The Phenomenology of Chopin’s Mazurkas
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Abstract
invariant of the genre of the mazurka, which has accumulated
into itself the profound sources of Frederic Chopin’s musical
style. The Mazurkas are examined through the prism of their
typological features, locally and also magistrally, in the context
of ontogenesis and ethnogenesis, as a structural element of a polygenre
system of large-scale compositions. The author proposes
a new system of classification for Chopin’s Mazurkas according
of their types of kineme structures (to use the term of Evgeny
Nazaikinsky), each of which sets a specific modus of formation
of the compositional whole. The article reveals a perspective of
the phenomenon of Mazurka-relatedness in the forms and genres
of other compositions by Chopin and discloses such a quality as
trans-measurability (to use the term of A. Koblyakov). The special
phenomenological role of Mazurka qualities in the dichotomic
relatedness with the chorale elements is elucidated, which forms
a paradoxical algorithm of formation of meaning that codifies the
fundamental principle of Chopin’s style (“the ontological crack”).
Keywords: Chopin, Mazurka, the structural semantic
invariant of the genre, kineme structures, trans-measurability
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