Carl Dahlhaus

jects, though the majority of these on the history of western music and particularly that of the 19th century (i.e.
Romantic music). He was very interested in the work of
Richard Wagner and his ideas about musical drama as a
'total artwork' and how a new language on society and
politics was being formed through the work of so-called
'modernist' composers; that art was no longer just 'art for
arts sake'. His other favourite topics included music theory, the aesthetics of music, and the prehistory of new
music.
Dahlhaus was honored with the Order of Merit of the
Federal Republic of Germany (Grand Cross with Star),
a Blue Max, and accepted into the German Academy. In
1987, he was awarded the Frankfurter Musikpreis.
He died in Berlin.

1 Bibliography of Dahlhauss writings (in English)

Carl Dahlhaus (19281989)

Dahlhaus, Carl. 1979. Richard Wagners Music

Dramas. Translated by Mary Whittall. Cambridge
& New York: Cambridge University Press.

Carl Dahlhaus (June 10, 1928 March 13, 1989), a

musicologist from (West) Berlin, was one of the major
contributors to the development of musicology as a scholarly discipline during the post-war era.

. 1980. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. Berkeley: University of California Press.

Dahlhaus was born in Hanover. His education was interrupted by the Second World War where he served
on the front and as an anti-aircraft auxiliary. He completed school exams through a special program designed
for those engaged in combat. He showed an interest in
banned literature and was exceptionally well read. After
the war, he rst studied law, later musicology at the University of Gttingen and Freiburg im Breisgau. His thesis
at Gttingen in 1953 concerned the masses of Josquin. In
the 1950s he was a co-founder of the Darmstadt new music festival. After a period as a dramaturg at the German
Theater in Gttingen from 1950 to 1958, a job obtained
on the recommendation of Berthold Brecht, he became
musical editor of the Stuttgarter Zeitung, a newspaper,
from 1960 to 1962. From 1962 to 1966 he served as a research assistant at the state musical research center at the
University of Kiel. He earned a professorial grade from
that university where he investigated the origins of harmonic tonality. In 1967 was hired as professor in music
history at the Berlin Institute of Technology.

. 1982. Esthetics of music. Translated by

William W. Austin. Cambridge & New York: Cambridge University Press.
. 1983a. Analysis and Value Judgement.
Translated from the German by Siegmund Levarie.
New York: Pendragon Press.
. 1983b. Foundations of Music History.
Translated by J. B. Robinson. Cambridge & New
York: Cambridge University Press.
. 1985. Realism in nineteenth-century music.
Translated by Mary Whittall. Cambridge & New
York: Cambridge University Press.
. 1987. Schoenberg and the New Music: Essays. Translated by Derrick Puett and Alfred Clayton. Cambridge & New York: Cambridge University Press.

Dahlhaus wrote 25 books, more than 400 articles, and

contributed to 150 other works on a wide range of sub1

2
. 1989. Nineteenth-Century Music. English
translation by J. Bradford Robinson. Berkeley: University of California Press.
. 1989. The Idea of Absolute Music. Translated by Roger Lustig. Chicago: University of
Chicago Press.
. 1990. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton, NJ : Princeton University Press.
. 1991. Ludwig van Beethoven: Approaches
to His Music. Translated by Mary Whittall. Oxford: Clarendon Press; New York: Oxford University Press.
Deathridge, John, and Carl Dahlhaus. 1984. The
New Grove Wagner. New York: W. W. Norton.

External links
" The Shoulders on Which We Stand". Biography
in English from the TU Berlin Press Oce (archive
from 21 May 2013; accessed 26 June 2016).
Carl Dahlhaus y la teora de la recepcin (Spanish)

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