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In language, an archaism (from the Ancient Greek: ἀρχαϊκός, archaïkós, 'old-fashioned, antiquated', ultimately ἀρχαῖος, archaîos, 'from the beginning, ancient') is the use of a form of speech or writing that is no longer current. This can either be done deliberately (to achieve a specific effect) or as part of a specific jargon (for example in law) or formula (for example in religious contexts). Many nursery rhymes contain archaisms. Archaic elements that occur only in certain fixed expressions (for example 'be that as it may') are not considered to be archaisms.

Usage[link]

Archaisms are most frequently encountered in poetry, law, science, technology, geography and ritual writing and speech. Their deliberate use can be subdivided into literary archaisms, which seeks to evoke the style of older speech and writing; and lexical archaisms, the use of words no longer in common use. Archaisms are kept alive by these ritual and literary uses and by the study of older literature. Should they remain recognised, they can be revived, as the word anent was in this past century.

Because they are things of continual discovery and re-invention, science and technology have historically generated forms of speech and writing which have dated and fallen into disuse relatively quickly. However the emotional associations of certain words (for example: 'Wireless' rather than 'Radio' for a generation of British citizens who lived through the second world war) have kept them alive even though the older word is clearly an archaism.

A similar desire to evoke a former age means that archaic place names are frequently used in circumstances where doing so conveys a political or emotional subtext, or when the official new name is not recognised by all (for example: 'Persia' rather than 'Iran', 'Bombay' rather than 'Mumbai', 'Madras' rather than 'Chennai'). So, a restaurant seeking to conjure up historic associations might prefer to call itself Old Bombay or refer to Persian cuisine in preference to using the newer place name. A notable contemporary example is the name of the airline Cathay Pacific, which uses the archaic Cathay ("China").

Archaisms are frequently misunderstood, leading to changes in usage. One example is found in the phrase "the odd man out", which originally came from the phrase "to find the odd man out", where the verb "to find out" has been split by its object "the odd man", meaning the item which does not fit.

The compound adverbs and prepositions found in the writing of lawyers (e.g. heretofore, hereunto, thereof) are examples of archaisms as a form of jargon. Some phraseologies, especially in religious contexts, retain archaic elements that are not used in ordinary speech in any other context: "With this ring I thee wed." Archaisms are also used in the dialogue of historical novels in order to evoke the flavour of the period. Some may count as inherently funny words and are used for humorous effect.

Alternative meanings[link]

In anthropological studies of culture, archaism is defined as the absence of writing and subsistence economy. In history, archaism is used to connote a superior, albeit mythical, "golden age".

See also[link]

• Neologism
• Legal English
• List of alternative country names
• List of archaic technological nomenclature
• Thou

References[link]

• George Orwell, Politics and the English Language (1946)

Hilary Mary Mantel CBE (/mænˈtɛl/ man-TEL;^[1] born 6 July 1952), née Thompson, is an English novelist, short story writer and critic. Her work, ranging in subject from personal memoir to historical fiction, has been short-listed for major literary awards.^[2] In 2009, she won the Man Booker Prize for her novel Wolf Hall.^[3]

Early life[link]

She was born in Glossop, Derbyshire, the eldest of three children, and was brought up in the Derbyshire mill village of Hadfield, attending the local Roman Catholic primary school. Her parents, Margaret and Henry Thompson, were both born in England, of Irish descent. Her parents separated and she did not see her father after age eleven. Jack Mantel moved in and became her unofficial stepfather^[4] and she took his surname. Her family background, the mainspring of much of her fiction, is explained in her memoir, Giving Up the Ghost. She lost her religious faith at age 12 and says that this left a permanent mark on her: the "real cliche, the sense of guilt. You grow up believing that you're wrong and bad. And for me, because I took what I was told really seriously, it bred a very intense habit of introspection and self-examination and a terrible severity with myself. So that nothing was ever good enough. It's like installing a policeman, and one moreover who keeps changing the law."^[5]

Mantel attended Harrytown Convent in Romiley, Cheshire (now Romiley, Greater Manchester). In 1970 she began her studies at the London School of Economics to read law.^[2] She transferred to the University of Sheffield and graduated as Bachelor of Jurisprudence in 1973.

Career and health[link]

After university, Mantel worked in the social work department of a geriatric hospital, and then as a sales assistant in a department store. In 1974 she began writing a novel about the French Revolution, which was later published as A Place of Greater Safety.

