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Dissertations / Theses on the topic 'Hindemith'

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Published: 4 June 2021
Last updated: 23 February 2023

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1

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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3

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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4

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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6

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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7

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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9

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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Schaal-Gotthardt, Susanne. "Rhein oder Mississippi? National und Universal bei Paul Hindemith." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32323.

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Ramos-Izquierdo, Eduardo. "Hindemith et Bartok : conceptions et réalisations de deux systèmes tonals." Paris 4, 1987. http://www.theses.fr/1987PA040336.

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13

Kresge, Kristine Helene. "Paul Hindemith and Neue Sachlichkeit: Zeitoper in the Weimar Republic." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279374/.

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The focus of this study will be the impact of Neue Sachlichkeit on Zeitoper, specifically its influence upon Hindemith's operatic output. The purpose of this paper is not to.subject these works to detailed musical analysis, but rather to place Hindemith's Zeitopern in historical perspective, examining how they were influenced by and mirrored the aesthetic atmosphere of the Weimar Republic.
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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.
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15

Bork, Camilla. "Im Zeichen des Expressionismus : Kompositionen Paul Hindemiths im Kontext des Frankfurter Kulturlebens um 1920 /." Mainz ; London ; Paris : Schott, 2006. http://catalogue.bnf.fr/ark:/12148/cb40936985s.

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Bork, Camilla. "Im Zeichen des Expressionismus Kompositionen Paul Hindemiths im Kontext des Frankfurter Kulturlebens um 1920." Mainz London Madrid New York Paris Prag Tokyo Toronto Schott, 2001. http://deposit.ddb.de/cgi-bin/dokserv?id=2669857&prov=M&dok_var=1&dok_ext=htm.

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17

Park, Bokyung. "Paul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional System." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306363.

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This document examines Paul Hindemith's piano work, Suite 1922, op. 26, (1922) a work that is seldom played and studied among pianists. My study explores two broad questions: first, how and for what purpose are traditional Baroque models and jazz idioms included in Hindemith's Suite 1922; and second, can one analyze portions of the suite according to the process and principles found in Hindemith's compositional system? While this system was not fully outlined by Hindemith until 1937, the author examines to what extent specific elements of his emerging theory are to be found throughout Suite 1922. The first two chapters are dedicated to an overview of Hindemith's life and music. Chapter III investigates the origins of the individual movements of Suite 1922 and provides a structural analysis for each. Chapter IV examines the jazz and Baroque features found in Suite 1922. In this chapter, the author identifies the main elements drawn from both styles: blues harmonies, extended triads, syncopations and rhythmic devices from jazz; and formal aspects, dance suite order and affects from the Baroque. Chapter V presents Hindemith's mature compositional system in a concise format and applies selected aspects of this innovative system to the suite. Hindemith's six levels of analysis and unifying principles are the primary tools applied to this analysis. This study provides new insights into one of Hindemith's more fascinating works to further enhance the understanding of his music for pianists, scholars, and composers alike.
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Buis, Johann S. "Hindemith and early European music in the United States (1940-53)." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833671.

