Cheong Wai Ling
BA (CUHK); Cert. Japanese Studies (Kyoto); MPhil, PhD (Cantab.)
Contact Information
Room 201A, Hui Yeung Shing Building, The Chinese University of Hong Kong, Shatin, NT
Office: (852) 3943 6494
Personal Homepage: --

Cheong Wai-Ling obtained her B.A. from the Chinese University of Hong Kong and continued her studies in the U.K., earning M.Phil. and Ph.D. degrees from Cambridge University. Her research has focused largely on the music of Olivier Messiaen and Alexander Scriabin, and her articles have been published in top-ranked journals such as Music Analysis, the Journal of Royal Musical Association and Acta Musicologica. She has received several major research grants as well as Cambridge University's Allen Scholarship and CUHK's Innovative Teaching Award.

20th Century Music; Scriabin; Music and Theoretical Writings of Messiaen; Octatonicism.


‘“Miroir fluide”: Messiaen, Debussy and Cyrano’s “Synaesthetic” Bird’, Music and Letter, Vol. 95, No. 4 (2014), pp. 603–647.
‘Toward a Theory of Synaesthetic Composition: A Case Study of Messiaen’s Soundcolour and Bedazzlement’, Rivista di Analisi e Teoria Musicale, Vol. 19, No. 1 (2013), pp. 65–88.
‘Culture as Reference in the “Gagaku” of Messiaen’s Sept Haïkaï’, in Matjaz Barbo and Thomas Hochradner ed., Music and its Referential Systems (Wien: Hollitzer, 2011), pp. 177–200.
 ‘Buddhist Temple, Shinto Shrine and the Invisible God of Sept haïkaï’, in Andrew Shenton ed., Messiaen the Theologian (Hants: Ashgate, 2010), pp. 241–61.
‘Plainchants as Coloured Time in Messiaen’s Couleurs de la cité céleste’, Tempo, Vol. 64, No. 254 (2010), pp. 20–37.
‘Neumes and Greek rhythms: The breakthrough in Messiaen’s Birdsong’, Acta Musicologica, Vol. 80, No. 1 (2008), pp. 132.
‘Symmetrical Permutation, the Twelve Tones and Messiaen’s Catalogue d’oiseaux’, Perspectives of New Music, Vol. 45, No. 1 (2007), pp. 110–136.
‘A Play of Two Keys in Chopin’s Second Ballade’, Chopin in Paris: The 1830s (Warzawa: Narodowy Instytut Fryderyka Chopina, 2007), ed. by Artur Szklener, pp. 163-176.
‘Composing with Pre-composed Chords in the Finale of Et exspecto resurrectionem mortuorum’, Revue de musicologie, Vol. 90, No.1 (2004), pp.115–132.
·    ‘Messiaen’s Chord Tables: Ordering the Disordered,’ Tempo, Vol. 57, No. 226 (2003), pp. 2–10.
·      ‘Rediscovering Messiaen’s Invented Chords’, Acta Musicologica, Vol. 75, No. 1 (2003), pp. 85–105.
·      ‘Messiaen’s Triadic Colouration: Modes as Interversion’, Music Analysis, Vol. 21, No. 1 (2002), pp. 53–84.
‘Scriabin’s “White Mass”: A Dialogue between the “Mystic” and the Octatonic’, The Journal of the Scriabin Society of America, Vol. 5, No. 1 (2000), pp. 69–93.
·      ‘Scriabin’s Octatonic Sonata’, Journal of the Royal Musical Association, Vol. 121, No. 2 (1996), pp. 206–228.
·      ‘Orthography in Scriabin’s Late Works’, Music Analysis, Vol. 12, No. 1 (1993), pp. 47–68.


MUSC3442 Post-tonal Music Analysis
MUSC3452 Theory and Analysis: Special Topic I
MUSC3482 Theory and Analysis: Special topic IV

MUSC6402 Advanced Post-tonal Music
MUSC6451 Special Topics: Theory and Analysis

MUSC5312 Special topic VI in "Style & Interpretation": Rhythmic Theories Past and Present (MA)