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(DOC) A new methodology for the narrative and thymic analysis in Chopin's last style
<!DOCTYPE html> <html > <head> <meta charset="utf-8"> <meta rel="search" type="application/opensearchdescription+xml" href="/open_search.xml" title="Academia.edu"> <meta content="width=device-width, initial-scale=1" name="viewport"> <meta name="google-site-verification" content="bKJMBZA7E43xhDOopFZkssMMkBRjvYERV-NaN4R6mrs"> <meta name="csrf-param" content="authenticity_token" /> <meta name="csrf-token" content="M8yS3Yzk3X9icG8Y-pVV4UH4GjkI_boRiM2aDdSuqrxY3CYdoHprP8T18sIERQQx3UtS1LHSl5WZbfgMH18Kag" /> <meta name="citation_title" content=" A new methodology for the narrative and thymic analysis in Chopin&#39;s last style" /> <meta name="citation_author" content="Julie Moretto Walker" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style" /> <meta name="twitter:title" content=" A new methodology for the narrative and thymic analysis in Chopin's last style" /> <meta name="twitter:description" content="This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. 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These unities are" /> <meta property="article:author" content="https://unistra.academia.edu/JulieWalker" /> <meta name="description" content="This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are" /> <title>(DOC) A new methodology for the narrative and thymic analysis in Chopin's last style</title> <link rel="canonical" href="https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '5e761fc7f2723937bfa23c00d57d97019322a224'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1740644847000); window.Aedu.timeDifference = new Date().getTime() - 1740644847000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.","author":[{"@context":"https://schema.org","@type":"Person","name":"Julie Moretto Walker","url":"https://unistra.academia.edu/JulieWalker"}],"contributor":[],"dateCreated":"2014-11-27","dateModified":"2024-11-30","headline":"A new methodology for the narrative and thymic analysis in Chopin's last style","image":"https://attachments.academia-assets.com/35762524/thumbnails/1.jpg","inLanguage":"en","keywords":["Romanticism","Narrative","Musical Semiotics","Narrative Analysis","Semiology","Frederic Chopin","Musical Analysis","Naratology","Musical Topics","Tópico Musical","Tension"],"publisher":{"@context":"https://schema.org","@type":"Organization","name":"HAL- Archives 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These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.","more_info":"Narrative Matters 2014 Proceedings","publisher":"HAL- Archives Ouvertes","event_date":null,"ai_title_tag":"Innovative Narrative Analysis of Chopin's Late Style","publication_date":null,"conference_end_date":null,"conference_start_date":"2014,6,"},"document_type":"other","pre_hit_view_count_baseline":null,"quality":"low","language":"en","title":" A new methodology for the narrative and thymic analysis in Chopin's last style","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [2515772]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; 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if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":35762524,"attachmentType":"docx","workUrl":"https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":35762524,"attachmentType":"docx","workUrl":"https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas" data-impression-entity-id="9525917" data-impression-entity-type="2" data-impression-source="signup-banner"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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Those superficial oppositions in the categories of expression, being homologated with other oppositions of growing levels of invariance on the plane of content, allow a most interesting and productive analytical approach to the study of meaning in syncretic contexts. This methodology seems to shed light on two most interesting questions. The first is to ask how the effect of meaning of one single syncretic enunciation is created-thus avoiding, for example, the effect of one musical enunciation and one visual enunciation that happen to be simultaneous, but that do not necessarily constitute a unity. The second is to ask how the suspension of the homologies between categories of content and expression (the Hjelmslevian definition of "syncretism") affects that sense of unity and the meaning of the text as a whole. 1 The present research was accomplished with the support of FaPesP-The state of são Paulo Research Foundation (http://www.fapesp.br). 