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

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Paul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and His Embryonic Compositional System Paul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional System Item Type text; Electronic Dissertation Authors Park, Bokyung 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. Download date 09/10/2021 23:38:02 Link to Item http://hdl.handle.net/10150/306363 PAUL HINDEMITH’S SUITE 1922: INFLUENCES OF JAZZ AND BAROQUE STYLES, AND HIS EMBRYONIC COMPOSITIONAL SYSTEM by Bokyung Park _______________________ Copyright © Bokyung Park 2013 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Bokyung Park entitled Paul Hindemith’s Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional System and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Date: July 3, 2013 Tannis Gibson Date: July 3, 2013 Rex Woods Date: July 3, 2013 Lisa Zdechlik Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: July 3, 2013 Document Director: Tannis Gibson 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Bokyung Park 4 ACKNOWLEDGEMENTS I would like to express the deepest gratitude to my inspirational supervisor, Professor Tannis Gibson for her dedication and superb advice through every stage of this dissertation. I would also like to thank Dr. Rex Woods for his insight, broader direction, and guidance. My grateful thanks go to Dr. Lisa Zdechlik for all of her thorough advice, encouragement, and support. My warm appreciation goes to Ms. Lyneen Elmore for her professional help and care throughout the process. Special thanks go to Dr. Luitgard Schader for her kindness and help during the research visit to the Hindemith Institute in Frankfurt. I owe particular thanks to Dr. Louise Lansdown for her willingness to send me her dissertation, “The Young Paul Hindemith: Life, Works, Relationships, Influences and Musical Activities until 1922.” I would like to acknowledge European American Music Distributors Company for permission to reproduce examples in this document. I am grateful to my husband Seongho Chey for his devoted help and support and especially for his assistance with the musical examples in this document. Thank you to my dearest sister, Jinkyung Park, for her care and encouragement from the very beginning moment of this dissertation. Finally, my grateful appreciation goes to my parents and parents-in-law that supported me with their love and patience at every moment. 5 DEDICATION To my husband, Seongho Chey 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES................................................................................8 LIST OF FIGURES .....................................................................................................11 LIST OF TABLES.......................................................................................................13 ABSTRACT ................................................................................................................14 CHAPTER ONE: INTRODUCTION .........................................................................15 CHAPTER TWO: PAUL HINDEMITH.....................................................................20 Biography ........................................................................................................20 Compositions and Stylistic Development .......................................................25 Keyboard Compositions ..................................................................................32 CHAPTER THREE: AN OVERVIEW AND STRUCTURAL ANALYSIS OF THE MOVEMENTS IN SUITE 1922..................................................................................35 Overview .........................................................................................................35 Structural Analysis ..........................................................................................37 CHAPTER FOUR: SUITE 1922, INFLUENCES OF JAZZ AND BAROQUE STYLES.......................................................................................................................42 Background: Jazz Influences in the Music of Hindemith................................42 Jazz Elements in Suite 1922 ............................................................................43 Rhythm ................................................................................................43 Harmony ..............................................................................................53 Ornamentation .....................................................................................56 Formal Features ...................................................................................58 Background: Baroque Influences in the Music of Hindemith.........................61 Baroque Elements in Suite 1922......................................................................63 “Marsch”..............................................................................................64 “Shimmy” ............................................................................................66 “Nachtstück”........................................................................................68 “Boston” ..............................................................................................70 “Ragtime” ............................................................................................71 CHAPTER FIVE: SELECTED ELEMENTS IN HINDEMITH’S DEVELOPED COMPOSITIONAL SYSTEM....................................................................................73 Fundamental Theory........................................................................................73 Series 1 and Series 2............................................................................73 Hindemith’s Classification of Chord-Groups......................................79 7 TABLE OF CONTENTS - Continued Six-level Analysis in The Craft of Musical Composition, Book I...................81 Melodic Analysis.................................................................................81 Harmonic Analysis ..............................................................................85 Six-level Analysis in “Nachtstück” .....................................................89 Step-progressions in Suite 1922 ..........................................................94 Additional Elements in Hindemith’s Compositional Theory ..........................97 Unifying Devices: Recurring Intervallic Motive and Tonal Design ...97 Recurring intervallic motive...................................................97 Tonal design .........................................................................105 Cadences............................................................................................109 CHAPTER SIX: CONCLUSION..............................................................................113 APPENDIX A: PERMISSION..................................................................................118 REFERENCES ..........................................................................................................121 8 LIST OF MUSICAL EXAMPLES Musical Example 4.1. Joplin, A Breeze from Alabama, mm.1-4 ...............................44 Musical Example 4.2. Hindemith, “Ragtime” from Suite 1922, mm.1-4...................44 Musical Example 4.3. Joplin, A Breeze from Alabama, mm.5-9 ...............................45 Musical Example 4.4. Hindemith, “Ragtime” from Suite 1922, mm.5-8...................45 Musical Example 4.5. Hindemith, “Marsch” from Suite 1922, mm.16-19 ................46 Musical Example 4.6. Hindemith, “Shimmy” from Suite 1922, mm.4-7...................46 Musical Example 4.7. Hindemith, “Boston” from Suite 1922, mm.1-8.....................47 Musical Example 4.8. Hindemith, “Boston” from Suite 1922, mm.115-130.............48 Musical Example 4.9. Hindemith, “Ragtime” from Suite 1922, mm.48-56...............49 Musical Example 4.10. Hindemith, “Shimmy” from Suite 1922, mm.19-22.............50 Musical Example 4.11. Joplin, A Breeze from Alabama, mm.1-9 .............................51 Musical Example 4.12. Hindemith, “Ragtime” from Suite 1922, mm.1-8.................51 Musical Example 4.13. Hindemith, “Boston” from Suite 1922, mm.14-20...............52 Musical Example 4.14. Hindemith,
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