Meine Begegnung mit Paul Hindemith: Rede anlaesslich der Hindemith - Woche vom 25.- 29. April 1983 in Deutschen Kulturinstitut Ankara.= Paul Hindemith ile karsilasmam: 25-29 Nisan 1983 tarihlerinde Ankara Alman Kültür Merkezinde düzenlenen Hindemith Haftasi çerçevesinde yapilan konusma. Übersetzung: Dr. Erdogan Okyay.

Ankara: Deutsches Kulturinstitut Ankara Türkisch - Deutscher Kulturbeirat, 1983. Soft cover. Fine. 8vo - over 7¾ - 9¾" tall. Paperback. Roy. 8vo. (24 x 17 cm). In German and Turkish. [ix], [1], 36 p. Cevat Memduh Altar's first meeting with Paul Hindemith and his memories about it. Paul Hindemith, (1895-1963), was a prolific German composer, violist, violinist, teacher and conductor. In the 1920s, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music. The Nazis' relationship to Hindemith's music was complicated. Some condemned his music as "degenerate" (largely based on his early, sexually charged operas such as Sancta Susanna). 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". The Nazis banned his music in October 1936 and he was subsequently included in the 1938 Entartete Musik (Degenerate Music) exhibition in Düsseldorf.[10] Other officials working in Nazi Germany, though, thought that he might provide Germany with an example of a modern German composer, as, by this time, he was writing music based in tonality, with frequent references to folk music. During the 1930s, he made a visit to Cairo and several to Ankara. He accepted an invitation from the Turkish government to oversee the creation of a music school in Istanbul in 1935, after Goebbels had pressured him to request an indefinite leave of absence from the Berlin Academy. In Turkey, he was the leading figure of a new music pedagogy in the era of president Kemal Atatürk. His deputy was Eduard Zuckmayer, (1896-1977). Hindemith led the reorganization of Turkish music education and the early efforts to establish the Turkish State Opera and Ballet. He did not stay in Turkey so long as many other émigrés, but he greatly influenced Turkish musical life; the Ankara State Conservatory owes much to his efforts. Young Turkish musicians regarded Hindemith as a "real master", and he was appreciated and greatly respected. Cevad Memduh Altar, (1902-1995), is one of the leading intellectuals of the republic period as a Turkish music historian, educator and director.