PEI-CHI CHEN BASSOON RECITAL WITH A SUPPORTING PAPER ANALYSIS AND INTERPRETATION OF HINDEMITH’S SONATA FOR BASSOON AND PIANO

• Main Authors: Chen, Pei-Chi, 陳姵錡
• Other Authors: Chang, Hsien-Hui
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/mfp7qr

碩士 === 國立交通大學 === 音樂研究所 === 101 === The German composer Paul Hindemith (1895-1963) combines the concept of modern music with his adoration of traditional music, such as baroque polyphony, classic musical style and form of homophony, which made him the representation of Neoclassicism of the early 20th century. Sonata for Bassoon and Piano was composed in 1938 and made his debut in the same year in Zurich, while Hindemith sketched his theoretical book Unterweisung im Tonsatz published in 1939. In Bassoon Sonata, Hindemith utilized the theories in the Unterweisung im Tonsatz as the fundamentals for the composition. In addition of the usage in classical music form, this sonata is characterized as one of the favorite works in neoclassical style. This thesis approaches the subject of compositional techniques of Bassoon Sonata by using the theory of central tone and classical music. This analysis focus on form, harmonics and motives of each movements in order to understand the musical ideas of Hindemith’s creation, and interprets an approach close to the musical thoughts of Hindemith’s Sonata for Bassoon and Piano.