NATIONALISM AS A MEDIUM
The more obvious tokens of Chopin's Polishness are to be found, naturally enough, in his Polish dances, the polonaises and especially the mazurkas, which were of all his works the ones most prized by his contemporaries as characteristically or authentically “Chopinesque.” The man, in other words, was equated with (reduced to?) the group from which he hailed, as is usually the case with “others.” Yet here, as everywhere, Chopin was eclectic, or rather syncretic, forging a personal and very distinctive style out of heterogeneous, in some ways even incongruous, ingredients. The authentically national—meaning, in France, the authentically exotic—was only one of those ingredients.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Self and Other." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 3 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Self and Other. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Self and Other." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007006.xml