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Paul Hindemith (1895-1963)--composer, teacher, and performer of early music--was one of the inaugurators of the early music revival in the United States. During his tenure at Yale University (1940-53) Hindemith directed concerts of primarily medieval and Renaissance music in 1941 (Tanglewood), 1945-47 (Yale), 1948 (Yale and the Metropolitan Museum of Art), 1950 (Harvard), 1951 and 1953 (Yale and the Metropolitan Museum of Art). He participated in a concert of 17th-century music at Yale in 1943. The success of these performances gave Hindemith national recognition. He was able to establish these concerts as the result of self-education and relentless determination. Although he was not part of the burgeoning collegium musicum movement in Germany he directed the Yale Collegium Musicum unhindered, for the most part, by the disastrous effects of World War II. Neither before nor after his tenure at Yale did early music performance form a significant part of his life.Chapter 1 focuses on relevant issues in Hindemith's background while in Germany. Using Stephen Hinton's analysis of the idea of Gebrauchsmusik, this chapter shows that although Hindemith denounced the term "Gebrauchsmusik" as a slogan, his early music performances emerged from the same Gebrauchsmusik, (music-for-amateurs) philosophy. The term "Gebrauchsmusik" appears in this a dissertation as a favorable "pre-Nazi/Weimar Republic" concept; a philosophical construct which formed the basis of Hindemith's early music performances in the United States.Chapter 2 deals with Hindemith's advocacy of early music in the United States. This chapter also includes discussions on the public reception of Hindemith's early music programs, as well as the work of contemporaries during that phase of the early music revival in the United States. The following chapter is an evaluation of Hindemith's recordings of two Yale Collegium Musicum concerts, his use of historical instruments and his performance scores. The evaluation of Hindemith's performance scores centers primarily around French dances which he performed on period instruments in 1948 and their adaptation for modern instruments in his Suite franzoesischer Taenze (1958). The final chapter is a reflection upon the issues of Gebrauchsmusik, and historicity in Hindemith's early music performances. The appendices contain programs, personnel and repertoire lists.
School of Music
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19

Nordkvist, Love. "Trauermusik : Analys som metod för tolkning av Hindemith: Trumpetsonat sats 3." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3111.

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Detta arbete handlar om Paul Hindemiths sonat för trumpet och piano, närmare bestämt sats tre, som heter Trauermusik. Stycket skrevs 1939 under en turbulent tid, Hindemith flyttade till USA. Syftet med arbetet är att utgå från analys av notbild och två inspelningar för att bilda en egen uppfattning av stycket. Utgångspunkten är att få en egen tydlig bild av satsen innan jag själv spelar den. Genomförandet av analysen har skett med hjälp av noter från förlaget B. Schott’s Söhne, samt två inspelningar av verket från Capriccio Records där Reinhold Friedrich spelar och Harmonia Mundi där Jeroen Berwaerts spelar. Efter arbetet med analyserna fick jag förståelse för satsen och hur min tolkning är. Med en gedigen analys kunde jag göra medvetna musikaliskt grundade beslut.

Inspelning från examenskonsert. Paul Hindemtith sonat för trumpet och piano, tredje sats. Love Nordkvist, trumpet samt Georg Öquist, piano.

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20

Shaffer, Benjamin Eric. "Paul Hindemith's Septet (1948): A Look Back to Neue Sachlichkeit." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31545/.

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In the early 1920s, Gustav Friedrich Hartlaub created a fine arts movement that began in Weimar, Germany, which questioned artistic Expressionism. In 1923, he formed an art exhibition to display new art works of simplicity that were of his anti-Expressionist goal. This exhibition was termed Neue Sachlichkeit, or New Objectivity, and quickly became associated with all fine arts. Music of Neue Sachlichkeit ideals during the 1920s and 1930s began to exhibit anti-Expressionist concepts of form, neoclassicism and limited instrumentation. Paul Hindemith was among the leading figures of Neue Sachlichkeit music. Although Paul Hindemith's Septet (1948) was composed during his later career, it shows many Neue Sachlichkeit traits found previously in the 1920s and 1930s. Characteristics of limited/mixed instrumentation, neoclassic instrumentation and form, and Baroque counterpoint are found in the Septet. These traits can also be head in earlier Neue Sachlichkeit pieces by Hindemith such as Hin und zuruck, op. 45a (1927), Das Marienleben (1922/23, rev. 1948) and Neues vom Tage (1929). Chapter 2 examines the Neue Sachlichkeit movement within the fine arts. Chapter 3 gives a brief biography of Paul Hindemith with a concentration on his influence of Neue Sachlichkeit music of the 1920s and 1930s. This chapter also relates this period of Hindemith's earlier career with his techniques used in later works, such as the Septet. Chapter 4 discusses how the Septet directly relates to the Neue Sachlichkeit fine arts movement. Chapter 5 gives a general analysis of the Septet. This analysis provides the reader with an understanding of the forms and tonal relationships used in the Septet. This summarizes the neoclassicism of the Septet and shows traits of Neue Sachlichkeit. Chapter 6 concludes with an examination of the mixed instrumentation of the Septet.
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21

Teuber, Richard. "Die Bach-Rezeption im frühen Instrumentalwerk Paul Hindemiths /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37218777b.