In 1977 Mantel went to live in Botswana with her husband, Gerald McEwen, a geologist, whom she had married in 1972. Later they spent four years in Jeddah in Saudi Arabia – she published a memoir of this time, "Someone to Disturb", in the London Review of Books. Leaving Jeddah gave her the feeling that it was "the best day of my life".^[6] During her twenties, she suffered from a debilitating and painful illness. This was initially diagnosed as a psychiatric illness, for which she was hospitalised and treated with anti-psychotic drugs. These paradoxically produced psychotic symptoms; as a consequence, for some years she refrained from seeking help from doctors. Finally, in Botswana and desperate, she consulted a medical text-book and realised she was probably suffering from a severe form of endometriosis, a diagnosis confirmed by doctors in London. The condition and necessary surgery left her unable to have children and continued to disrupt her life, with continued treatment by steroids causing weight gain and radically changing her appearance. She was patron of the Endometriosis SHE Trust.

Literary career[link]

Her first novel, Every Day is Mother's Day, was published in 1985, and its sequel, Vacant Possession, a year later. Returning to England, she became the film critic of The Spectator and a reviewer for a number of papers and magazines in Britain and the United States.

Her novel Eight Months on Ghazzah Street (1988), which drew on her first-hand experience in Saudi Arabia, uses the dangerous clash of values between the neighbours in a city apartment block to illustrate the tensions between Islam and the liberal West. Her Winifred Holtby Memorial Prize-winning novel Fludd is set in 1956 in a fictitious northern village called Fetherhoughton, and centres on the convent and Roman Catholic church. A mysterious stranger brings about alchemical transformation in the lives of the downtrodden, the depressed and the despised.

A Place of Greater Safety (1992) won the Sunday Express Book of the Year award, for which her two previous books had been shortlisted. A long novel written with a close eye on historical accuracy, it traces the career of three revolutionaries, Danton, Robespierre and Camille Desmoulins, from childhood to their early deaths during the Reign of Terror of 1794.

A Change of Climate (1994), set in rural Norfolk, explores the lives of Ralph and Anna Eldred, raising their four children and devoting their lives to charity. It includes chapters about their early married life as missionaries in South Africa, when they were imprisoned and deported to Bechuanaland, and the tragedy that occurred there.

An Experiment in Love, which won the Hawthornden Prize, takes place over two university terms in 1970, and follows the progress of three girls – two friends and one enemy – as they leave home for university in London. Mrs Thatcher makes a cameo appearance in a novel that explores women’s appetites and ambitions and suggests how they are often thwarted. Though Mantel has used material from her own life, it is not an autobiographical novel.

Her next book, The Giant, O’Brien, is set in the 1780s and is based on the true story of Charles O’Brien or Byrne, who came to London to exhibit himself as a freak. His bones hang today in the Museum of the Royal College of Surgeons. The novel treats O’Brien and his antagonist, the Scots surgeon John Hunter, less as characters in history than as mythic protagonists in a dark and violent fairytale, necessary casualties of the Age of Enlightenment. Mantel adapted the book for BBC Radio 4, in a play starring Lloyd Hutchinson as the Giant, Alex Norton as John Hunter, and Frances Tomelty and Deborah Finley as two of the women who cross their path.^{[citation needed]}

In 2003 Mantel published her memoir, Giving Up the Ghost, which won the MIND ‘Book of the Year’ award. That same year she brought out a collection of short stories, Learning To Talk. All the stories deal with childhood and, taken together, the books show how the events of a life are mediated into fiction. Her 2005 novel, Beyond Black, was shortlisted for the Orange Prize. Set in the years around the millennium, it features a professional medium, Alison Hart, whose calm and jolly exterior conceals grotesque psychic damage. She trails around with her a troupe of ‘fiends’ who are invisible but always on the verge of becoming flesh.^{[citation needed]}

Some comparison has been made^[7] between Mantel's work and that of Muriel Spark.

Mantel was appointed Commander of the Order of the British Empire (CBE) in the 2006 Birthday Honours.

