The early compositions of Paul Hindemith, like those of other composers in their early years, were more or less influenced by contemporary musicians and musical environment. The early years of Paul Hindemith was right at the end of the romantic period as well as the enthusiastic period of post-romantic music. Moreover, with the coming of the 20th century, many musicians pursued the innovative sonority and compositional techniques. Consequently, they composed many compositions which were different from those of the romantic or post-romantic styles. The opus 8, ¡§Three Pieces for Cello and Piano¡¨, of Paul Hindemith was composed at this transitional period. The various new musical idioms and compositional techniques of romantic, post-romantic and the 20th century, which may possibly be contained in this composition, will be the main concern of this essay. In the first chapter of this dissertation, Paul Hindemith¡¦s biography and brief abstract of his compositional style will first be introduced, and then followed by an overall introduction of the musical environment during the transitional period in the 19th and 20th century. In the second chapter, we will further analyze the three pieces in opus 8 individually, seeking and researching the musical style and compositional techniques in the transitional period between 19th and 20th century, in order to draft the background and transition of the times. Hopefully, this will help to understand the styles and characteristics of this piece.

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Suite in G major / Jean de Saint-Colombe / text

Kultaselle / Ferruccio Busoni -- Lecture: Kultaselle, Explorations into the piece, composer, and performance practice / text

Lecture: Igor Stravinsky's Suite italienne for cello and piano: tradition and modernity -- Suite italienne for cello and piano / Igor Stravinsky / text

abstract: In addition to his many other works, Russian-American composer Leo Ornstein (1893-2002) contributed a substantial body of literature for cello and piano, including Sonata No. 1 (1915-1916), Sonata No. 2 (circa 1920), Composition No. 1 (date unknown), Two Pieces (date unknown), and Six Preludes (1930-1931). His cello music is an eclectic mix of twentieth-century Neoromantic and atonal styles. This study includes a recording of the complete works for cello and piano by Leo Ornstein and a description of the music that details the formal procedures and how the cello and piano relate to one another. The discussion offers extensive musical examples in support of the descriptions. The recording was completed at the Banff Centre for the Arts in Alberta, Canada (October 2009), with R. Nicolas Alvarez, cello, in collaboration with pianist Keith Kirchoff. Andre Shrimski produced and edited the recording. / Dissertation/Thesis / Six Preludes, Prelude III / Six Preludes, Prelude IV / Six Preludes, Prelude V / Six Preludes, Prelude VI / Composition No. 1 / Sonata No. 1, Mvt.1 / Sonata No. 1, Mvt.2 / Sonata No. 1, Mvt.3 / Sonata No. 1, Mvt. 4 / Sonata No. 2 / Two Pieces, No.1 / Two Pieces, No.2 / Six Preludes, Prelude I / Six Preludes, Prelude II / D.M.A. Music 2013

This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.

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Blessed are the Meek is an original composition by John Loring Emery for cello choir and features a narrative story.

The composition is in one movement for cello and two-channel tape, requiring approximately twelve minutes for performance. The character of the work is aggressive and decisive in nature, with areas of repose occurring only at the beginning and before the conclusion. The title "concertante" is used to describe a concert-piece in which each of the two instruments.