Home Slovenská hudba 2010 Slovenská hudba, Vol. 36, No 2, p. 124-131

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Slovenská hudba, Vol. 36, No 2, p. 124-131

Title: Fenomén a paradox Chopinovej hudby
Author: Mieczysław Tomaszewski

Abstract: In the second half of the previous century and at the beginning of the current century an increased interest in Fryderyk Chopin’s music has been noticed by the contemporary world musicology. Two latest Chopin conferences (1999 and 2010) presented the results of new researches, views and methods. New trends – poststructuralism, semiotics, intertextuality, narratology and postphenomenology oriented on hermeneutics and existentialism have proved their usefulness. In spite of this the research focused on the phenomenon of Chopin’s music is perceived as insufficient namely when speaking about the aspect of the comprehension of its specially significant and essential components.
The history of the perception of Chopin’s music reveals that expression has been its significant component. Since the beginning till now the unusual variability of expression and outstanding power of its emotional urge have become the object of admiration and fascination. Academic musicology, scientistic and positivistic one, was not accepted at the turn of the 20th century. Only recently several authors (E. T. Cone, J. Rink, E. Tarasti and others) have cautiously returned to the research using various methods. One of the methods, useful for a study of categories of expressive music pieces, may be the one codified by H. H. Eggebrecht for the study of Beethoven’s compositions – the method based on the perception of music. Using this method we attempted at a synthetic approach to Chopin’s music. Applying its constitutive attributes we may identify three syndromes: 1) syndrome of expressive categories (stylistical idioms); 2) syndrome of axiologically important aspects (significant attributes) and 3) syndrome of paradoxical attributes awaiting its immediate comprehension.

Year: 2010, Volume: 36, Issue: 2 Page From: 124, Page To: 131

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