Diss.--Philosophie--Würzburg, 2003/2004--Julius-Maximilians-Univ. / Sources et bibliogr. p. 312-333. Index.

Thesis (M.A.)--University of Rochester, 1961. / Typewritten. Bibliography: l. 125. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/3144

Thesis - Wisconsin. / Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaf 151.

Diss.--Munich, 1995. / Extraits de textes en anglais. Bibliogr. p. 171-180.

No description available.

Thesis (doctoral) - Universität, Würzburg, 2003/2004. / The CD-ROM contains reviews, in English, of Hindemith works from American newspapers and journals, including the New York Times, the New York Herald Tribune, and those found in the Paul Hindemith Collection, Yale University. Includes bibliographical references (p. 312-333) and indexes.

Thesis (Ph. D.)--University of Rochester, 1941. / Typewritten. "Complete list of Hindemith's works": p. 405-414. Bibliography: p. [415]-420. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11574

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.

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.

Thesis (D.M.A.)--University of Rochester, 1968. / Photocopy of typescript. Vita. Bibliography: leaves 104-106. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/6645