wu-wei can be inferred in Merton’s w…
Auenbruggers, Sensibility, and the Instrumental Bodies
In conceiving the ideal of the man or woman of sensibility, many eighteenth-century philosophers and writers described the human body as a living instrument. The Austrian physician Josef Leopold Auenbrugger, who wrote the libretto for Salieri’s Der Rauchfangkehrer (1781), held just such a view. Auenbrugger’s musical sensibility led to his invention of the percussive technique as a diagnostic method for cardiac and respiratory diseases, a method t…
Sensibility in Haydn’s Topical Art
In Haydn’s keyboard music, sensibility displays distinct localized manifestations, and it also proves its capability to encompass several musical signifiers. By examining and contextualizing the use of the sigh, the tempesta, and the toccata topos in Haydn’s keyboard sonatas Hob. XVI:20, 49, and 46, this article aims both to demonstrate that sensibility may be signified by multiple topics and to call attention to the value of studying Haydn’s top…
Choreographing Sensibility
This article examines the first movements of Haydn’s keyboard sonatas Hob. XVI: 40 and 42, composed for and dedicated to Princess Marie Esterházy. The movements are explored alongside the various public portraits of the princess to observe how the music might have helped confirm or reinforce the feminine ideals and behaviours of the eighteenth-century culture of sensibility. The studies of Hob. XVI: 40’s Allegretto e innocente and Hob. XVI: 42’s …
No prominent works on this page.
Sensibility in Haydn’s Topical Art
In Haydn’s keyboard music, sensibility displays distinct localized manifestations, and it also proves its capability to encompass several musical signifiers. By examining and contextualizing the use of the sigh, the tempesta, and the toccata topos in Haydn’s keyboard sonatas Hob. XVI:20, 49, and 46, this article aims both to demonstrate that sensibility may be signified by multiple topics and to call attention to the value of studying Haydn’s top…
Choreographing Sensibility
This article examines the first movements of Haydn’s keyboard sonatas Hob. XVI: 40 and 42, composed for and dedicated to Princess Marie Esterházy. The movements are explored alongside the various public portraits of the princess to observe how the music might have helped confirm or reinforce the feminine ideals and behaviours of the eighteenth-century culture of sensibility. The studies of Hob. XVI: 40’s Allegretto e innocente and Hob. XVI: 42’s …
Auenbruggers, Sensibility, and the Instrumental Bodies
In conceiving the ideal of the man or woman of sensibility, many eighteenth-century philosophers and writers described the human body as a living instrument. The Austrian physician Josef Leopold Auenbrugger, who wrote the libretto for Salieri’s Der Rauchfangkehrer (1781), held just such a view. Auenbrugger’s musical sensibility led to his invention of the percussive technique as a diagnostic method for cardiac and respiratory diseases, a method t…
Thomas Merton’s Wu-Wei and Jazz as “New Liturgy”
Jazz in recent years has been interpreted as an embodiment of the Taoist idea of wu-wei and the concept of flow, often considered a psychological parallel to wu-wei . Looking at the American Trappist monk Thomas Merton’s love for jazz and his The Way of Chuang Tzu (1965), where he interprets wu-wei as a representation of spiritual freedom, this article suggests that similar ideas of jazz being an embodiment of wu-wei can be inferred in Merton’s w…
Aesthetics (3 works) · Art (3 works) · Literature (3 works) · Sensibility (3 works) · Diverse Musicological Studies (2 works) · Musical (2 works) · Musicology and Musical Analysis (2 works) · Philosophy (2 works) · American Political and Social Dynamics (1 work) · Art history (1 work)