Paul Hindemith's Septet (1948): A Look Back to Neue Sachlichkeit Metadata

Title

• Main Title Paul Hindemith's Septet (1948): A Look Back to Neue Sachlichkeit

Creator

• Author: Shaffer, Benjamin Eric
  Creator Type: Personal

Contributor

• Chair: Johnson, Keith
  Contributor Type: Personal
  Contributor Info: Major Professor
• Committee Member: Holt, John, 1959-
  Contributor Type: Personal
  Contributor Info: Minor Professor
• Committee Member: Corporon, Eugene
  Contributor Type: Personal

Publisher

• Name: University of North Texas
  Place of Publication: Denton, Texas

Date

• Creation: 2010-08

Language

• English

Description

• Content Description: 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.
• Physical Description: iv, 44 p. : ill.

Subject

• Keyword: Paul Hindemith
• Keyword: new objectivity
• Keyword: Septet
• Library of Congress Subject Headings: Hindemith, Paul, 1895-1963. Septet, woodwinds, trumpet, horn.

Relation

• Has Part: Recital: June 12, 2007, ark:/67531/metadc6366
• Has Part: Lecture Recital: June 23, 2010, ark:/67531/metadc89395

Collection

• Name: UNT Theses and Dissertations
  Code: UNTETD

Institution

• Name: UNT Libraries
  Code: UNT

Rights

• Rights Access: public
• Rights License: copyright
• Rights Holder: Shaffer, Benjamin Eric
• Rights Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.

Resource Type

• Thesis or Dissertation

Format

• Text

Identifier

• OCLC: 712141815
• UNT Catalog No.: b3970984
• Call Number: MT145.H5 S5 2010
• Archival Resource Key: ark:/67531/metadc31545

Degree

• Degree Name: Doctor of Musical Arts
• Degree Level: Doctoral
• Degree Discipline: Performance
• Academic Department: College of Music
• Degree Grantor: University of North Texas

Note