Existential Signification: The Abyss between Chopin’s Op. 6 No. 1 and Op. 68 No. 4
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Abstract
The article on Chopin’s Mazurkas as the works which provide an existential frame for the life of the composer presents an ongoing engagement of the author with the musical semiotics and, in particular, with the function of the International Congress on Musical Signification. The author promotes and tries to develop the ideas of Eero Tarasti and Gino Stephani in their relation with the philosophical traditions. In this case, the author referred to the views of late Derrida, some ideas of Lacan and Dostoyevsky’s existential breakthrough. In a more narrow sense, the author was interested in harmonic analysis of linear chromatic progressions and their semantic interpretations. The style of the article consciously emulates the prose of Victor A. Zuckerman as an example of ultimate achievement of music analysis.
Keywords: Chopin’s Mazurkas, existentialism, Lacan, Derrida, Dostoyevsky, linear chromatic progressions
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References
2. Lacan, Jacques. Sebversion du sujet et dialectique du desir dans l’inconsient freudien // Ecrits 2. – Paris: Bussiere Saint-Amand, 1966, pp. 155-193.
3. Liszt F. Frederic Chopin. – New York; Vienna House, 1963.
4. The Age of Chopin. Interdisciplinary Inquiries / ed. Halina Goldberg. – Bloomington and Indiannapolis, Indiana University Press, 2004.