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.

Paul Hindemeith adheres to the traditional concept of using two trumpets in his orchestral brass section. The trumpet parts are notated in concert pitch on the score implying the use of the "c" trumpet, although in actual practice, the parts are often transposed and played on the B-flat trumpet by the performer.

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 Mundi där Jeroen Berwaerts spelar. Efter arbetet med analyserna fick jag förståelse för satsen och hur min tolkning är. Med en gedigen analys kunde jag göra medvetna musikaliskt grundade beslut. / <p>Inspelning från examenskonsert. Paul Hindemtith sonat för trumpet och piano, tredje sats. Love Nordkvist, trumpet samt Georg Öquist, piano.</p>

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

Thesis (Ph. D.)--University of Rochester, Eastman School of Music, 1996. / 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

Thesis (D. Mus. Arts)--University of Washington, 1994. / Vita. Includes bibliographical references (leaves [108]-110). Also available electronically.

Thesis (doctoral) - Humboldt-Universität, Berlin, 2001. / Includes bibliographical references and index.

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.

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.

"In Praise of Music": A Motivation for Choral Conductors, is a conductor’s survey of four contemporary works for chorus all titled "In Praise of Music." This study was created in tandem with the recital presentation of two of the works by composers David Conte and David Frank Long and an additional two works by Keith Bissell and Paul Hindemith. Each work is different in style, in the choice of text, in accompaniment, and in the choral forces required. There is no single text titled "In Praise of Music" from which each composer might have begun the creative process. What binds these works together is the concept that music carries emotion and shares it with those who hear it. Bissell requires orchestra, an Orff instrument ensemble, satb mixed chorus and women’s chorus in his music with texts from four different poets: Alfred, Lord Tennyson; John Dryden; William Shakespeare; and Robert Herrick. David Conte’s work is set for chorus, six soloists, semi-chorus, and orchestra. Conte also chose the texts for his work from three poets; Thomas Carew, John Dryden, and Percy Bysshe Shelley. Paul Hindemith’s work, set to a text by Martin Luther, offers many different performance options as it is meant to be performed by non-professional musicians and singers, using whoever might be available. "Our Song (In Praise of Music)" was commissioned by this writer for his D.M.A recital performance. Composer David Frank Long wrote both the text and music for the work. The essay includes biographical information on each composer and poet and the texts used for each work. There is also a structural chart and compositional analysis of each work.