The long novel Wolf Hall, about Henry VIII’s minister Thomas Cromwell, was published in 2009 to high critical acclaim.^[8] The book went on to win that year's Man Booker Prize and upon winning the award, Mantel stated, "I can tell you at this moment I am happily flying through the air".^[9] Judges voted three to two in favour of Wolf Hall for the prize, with Mantel being presented with a trophy and a £50,000 cash prize during an evening ceremony at the London Guildhall.^[10][11] The panel of judges, led by the broadcaster James Naughtie, described Wolf Hall as an "extraordinary piece of storytelling".^[12] Leading up to the award, the book was backed as the favourite by bookmakers and accounted for 45% of all the nominated books' sales.^[10] By winning, it subsequently became the first favourite to win the award since 2002.^[3]

The sequel to Wolf Hall, called Bring Up the Bodies, was published in May 2012 to wide acclaim.^[13] She is now working on the third novel of the Henry VIII trilogy called The Mirror and the Light.^[14]She is also working on a short non-fiction book called The Woman Who Died of Robespierre, about the Polish playwright Stanisława Przybyszewska. Mantel also writes reviews and essays, mainly for The Guardian, the London Review of Books and the New York Review of Books.

The Culture Show programme on BBC Two broadcast a profile of Mantel on 17 September 2011.^[15]

Articles[link]

• "What a man this is, with his crowd of women around him!", London Review of Books, 30 March 2000.
• "Some Girls Want Out", London Review of Books, v. 26 no. 5, pg 14-18, 4 March 2004. Describes extreme fasting for religious purposes as "holy anorexia", with a comparison with "secular anorexia", tying the two together as "social hypocrisy".
• "Diary", London Review of Books, 4 November 2010.

Bibliography[link]

• Every Day is Mother's Day: Chatto & Windus, 1985
• Vacant Possession: Chatto & Windus, 1986
• Eight Months on Ghazzah Street: Viking, 1988
• Fludd: Viking, 1989
• A Place of Greater Safety: Viking, 1992
• A Change of Climate: Viking, 1994
• An Experiment in Love: Viking, 1995
• The Giant, O'Brien: Fourth Estate, 1998
• Giving Up the Ghost (A Memoir): Fourth Estate, 2003
• Learning to Talk (Short Stories): Fourth Estate, 2003
• Beyond Black: Fourth Estate, 2005
• Wolf Hall: Fourth Estate, 2009
• Bring Up the Bodies: Henry Holt and Co., First Edition, May 2012
• The Mirror and the Light: in progress

Prizes and awards[link]

• 1987, Shiva Naipaul Memorial Prize
• 1990, Southern Arts Literature Prize (Fludd)
• 1990, Cheltenham Prize (Fludd)
• 1990, Winifred Holtby Memorial Prize (Fludd)
• 1992, Sunday Express Book of the Year (A Place of Greater Safety)
• 1996, Hawthornden Prize (An Experiment in Love)
• 2003, MIND Book of the Year (Giving Up the Ghost (A Memoir))
• 2006, Commonwealth Writers Prize (Eurasia Region, Best Book) (shortlist) (Beyond Black)
• 2006, CBE
• 2006, Orange Prize for Fiction (shortlist) (Beyond Black)
• 2009, Man Booker Prize (winner) (Wolf Hall), National Book Critics Circle Award (winner) (Wolf Hall)
• 2010, Orange Prize for Fiction (shortlist) (Wolf Hall)
• 2010, Walter Scott Prize (winner) (Wolf Hall)

References[link]

External links[link]

• Online Wall Street Journal review
• Enhanced Editions iPhone App of Wolf Hall
• Interview with Ramona Koval, The Book Show, ABC Radio National, 21.10.08
• Profile in The New Yorker magazine
• Mantel archive from The New York Review of Books
• Hilary Mantel goes from Booker outsider to favourite in 48 hours
• Cromwell Unshadowed, Razor Sharp, Janet Maslin, The New York Times, 4 October 2009
• Hilary Mantel on Wolf Hall Video
• Articles by Hilary Mantel on her publisher's blog, 5th Estate

Tamara Obrovac (born in Pula, 1962) is a Croatian ethno jazz singer, flutist, song writer and composer.^[1] She has received a Porin, and was nominated for the BBC Radio 3 World music Award in 2004.

Apart from playing with her ensamble Transhistria, Tamara Obrovac is committed to numerous inter-cultural projects, one of which is Istria/Irland (Istra/Irska in Croatian). She composes for ballet and theater plays, and composed the music for the feature film What Is a Man Without a Moustache?.

A selection of her music and live performances can be heard and seen on her official website^[2] and on YouTube.

References[link]

External links[link]

• Official website

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Paul Hindemith aged 28.

Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.

