All such effects pale, however, before the extraordinary maneuvers of op. 17, no. 4, one of Chopin's most haunting fragments, in which denatured and strangely tinctured reminiscences of the mazurka seem to hover in a kind of harmonic ether. The characteristic accompaniment pattern of the “authentic” mazurka, the steady oompah-pah against which the shifting melodic accents rebound, prominent in the first two mazurkas and only slightly attenuated in the third, is now almost altogether gone, replaced by a mid-register pulsation marked sotto voce (“in an undertone”—see Ex. 7-7a).
- 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 Mar. 2015. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007007.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 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007007.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 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007007.xml