Relevant bibliographies by topics / Hindemith

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Academic literature on the topic 'Hindemith'

Author: Grafiati
Published: 4 June 2021
Last updated: 23 February 2023

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Journal articles on the topic "Hindemith"

1

Jones, Daniel A. "Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective." Musicology Today 17, no. 1 (December 1, 2020): 60–71. http://dx.doi.org/10.2478/muso-2020-0005.

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Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's title. Existing analyses either only focus on a singular movement, or are limited; presumably, due to a prevailing notion that Hindemith simply orchestrated the piano pieces. Potentially exacerbating the issue may be the fact that it was not known for nearly twenty years after Symphonic Metamorphosis was premiered which Weber duets Hindemith reworked. This analysis, coupled with the background information provided, shows that Hindemith's settings transcend mere orchestrations and, in some cases, exhibit qualities of original composition. The analysis thoroughly delineates Weber's Turandot overture and three piano duets, part by part and hand by hand, to show exactly where and how Hindemith altered the original writings. The differences in overall form, measure numbers, tempi, meter, and harmony are listed. In addition, it is revealed which thematic additions, alterations, and omissions Hindemith includes.
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Serhiі, Dikarev. "Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 127–47. http://dx.doi.org/10.34064/khnum2-24.07.

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Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.
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Serhiі, Dikarev. "P. Hindemith’s Eight Pieces For Double Bass Solo: compositional and dramaturgical peculiarities." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 41–62. http://dx.doi.org/10.34064/khnum1-62.03.

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Statement of the problem. The heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in double bass didn’t exhaust itself. After many years of active work in the symphony genre, P. Hindemith again turned to it as a solo instrument in the Sonata for Double Bass and Piano – the peak of the evolution of this instrument in his music. However, the formation of the sound image of the solo double bass in the composer’s was gradual since the 1920s. The Eight Pieces for Double Bass Solo, which were an important step on this path, despite being intended for home music, laid not only the foundations of a sound image of the double bass, but also the aesthetic basis of the instrumental theater.
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Guerrero, Jeannie Ma. "The Presence of Hindemith in Nono's Sketches: A New Context for Nono's Music." Journal of Musicology 26, no. 4 (2009): 481–511. http://dx.doi.org/10.1525/jm.2009.26.4.481.

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Approximately two hundred leaves of Luigi Nono's sketches from 1946 to 1951 demonstrate that he was well schooled in the teachings of Paul Hindemith, a theorist and composer whose outlook and musical inclinations would seem to be altogether different from those of the younger musician. To be sure, Nono never pointed to Hindemith as a direct influence; and the aesthetic climate at Darmstadt would surely have encouraged Nono to remain quiet on this subject. Furthermore, commentators on Nono's earliest music have tended to focus on comparisons with Webern's twelve-tone technique. While such comparisons reveal much about the reception of Webern, they obscure Nono's antipointillist concern for expression and musical tension. The sketches suggest a means to reassess Nono's music by showing how Hindemith's building stones furnished a foundation for Nono's artistic diversity. In Nono's sketches, Hindemith emerges as a progressive theorist to whose teachings the younger composer would return for many years.
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Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and "An American Requiem"." Journal of the American Musicological Society 50, no. 1 (1997): 133–74. http://dx.doi.org/10.2307/832064.

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Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of commemoration, "For those we love within the veil." Hindemith quotes verbatim the melody for this hymn from the 1940 Episcopal Hymnal, which identifies it as "Gaza," a "Traditional Jewish Melody" (in turn derived from a Yigdal). The Requiem may be reinterpreted as a covert commentary on Whitman's text from the post-Holocaust perspective of Hindemith's conflicted personal and artistic circumstances.
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Smith, Richard Langham. "The Baroque Hindemith." Musical Times 132, no. 1782 (August 1991): 391. http://dx.doi.org/10.2307/965887.

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Schubert, Giselher. "Hindemith und Krenek." Die Musikforschung 35, no. 3 (September 22, 2021): 277–82. http://dx.doi.org/10.52412/mf.1982.h3.1607.

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Katz, Mark. "Hindemith, Toch, andGrammophonmusik." Journal of Musicological Research 20, no. 2 (January 2001): 161–80. http://dx.doi.org/10.1080/01411890108574786.

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Rothe, Alexander. "THE PROBLEMATIC NATURE OF HINDEMITH'S ‘DAS UNAUFHÖRLICHE’: A CRITICAL RESPONSE." Tempo 61, no. 240 (April 2007): 40–50. http://dx.doi.org/10.1017/s0040298207000125.

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The year 1930 marked the end of a brief artistic collaboration between the composer Paul Hindemith and the playwright Bertolt Brecht. This collaboration, which began in 1929, brought forth the 1929 Lehrstück and Der Lindberghflug, the latter also involving the contributions of Kurt Weill. However, this artistic relationship, which from its outset was on borrowed time, quickly deteriorated as the result of a heated disagreement regarding the 1930 Schott score of Lehrstück. In the score's preface Hindemith stressed the adaptability of the work according to the circumstances of the performers. The confrontational Brecht felt offended for what he perceived to be the subordination of his text to purely musical aims. Further, Brecht and Hindemith quarrelled on the goal underlying the didactic Lehrstück. Hindemith approached the work as a means to propagate his ideas regarding a modern audience (Laienmusik – or ‘music for the laymen’) and the new musical conventions of a Gebrauchsmusik (a complex concept developed later in the discourse).
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Kemp, Ian, and David Neumayer. "One View of Hindemith." Musical Times 128, no. 1738 (December 1987): 691. http://dx.doi.org/10.2307/964810.

