Paul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional System

Persistent Link:
http://hdl.handle.net/10150/306363
Title:
Paul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional System
Author:
Park, Bokyung
Issue Date:
2013
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
This document examines Paul Hindemith's piano work, Suite 1922, op. 26, (1922) a work that is seldom played and studied among pianists. My study explores two broad questions: first, how and for what purpose are traditional Baroque models and jazz idioms included in Hindemith's Suite 1922; and second, can one analyze portions of the suite according to the process and principles found in Hindemith's compositional system? While this system was not fully outlined by Hindemith until 1937, the author examines to what extent specific elements of his emerging theory are to be found throughout Suite 1922. The first two chapters are dedicated to an overview of Hindemith's life and music. Chapter III investigates the origins of the individual movements of Suite 1922 and provides a structural analysis for each. Chapter IV examines the jazz and Baroque features found in Suite 1922. In this chapter, the author identifies the main elements drawn from both styles: blues harmonies, extended triads, syncopations and rhythmic devices from jazz; and formal aspects, dance suite order and affects from the Baroque. Chapter V presents Hindemith's mature compositional system in a concise format and applies selected aspects of this innovative system to the suite. Hindemith's six levels of analysis and unifying principles are the primary tools applied to this analysis. This study provides new insights into one of Hindemith's more fascinating works to further enhance the understanding of his music for pianists, scholars, and composers alike.
Type:
text; Electronic Dissertation
Keywords:
Suite 1922; Music; Hindemith
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Graduate College; Music
Degree Grantor:
University of Arizona
Advisor:
Gibson, Tannis

Full metadata record

DC FieldValue Language
dc.language.isoen_USen_US
dc.titlePaul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional Systemen_US
dc.creatorPark, Bokyungen_US
dc.contributor.authorPark, Bokyungen_US
dc.date.issued2013-
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractThis document examines Paul Hindemith's piano work, Suite 1922, op. 26, (1922) a work that is seldom played and studied among pianists. My study explores two broad questions: first, how and for what purpose are traditional Baroque models and jazz idioms included in Hindemith's Suite 1922; and second, can one analyze portions of the suite according to the process and principles found in Hindemith's compositional system? While this system was not fully outlined by Hindemith until 1937, the author examines to what extent specific elements of his emerging theory are to be found throughout Suite 1922. The first two chapters are dedicated to an overview of Hindemith's life and music. Chapter III investigates the origins of the individual movements of Suite 1922 and provides a structural analysis for each. Chapter IV examines the jazz and Baroque features found in Suite 1922. In this chapter, the author identifies the main elements drawn from both styles: blues harmonies, extended triads, syncopations and rhythmic devices from jazz; and formal aspects, dance suite order and affects from the Baroque. Chapter V presents Hindemith's mature compositional system in a concise format and applies selected aspects of this innovative system to the suite. Hindemith's six levels of analysis and unifying principles are the primary tools applied to this analysis. This study provides new insights into one of Hindemith's more fascinating works to further enhance the understanding of his music for pianists, scholars, and composers alike.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectSuite 1922en_US
dc.subjectMusicen_US
dc.subjectHindemithen_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorGibson, Tannisen_US
dc.contributor.committeememberGibson, Tannisen_US
dc.contributor.committeememberWoods, Rexen_US
dc.contributor.committeememberZdechlik, Lisaen_US
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