Stuckenschmidt as the head of the Berlin Institute of Technology's musicology department. He would remain there until his death, gradually expanding and developing the university's previously minuscule musicology program to one of international renown. Though many universities offered him positions throughout his tenure, he rejected them all; the only exception was the two semesters he spent as a visiting Professor at Princeton University. Dahlhaus was honored with the Order of Merit of the Federal Republic of Germany (Grand Cross with Star), a Blue Max, and accepted into the German Academy. In 1987, he was awarded the Frankfurter Musikpreis. After being ill for some time—a sickness he mostly kept private from his colleagues—he died in Berlin on 13 March 1989, from kidney failure. He had been working on a succinct history of Western music in English at the time, which was left unfinished. Musicological scholarship Dahlhaus wrote 25 books, more than 400 articles, and contributed to 150 other works on a wide range of subjects. The majority of these were on the history of Western music and particularly that of the 19th century, i.e. Romantic music. Composers whose music he wrote on include Josquin, Gesualdo, Bach and Schoenberg. 19th- and 20th-century classical music were also regular topics. All of his major works were written in German; the history of Western music he left incomplete would have been his first English publication. He was very interested in the work of Richard Wagner and remains best known English-speaking world for his writings on Wagner. Other topics he regularly engaged in include music theory, the aesthetics of music, and the prehistory of "new music". Legacy Towards the end of his life, Dahlhaus was the most eminent and influential musicologist of his generation, with his works continuing to incite considerable discourse, discussion and controversy. He expressed himself not only as a musicologist, but as a historian, analyst, editor and organizer. His achievements include encouraging new interest in 19th-century music, particularly through his 1989 Nineteenth-Century Music publication. His diverse interests allowed legitimized various musicological subfields, and broadened the discipline considerably. J. Bradford Robinson gives "systematic musicology, institutional history [and] salon music" as examples of newly accepted topics due to his influence. He was a principal proponent in raising aesthetics as a topic in the forefront of musicology. In addition, he helped establish a coherent narrative for 20th-century classical music. Selected bibliography Dahlhaus, Carl. 1979. Richard Wagner's