Life and career[link]

Born in Hanau, near Frankfurt am Main, Hindemith was taught the violin as a child. He entered Frankfurt's Hoch’sche Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles. At first he supported himself by playing in dance bands and musical-comedy groups. He became deputy leader of the Frankfurt Opera Orchestra in 1914, and was promoted to leader in 1917. He played second violin in the Rebner String Quartet from 1914. In 1921 he founded the Amar Quartet,^[1] playing viola, and extensively toured Europe.

In 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, where he programmed works by several avant garde composers, including Anton Webern and Arnold Schoenberg. From 1927 he taught composition at the Berliner Hochschule für Musik in Berlin. Hindemith wrote the music for Hans Richter's 1928 avant-garde film Ghosts Before Breakfast (Vormittagsspuk), although the score was subsequently lost, and he also acted in the film.^[2]

During the 1930s he made a visit to Cairo and several visits to Ankara where (at the invitation of Mustafa Kemal Atatürk) he led the task of reorganizing Turkish music education and the early efforts for the establishment of Turkish State Opera and Ballet. Towards the end of the 1930s, he made several tours in America as a viola and viola d'amore soloist.

Hindemith's relationship to the Nazis is a complicated one. Some condemned his music as "degenerate" (largely on the basis of his early, sexually charged operas such as Sancta Susanna), and in December 1934, during a speech at the Berlin Sports Palace, Germany’s Minister of Propaganda, Joseph Goebbels publicly denounced Hindemith as an "atonal noisemaker."

Other officials working in Nazi Germany, though, thought that he might provide Germany with an example of a modern German composer, who by this time was writing music based in tonality, and with frequent references to folk music; the conductor Wilhelm Furtwängler's defense of Hindemith, published in 1934, takes precisely this line.

The controversy around his work continued throughout the thirties, with the composer falling in and out of favor with the Nazi hierarchy; he finally emigrated to Switzerland in 1938 (in part because his wife was of partially Jewish ancestry).^[3]

In 1935, Hindemith was commissioned by the Turkish government to reorganize that country's musical education, and, more specifically, was given the task of preparing material for the "Universal and Turkish Polyphonic Music Education Programme" for all music-related institutions in Turkey, a feat which he accomplished to universal acclaim.

This development seems to have been supported by the Nazi regime: it may have got him conveniently out of the way, yet at the same time he propagated a German view of musical history and education. (Hindemith himself said he believed he was being an ambassador for German culture.)

Hindemith did not stay in Turkey as long as many other émigrés. Nevertheless, he greatly influenced the developments of Turkish musical life; the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was regarded to be a "real master" by young Turkish musicians and he was appreciated and greatly respected.^[4]

In 1940, Hindemith emigrated to the United States. At the same time that he was codifying his musical language, his teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet.^[5] Once in the U.S. he taught primarily at Yale University where he had such notable students as Lukas Foss, Graham George, Norman Dello Joio, Mel Powell, Harold Shapero, Hans Otte, Ruth Schonthal, and Oscar-winning film director George Roy Hill. During this time he also gave the Charles Eliot Norton Lectures at Harvard, from which the book A Composer's World was extracted (Hindemith 1952). Hindemith had a long friendship with Erich Katz, whose own compositions were influenced by him.^[6]

He became an American citizen in 1946, but returned to Europe in 1953, living in Zürich and teaching at the university there. Towards the end of his life he began to conduct more, and made numerous recordings, mostly of his own music.

An anonymous critic writing in Opera magazine in 1954, having attended a performance of Hindemith's Neues vom Tage, noted that "Mr Hindemith is no virtuoso conductor, but he does possess an extraordinary knack of making performers understand how his own music is supposed to go".^[7] He was awarded the Balzan Prize in 1962.

After a prolonged decline in his physical health (though he kept composing until almost the last), Hindemith died in Frankfurt from pancreatitis at the age of 68.

Hindemith's music[link]

Hindemith is among the most significant German composers of his time. His early works are in a late romantic idiom, and he later produced expressionist works, rather in the style of early Arnold Schoenberg, before developing a leaner, contrapuntally complex style in the 1920s. This style has been described as neoclassical,^{[citation needed]} but is very different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Bach than the Classical clarity of Mozart.

The new style can be heard in the series of works called Kammermusik (Chamber Music) from 1922 to 1927. Each of these pieces is written for a different small instrumental ensemble, many of them very unusual. Kammermusik No. 6, for example, is a concerto for the viola d'amore, an instrument that has not been in wide use since the baroque period, but which Hindemith himself played. He continued to write for unusual groups throughout his life, producing a trio for viola, heckelphone and piano (1928), a sonata for double bass and a concerto for trumpet, bassoon, and strings (both in 1949), for example.