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22

Hansen, Jeremy Christian. "A creative pedagogical approach to Hindemith's music for horn and piano with thirty progressive etudes." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/241.

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Collegiate students of horn routinely prepare works for horn and piano from many diverse styles and periods. Many of these pieces are written with materials that extend beyond common practice tonality. Unfortunately most study materials are written in a highly tonal language and date to the Romantic or late Romantic periods. Further, almost all studies written in a modern style are advanced and not progressive in difficulty. As a result of the lack of progressive post-tonal study materials, students are rarely prepared for post-tonal solo works. The traits that mark these pieces as modern pose particular difficulties for tonally-trained students. This thesis, intended for the collegiate instructor of horn, illustrates a method for addressing this disparity, using The Sonata for E-flat Alto Horn and Piano by Paul Hindemith as an example. Hindemith's musical theories are examined and applied to the analysis of harmony, melody, rhythm, form, and performance aspects of the piece. Challenges to the tonally-trained student are identified and pedagogical strategies are given to overcome these challenges. This demonstrates how the collegiate instructor can construct patterns and exercises of varying degrees of difficulty to prepare a student for a work such Hindemith's Sonata for E-flat Alto Horn and Piano. Thirty original and progressive etudes in the style of Hindemith's music for horn and piano are included.
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23

Hemken, Jennifer Ann. "The Mystery of the “Althorn (Alto Horn) Sonata” (1943) by Paul Hindemith." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804839/.

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A unique and significant composition, the Althorn Sonata by Paul Hindemith contains several enigmas and anomalies: details about the premiere remain unknown; scored for the alto horn, a band instrument of the late nineteenth and early twentieth century, the piece seldom finds itself performed on that instrument; although Hindemith composed his instrumental sonatas as composition exercises, for the instruments he intended to use in his large-scale works, his sonata for alto horn marks an unusual exception; the work evolves through Baroque sonata da chiesa form; a Morse code message from a Renaissance painter appears in the second movement, along with references to numerology; and, after the third movement, the horn player and pianist recite a poem, penned by the composer, which becomes musically depicted in the final movement. Hindemith’s apparent fondness, for the art of word play, proves the inspiration for enigmas and anomalies found in this sonata. The key to his mystery lies in plain sight: “Alt” translates as both “alto” and “old.” The purpose of this dissertation is to unveil to the musical world, especially to horn and saxophone players, the several enigmas and anomalies found in Hindemith’s Althorn Sonata. By exposing the nature and depth of this mystery, it will illuminate the intellectual prowess of Paul Hindemith, elevating his Althorn Sonata to a place it deserves in the horn repertoire.
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Kim, Sun Hee. "An analytical study, applying Hindemith's tonal theory to Niels Viggo Bentzon's Third piano sonata, op. 44." Thesis, connect to online resource. Recital, recorded Nov. 21, 2006, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/ark:/67531/metadc1957.

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25

Lansdown, Louise. "The young Paul Hindemith : life, works, relationships, influences and musical activities until 1922." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495751.

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Paul Hindemith was born on 16 November 1895 in Hanau and died in Frankfurt on 28 December 1963. This dissertation examines his life, family, patrons, mentors, friendships and relationships with teachers alongside his compositional development from 1895 until 1922. Hindemith's compositional output before 1919 was largely produced with these individuals in mind (and dedicated accordingly), inspiring an eclectic combination of genres, including the so-called Puppenspiele and Dramatische Meisterwerke.
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26

Cheng, Eunise Ansherina. "Performance preparation of Paul Hindemith's three Sonatas for Viola and Piano: Practice strategies to provide musical insight and technical control." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388974.

