卡爾•達爾豪斯（Carl Dahlhaus, 1928-1989），是上個世紀二次大戰以後，德國音樂學界最具影響力的領導人物。他優異的教學以及浩繁卷帙的著作，深深地啟發著音樂學界，並改變了這個學科的本質。
達氏著作的艱深與晦澀，眾所皆知：放棄敘事、傳記性的編纂方式，讓文風失去了親和力；摒除整體與一致性，注重每一個個案的特殊境遇，讓讀者如陷五里霧中，摸不著頭緒。而「令人難以總結」的寫作風格，其所造成的普遍現象，是人們對達爾豪斯的誤讀與誤解：有些讀者執著於某個偏狹的理念，而忽略了達爾豪斯龐大的學術能量；有些讀者則不願意認同相異觀點的「對話」與「並置」，一昧地批評、攻訐達爾豪斯的辯證寫作風格。
有鑑於達爾豪斯的著作，係「音樂學領域裡無法迴避的經典」，本論文擬以其廿世紀「新音樂」論述為範圍，對這位博大精深的音樂學家，進行個人的解讀與詮釋；除了精研幾批重要的「新音樂」文獻以外，過程中亦參酌達氏的其他重要著作，俾使整個研究結果，能建立在第一手文獻的基礎之上。
研究結果顯示，要理解達爾豪斯的著作，必須掌握幾個關鍵性的理念：（一）矛盾與辯證（二）「同一性」與「非同一性」（三）個案的取決。希冀藉由以上理念的提出，能適切、清楚地表達「理解達爾豪斯」，在什麼樣的情況底下，可能獲得比較理想的成果。

Carl Dahlhaus (1928–1989) was the most influential musicologist in Germany during the postwar era. His excellent teaching and voluminous works have deeply inspired the musicology circle and changed the nature of musicology.
Dahlhaus’s works are renowned to be abstract and obscure. He gives up narrative and biographical codification in his works, making his style of writing lose its affinity. He puts aside cohesion and consistency and focuses on the special circumstances of each case. Readers of his works are shrouded in mystery and feel clueless. His difficult-to-summarize writing style has resulted in the common phenomenon of people misreading and misunderstanding his works. Some readers are attached to some narrow concept while ignoring Dahlhaus’s immense academic strength, whereas some are unwilling to agree with the “dialogue” and “juxtaposition” of his disparate ideas and constantly criticize and defame his dialectical writing style.
In view of Dahlhaus’s works as inevitable classics of musicology, we aimed to interpret and explain this profound musicologist, taking his discourse on the “Neue Musik” of the twentieth century as the scope of this study. In addition to a careful examination of his numerous major works on “Neue Musik,” we also considered his other major works to allow the overall results of the study to be established based on first-hand literature.
The results indicate that to understand Dahlhaus’s works, one must grasp a few key concepts as follows: (a) contradiction and dialectic, (b) “identity” and “non-identity,” and (c) case selection. It is expected that by putting forward the above concepts, the idea of “understanding Dahlhaus” can be appropriately and clearly expressed. Furthermore, the study investigated the circumstances under which more ideal results could possibly be obtained.

達爾豪斯著作
一、德語版
Dahlhaus, Carl. Grundlagen der Musikgeschichte, in Carl Dahlhaus Gesammelte Schriften, Band 1, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. Musikästhetik, in Carl Dahlhaus Gesammelte Schriften, Band 1, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. Analyse und Werturteil, in Carl Dahlhaus Gesammelte Schriften, Band 2, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. Untersuchungen über die Entstehung der harmonischen Tonalität, in Carl Dahlhaus Gesammelte Schriften, Band 3, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. Die Musik des 19. Jahrhunderts, in Carl Dahlhaus Gesammelte Schriften, Band 5, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. Die Musik des 19. Jahrhunderts, Sonderausg. Laaber: Laaber, 1996.
________. Klassische und romantische Musikästhetika, in Carl Dahlhaus Gesammelte Schriften, Band 5, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. “Zur Problemgeschichte des Komponierens,” in Carl Dahlhaus Gesammelte Schriften, Band 6, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. “Neue Musik als historische Kategorie,” in Carl Dahlhaus Gesammelte Schriften, Band 8, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. “Glossen und Kommentare,” in Carl Dahlhaus Gesammelte Schriften, Band 10, ed. Hermann Danuser. Laaber: Laaber, 2007.