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Dissertations / Theses on the topic "Hindemith"

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Jennert, Rüdiger. "Paul Hindemith und die Neue Welt Studien zur amerikanischen Hindemith-Rezeption." Tutzing Schneider, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2668298&prov=M&dok_var=1&dok_ext=htm.

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Jennert, Rüdiger. "Paul Hindemith und die Neue Welt. Aspekte der amerikanischen Hindemith-Rezeption." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71991.

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Jennert, Rüdiger. "Paul Hindemith und die neue Welt : Studien zur amerikanischen Hindemith-Rezeption /." Tutzing : H. Schneider, 2005. http://catalogue.bnf.fr/ark:/12148/cb40024258q.

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Aurich, Stina. "Paul Hindemith : Sonat för althorn och piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1846.

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Kruse, Matthias. "Paul Hindemith und seine Beziehungen zur Jugendmusikbewegung." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71903.

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Kovařík, Lubomír. "Paul Hindemith - Sonáta pro trubku a klavír." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177722.

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This thesis describes Sonata for Trumpet in B and Piano from Paul Hindemith, German composer of the 20th century. The first part of the work is concentrated on life and musical development of the composer. The second part tries to analyse the sonata itself. Style of the sonata is briefly presented and connection with the other Hindemith?s compositions is explained. The sonata is then analysed from the formal, the expressive and the content point of view.
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Lee, Dong-Seom. "A structural analysis and performance guideline of Ludus tonalis by Paul Hindemith /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11444.

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Kim, Kiwha. "Studien zum musikpädagogischen Werk Paul Hindemiths /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb36984575n.

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Turner, Jonathan J. Whitman Walt. "Cadence and form in Hindemith's "Lilacs" requiem /." Digitized version, 1996. http://hdl.handle.net/1802/5752.

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Thesis (Ph. D.)--University of Rochester, Eastman School of Music, 1996.
Includes vita and abstract. Accompanies: First symphony / by Jonathan J. Turner (1 score (107 p.) ; 28 cm.). Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5752
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Breimann, Gudrun. "Mathis der Maler und der "Fall Hindemith" : Studien zu Hindemiths Opernlibretto im Kontext der kulturgeschichtlichen und politischen Bedingungen der 30er Jahre /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb35869568v.

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Books on the topic "Hindemith"

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Hindemith-Trilogie. Waldkirch: Edition Gorz, 2009.

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Bentzon, Niels Viggo. Paul Hindemith. København: Artia, 1997.

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Schubert, Giselher. Paul Hindemith. Arles, France: Actes Sud, 1997.

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Dominik, Sackmann, ed. Hindemith-Interpretationen: Hindemith und die zwanziger Jahre. Bern: Lang, 2007.

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Ulrich, Tadday, ed. Der späte Hindemith. München: Edition Text + Kritik, 2004.

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Paul Hindemith, Messe (1963). München: W. Fink, 1985.

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Paul Hindemith und die neue Welt: Studien zur amerikanischen Hindemith-Rezeption. Tutzing: H. Schneider, 2005.

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Hindemith, Paul. Paul Hindemith: Zeichnungen 1920-1950.--. Ingelheim: Boehringer, 1988.

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Paul Hindemith: Für Sie porträtiert. Leipzig: VEB Deutscher Verlag für Musik, 1985.

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Paul Hindemith: Musica come vita. Palermo: L'epos, 2009.

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Book chapters on the topic "Hindemith"

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Rathert, Wolfgang. "Hindemith, Paul." In Metzler Komponisten Lexikon, 344–49. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_139.

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Rathert, Wolfgang. "Paul Hindemith." In Kammermusikführer, 281–88. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_55.

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Rathert, Wolfgang. "Hindemith, Paul." In Komponisten Lexikon, 267–71. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_139.

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Wilson, John. "Paul Hindemith." In The Faith of an Artist, 124–35. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003291282-11.

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Rathert, Wolfgang. "Hindemith, Paul." In Komponisten, 117–22. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_23.

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Schader, Luitgard. "Paul Hindemith (1895–1963)." In Ernst Kurths Grundlagen des linearen Kontrapunkts, 254–98. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02780-1_10.

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Finocchiaro, Francesco. "Paul Hindemith and the Cinematic Universe." In Musical Modernism and German Cinema from 1913 to 1933, 45–66. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58262-7_4.

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Eeckhout, Bart, and Lisa Goldfarb. "The Vibrations of Latent Music: Juxtaposing Stevens with Richard Strauss, Gustav Mahler, Paul Hindemith, and Claude Debussy." In The Poetic Music of Wallace Stevens, 113–48. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07032-7_5.

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Fischer, Ulrich. "Der Opernliebhaber Adolf Hitler, die Nackte in der Badewanne und der Gasbadeofen. Neues vom Tage – eine Lustige Oper von Paul Hindemith und Marcellus Schiffer." In Grenzüberschreitungen: Recht, Normen, Literatur und Musik, edited by Britta Lange, Martin Roeber, and Christoph Schmitz-Scholemann, 19–50. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110645699-004.

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Schaal-Gotthardt, Susanne. "„Die Geflügelzucht“. Hindemiths Blick auf die Reichsmusikkammer." In Die Reichsmusikkammer, 163–88. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412217822-009.

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Conference papers on the topic "Hindemith"

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Emmerson, Stephen. "The Performer's Voice and 'His Dualistic Soul': Hindemith Reconsidered." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0002.

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"A Summary of the Analysis of Hindemith’s Works." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.178.

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