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This thesis aims to provide materials useful for the preparation and performance of the Hindemith’s three Viola Sonata with Piano: Sonata Op. 11 No. 4 (1919), Sonata Op. 25 No. 4 (1922), Sonata (1939). It serves directly as a practical source for violists and teachers who are learning the sonatas to consult students. The project considers different resources available including relevant historical contextual information about Hindemith’s life, his compositional style and history surrounding the three viola sonatas and piano. It recommends different available recordings of the sonatas for insight and provides suggestions to additional complementary resources for further reading. Much of this project however focuses on the practice processes I employed to enhance my performance of the sonatas. These include providing guidance on how to formulate musical ideas specific to the piece, various practice strategies for challenging aspects and specifically investigate different processes of technique, such as sound production, intonation, shifting and bow distribution. Assisted by the opinions and explorations of professional violists, this project will document and reflect various practice strategies I have employed in preparing the Viola Sonatas with piano. Every musician has their own personal process to learn a piece, so it is not my intention to propose my method as the sole or best method of learning the sonatas. Rather, it serves as a guide to provide performers with further options on learning the sonatas themselves as efficiently as possible and enlisting as many available resources relevant to the sonatas to encourage players to learn the works themselves. The practice principles established within this project assisting with technique, interpretation are transferrable and can be directly applicable to the twentieth-century works or other contemporary works.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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27

Curley, Jason Leo. "REVEALING STRUCTURAL ASPECTS OF PAUL HINDEMITH'S SYMPHONY IN B-FLAT FOR CONCERT BAND THROUGH A MAP: MUSIC ANALYSIS PROFILE." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195584.

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This document presents a music analysis tool which illuminates structural elements of Paul Hindemith's Symphony in B-flat for Concert Band. Designed by the author, this type of visual tool is called a Music Analysis Profile and will henceforth be referred to as a MAP.This study offers a historical perspective of visual music analysis models, examines the development of the author's model, and explores an analysis of the Hindemith Symphony through MAP examples. This project is designed to enhance understanding and appreciation of this composition in the following contexts: music rehearsals, classrooms, pre/post concert discussions, and performances. In such contexts, the purpose and usefulness of a MAP as a useful tool is exemplified.
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Lambert, Frédéric. "[L’] influence de la viole d’amour sur le développement de l’alto moderne tel que proposé par Paul Hindemith." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107538.

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The brilliant musical career of Paul Hindemith (1895-1963) could be definedaround two roles: the virtuosic interpreter, and the prolific composer. In 1922,Hindemith's fascination with the viola d'amore, as a performer, brought him closer to theworld of early music. His fascination led him to write two pieces for viola d'amore: theKleine Sonate for viola d'amore and piano, Op. 25, No.2 (1922) and the KammermusikNo.6 for viola d'amore and orchestra, Op. 46, No.1 (1927). These pieces represented aimportant turning point for Hindemith, in that their composition led him to develop a newtechnical and stylistic approach to his main instrument: the viola.
La brillante carriere musicale de Paul Hindemith (1895-1963) se partage entredeux aspects distincts de son enorme talent: l'interprete virtuose innovateur et Ieprolifique compositeur. En 1922, Hindemith se rapproche du monde de la musiqueancienne via sa fascination, en tant qu'interprete, pour la viole d'amour. C'est ainsi queHindemith aura compose deux reuvres pour la viole d'arnour: la petite sonate pour violed'amour et piano, Op. 25 No.2 (1922) ainsi que Ie Kammermusik No.6 pour violed'arnour et orchestre, Op.46 No.1 (1927). Ces pieces se veulent un veritable pointtoumant pour Ie cornpositeur puisqu'a travers eUes, il developpera des nouvellesapproches techniques et stylistiques pour son instrument de predilection, ralto.
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Taylor-Jay, Claire Patricia. "Politics and the ideology of the artist in the Künstleropern of Pfitzner, Krenek and Hindemith." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313527.

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30

Engström, Emil. "En djupdykning i en kompositörs unika tonspråk : Paul Hindemith: Sonat för horn och piano (1939)." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3559.

