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。