Around the 1930s, Hindemith began to write less for chamber groups, and more for large orchestral forces. In 1933-35, Hindemith wrote his opera Mathis der Maler, based on the life of the painter Matthias Grünewald. This opera is rarely staged, though a well-known production by the New York City Opera in 1995 was an exception (Holland 1995). It combines the neo-classicism of earlier works with folk song. Hindemith turned some of the music from this opera into a purely instrumental symphony (also called Mathis der Maler), which is one of his most frequently performed works.

Hindemith wrote Gebrauchsmusik (Music for use) - compositions intended to have a social or political purpose and sometimes written to be played by amateurs. The concept was inspired by Bertolt Brecht. An example of this is his Trauermusik (Funeral Music), written in January 1936. Hindemith was preparing the London premiere of Der Schwanendreher when he heard news of the death of George V. He quickly wrote this piece for solo viola and string orchestra in tribute to the late king, and the premiere was given that same evening, the day after the king's death.^[8]

Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. It takes melodies from various works by Weber, mainly piano duets, but also one from the overture to his incidental music for Turandot (Op. 37/J. 75), and transforms and adapts them so that each movement of the piece is based on one theme.

In 1951, Hindemith completed his Symphony in B-flat. Scored for concert band, it was written for the U.S. Army Band "Pershing's Own". Hindemith premiered it with that band on April 5 of that year.^[9] Its second performance took place under the baton of Hugh McMillan, conducting the Boulder Symphonic Band at the University of Colorado. The piece is representative of his late works, exhibiting strong contrapuntal lines throughout, and is a cornerstone of the band repertoire. Hindemith recorded it in stereo with members of the Philharmonia Orchestra for EMI in 1956.

Hindemith's musical system[link]

This unreferenced section requires citations to ensure verifiability.

Most of Hindemith's music employs a unique system that is tonal but non-diatonic. Like most tonal music, it is centered on a tonic and modulates from one tonal center to another, but it uses all 12 notes freely rather than relying on a scale picked as a subset of these notes. Hindemith even rewrote some of his music after developing this system. One of the key features of his system is that he ranks all musical intervals of the 12-tone equally tempered scale from the most consonant to the most dissonant. He classifies chords in six categories, on the basis of how dissonant they are, whether or not they contain a tritone, and whether or not they clearly suggest a root or tonal center. Hindemith's philosophy also encompassed melody—he strove for melodies that do not clearly outline major or minor triads.

In the late 1930s, Hindemith wrote a theoretical book The Craft of Musical Composition (Hindemith 1937–70), which lays out this system in great detail. He also advocated this system as a means of understanding and analyzing the harmonic structure of other music, claiming that it has a broader reach than the traditional roman numeral approach to chords (an approach that is strongly tied to the diatonic scales). In the final chapter of Book I, Hindemith seeks to illustrate the wide-ranging relevance and applicability and of his system in analysis of music examples ranging from the early origins of European music to the contemporary. These analyses include an early Gregorian melody, and compositions by Guillaume de Machaut, J. S. Bach, Richard Wagner, Igor Stravinsky, Arnold Schoenberg, and finally, a composition of his own.

His piano work of the early 1940s, Ludus Tonalis contains twelve fugues, in the manner of Johann Sebastian Bach, each connected by an interlude during which the music moves from the key of the last fugue to the key of the next one. The order of the keys follows Hindemith's ranking of musical intervals around the tonal center of C.

One traditional aspect of classical music that Hindemith retains is the idea of dissonance resolving to consonance. Much of Hindemith's music begins in consonant territory, progresses rather smoothly into dissonance, and resolves at the end in full, consonant chords. This is especially apparent in his Concert Music for Strings and Brass.

Works[link]

See List of compositions by Paul Hindemith and List of operas by Hindemith.

