The purpose of this thesis is to illustrate and compare, through a representative historical sampling of music, the concepts of tonality evolved by Paul Hindemith in his Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, MusijNkeael ische Theorien Fantasien, Das jeisterwerk in der Musik, and Per Freie Satz.5 When feasible, these two concepts will be compared with the conventional concept.

Paul Hindemith's compositions are, for the most part, contrapuntal; and since the construction of such a traditionally contrapuntal medium as the fugue was brought to such a high degree of musical expression in the fugal writing of J. S. Bach, it is the purpose of this thesis to compare Hindemith's fugal style with the standard set by J. S. Bach.

This study considers only one aspect of music of the twentieth century--that of dissonance. Through an analysis of harmonic tension in the twelve fugues of the "Ludus Tonalis" by Paul Hindemith, a two-fold significance is notable. First, consideration of the broad tendencies of modernism is necessary. second, with Hindemith as a chosen representative of certain aspects of the twentieth century style, the study attempts to show more specifically certain characteristics of the composer himself in the use and treatment of dissonance, one of the more technical features of style in modern music.

Diss.--Philosophie--Berlin--Humboldt-Univ., 2001. / Bibliogr. p. 206-214.

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

Thesis (D.M.A.)--University of Southern California. / Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1967. / Typescript. Vita. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1953. / Typescript. Score of Hindemith's Ludus tonalis (London : Schott & Co. ; New York : Associated Music Publishers, c1943) bound in. Includes bibliographical references (1 leaf at end).

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).

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.