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Survival Strategies: The Professional, Political, and Artistic Negotiations of Paul Hindemith, 1918-1934.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Survival Strategies: The Professional, Political, and Artistic Negotiations of Paul Hindemith, 1918-1934./
Author:	Hughes, Lesley L.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	460 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-11, Section: A.
Contained By:	Dissertations Abstracts International81-11A.
Subject:	Music history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27963543
ISBN:	9798644904563

Survival Strategies: The Professional, Political, and Artistic Negotiations of Paul Hindemith, 1918-1934.
Hughes, Lesley L.

Survival Strategies: The Professional, Political, and Artistic Negotiations of Paul Hindemith, 1918-1934. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 460 p.

Source: Dissertations Abstracts International, Volume: 81-11, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2020.

This item must not be sold to any third party vendors.

Paul Hindemith's works are frequently understood as examples of the major artistic movements of the early twentieth century, even when the aesthetic labels attached to his compositional style bear little relationship to the works themselves or to Hindemith's own motivations. This dissertation questions common assumptions about Hindemith and his works by considering the complex forces of politics, economics, and technology in interwar Germany. Drawing on Hindemith's extensive correspondence with his publishers, his published essays, and contemporary press reviews and music journals, I argue that his compositional experiments of the 1920s arose from the demands of new markets and mass media, rather than solely from artistic inspiration. Hindemith moved from one trend to another to try to establish himself as a leading young German composer, navigating the shifts in Germany's political, economic and professional landscape until his fortunes turned in the late 1920s and allowed him to devote himself completely to art music. After the creation of the Third Reich, Hindemith continued to work and took additional steps to safeguard his position, challenging the narrative of Hindemith as a victim of Nazi aggression who was ultimately driven into inner emigration and exile.Chapter One addresses the economic and political turbulence of the Weimar Republic and its impact on German musical life and Hindemith's career. Chapter Two focuses on his jazz-influenced compositions Kammermusik Nr. 1 (1922), 1922: Suite fur Klavier, op. 26 (1922), and the opera Neues vom Tage (1928), examining how Hindemith drew on jazz's extramusical associations to critique aspects of modernity. Chapters Three and Four reinterpret Hindemith's engagements with technology and amateur music, respectively, as responses to the perceived crisis in musical life. Chapter Five details Hindemith's return to the concert hall with a more accessible musical style, consistent with international trends in the arts towards conservatism. The final chapter reinterprets Mathis der Maler as one more step toward becoming the leading composer in the Third Reich, only to discover that his failure to forge useful political alliances rendered him vulnerable to attacks from ideological zealots.

ISBN: 9798644904563Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Economics

Survival Strategies: The Professional, Political, and Artistic Negotiations of Paul Hindemith, 1918-1934.
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520 $a Paul Hindemith's works are frequently understood as examples of the major artistic movements of the early twentieth century, even when the aesthetic labels attached to his compositional style bear little relationship to the works themselves or to Hindemith's own motivations. This dissertation questions common assumptions about Hindemith and his works by considering the complex forces of politics, economics, and technology in interwar Germany. Drawing on Hindemith's extensive correspondence with his publishers, his published essays, and contemporary press reviews and music journals, I argue that his compositional experiments of the 1920s arose from the demands of new markets and mass media, rather than solely from artistic inspiration. Hindemith moved from one trend to another to try to establish himself as a leading young German composer, navigating the shifts in Germany's political, economic and professional landscape until his fortunes turned in the late 1920s and allowed him to devote himself completely to art music. After the creation of the Third Reich, Hindemith continued to work and took additional steps to safeguard his position, challenging the narrative of Hindemith as a victim of Nazi aggression who was ultimately driven into inner emigration and exile.Chapter One addresses the economic and political turbulence of the Weimar Republic and its impact on German musical life and Hindemith's career. Chapter Two focuses on his jazz-influenced compositions Kammermusik Nr. 1 (1922), 1922: Suite fur Klavier, op. 26 (1922), and the opera Neues vom Tage (1928), examining how Hindemith drew on jazz's extramusical associations to critique aspects of modernity. Chapters Three and Four reinterpret Hindemith's engagements with technology and amateur music, respectively, as responses to the perceived crisis in musical life. Chapter Five details Hindemith's return to the concert hall with a more accessible musical style, consistent with international trends in the arts towards conservatism. The final chapter reinterprets Mathis der Maler as one more step toward becoming the leading composer in the Third Reich, only to discover that his failure to forge useful political alliances rendered him vulnerable to attacks from ideological zealots.
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