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Dissertations / Theses on the topic 'Hindemith'

Author: Grafiati
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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5

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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8

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.<br>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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11

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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12

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 Gebrauchsmu
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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 19
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18

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 thes
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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
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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 Sach
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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
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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 Renai
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24

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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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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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 insig
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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,
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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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Note:<br>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 newtec
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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 o
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31

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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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.<br>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
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33

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 se
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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
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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<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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
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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 väl
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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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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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43

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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44

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<br>Department of Music<br>Frank C. Tracz<br>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
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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.<br>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<br>Department of Music, Theater, and Dance<br>Craig Weston<br>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 t
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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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49

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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<p> In this study, two monumental works from the wind band repertoire, <i> Lincolnshire Posy</i> (1937) by Percy Grainger (1882 - 1961) and <i> Symphony in B flat</i> (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 Univ
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50

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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