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Detta arbete behandlar kompositören Paul Hindemith och reflekterar över hans unika tonspråk. Stycket som analyserats i denna studie för att lära känna hans utmärkande stildrag är hans Sonat för horn och piano som han komponerade 1939. Syftet med uppsatsen är att bekanta sig med hans tonspråk med hjälp av att analysera de två första satserna i sonaten, gå igenom hans musikteoretiska principer, verktyg och metoder samt att skapa en klar uppfattning om vem Paul Hindemith var som person. Biografin är uppdelad i två kapitel för att skilja på vem han var som kompositör och vem han var som människa och musiker för att lättare kunna redogöra varför han valde att komponera som han gjorde. Informationen om hans liv är hämtad från den biografi man sammanställt via en stiftelse som skapats efter hans hustrus bortgång. Det är även kompletterat med andra källor för att kunna ge en klarare bild på de stilar han arbetade med. Kompositören skrev en musikteoribok The Craft of Musical Composition (1937) som han både hade som grund för sitt eget komponerande samt i utbildningssyfte vid sina professorstjänster. Några av dessa teorier och verktyg presenteras i uppsatsen och de appliceras även i en analys av hans hornsonat. Slutsatsen reflekterar över hur man kan påverkas av att läsa på om människan bakom musiken samt kompositörens teorier och att i den processen ändra åsikt om samt uppskatta ett speciellt tonspråk.

Paul Hindemith: Sonat för horn och piano (1939)

I Mässig Bewegt

II Ruhig Bewegt

III Lebhaft

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Lee, Soo Mi. "Musical Borrowing in Four Twentieth-Century Works for Viola By Hindemith, Bloch, Bacewicz, and Shostakovich." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276530744.

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32

Lansdown, Louise. "Paul Hindemith's sonatas for viola and piano." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/50056.

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Thesis (MMus) -- University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves.
AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.
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Wiley, Norman Keith. "Paul Hindemith's use of the trumpet in the Kammermusik works." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833672.

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This study investigates the nature and extent of Paul Hindemith's use of the trumpet or cornet in the seven works which comprise the Kammermusiken. The trumpet or cornet is assessed on the basis of technical and musical criteria with regard for its functional responsibilities within the context of each work. Specific evaluative criteria include pitch range, ensemble placement, melodic motion, articulation, rhythmic character, dynamic range, and special effects. Functional responsibilities are generally identified as either thematic or supportive on the basis of an examination of the musical setting in which the trumpet or cornet is found. Thematic roles are further distinguished, where appropriate, as either primary or secondary. Supportive responsibilities are identified as either harmonic, harmonic and rhythmic, or harmonic and structural.Each of the seven works is addressed in a separate chapter. General information concerning instrumentation, expressive character, and specific comment regarding unique stylistic features is provided. A technical and musical assessment of the utilization of the trumpet or cornet is included. Performance demands and interpretative concerns are addressed, as well. A summary of the trumpet's or cornet's use in the work concludes each chapter while a comprehensive comparison of its use in all seven compositions is provided in the final chapter. Representative musical excerpts from the score are provided in separate appendixes.The trumpet serves almost equally in thematic and supportive roles and is generally called upon to perform in a predominantly marked or martial manner. While all passages are well within the normal performance capabilities of the professional or advanced collegiate player, an assured technical facility is required in order to accommodate the variety of intervallic combinations and contrasting melodic motion which typifies Hindemith's harmonic language.
School of Music
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Leach, Lindsay A. "Performing Hugo Kauder: An Expansion of Flute Literature." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337085079.

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Iverson, Thomas R., and Thomas R. Iverson. "The Masses of Arnold Mendelssohn, Kurt Thomas, Johann Nepomuk David and Paul Hindemith in Historical Perspective." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/626243.

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36

Gmach, Nasri. "Le quatuor à cordes entre 1918 et 1939, esthétique et problèmes d'interprétation : Bartók, Berg, Hindemith, Honegger." Paris 4, 1996. http://www.theses.fr/1996PA040278.