________. Systematische Musikwissenschaft, in Neues Handbuch der Musikwissenschaft, Band 10, ed. Carl Dahlhaus and Helga de la Motte. Laaber: Laaber, 1982.
________. Schönberg und andere: gesammelte Aufsätze zur Neuen Musik. Mainz: B. Schott’s Söhne, 1978.
二、英譯版
Dahlhaus, Carl. Analysis and Value Judgement. Translated by Siegmund Levarie. New York: Pendragon Press, 1983.
________. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. Berkeley: University of California Press, 1980.
________. Esthetics of Music. Translated by William W. Austin. New York: Cambridge University Press, 1982.
________. Foundations of Music History. Translated by J. B. Robinson. New York: Cambridge University Press, 1983.
________. Nineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989.
________. Schoenberg and the New Music: Essays. Translated by Derrick Puffett and Alfred Clayton. New York: Cambridge University Press, 1987.
________. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton, NJ: Princeton University Press, 1990.
三、中譯版
Dahlhaus, Carl. 《音樂史學原理》（Grundlagen der Musikgeschichte）。楊燕迪 譯。上海：上海音樂學院出版社，2006。
________. 《音樂美學觀念史引論》（Musikästhetik）。楊燕迪 譯。上海：上海音樂學院出版社，2006。
________. 《古典和浪漫時期的音樂美學》（Klassische und romantische Musikästhetik）。尹耀勤 譯。長沙：湖南文藝出版社，2006。
一般文獻
一、外文專書
Adorno, Th. W. Philosophie der neuen Musik. Frankfurt am Main: Suhrkamp Verlag, 1975.
________. Prisms, translated by Samuel and Shierry Weber. Cambridge, Mass.: MIT Press, 1983.
________. Philosophy of Modern Music, Translated by Anne G. Mitchell and Wesley V. Blomster. New York: Continuum, 1994.
________. Essays on Music, Selected, with Introduction, Commentary, and Notes by Richard Leppert; New Translations by Susan H. Gillespie. Berkeley: University of California Press, 2002.
Bartók, B. Béla Bartók Essays, edited by Benjamin Suchoff. New York: St. Martin’s Press, 1976.
Beaumont, Antony. Busoni the composer. Bloomington: Indiana University, 1985.
Brindle, Reginald Smith. The New Music: the Avant-garde since 1945. Oxford: Oxford University Press, 1987.
Burkholder, James Peter, Donald Jay Grout, and Claude Victor Palisca, A History of Western Music, 8th ed. New York: W. W. Norton & Company, 2010.
Busoni, Ferruccio. Entwurf einer neuen Ästhetik der Tonkunst. Leibzig: Insel Verlag, 1922.
________. Von der Einheit der Musik. Berlin: Max Hesse Verlag, 1922.
________. The Essence of Music and other Papers, trans. Rosamond Ley. New York: Dover Publications, Inc., 1957.
________. Selected Letters, Translated and edited by Antony Beaumont. New York: Columbia University Press, 1987.
Croce, Benedetto. Aesthetic as Science of Expression and general Linguistic, Translated by Douglas Ainslie. New York: Noonday Press, 1965.
Danuser, Hermann, H. de la Motte-Haber, S. Leopold and N. Miller, ed. Das musikalische Kunstwerk: Geschichte, Ästhetik, Theorie: Festschrift Carl Dahlhaus zum 60. Geburtstag. Laaber: Laaber, 2007.
Debussy, Claude, Ferruccio Busoni, and Charles E. Ives. Three classics in the aesthetic of music : Monsieur Croche the dilettante hater by Claude Debussy ; Sketch of a new esthetic of music by Ferruccio Busoni ; Essays before a sonata by Charles E. Ives. New York: Dover Publications, Inc., 1962.
Eggebrecht, Hans Heinrich. Musik im Abendland: Prozesse und Stationen vom Mittelalter bis zur Gegenwart. München: Piper, 1991.
