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A Comparative Study of Three Sonatas for Solo Brass Instruments and Piano by Paul Hindemith

Description: In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.
Date: June 1957
Creator: Alley, Edward Lee
Partner: UNT Libraries

The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others

Description: The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.
Date: August 1994
Creator: Bogard, Rick
Partner: UNT Libraries

A comparative study of harmonic tension in Hindemith's piano sonatas and in his theoretical writings

Description: The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.
Date: August 1957
Creator: Tull, Charlotte
Partner: UNT Libraries

Paul Hindemith and Neue Sachlichkeit: Zeitoper in the Weimar Republic

Description: 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.
Date: May 1992
Creator: Kresge, Kristine Helene
Partner: UNT Libraries

The Music for Solo Clarinet by Arnold Cooke: The Influence of Paul Hindemith and a Comparison of the Music for Solo Clarinet by Both Composers: A Lecture Recital, Together with Three Recitals of Selected Works by C. Nielsen, J. Françaix, and Others

Description: 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.
Date: May 1987
Creator: Wheeler, John E. (John Eby)
Partner: UNT Libraries

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

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.
Date: August 2010
Creator: Shaffer, Benjamin Eric
Partner: UNT Libraries

A Comparison of the Hindemith and Schenker Concepts of Tonality

Description: 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.
Date: January 1955
Creator: Knod, Grace E., (Grace Edith)
Partner: UNT Libraries

A Study of Dissonance and Harmonic Tradition in the Fugues of the Ludus Tonalis by Paul Hindemith

Description: 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.
Date: August 1947
Creator: Harvey, Otis Poe
Partner: UNT Libraries

A Study of the Fugal Writing of Paul Hindemith

Description: 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.
Date: August 1952
Creator: Cody, Robert O. (Robert Oswald), 1928-
Partner: UNT Libraries

The Influence of Hindemith's Harmonic Theories on Das Marienleben, op. 27

Description: 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.
Date: August 1978
Creator: Kubitza, Jana L.
Partner: UNT Libraries

An Analytical Study: Applying Hindemith's Tonal Theory to Niels Viggo Bentzon's Third Piano Sonata, Op. 44

Description: Niels Viggo Bentzon (1919-2000) is the most significant composer in the post-Nielsen period of Danish piano music. Bentzon's Third Piano Sonata, Op.44 was composed in 1946 and is considered by Mark L. Lehmann to be one of the great piano sonatas of the twentieth century. Not only does this sonata reflect Hindemith's ideas, but it also reveals Bentzon's unique style that successively empowers his innovative features. By applying Hindemith's theory, this study offers a way of understanding this piece and demonstrates the relevance of Hindemith's theory as a tool for analyzing the sonata. Chapter 1 presents the significance of the study, the state of research, the purpose of the study, and method. Chapter 2 provides a theoretical analysis of Bentzon's Third Piano Sonata, Op. 44. With a discussion of each movement, this analytical chapter traces Hindemith's influences: Bentzon organizes the four movements with a clear formal structure, a mediant relationship between the first movement and the rest of the movements, and a motivic coherence of each movement. Also, this chapter demonstrates how Bentzon follows Hindemith's way of chord construction and harmonic progression. This chapter provides insight into Bentzon's original style that facilitates an understanding of the tonal organization of each movement and illuminates Bentzon's intensity of expression through the use of quasi-improvisational passages, texture, dynamic fluctuations, and treatment of the full range of the piano. The last chapter concludes with a summary of Bentzon's compositional style based on observations from previous chapters.
Date: December 2009
Creator: Kim, Sun Hee
Partner: UNT Libraries

A Comparative Analysis of the Expositions in the Fugues of J.S. Bach in the Well-Tempered Clavier and Those of Paul Hindemith in Ludus Tonalis

Description: The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day. Chapter II deals with the evolution of the fugal concept. In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the fugal form that Bach used and on Hindemith's neo-Baroque approach to fugal writing in the twentieth century. In Chapters III and IV, analyses are made of the expositions in the forty-eight fugues of Bach's Well-Tempered Clavier and Hindemith's Ludus Tonalis .There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. Also discussed In these chapters are the beginning and ending notes of the Subject, a change in tonality of the subject range and length of the subjects. There is, further, a discussion of the real and tonal answers and the reasons for the ...
Date: August 1973
Creator: Foster, Dorothy N. (Dorothy Nell)
Partner: UNT Libraries

Two European Traditions of Tuba Playing as Evidenced in the Solo Tuba Compositions of Ralph Vaughan Williams and Paul Hindemith, a Lecture Recital, Together with Three Recitals of Selected Works of W. Ross, R. Beasley, A. Russell, V. Persichetti, W.S. Hartley, N.K. Brown, J.S. Bach, and Others

Description: The lecture recital was given on June 16, 1980. The Ralph Vaughan Williams Concerto for Bass Tuba and the Paul Hindemith Sonate for Tuba and Piano were performed following a lecture on the historical evolution of the tuba in Europe. The lecture included a history of the predecessors of the tuba and their influence on the development of tuba playing traditions. Tuba performance practices in Europe developed around two playing traditions, one in France and England, and a second in Germany. The ophicleide enjoyed tremendous popularity in France and England during the early nineteenth century. Because this instrument was a major competitor of the tuba in these countries, the tuba was viewed as an ophicleide replacement. Tubists in Europe and England had to develop facility and sound quality equivalent to that of the older instrument. In Germany the tuba's main competitor was the Russian bassoon, a form of upright serpent. At this same time the serpent and its related forms were in decline. This lack of popularity with the older instruments provided an opportunity for the quick adoption of the tuba in Germany.
Date: August 1980
Creator: Schulz, Charles A.
Partner: UNT Libraries