Paul Maynard

with Caitriona Bolster

November 15, 1976

TABLE OF CONTENTS

Side a:                                                                                                                        (pp. 1-27)

Maynard’s getting started in music-- coming to Yale-- Hindemith's 3rd Organ Sonata-- composer’s markings-- Hindemith’s History of Music Class-- Hindemith’ s language skills-- Collegium Musicum-- C clef-- Hindemith’s enthusiasm for early music-- Hindemith’s performance of “Singet dem Herrn”-- few performances of early music-- musical purists-- Hindemith and Leo Schrade-- criticism in music-- Collegium Musicum-- role of conductor-- Hindemith as a conductor-- Collegium Musicum.

Side b:                                                                                                                       (pp. 27-44)

Hindemith’s use of old instruments-- Hindemith as a conductor-- Maynard’s loss of contact with Hindemith after leaving Yale-- Maynard’s career after Yale-- Hindemith’s influence on Maynard’s work-- Hindemith’s view of other composers-- The Craft of Musical Composition-- Mrs. Hindemith performing Hindemith's choral works-- Hindemith’s enthusiasm for music-- Maynard’s various musical interests-- Hindemith’s knowledge of music.