Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190637224.013.17
Thomas W. Patteson
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.
本文介绍了德国学者阿多诺(Theodor W. Adorno)和卡尔·达尔豪斯(Carl Dahlhaus)关于音色和管弦乐的英译文本。阿多诺的作品《音色在音乐中的作用》是根据他1966年在达姆施塔特新音乐暑期课程上的一系列讲座改编的，而达尔豪斯的论文《论乐器理论》最初发表在1985年的《Die Musikforschung》杂志上。这篇介绍概述了两位作者对音乐音色问题的不同方法，并简要地考虑了在翻译德语单词(如Klang, Farbe和Klangfarbe)时提出的挑战。
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Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190637224.013.35
Carl Dahlhaus
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.
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