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Le contexte socioculturel de l'entre-deux-guerres a favorisé le développement d'un grand nombre de langages musicaux. L'intérêt considérable que les compositeurs ont accordé au timbre les a orientés vers la musique de chambre et particulièrement le quatuor à cordes. Ce regain d'intérêt est aussi le résultat du néo-classicisme qui suggéré un retour aux modèles du dix-huitième siècle. En abordant les principaux courants esthétiques de l'époque, nous avons exposé l'apport de compositeurs appartenant à trois sphères culturelles : la sphère française (amplification des formes classiques et écriture polytonale), le monde germanique (écriture sérielle) et l’Europe centrale, y compris l’Europe de l'est (influence des traditions orales). La deuxième partie, concerne une étude plus détaillée des quatuors de quatre compositeurs parmi les plus attachés à la musique de chambre et les plus représentatifs de l'époque. Les quatuors de Bartók s'articulent autour de l'élaboration de la forme en arche. La suite lyrique de Berg exploite l'écriture sérielle en y intégrant la tonalité et l'atonalité libre. Les quatuors de Hindemith et Honegger renouent, chacun à sa manière, avec les traditions des siècles précédents concernant la forme et la technique instrumentale. La troisième partie est réservée aux problèmes d'interprétation. Nous soulignons en particulier le développement de différents modes de jeu (particulièrement exploités dans les quatuors de Bartók et de Berg). Nous terminons cette partie par une étude plus détaillée réalisée auprès du quatuor Manfred et du quatuor Debussy
The sociocultural context between the expansion of a lot musical languages the composers gave a lot of importance to the sonority and they turned towards chamber music, especially string quartet. This interest is also the result of neo-classicism, suggesting to look back on the patterns of eighteenth century. Landing most important aesthetic streams of this period, we expose the contribution of composers belonging to tree cultural spheres: the French sphere (amplification of classics forms and polytonalism), the Germanic world (serialism), central and east Europe (oral traditions influence). The second part go into all the details of four composers and their quartets. Those composers are the most attached to chamber music, and really representative of this period. Bartok quartets articulate about arche form elaboration. The suite lyrique of Berg uses serialism, integrating tonality and free atonality. The Hindemith and Honegger quartets take up with century before traditions again, about form and instrumental technique. The third part is reserved to interpretation problems. We emphasize, particularly, the expansion of different kinds of plays, (particularly used within Bartok and Berg's quartets). We end this part with a more detailed study near Manfred quartet and Debussy quartet
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Kube, Michael. "Zu Form und Satztechnik in Hindemiths Streichquartett op. 22." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37158.

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Larson, Matilda. "Omvärldens påverkan på konsten : En analys av Hindemiths trumpetsonat." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3476.

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Kubala, Ricardo Lobo. "A escrita para viola nas sonatas com piano Op.11 N.4 e Op.25 N.4 de Paul Hindemith : aspectos idiomaticos, estilisticos e interpretativos." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284851.