________, ed. Terminologie der Musik im 20. Jahrhundert. Stuttgart: Steiner, 1995.
Fubini, Enrico. The History of Music Aesthetics, trans., Michael Hatwell. London: The Macmillan Press Limited, 1990.
Götz, L. Ignacio. Faith, humor, and paradox. Westport: Greenwood Publishing Group, 2002.
Grosse, Ernst. Die Anfänge der Kunst. Freiburg I. B. und Leipzig: Akademische Verlagsbuchhandlung von J. C. B. Mohr, 1894.
Hindemith, Paul. Unterweisung im Tonsatz. Mainz: B. Schott's Söhne, 1940.
Jay, Martin. Adorno. Cambridge: Harvard University Press, 1984.
Mautz, Susanne, and Jörg Breitweg, ed. Festschrift für Siegfried Schmalzriedt zum 60. Geburtstag. Frankfurt: Peter Lang, 2001.
Lippman, Edward. A History of Western Musical Aesthetics. Linclon NE: University of Nebraska Press, 1994.
Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. Ann Arbor, Michigan: University Microfilms Inc., 1988.
Morgan, Robert P. Twentieth-century Music: A History of Musical Style in modern Europe and America. New York: W. W. Norton & Company, Inc, 1991.
Munro, Thomas. Evolution in the arts, and other theories of culture history. New York: Cleveland Museum of Art, 1963.
Paddison, Max. Adorno’s Aesthetics of Music. New York: Cambridge University Press, 1993.
Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Berkeley, Los Angeles, and London: University of California Press, 1977.
Pfitzner, Hans. Gesammelte Schriften, Band 1. Augsburg: Filser, 1926.
Plato, The Republic, Book VII, trans., Alexander Kerr. Chicago: C. H. Kerr & company, 1911.
Reger, Max. Selected Writings of Max Reger. Edited and Translated by Christopher Anderson. New York: Taylor & Francis Group, 2006.
Schoenberg, Arnold. Fundamentals of Musical Composition, edited by Gerald Strang. London, Faber and Faber Limited, 1967.
________. Theory of Harmony. Berkeley: University of California Press, 1978.
________. Style and Idea: selected writings of Arnold Schoenberg. London: Faber and Faber, 1984.
________. Letters. Berkeley: University of California Press, 1987.
________. Coherence, counterpoint, instrumentation, instruction in form, edited by Severine Neff, translated by Charlotte M. Cross and Severine Neff. Lincoln and London: University of Nebraska Press, 1994.
________. The Musical Idea and the Logic, Technique, and Art of its Presentation ed. and trans., Patricia Carpenter and Severine Neff. Bloominton, IN.: Indiana University Press, 1995.
Schonberg, Harold C. The great Conductors. New York: Simon and Schuster, 1967.
Simms, Bryan R. The Atonal Music of Arnold Schoenberg, 1908-1923. New York: Oxford University Press, 2000.
________. ed. Composers on Modern Music Culture: An Anthology of Readings on Twentieth Century Music. New York: Schirmer Books, 1999.
Stravinsky, Igor. Poetics of music in the form of six lessons. Translated by Arthur Knodel and Ingolf Dahl. Cambridge MA: Harvard University Press, 1947.
________. Dialogues. Berkeley: University of California Press, 1982.
Stuckenschmidt, Hans Heinz Schoenberg: His Life, World, and Work. New York: Shirmers Books, 1977.
二、外文期刊
Adorno, Th. W. “Reaktion und Fortschritt,“ Anbruch 12 Heft 6 (1930): 191-5.
Bittmann, Antonius. “Brahms, Strauss, Sheep, and Apes: Reger's "Heroic" Struggle with Tradition,” The Musical Quarterly, Vol. 87 no. 4, Special Issue: Max Reger (Winter, 2004): 708-31.
Botstein, Leon. “History and Max Reger,“ The Musical Quarterly, Vol. 87 no. 4 Special Issue: Max Reger (Winter, 2004): 617-27.
Brinkmann, Reinhold. “A"Last Giant in Music": Thoughts on Max Reger in the Twentieth Century,” trans. By Antonius Bittmann. The Musical Quarterly, Vol. 87 no. 4, Special Issue: Max Reger (Winter, 2004): 637-8.