2 icMs 11: Music: FuNctioN aNd VaLue These theoretical considerations will be illustrated by the analysis of a syncretic text: the pas-de-deux of John Neumeier's ballet Kameliendame, which is accompanied by Frédéric chopin's Ballade in G minor n°1, Op. 23 2 .</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Chopin's Ballade in G minor Op. 23 in the Ballet Kameliendame, by John Neumeier: Intertextual and Intersemiotic Relations and their Role in the Process of the Generation of Meaning 1","attachmentId":111043699,"attachmentType":"pdf","work_url":"https://www.academia.edu/114312247/Chopins_Ballade_in_G_minor_Op_23_in_the_Ballet_Kameliendame_by_John_Neumeier_Intertextual_and_Intersemiotic_Relations_and_their_Role_in_the_Process_of_the_Generation_of_Meaning_1","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/114312247/Chopins_Ballade_in_G_minor_Op_23_in_the_Ballet_Kameliendame_by_John_Neumeier_Intertextual_and_Intersemiotic_Relations_and_their_Role_in_the_Process_of_the_Generation_of_Meaning_1"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="110058180" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/110058180/On_the_trail_of_a_trail_the_trace_of_a_trace_Kazimierz_Przerwa_Tetmajer_s_Cie%C5%84_Chopina_and_its_compositional_interpretations">On the trail of a trail, the trace of a trace. Kazimierz Przerwa-Tetmajer’s Cień Chopina and its compositional interpretations</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="112263166" href="https://independent.academia.edu/MarcinGmys">Marcin Gmys</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Interdisciplinary Studies in Musicology, 2010</p><p class="ds-related-work--abstract ds2-5-body-sm">At the beginning of this article, the author points out how quickly the image of Chopin as an artist who wrestled all his life with a mortal sickness (Chopin as a "singer of Weltschmerz") took shape-an image which was subsequently taken up by European art of the fin de siècle. Attention then turns to the poem Cień Chopina [Chopin's shadow], by the poet Kazimierz Przerwa-Tetmajer, highly fashionable during the Young Poland period, which can be ascribed to the "Weltschmerz current". In contrast to earlier interpreters of this lyric, the author does not identify the lyrical subject of Tetmajer's poem with the shadow (that is, the soul) of the Polish composer, butreferring to the observations of Barbara Sienkiewicz, who applied the Heideggerian formula of the "trace of a trace" to her exegesis of Tetmajer's works-maintains that its hero is the shadow of Chopin's shadow (or the shadow of his soul). Going on to analyse four song settings of this poem composed during the period 1900-1926 by Władysław Żeleński, Stanisław Lipski, Juliusz Wertheim and Ryta Gnus, and also the composition Cień Chopina by Witold Friemann (1913-46), scored for piano, baritone and orchestra, the author arrives at the conclusion that four composers-Żeleński, Wertheim, Gnus and Friemann-interpreted Tetmajer's lyric in a way that is not entirely in keeping with the poet's intentions. These composers, employing stereotypical Chopin formulas (a quasi-folk drone or chords imitating bells) or allusions to specific Chopin works, treated the lyrical subject of Tetmajer's poem as identical to Chopin's soul. Only Stanisław Lipski, who in his song forged a "pastoral scene", referring to some extent to the most important features of the pastoral idiom elaborated by Beethoven on the pages of his Sixth Symphony, interpreted the figure of the lyrical subject of Tetmajer's poem, listening to voices from the past, as a "double epiphenomenon"a shadow of Chopin's shadow.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"On the trail of a trail, the trace of a trace. Kazimierz Przerwa-Tetmajer’s Cień Chopina and its compositional interpretations","attachmentId":107993790,"attachmentType":"pdf","work_url":"https://www.academia.edu/110058180/On_the_trail_of_a_trail_the_trace_of_a_trace_Kazimierz_Przerwa_Tetmajer_s_Cie%C5%84_Chopina_and_its_compositional_interpretations","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/110058180/On_the_trail_of_a_trail_the_trace_of_a_trace_Kazimierz_Przerwa_Tetmajer_s_Cie%C5%84_Chopina_and_its_compositional_interpretations"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="69147383" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/69147383/On_Narrativity_in_Music_Expressive_Genres_and_Levels_of_Discourse_in_Beethoven">On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="29389346" href="https://utexas.academia.edu/RobertHatten">Robert Hatten</a></div><p class="ds-related-work--metadata ds2-5-body-xs">1991</p><p class="ds-related-work--abstract ds2-5-body-sm">Narrative literature assumes two fundamental notions, the tale and the teller. Music could be said to share these aspects, to the degree one may speak of a sequence of musical events as