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Orientador: Emerson Luiz de Biaggi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T02:55:31Z (GMT). No. of bitstreams: 1 Kubala_RicardoLobo_M.pdf: 1337733 bytes, checksum: bac63f0fcbbc723543643b61e0abfe1f (MD5) Previous issue date: 2004
Resumo: O surgimento de repertório de maior relevância para viola foi resultado de procura por identidade do instrumento, da qual participaram compositores e intérpretes. Paul Hindemith foi figura marcante nessa busca. Compôs várias obras de importância para viola, como as sonatas Op.11 NQ 4 (1919) e Op.25 NQ 4 (1922), as quais, apesar de cronologicamente próximas, apresentam acentuada diferenciação estilística. São examinadas as causas desse contraste e suas conseqüências no âmbito da prática interpretativa. Buscando subsídios para o estudo das sonatas, inicialmente é traçado um relato sobre vida, obra e idéias de Hindemith, com enfoque em sua faceta multi-instrumentista e a variedade estilística de sua produção. Segue-se uma reflexão sobre a evolução de uma escrita para viola com maior preponderância de aspectos idiomáticos, que fornece dados relativos a aspectos específicos da prática instrumental da viola. A investigação de ambas as sonatas é realizada, então, por meio da observação de características estilísticas, associadas, por sua vez, a aspectos concernentes à prática interpretativa. A pesquisa visa fornecer conhecimento que contribua para uma execução eficiente em sua comunicação com o público
Abstract: A more relevant repertoire for the viola emerged as a result of the search by composers and interpreters for the instrument's identity. Along with other composers and performers such movement showed Paul Hindemith as an important figure. He wrote several major works for viola including the sonatas Op.11 NA (1919) and Op.25 NA (1922). In spite of their chronological proximity these sonatas show clearly distinct styles. The present study examines the causes of that contrast and its consequences to practical interpretation. In order to investigate thoroughly the sonatas, Hindemith's life, work and ideas are also described. The composer's ability and interest in playing several instruments as well as a variety of styles within his work are also highlighted. In addition, the present work discusses the evolution of the writing for the viola that is rich in idiomatic elements demonstrating very specific aspects of the viola playing. The study of the sonatas is based on the analysis of their stylistic features associated with aspects of performance practice. The purpose of the present research is to offer musicians data that may contribute to an efficient performance in the communication with the audience
Mestrado
Musica
Mestre em Música
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Dahlström, Ludvig. "Medveten övning : Hur en förbättrad övningsrutin kan hjälpa musiker att undvika negativa tankar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4138.

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I denna uppsats undersöktes hur de negativa tankar som finns hos många musiker kan hanteras. Med hjälp av förbättrad övningsmetodik, samt andra metoder för medveten närvaro observerades hur fokus och humör förändrades hos musiker, samt hur detta påverkade deras prestation och självbild. Till hjälp för detta dokumenterades instuderingen av Hindemiths violakonsert ”Der Schwanendreher” inför och under examenskonsert, en situation där negativa tankar ofta kan dyka upp. Resultatet visade att man med små men väl genomtänkta medel kunde göra stor skillnad för koncentrationsnivån, och det allmänna välbefinnandet. Vidare gavs exempel på hur övningen kan läggas upp för att bli mer produktiv och rolig, samt hur samhällets krav på klassiska musiker bidrar till psykisk ohälsa. Målet med uppsatsen var att få fler musiker att börja reflektera över sin situation, och vilka förändringar som kan göras för att nå en optimal tillvaro.

Medverkande vid presentation

Solist: Ludvig Dahlström

Dirigent: Gustav Aske Sønksen

 

Flöjt: Kajsa Nilsson, Emma Eskeby

Oboe: Gabriela Dogaru

Klarinett: Emilia Eriksson, Filippa Hedberg

Fagott: Ciarán Hayes, Jonathan Bauer

Valthorn: Joel Jaakkola, Mikael Larsson, Jenny Isaksson

Trumpet: Erik Westin

Trombon: Vilhelm Weréen

Harpa (keyboard): Linnea Sirborn

Slagverk: Simon Landqvist

Cello: Erik Elvkull, Åse-Maria Bygland Larsen, Johanna Tärnroth, Johannes Rydén

Kontrabas: Isak Josefsson, Anton Eriksson, Joel Hedtjärn

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Kim, Taekwan. "Das Lehrstück Bertolt Brechts : Untersuchungen zur Theorie und Praxis einer zweckbestimmten Musik am Beispiel von Paul Hindemith, Kurt Weill und Hanns Eisler /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb376284673.

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42

Danuser, Hermann. "Der Klassiker als Janus? Wandlungen in Paul Hindemiths Bach-Verständnis." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37208.

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Man, Pauline. "The viola in early twentieth-century music : a performer's analysis of works by Rebecca Clarke, Paul Hindemith and Ernest Bloch /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19161.pdf.

