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Paul Hindemith: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a musician and teacher. The second edition includes research published since the publication of the first edition and provides electronic resources.

Oskar Schlemmer 1888-1943: das Stuttgarter theatralische Abenteuer 1921. Eine Dokumentation des Stuttgarter Theaterskandals und der Zusammenarbeit Oskar Schlemmers mit Paul Hindemith. Böblingen: Städtische Galerie, 1988.

The following is the only general introduction/overview to Hindemith's autobiographical writings:

The following three works are essential: 38 Briner, Andres. Paul Hindemith. Zürich: Atlantis; Mainz: Schott, 1971. The first published biography of the composer, and in many aspects it wears its age well. Some passages regarding the composer's life and works (especially the early works) have been superseded as a result of new research and rediscovery of previously lost works. The most serious problem is occasionally incorrect data, in some cases no doubt the result of faulty transcription from handwriting (e.g., \"Robert Gnaer\" for Robert Shaw). One might at times wish Briner had dug more deeply into the composer's psychology and personal life, but subsequent works, including at least one by Briner himself (cf. his portion of item 45) have made up for this. Certainly the work remains valuable for its various Exkurse, topic-related essays punctuating the biographical narrative. Most of these are on the music itself-the Kammermusik series and Concerto for Orchestra, the early chamber music, Mathis, Die Harmonie der Welt, the mature sonata cycle, and the revised Marienleben-but the last reproduces a chapter rejected from Craft III that represents the composer's most ambitious attempt to describe metrical and rhythmic phenomena. 39 Schubert, Giselher. Paul Hindemith in Selbstzeugnissen und Bilddokumenten. Reinbek: Rowohlt, 1981. Gracefully and sympathetically written biography that also discusses Hindemith's music and aesthetics in an intelligent but clear and fairly nontechnical manner. Numerous and well-chosen illustrations. Work list and selective bibliography; rudimentary index (of personal names) and discography. Also published in French translation: Paul Hindemith. Arles: Actes Sud, 1997. 40 Skelton, Geoffrey. Paul Hindemith: The Man behind the Music: A Biography. New York: Crescendo; London: Gollancz, 1975. Still the most comprehensive biographical study in English, and the first to take Hindemith's private life seriously by making it the object of extensive, coherent critical examination. This is all the more impressive when one considers that Skelton was the first of the composer's biographers who had never met him. Skelton writes lovingly but not entirely uncritically about his subject. There is little discussion of the music, and certainly no analysis, but considerable description of the major prose writings, primarily (even in the case of Craft) in aesthetic and biographical terms. Other book-length studies 41 Paulding, James E. \"Paul Hindemith (1895-1963): A Study of His Life and Works.\" Ph.D. diss., University of Iowa, 1974. A notable effort for its time, when there was no comprehensive life-and-works study in English, but badly outdated, and frequently naïve even then. 42 Preußner, Eberhard. Paul Hindemith: ein Lebensbild. Innsbruck: Helbling, 1984. The abortive first attempt, in the 1950s, to write a book-length biography of the composer; Hindemith seems to have at best tolerated the project. The portrayal is nothing if not sympathetic, as one would expect from one of the composer's friends. One must make allowances for the incomplete, even fragmentary state of the work, but surprisingly little of the writing is actually biographical. Hindemith is seen as a product of the regions from which his parents came-this instead of an attempt to uncover much data about his childhood life beyond that approved by the composer for general consumption; his marriage is not mentioned at all, nor is his wife until a stray reference to \"die Hindemiths\" on page 29 in the context of the 1930s. Still worth consulting, however, for the descriptions of those aspects of Hindemith's character and activity (e.g., as performer, teacher, and conductor) observed at first hand. 43 Rickards, Guy. Hindemith, Hartmann and Henze. London: Phaidon, 1995. Generally excellent (and excellent general) biographical monograph situating the three composers in their common-and diverse-cultural contexts. Its usefulness as biographical narrative is compromised somewhat by the frequent and rather cinematic jump-cutting between composers. No real discussion of the music in musical terms, which makes the occasional value judgments seem unmotivated. 44 Streller, Friedbert. Paul Hindemith: für Sie porträtiert. Leipzig: VEB Deutscher Verlag für Musik, 1985. Sympathetic portrait of the composer from the perspective of the Marxist East German state. Emphasizes the composer's humanist musical ethics, while dealing fairly with those aspects of the composer's thought that make him a somewhat less than ideal Marxist icon (not least of all his tendency toward musical mysticism). Work list; numerous illustrations, including photos of East German productions of stage works.

Fahlbusch, Markus. \"Zur Idee des Konzertierens bei Paul Hindemith.\" HJb 35 (2006): 118-35.

Briner, Andres. \"Hindemiths Liedschaffen in der Umwelt des Cardillac.\" HJb 17 (1988): 102-113.

Almén, Byron. \"Musical 'Temperament': Theorists and the Functions of Musical Analysis.\" Theoria 12 (2005): 31-68.

General note: In addition to the studies listed in Chapters 11-20, two resources are often useful, and sometimes offer the best information available for a given work: The introductory essays in volumes of the Hindemith Complete Works (SW, item 19); Liner notes to recordings. Although they are usually of no scholarly value and frequently unreliable besides, those accompanying the Edition Paul Hindemith CD series released by Wergo (itself a Schott operation) are almost invariably excellent; many of them are written by members of the Hindemith Institute.

Much work remains to be done in this area, not just in analyzing Hindemith's performance style, but in locating and evaluating contemporary reviews and critiques as well. Some of the source documents, especially recordings from the 78-rpm era, are difficult to find, and evaluation of the enormous quantity of contemporary reviews requires extensive access to old newspapers, particularly German ones.