akin to a story, or plot, and the composer-or better, his persona (Cone 1974) as implied narrator. Closer correspondences may be seen in opera or song, where recitative or speech-like passages typically accompany the more literal narration of events. But in "absolute" music the analogy appears a little more tenuous, since often a sequence of emotional states, rather than referential events, appears to be pnmary. Nevertheless, I find the analogy ofnarrativity in the "absolute" music of Beethoven to be helpful, and I will illustrate why with a brief survey of two areas corresponding to the tale and the teller, respectively. The first concerns what I call expressive genres that coordinate larger scale organization of the expressive "plot" of a movement. Since expressive genres are negotiated with formal schemes such as sonata, they can help explain events and formal departures that might appear incompletely motivated from a purely formalist perspective.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"On Narrativity in Music: Expressive Genres and Levels of Discourse in Beethoven","attachmentId":79354901,"attachmentType":"pdf","work_url":"https://www.academia.edu/69147383/On_Narrativity_in_Music_Expressive_Genres_and_Levels_of_Discourse_in_Beethoven","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/69147383/On_Narrativity_in_Music_Expressive_Genres_and_Levels_of_Discourse_in_Beethoven"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="88566925" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/88566925/How_to_Explode_an_Expressive_Body_Romantic_Strategies_in_Chopins_%C3%89tudes_pour_piano">How to Explode an Expressive Body: Romantic Strategies in Chopin's Études pour piano</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7880299" href="https://usp-br.academia.edu/VladimirSafatle">Vladimir Safatle</a></div><p class="ds-related-work--abstract ds2-5-body-sm">This article aims to discuss the gestural character of Chopin's pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"How to Explode an Expressive Body: Romantic Strategies in Chopin's Études pour piano","attachmentId":92516750,"attachmentType":"pdf","work_url":"https://www.academia.edu/88566925/How_to_Explode_an_Expressive_Body_Romantic_Strategies_in_Chopins_%C3%89tudes_pour_piano","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/88566925/How_to_Explode_an_Expressive_Body_Romantic_Strategies_in_Chopins_%C3%89tudes_pour_piano"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="31780258" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/31780258/The_Intransigence_of_Temporality_Ricoeur_s_Conception_of_Narrative_Time_in_the_Analysis_of_Schumann_s_op_41_no_3_mvt_4">The Intransigence of Temporality: Ricoeur”s Conception of Narrative Time in the Analysis of Schumann”s op. 41, no. 3, mvt. 4.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5013576" href="https://lakeheadu.academia.edu/MelvinBackstrom">Melvin Backstrom</a></div><p class="ds-related-work--abstract ds2-5-body-sm">In this paper I use Paul Ricoeur's theory of narrative to critique a narrative interpretation of Robert Schumann's op. 41, no. 3, mvt. 4 by Anthony Newcomb. Although Newcomb refers to and quotes from Ricoeur’s work, he does not acknowledge the ways in which Ricoeur’s theories challenge, one could even say deconstructs, the structuralist, story-narrative distinction upon which his analysis depends. Though useful, such taxonomical processes miss the individually creative role of genre, that there is an irreducibly discursive functionality to any text as a specific, intentional act. Instead of using the abstract form of the Rondo as an object of comparison, as Newcomb does, I develop a narrative analysis of it on its own terms as a unique synthesis of episodically discursive and configurationally structural dimensions.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Intransigence of Temporality: Ricoeur”s Conception of Narrative Time in the Analysis of Schumann”s op. 41, no. 3, mvt. 4.","attachmentId":52082443,"attachmentType":"pdf","work_url":"https://www.academia.edu/31780258/The_Intransigence_of_Temporality_Ricoeur_s_Conception_of_Narrative_Time_in_the_Analysis_of_Schumann_s_op_41_no_3_mvt_4","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/31780258/The_Intransigence_of_Temporality_Ricoeur_s_Conception_of_Narrative_Time_in_the_Analysis_of_Schumann_s_op_41_no_3_mvt_4"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="29156392" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/29156392/Interpreting_Chopins_Music_Today_Mythologization_of_Art_Kitsch">Interpreting Chopin's Music Today: Mythologization of Art: Kitsch</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5417555" href="https://paris-sorbonne.academia.edu/IlonaBala">Ilona Emilia Bala</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. It can be studied from a sociological viewpoint, or as sociological aesthetics. