{"title":"Translations: Adorno and Dahlhaus","authors":"Thomas W. Patteson","doi":"10.1093/oxfordhb/9780190637224.013.17","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.17","url":null,"abstract":"This article provides an introduction to the English translations of texts on timbre and orchestration by German scholars Theodor W. Adorno and Carl Dahlhaus. The Adorno text, “The Function of Timbre in Music,” is based on a series of lectures he gave at the Darmstadt Summer Courses for New Music in 1966, while Dahlhaus’ essay “On the Theory of Instrumentation” was originally published in the journal Die Musikforschung in 1985. This introduction gives an overview into the differing approaches of the two authors to the problem of musical timbre and briefly considers the challenges presented in the translation of German words such as Klang, Farbe, and Klangfarbe.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122678218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On the Theory of Instrumentation","authors":"Carl Dahlhaus","doi":"10.1093/oxfordhb/9780190637224.013.35","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190637224.013.35","url":null,"abstract":"In this essay, originally published in 1985, Carl Dahlhaus addresses the problem of how to integrate timbre into our understanding of music while honoring its resistance to description and quantification. In particular, he explores the history of orchestration in terms of an opposition between “coloristic” and “structural instrumentation,” the latter defined as that which “actively intervenes in the compositional logic [Tonsatz] of the music, rather than being merely dependent on it.” Dahlhaus’ essay is grounded squarely in the common-practice era: his compositional points of reference span from Haydn to Richard Strauss, and he is particularly concerned with how instrumentation can reveal structural patterns that stand athwart the formal trajectories suggested by tonal analyses.","PeriodicalId":146493,"journal":{"name":"The Oxford Handbook of Timbre","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114801130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}