Bujic, Bojan. “Review: Das musikalische Kunstwerk: Geschichte, Ästhetik, Theorie: Festschrift Carl Dahlhaus zum 60. Geburtstag by H. Danuser,” Music & Letters 71, no. 3 (1990), 374-77.
Chantavoine, Jean, and Harriet Lanier, “Busoni,” The Musical Quarterly 7 no. 3 (1921): 331-43.
Christensen, Thomas. “Review: Die Musiktheorie im 18. und 19. Jahrhundert,“ Music Theory Spectrum 10, no. 10th Anniversary Issue (1988): 127-37.
Drabkin, William. “Review: Compleat Musicologist,“ The Musical Times 125, no. 1702 (1984): 704.
Franklin, Peter. “ "Palestrina" and the dangerous Futurists,” The Musical Quarterly, Vol. 70 no. 4 (1984): 499-514.
de Médicis, François. “Darius Milhaud and the Debate on Polytonality in the French Press of the 1920s,” Music & Letters 86 no.4 (2005): 573-91.
Gossett, Philip. “Carl Dahlhaus and the "Ideal Type",“ 19th-Century Music, 13 No.1 (Summer, 1989): 49-56.
Haimo, Ethan. “Developing Variation and Schoenberg’s Serial Music,” Music Analysis vol. 16, no.3 (1997): 349-65.
Harrison, Daniel. “Max Reger's Motivic Technique: Harmonic Innovations at the Borders of Atonality,“ Journal of Music Theory, Vol. 35, No. 1/2 (Spring - Autumn, 1991): 61-92.
Hepokoski, James. “The Dahlhaus Project and Its Extra-Musicological Sources,“ 19th-Century Music 14 (1991): 221-46.
Hinton, Stephen. “The Conscience of Musicology: Carl Dahlhaus (1928-1989),“ The Musical Times 130, no. 1762 (1989): 737-9.
Kerman, Joseph. “Recollections Carl Dahlhaus, 1928-1989,“ 19th-Century Music 13, no. 1 (1989): 57-8.
Knyt, Erinn E. “"How I Compose": Ferruccio Busoni's Views about Invention, Quotation, and the Compositional Process,” The Journal of Musicology, Vol. 27 No. 2 (2010): 224-64.
Lippman, Edward A. “Review: Esthetics of Music,” Notes, Second Series 40, no. 3 (1984): 558-60.
Longyear, Rey M. “Review: Nineteenth-Century Music,“ Notes, Second Series 47, no. 3 (1991): 747-50.
Mead, Andrew. “Listening to Reger,” The Musical Quarterly, Vol. 87 no. 4, Special Issue: Max Reger (Winter, 2004): 681-707.
Ringer, Alexander L. “Carl Dahlhaus (1928-1989),“ Acta Musicologica 61, no. 2 (1989): 107-9.
Sparshott, Francis. “Review: Deeper Still,” The Musical Times 125, no. 1701 (1984): 645-6.
Stephan, Rudolf. “Max Reger und die Anfänge der Neuen Musik,” Neue Zeitschrift für Musik 134 (1973): 339-46.
Schwab, Heinrich W. “Musikgeschichtsschreibung und das Plädoyer von Carl Dahlhaus für eine Strukturgeschichte,“ Dansk aarbog for musikforskning 14 (1983): 59-72.
Thomas, J. L. H. “Review: The Idea of Absolute Music,” Music & Letters 72, no. 1 (1991): 89-92.
Weiss, Piero. “Review: Esthetics of Music,“ Opera Quarterly 2 (1984): 189-91.
Westergaard, Peter. “Conversation with Walter Piston,” Perspectives of New Music 7 no.1 (1968): 3-17.
