The Many Faces of Paul Hindemith

The purpose of this project is to present selected violin pieces by Paul Hindemith (1895-1963) against a backdrop of the diverse styles and traditions that he integrated in his music. For this dissertation project, selected violin sonatas by Hindemith were performed in three recitals alongside pieces by other German and Austro-German composers. These recitals were also recorded for archival purposes. The first recital, performed with pianist David Ballena on December 10, 2005, in Gildenhorn Recital Hall at the University of Maryland, College Park, included Violin Sonata Op.11, No. 1 (1918) by Paul Hindemith, Sonatina in D Major, Op. 137 (1816) by Franz Schubert, and Sonata in E-flat Major, Op.18 (1887) by Richard Strauss. The second recital, performed with pianist David Ballena on May 9, 2006, in Gildenhorn Recital Hall at the University of Maryland, included Sonata in E Minor, KV 304 (1778) by Wolfgang Amadeus Mozart, Sonata in E (1935) by Paul Hindemith, Romance for Violin and Orchestra No.1 in G Major (1800-1802) by Ludwig Van Beethoven, and Sonata for Violin and Piano in A minor, Op. 105 (1851) by Robert Schumann. The third recital, performed with David Ballena and Kai-Ching Chang on November 10, 2006 in Ulrich Recital Hall at the University of Maryland, included Violin Sonata Op.12 No.1 in D Major (1798) by Ludwig Van Beethoven, Sonata for Violin and Harpsichord No.4 in C Minor BWV 1017 (1720) by J.S. Bach, and Violin Sonata Op.11 No.2 (1918) by Paul Hindemith. For each of my dissertation recitals, I picked a piece by Hindemith as the core of the program then picked pieces by other composers that have similar key, similar texture, same number of movements or similar feeling to complete my program. Although his pieces used some classical methods of composition, he added his own distinct style: extension of chromaticism; his prominent use of interval of the fourth; his chromatic alteration of diatonic scale degrees; and his non-traditional cadences. Hindemith left behind a legacy of multi-dimensional, and innovative music capable of expressing both the old and the new aesthetics.

La polémica entre bonaventura cavalieri y Paul Guldin o jesuatos contra jesuitas sobre los indivisibles

Se analiza la polémica entre Cavalieri y Guldin sobre el concepto de lo indivisible.

[Recording review] Paul Hindemith, Die Harmonie der Welt, soloists, Rundfunkchor Berlin, Rundfunk-Sinfonieorchester Berlin, conductor Marek Janowski

Tony Mann provides a review of the recording: Paul Hindemith, Die Harmonie der Welt [opera], soloists, Rundfunkchor Berlin, Rundfunk-Sinfonieorchester Berlin, conductor Marek Janowski. Wergo 6652-2 (160 minutes, 3CDs priced as two)

Two steps forward, one step back: developing the curriculum for training teachers for technical and further education England 1945-1956

This paper discusses the development of provision for the training of teachers in English further and technical education from 1945 to 1956. While these years saw little growth in this provision, they were formative in that the institutional and curricular patterns of teacher training for the diverse fields of technical and further education were developed at this time. The work of the three national centres in Bolton, London and Huddersfield, during the period of the Emergency Training Scheme (ETS) is summarised with particular reference to the influence of the Ministry of Education‟s conditions for ETS colleges and courses. With the ending of the ETS in 1951 the three centres were given permanent status as teacher training colleges which in turn brought them into association with their local universities as constituent colleges of their Area Training Organisations. The consequences of this transfer to the universities for the curriculum and assessment of technical teacher training and the 'policy dichotomy' of teacher training for secondary and technical education are examined.

La gran pantalla en guerra: Segunda Guerra Mundial y noticiarios cinematográficos "Luce" (1940-1945

En la Segunda Guerra Mundial la propaganda se convirtió en un campo de batalla más: en el caso de Italia era necesario crear en una opinión pública favorable a la guerra sin crear alarmismos. Para ello se utilizó uno de los instrumentos más eficaces para la propaganda del fascismo: el noticiario cinematográfico Luce. Este artículo analiza la representación que los noticiarios producidos desde 1940 hasta 1945 ofrecen de la Segunda Guerra Mundial. Se apuntan los temas más recurrentes, las características de las noticias sobre la guerra y se señalan las grandes ausencias debidas a la censura del Régimen de Mussolini.