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dc.contributor.authorWildman, Simon Randolph
dc.date.accessioned2014-11-21T05:30:20Z
dc.date.available2014-11-21T05:30:20Z
dc.date.issued2014-05
dc.identifier.otherwildman_simon_r_201405_dma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/wildman_simon_r_201405_dma
dc.identifier.urihttp://hdl.handle.net/10724/30726
dc.description.abstractPaul Hindemith’s Sonata for Bassoon (1938) and Sonata for Tuba (1955) are two striking examples from the composer’s collection of sonatas for orchestral instruments. The bassoon sonata is generally considered to be characteristic of the compositional framework Hindemith wrote about in his treatise The Craft of Musical Composition. The tuba sonata is commonly cited as one of the few works in which Hindemith experimented with twelve-tone themes. Both of these perspectives are valid, but neither describes the full complexity and beauty of the music. Since both these sonatas are standard as solo repertoire, tubists and bassoonists could benefit from an in-depth study of Hindemith’s style. This paper analyzes the tuba sonata alongside the bassoon sonata, synthesizing observations from each work to form a broad understanding of Hindemith’s style. The contrasts and similarities of the sonatas are highlighted throughout the analysis. The paper also includes a script from the lecture that accompanied a public performance of these sonatas.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectPaul Hindemith
dc.subjecttuba sonata
dc.subjectbassoon sonata
dc.subjectanalysis
dc.titleA comparative analysis of Paul Hindemith's Sonata for bassoon (1938) and Sonata for tuba (1955)
dc.typeDissertation
dc.description.degreeDMA
dc.description.departmentSchool of Music
dc.description.majorMusic
dc.description.advisorDavid Zerkel
dc.description.committeeDavid Zerkel
dc.description.committeeAdrian Childs
dc.description.committeeJoshua Bynum


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