Assuming carl is required, and dahlhaus is required, the following 21 results were found.
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[i]Nineteenth-Century Music[/i], by Carl Dahlhaus
Nineteenth-Century Music, by Carl Dahlhaus. (Translated by J. Bradford Robinson from Die Musik des 19. Jahrhunderts.) Berkeley and Los Angeles: University of California Press, 1989. x + 417 pp. ISBN 0-520-05291-9. It is difficult to begin any...
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The Eighteenth Century as a Music-Historical Epoch: A Different Argument for the Proposition
defensible case could be made nonetheless for regarding the period from 1700 to 1800 as a historical unit, or, as Carl Dahlhaus would put it some twenty years later: "a music-historical epoch." I was therefore rather gratified as well as bemused, and of...
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The Eighteenth Century as a Music-Historical Epoch, translated by Ernest Harriss
Das neue Handbuch der Musikwissenschaft, edited by Carl Dahlhaus, takes its place alongside Die Musik in Geschichte und Gegenwart and The New Grove as one of the monuments of musicology since World War II. In the introduction to volume 5 of the Neues...
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Paul Hindemith's Philosophy of Music and the Role of [i]The Four Temperaments[/i]
differs from what Friedrich Nietzsche referred to later in the century as human vanity or "the cult of genius,"9 which Carl Dahlhaus described as "the heart of the 'aesthetic religion' of the nineteenth century."10 In fact, a brief critique of...
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Students Evaluate Music Theory Courses: A Reddit Community Survey
reiterations of early paradigms forwarded by theorists Rameau, Forkel, and Fux (Dunsby, 2010). They also represent what Carl Dahlhaus identifies as the analytical, regulative, and speculative tradition of music theory (Dahlhaus, 1990). Somewhat...
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Reading Schumann By Way of Jean Paul and His Contemporaries
a special predilection in his own music. Correspondences of this kind, therefore, speak less of influence than of what Carl Dahlhaus calls "Wechselwirkung," the mutually conditioning exchange of devices that musical and literary discourses shared in the...
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Aesthetics, Ideology and Musical Value
examples of this approach.) This position is not exclusively an American one, of course. For example, the German scholar Carl Dahlhaus, in his recent books Analysis and Value Judgments and Foundations of Music History,1 demonstrates one of the most...
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Internal and External References in Beethoven's Fourth Symphony
The Nine Symphonies of Beethoven (London: Heinemann; Seattle: University of Washington Press, 1981), pp. 106-7. 2See Carl Dahlhaus, Ludwig van Beethoven. IV. Symphonie B-Dur, Meisterwerke der Musik: Werkmonographien zur Musikgeschichte, No. 20 (Munich:...
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in der Musik," Bericht über der Internationalen Musikwissenschaftlichen Kongress: Leipzig 1966, pp. 103-61. Edited by Carl Dahlhaus, Reiner Kluge, Ernst H. Meyer and Walter Wiora. Kassel: Bärenreiter, 1970; Leipzig: VEB Deutscher Verlag für Musik, 1970....
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der Jahre 1851-1852 (Leipzig: VEB Deutscher Verlag für Musik, 1979), p. 113. 8This point is thoroughly discussed in Carl Dahlhaus, Richard Wagner's Music Dramas, tr. by Mary Whittall (London: Cambridge University Press, 1977; orig. publ. Friedrich...
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Schenker's Parallelisms, Schoenberg's Motive, and Referential Motives: Notes on Pluralistic Analysis
1979), 131. 3The radical difference between Schoenberg's and Schenker's conception of musical content is discussed in Carl Dahlhaus, "Schoenberg and Schenker (Controversy Concerning the Significance of Non-Chordal Notes)," Proceedings of the Royal Music...
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Abstract Exemplifying his approach to musical nationalism, the Misa folclórica paraguaya (“Paraguayan Folkloric Mass”) of Florentín Giménez (1925–2021) combines elements of the Roman Catholic Mass with folkloric music idioms. Composed in 1990, this...
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Transformation vs. Prolongation in Brahms's "In der Fremde"
In a recent paper presented at the annual meeting of the Society for Music Theory, Frank Samarotto discussed a specific point of contrast between the transformational approach to tonal harmony, in the form of Neo-Riemannian triadic transformational...
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and theory from practice. The clarifying of distinctions is necessary and valid for any approach. A sharp formulation by Carl Dahlhaus may serve as confirmation and summary:4 Musical analysis . . . is either a means or an end. It aims at theory and is...
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as we have seen, it is itself an historical construct whose origins are traceable to the late nineteenth century. Carl Dahlhaus's concise characterization of the concept of "Viennese Classicism" applies equally well to the overly-exalted view of Bach...
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On October 16, 1912, at the Choralien Saal in Berlin, Arnold Schoenberg conducted the premier performance of one of the twentieth century’s most influential works of music. From its origin as a straightforward commission for a musical melodrama...
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A Taxonomy of Sentence Structures
Abstract In his 1967 Fundamentals of Musical Composition, Arnold Schonberg described the sentence as a basic tool for organizing themes. Over the past thirty years, a growing number of scholars have been reexamining Schoenberg's concept of the sentence...
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[i]New Oxford History of Music[/i], vol. 9: [i]Romanticism (1830-1890)[/i], edited by Gerald Abraham
New Oxford History of Music, vol. 9: Romanticism (1830-1890), edited by Gerald Abraham. Oxford & New York: Oxford University Press, 1990. xx + 935 pp. ISBN 0-19-316309-8. It takes temerity these days to write a history of music. The very nature of...
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Apel (Gregorian Chant, (Bloomington, 1958), 136) offhandedly dismisses them as quaint passing fancies of description. Carl Dahlhaus ("Definitions 1, d" in "Tonality," The New Grove . . . ) claims they were important at one time, but only "within an...
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Willheim, lecture, "Aesthetics of Music," Hartt School of Music, 11 October 1984. 26On Nichelmann and Dubos, see Carl Dahlhaus, Esthetics of Music, trans. William W. Austin (Cambridge: Cambridge University Press, 1967), 16-17. 27Ibid., 21. 28Ibid., 22....
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