SONATA LATER ON
And now for Chopin's heroic side, exemplified chiefly by the regal or military polonaises, the chillingly macabre or ironic scherzos, a few of the nocturnes (composed as if expressly to counter the genre's association with the feminine)—but above all by the ballades, like the preludes a genre that Chopin invented (or reinvented at the keyboard), and that later spread far and wide. The ballade was the repository for Chopin's most serious expressions of Polish nationalism. It was universally understood in that vein by his contemporaries; and in its widespread influence it helped establish what James Parakilas has aptly called “a uniform, international nationalism”23 as a primary constituent of European (and, incipiently, Euro-American) art music in the nineteenth century.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Self and Other." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 27 Sep. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007010.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 27 Sep. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007010.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 27 Sep. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007010.xml