三、中文資料
（一）譯著
Abraham, G.《簡明牛津音樂史》（The Concise of Oxford History of Music）。顧奔 譯。上海：上海音樂出版社，1999。
Adorno, Th. W., and Max Horkheimer. 《啟蒙的辯證：哲學的片簡》（Dialektik der Aufklärung: Philosophische Fragmente）。林宏濤 譯。臺北：商周出版，2008。
________. 《美學理論》（Ästhetische Theorie）。林宏濤、王華君 譯。台北：美學書房，2000。
Angeles, Peter A.《哲學辭典》（Dictionary of Philosophy）。段德智 等譯。台北市：貓頭鷹出版社，2004。
Brindle, Reginald Smith. 《新音樂：1945年以來的先鋒派》（The New Music: the Avant-garde since 1945）。黃枕宇 譯。北京：人民音樂出版社，2004。
Croce, Benedetto. 《美學的理論：做為表現科學和一般語言學的》（Estetica come Scienza dell’Espressione e Linguistica Generale）。田時綱 譯。北京：中國社會科學出版社，2007。
Eggebrecht, Hans Heinrich. 《西方音樂》（Musik im Abendland）。劉經樹 譯。長沙：湖南文藝出版社，2005。
Fubini, Enrico. 《西方音樂美學史》（A History of Western Music Aesthetics）。修子建 譯。長沙：湖南文藝出版社，2005。
Gadamer, Hans-Georg. 《真理與方法：哲學詮釋學的基本特徵》（Wahrheit und Methode: Grundzüge einer philosophischen Hermeneutik）。洪漢鼎 譯。臺北：時報文化，1993。
Jay, Martin. 《阿多諾》（Adorno）。李健鴻 校閱。台北：桂冠出版社，1992。
Lippman, Edward. 《西洋音樂美學史》（A History of Western Musical Aesthetics）。方銘健 譯。台北：國立編譯館，2000。
Nietzsche, Friedrich Wilhelm. 《善惡之彼岸：未來的一個哲學序曲》（Jenseits von Gut und Böse: Vorspiel einer Philosophie der Zukunft）。程志民 譯。北京：華夏出版社，1999。
Spinoza, Benedictus. 《倫理學》（Ethica Ordine Geometrico Demonstrata）。邱振訓 譯。臺北：五南，2010。
Stravinsky, Igor. 《音樂七講》（Poetics of music in the form of six lessons）。許常惠 譯。臺北：愛樂書局，1965。
Thilly, Frank.《西洋哲學史》（A History of Philosophy）。陳正謨 譯。台北：台灣商務印書館，1972。
Zweig, Stefan. 《昨日世界：一個歐洲人的回憶》（Die Welt von Gestern. Erinnerungen eines Europäers）。舒昌善 等譯。桂林：廣西師範大學出版社，2004。
（二）專著
汪民安 編。《文化研究關鍵詞》。臺北：桂冠，2013。
洪漢鼎。《詮釋學史》。臺北：麥田，2002。
陳瑞文。《阿多諾美學論》。台北：左岸文化，2004。
黃聖哲。《美學經驗的社會構成》。台北：唐山出版社，2013。
羅基敏 編。《彈音論樂：音樂演出與音樂研究》。台北：高談文化，2000。
（三）學位論文
李宜芳。〈從音樂詮釋觀點的改變探討布梭尼對郭德堡變奏曲的再創作〉。國立台灣師範大學音樂學系博士論文，2009。
（四）期刊論文
袁曉萌。〈音樂史學研究的新思維──對達爾豪斯的《音樂史學原理》的思考〉。《北方音樂》第268期。（2015)：1-2。
黃鍵。〈達爾豪斯音樂結構史的中國當下現存及遠景瞻望〉。《藝術探索》第25卷第1期。（2011)：87-93。
張晶晶。〈對阿多諾《新音樂的哲學》中的一個核心概念「素材」的梳理與解讀〉。《中央音樂學院學報》第2期（2012）：127。
楊建章。〈歷史性與藝術性的兩難：從Carl Dahlhaus的「結構音樂史」論歷史書寫的永恆困境〉。《臺大文史哲學報》第61期。（2004）：25-52。
劉丹霓。〈激進者達爾豪斯：論達爾豪斯音樂史學研究的歷史創新與當下生命〉。《音樂藝術》2014年第4期。（2014)：145-151。

劉經樹。〈系統就是歷史──音樂結構學導論〉。《中央音樂學院學報》2009年第2期。（2009）：39-50。