It is widely recognized that several of Paul Hindemith’s compositions display a significant use of early music forms and techniques. Yet, the scholarly literature in English focusing specifically on the influence of early music on Hindemith’s works for the viola is limited. Thus, through a discussion of selected works for solo viola and viola and orchestra, with a concentration on the two finales of the solo viola sonatas op. 11, no. 5, and op. 31, no. 4, the viola concerto Der Schwanendreher, and the Trauermusik for viola and strings, this document investigates the impact of early music on Hindemith’s compositional output for the viola. The findings of this research reveal that the study and practice of early music had a crucial influence on Hindemith’s compositional output, specifically illustrated through the use of early music techniques including fugues, ostinatos, chorale settings, canons, theme and variations, cantus firmus-like melodies, and the borrowing of old folksongs and chorales. Scholars should not exclude the possibility that early music influence extends beyond the examples presented in this thesis
