The dialectical dimension of Hindemith’s early Gebrauchsmusik resembles a philosophy of Heidigger. Hindemith and Schoenberg, through their compositions, exhibited diverse attitudes towards music history. For Schoenberg, music of the past was absorbed into the integral, organic sanctity of the musical idea. For Hindemith, music of the past was cut and pasted onto the musical surface. This caused Adorno to critique Hindemith. Heideggerian though is exhibited in Hindemith’s suite, op. 26; Tanzstucke, op. 19; Kammermusic, op. 24; and Gebrauchsmusik.