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.

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.

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.

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

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.

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.

This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.

Paul Hindemith traveled to London in 1936 intending to give the British premiere of his concerto for viola and chamber orchestra titled Der Schwanendreher on 22 January. The premiere--and much else--was put into question a few minutes before midnight on 20 January 1936, however, when King George V passed away. The next day, Hindemith worked from 11:00 A.M. - 5:00 P.M. composing Trauermusik (Music of Mourning) for solo viola and string orchestra as a tribute to the recently deceased King of England. Thus, the circumstances surrounding the compositional origin of this piece invite a discussion of mourning in both a historical and musical context. In this paper, I will touch on issues such as how mourning defines us as humans and how emotions associated with mourning can be represented in music and experienced by the listener. I will illustrate how mourning helps us to understand the meaning of Trauermusik when it was written and first performed in 1936, following the death of King George V. To do this I will use Maurice Blanchot's ideas from his La Communauté inavouable, specifically his discussion of how death and mourning help to both define humans and bring them together into a community. Having established this critical framework, I will then provide a hermeneutic reading of Trauermusik, using analytical insights based on Hindemith's use of the 0167 pitch collection as my evidence. At the heart of my thesis is the belief that combining both historical insights and detailed analytical knowledge of Trauermusik will heighten the listener's experience of the piece to a greater extent than either perspective could on its own. / text