REGINALDO RODRIGUES RAPOSO

During this research period, it was our intention to investigate Carl Dahlhaus legacy in the musicological and philosophical debate in Germany, according to the perspective of a “Beethoven-Hegelian tradition” (pointed out and described by the American musicologist Janet Schmalfeldt), which to a large extent encompasses the whole german musicological tradition – deeply and peculiarly marked by philosophy. By getting access to further documentation around the musicologist’s production and the author’s complete letters edition recently published, we intended to identify more precisely the contours of our perspective, centered in the Klassische und romantische Musikästhetik (1988), but focusing on, as it is the case in the contemporary debate for the last 20 years, clarifying his historical-interpretive methods.