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. This process is the topic of this contribution. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). All art is transformed, becoming something outdated or even outmoded. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Interpreting Chopin's Music Today: Mythologization of Art: Kitsch","attachmentId":49600907,"attachmentType":"pdf","work_url":"https://www.academia.edu/29156392/Interpreting_Chopins_Music_Today_Mythologization_of_Art_Kitsch","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/29156392/Interpreting_Chopins_Music_Today_Mythologization_of_Art_Kitsch"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="97842934" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/97842934/Chopin_and_the_Warsaw_literati_part_two">Chopin and the Warsaw literati – part two</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="174552168" href="https://confashion.academia.edu/El%C5%BCbietaNowicka">Elżbieta Nowicka</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2010</p><p class="ds-related-work--abstract ds2-5-body-sm">Chopin's life in Warsaw fell at a time of important phenomena and processes in history, the arts, aesthetics, etc. This article deals with the artistic and social milieu to which the composer belonged and looks at the question of the common artistic imagination and aesthetic ideas elaborated within that environment, based on the example of Chopin and two poets: Stefan Witwicki and Dominik Magnuszewski. Chopin's relationship with Witwicki, which gave rise to his songs to the poet's texts and lasted into their time in exile, is considered in respect to discussion on folk culture that was ongoing at that time. That culture was treated as a sign of the nobly archaic or else as a manifestation of modern art, of the "art of the future". These convictions did not function as alternatives; their overlapping characterised various aspects of early romanticism. The output of Magnuszewski, meanwhile, shows the transformation of traditional figures of rhetoric into Romantic means of expression. It displays a style of writing that constitutes an act of Romantic hermeneutics in respect to the language of tradition. Avoiding simple comparisons of works of very different artistic level and significance, the author analyses Chopin's relationships with the two poets by reference to the generational experience-as variously understood-of creative artists born during the first decade of the nineteenth century, which connected artists of different levels of talent and varying individual fortunes.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Chopin and the Warsaw literati – part two","attachmentId":99355906,"attachmentType":"pdf","work_url":"https://www.academia.edu/97842934/Chopin_and_the_Warsaw_literati_part_two","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/97842934/Chopin_and_the_Warsaw_literati_part_two"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="66835982" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/66835982/Changing_Chopin_posthumous_variants_and_performance_approaches">Changing Chopin: posthumous variants and performance approaches</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="72168587" href="https://independent.academia.edu/SzeHweiGraceHo">Sze-Hwei Grace Ho</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2013</p><p class="ds-related-work--abstract ds2-5-body-sm">This thesis aims to examine Chopin’s own style of playing and to trace some of the approaches taken by 19th and 20th century pianists in interpreting Chopin. In doing so, the study hopes to challenge our assumptions about the sacrosanct nature of the text, while offering possibilities for performance. Through examining the accounts of Chopin’s playing and teaching as well as the customs that would have been familiar to him, this study offers a glimpse of the practices that is today often neglected or simply relegated to the annals of ‘historical performance practice’. Special attention is also given to exploring the aspects of Chopin’s style that might pose particular problems of interpretation, such as rubato, tempo and pedalling. In the final analysis, perhaps it is not the early interpreters who represent a ‘radical’ break from Chopin’s aesthetic, but we modern interpreters, with our more rigorous standards and stricter notion of ‘fidelity to the score’. As will be demonstrated, ...