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Eaverson, Anna K. "A graduate recital in wind band conducting featuring analysis of: Eric Ewazen’s Symphony in brass, Shelley Hanson’s Dances with winds, and Paul Hindemith’s March from symphonic metamorphosis on themes by Carl Maria von Weber." Kansas State University, 2010. http://hdl.handle.net/2097/4137.

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Master of Music
Department of Music
Frank C. Tracz
This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s of Music Education degree. Enclosed is information pertaining to quality literature selection, a music education philosophy, theoretical and historical analyses, and rehearsal plans for the Graduate Conducting Recital of Anna K. Eaverson held on Wednesday, March 19, 2010. The analytical methods used in this document are based on the Blocher/Miles unit studies found in the Teaching Music Through Performance in Band series as well as macro-micro-macro score analysis. The selections analyzed using these methods include Symphony in Brass by Eric Ewazen, Dances with Winds by Shelley Hanson, and March from Symphonic Metamorphosis of Themes by Carl Maria von Weber by Paul Hindemith.
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Wheeler, John E. (John Eby). "The Music for Solo Clarinet by Arnold Cooke: The Influence of Paul Hindemith and a Comparison of the Music for Solo Clarinet by Both Composers: A Lecture Recital, Together with Three Recitals of Selected Works by C. Nielsen, J. Françaix, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331904/.

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This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.
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Saunders, Matthew Charles. "The Symphony for Band of Donald E. McGinnis: A guide for conductors." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1179924320.

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Thesis (D.M.A.)--Ohio State University, 2007.
Title from first page of PDF file. Appendix B (p. 103) includes embedded audio file. Appendix C (p. 104) refers to accompanying PDF files. Includes bibliographical references (p. 105-107).
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Roth, Robert Ray. "A survey of form and compositional practices of Ralph Vaughan Williams, Igor Stravinsky, Paul Hindemith, and Robert Roth in Kyrie of the mass ordinary." Kansas State University, 2014. http://hdl.handle.net/2097/17599.

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Master of Music
Department of Music, Theater, and Dance
Craig Weston
Ralph Vaughan Williams, Igor Stravinsky, and Paul Hindemith, three prolific composers of the 20th century, wrote for the medium of the mass ordinary in different ways. This report comprises a survey of those composers’ styles using the Kyrie movement of the mass ordinary as the main vehicle of compositional exploration. The results of this compositional survey examine the form and various techniques the composers employ to garner the same emotional response from the listeners of the Kyrie text. The final portion of the report explores the author’s personal compositional contribution to the mass ordinary.
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Thrasher, Michael 1972. "The Use of the Clarinet in Selected Viennese Operas, 1786-1791, With Three Recitals of Selected Works by Brahms, Muczynski, Benjamin, Widor, Hindemith, and Others." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278193/.

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In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.
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Kelley, Sean Patrick. "The interpretive development of four successful university band and wind ensemble conductors concerning Lincolnshire Posy by Percy Grainger and Symphony in B flat by Paul Hindemith." Thesis, The University of Oklahoma, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10612780.

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In this study, two monumental works from the wind band repertoire, Lincolnshire Posy (1937) by Percy Grainger (1882 - 1961) and Symphony in B flat (1951) by Paul Hindemith (1895 - 1963) were examined from an interpretive perspective. Through a qualitative, multiple case study design using one-on-one interviews with four long-term, successful collegiate wind band conductors, including: (1) Gary Green, Director of Bands at the University of Miami; (2) Michael Haithcock, Director of Bands at the University of Michigan; (3) Gary Hill, Director of Ensembles at Arizona State University; and (4) Joseph Missal, Director of Bands at Oklahoma State University, both common and disparate themes between their individual interpretations of these works were identified.

This study also explored the process that led the participating conductors' development of a personal interpretive style. Particular focus was placed on identifying experiences in the conductors' backgrounds that led to their present conceptions of these works, as well as how their interpretation changed over time and what specific factors led to those changes

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Chen, I. Chien, and 陳怡茜. "Paul Hindemith Sonata for French Horn." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/77846651654744343491.

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