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A study of the reception of Chopin's mazurkas in the nineteenth century
Author
Sem, Kai Peng
Supervisor
Dairianathan, Eugene
Abstract
This study explores the reception of Chopin's mazurkas in the nineteenth century. More specifically, it examines the roots of the artistic judgements of the listeners. By situating the study of Chopin's mazurkas in context, this study investigates the possible aesthetic and social motivations behind the listeners' responses. Such knowledge can enhance an understanding of the interaction between Chopin's music and the social environment in which it operates.
The theoretical framework of this study hinges on the ideas propounded in the early works of German literary theorist Hans Robert Jauss. Jauss's major concern was the neglect of the historical nature of literature. His tenet proposed a study of reception as an avenue to reconcile this neglect - by promoting a self-reflective attitude that critically assessed the premises upon which judgements and perceptions were made. This self-reflective attitude can be integrated in a study of the reception of music.
Building on the remark of "strangeness" attributed to the mazurkas, this study analyses the motivations that wuld have given rise to such an observation. An analysis of the musical qualifies of two Chopin mazurkas (Op.17 no. 4 and Op. 50 no. 3) as compared to a more conventionally styled mazurka constitutes the first part of this study. The second part deals with the socio-political motivations that may have influenced the responses of the listeners. This research concludes that a study of the "musical" and "social" content of music can potentially enrich an understanding of social phenomena.
The theoretical framework of this study hinges on the ideas propounded in the early works of German literary theorist Hans Robert Jauss. Jauss's major concern was the neglect of the historical nature of literature. His tenet proposed a study of reception as an avenue to reconcile this neglect - by promoting a self-reflective attitude that critically assessed the premises upon which judgements and perceptions were made. This self-reflective attitude can be integrated in a study of the reception of music.
Building on the remark of "strangeness" attributed to the mazurkas, this study analyses the motivations that wuld have given rise to such an observation. An analysis of the musical qualifies of two Chopin mazurkas (Op.17 no. 4 and Op. 50 no. 3) as compared to a more conventionally styled mazurka constitutes the first part of this study. The second part deals with the socio-political motivations that may have influenced the responses of the listeners. This research concludes that a study of the "musical" and "social" content of music can potentially enrich an understanding of social phenomena.
Date Issued
2000
Call Number
ML410.C54 Sem
Date Submitted
2000