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Changing Chopin: posthumous variants and performance approaches","attachmentId":77877369,"attachmentType":"pdf","work_url":"https://www.academia.edu/66835982/Changing_Chopin_posthumous_variants_and_performance_approaches","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/66835982/Changing_Chopin_posthumous_variants_and_performance_approaches"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="102692963" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/102692963/Chopin_in_the_writings_and_music_of_20th_century_Polish_composers">Chopin in the writings and music of 20th-century Polish composers</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="102433408" href="https://ispan.academia.edu/BeataBoles%C5%82awskaLewandowska">Beata Bolesławska-Lewandowska</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Culturology Ideas, 2023</p><p class="ds-related-work--abstract ds2-5-body-sm">Many volumes have already been written about the Polishness of Chopin’s music and about his influence on composers of various nationalities active in the Romantic and later periods. In this text the author looks at how Chopin was viewed by 20th-century Polish composers regarding two aspects: 1) how they interpreted his music in the context of its links to Polishness and 2) whether and how they took on his musical concepts in their own oeuvres. This will allow to shed some light on the reception and resonance (to use the terminology of Mieczysław Tomaszewski, a distinguished expert on Chopin and 20th-century Polish music) of the figure and music of Chopin in Polish music of the previous century. There will be examined an extremely patriotic public speech given by Paderewski in 1910, as well as Szymanowski’s opinions from the 1920s. Moreover, the politically driven celebrations of Chopin Year in 1949 will be recalled. The special attention will be put on the musical genres associated ...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Chopin in the writings and music of 20th-century Polish composers","attachmentId":102924659,"attachmentType":"pdf","work_url":"https://www.academia.edu/102692963/Chopin_in_the_writings_and_music_of_20th_century_Polish_composers","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/102692963/Chopin_in_the_writings_and_music_of_20th_century_Polish_composers"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":35762524,"attachmentType":"docx","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":35762524,"attachmentType":"docx","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_35762524" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="115544702" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/115544702/Structuralist_Perspective_on_Chopins_The_Story_of_an_Hour_Transformations_of_Eighteenth_Century_American_Women">Structuralist Perspective on Chopin's 'The Story of an Hour': Transformations of Eighteenth-Century American Women</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="210463469" href="https://upesh.academia.edu/mahnoorsher">Mahnoor Sher</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2020</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Structuralist Perspective on Chopin's 'The Story of an Hour': Transformations of Eighteenth-Century American Women","attachmentId":111921165,"attachmentType":"pdf","work_url":"https://www.academia.edu/115544702/Structuralist_Perspective_on_Chopins_The_Story_of_an_Hour_Transformations_of_Eighteenth_Century_American_Women","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/115544702/Structuralist_Perspective_on_Chopins_The_Story_of_an_Hour_Transformations_of_Eighteenth_Century_American_Women"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="1" data-entity-id="78847883" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/78847883/Deictic_Elements_in_Kate_Chopin_S_the_Story_of_an_Hour_a_Cognitive_Poetics_Stylistic_Perspective">Deictic Elements in Kate Chopin S the Story of an Hour a Cognitive Poetics Stylistic Perspective</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="147309682" href="https://independent.academia.edu/SBreem">Sami Breem</a></div><p class="ds-related-work--metadata ds2-5-body-xs">مجلة الجامعة الإسلامية للبحوث الإنسانية, 2016</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Deictic Elements in Kate Chopin S the Story of an Hour a Cognitive Poetics Stylistic Perspective","attachmentId":85746758,"attachmentType":"pdf","work_url":"https://www.academia.edu/78847883/Deictic_Elements_in_Kate_Chopin_S_the_Story_of_an_Hour_a_Cognitive_Poetics_Stylistic_Perspective","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/78847883/Deictic_Elements_in_Kate_Chopin_S_the_Story_of_an_Hour_a_Cognitive_Poetics_Stylistic_Perspective"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" 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