Pedagogical writings[link]

• Unterweisung im Tonsatz, 3 vols. (Mainz: Schott, 1937–70) [English edition, as The Craft of Musical Composition, vol. 1: Theoretical Part, trans. by Arthur Mendel (New York: Associated Music Publishers; London: Schott, 1942) & vol. 2: Exercises in Two-Part Writing, trans. by Otto Ortmann (New York: Associated Music Publishers; London: Schott, 1941)]
• A Concentrated Course in Traditional Harmony (1943)
• Elementary training for Musicians (1946)

Notable students[link]

Recordings[link]

Hindemith conducted some of his own music in a series of recordings for EMI with the Philharmonia Orchestra and for Deutsche Grammophon with the Berlin Philharmonic Orchestra, which have been digitally remastered and released on CD.^[10][11] The Violin Concerto was also recorded by Hindemith for Decca/London, with the composer conducting the London Symphony Orchestra with David Oistrakh as soloist. Everest Records issued a recording of Hindemith's postwar When Lilacs Last in the Dooryard Bloom'd ("A Requiem for Those We Love") on LP, conducted by Hindemith. A stereo recording of Hindemith conducting the requiem with the New York Philharmonic Orchestra, with Louise Parker and George London as soloists, was made for Columbia Records in 1963 and later issued on CD. He also appeared on television as a guest conductor of the Chicago Symphony Orchestra's nationally syndicated "Music from Chicago" series; the performances have been released by VAI on home video. A complete orchestral music collection has been recorded by German and Australian orchestras, all released on the CPO label, recordings all conducted by Werner Andreas Albert.

Hindemithon Festival[link]

A yearly festival of Hindemith's music is held at William Paterson University in Wayne, New Jersey.

Media[link]

	Kleine Kammermusik performed by the Soni Ventorum Wind Quintet
Problems listening to this file? See media help.

Notes[link]

This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (November 2011)

Sources[link]

• Ansermet, Ernest. 1961. Les fondements de la musique dans la conscience humaine. 2 v. Neuchâtel: La Baconnière.
• Briner, Andres. 1971. Paul Hindemith. Zürich: Atlantis-Verlag; Mainz: Schott.
• Bruhn, Siglind (1998). The Temptation of Paul Hindemith. Mathis der Maler as a Spiritual Testimony. Stuyvesant, NY: Pendragon Press. ISBN 978-1-57647-013-8.
• Bruhn, Siglind. 2000. Musical Ekphrasis in Rilke's Marienleben. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft 47. Amsterdam: Rodopi. ISBN 90-420-0800-8.
• Bruhn, Siglind. 2005. The Musical Order of the World: Kepler, Hesse, Hindemith. Interplay, no. 4. Hillsdale, NY: Pendragon Press. ISBN 978-1-57647-117-3.
• Davenport, LaNoue. 1970. ""Erich Katz: A Profile"". The American Recorder (Spring): 43–44. Retrieved November 2, 2011
• Eaglefield-Hull, Arthur. (Ed.). 1924. A Dictionary of Modern Music and Musicians. London: Dent.
• Hindemith, Paul. 1937–70. Unterweisung im Tonsatz. 3 vols. Mainz, B. Schott's Söhne. First two volumes in English, as The Craft of Musical Composition, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music Publishers; London: Schott & Co., 1941-42.
• Hindemith, Paul. 1952. A Composer's World, Horizons and Limitations. Cambridge: Harvard University Press.
• Holland, Bernard. 1995. "Music Review; City Opera Gamely Flirts with Danger". New York Times, 9 September.
• Kater, Michael H. 1997. "The Twisted Muse: Musicians and Their Music in the Third Reich". New York and Oxford: Oxford University Press.
• Kater, Michael H. 2000. "Composers of the Nazi Era: Eight Portraits". New York and Oxford: Oxford University Press.
• Kemp, Ian. 1970. Hindemith. Oxford Studies of Composers 6. London, New York: Oxford University Press.
• Neumeyer, David. 1986. The Music of Paul Hindemith. New Haven: Yale University Press.
• Noss, Luther. 1989. Paul Hindemith in the United States. Urbana: University of Illinois Press.
• Preussner, Eberhard. 1984. Paul Hindemith: ein Lebensbild. Innsbruck: Edition Helbling.
• Skelton, Geoffrey. 1975. Paul Hindemith: The Man Behind the Music: A Biography. London: Gollancz.
• Taylor-Jay, Claire. 2004. "The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist". Aldershot: Ashgate.

External links[link]

• Hindemith Foundation
• Hindemith Foundation list of compositions
• Schott Musik Publisher page
• The Paul Hindemith Collection at Yale University Music Library
• Art of the States: Paul Hindemith
• An Inner Emigration, notes on Hindemith and Der Schwanendreher by Ron Drummond