Commenced in January 2007
Frequency: Monthly
Edition: International
Paper Count: 30135
Interpreting Chopin’s Music Today: Mythologization of Art: Kitsch

Authors: Ilona Bala

Abstract:

The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. It can be studied from a sociological viewpoint, or as sociological aesthetics. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. This process is the topic of this contribution. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). All art is transformed, becoming something outdated or even outmoded. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work.

Keywords: F. Chopin, musical work, popular music, romantic music, mythologization of art, kitsch.

Digital Object Identifier (DOI): doi.org/10.5281/zenodo.1126571

Procedia APA BibTeX Chicago EndNote Harvard JSON MLA RIS XML ISO 690 PDF Downloads 877

References:


[1] I. Poniatowska, "Quelques remarques sur le fonctionnalisme de la musique et sur l’idée de correspondances des arts dans la popularisation de la musique au XIXème siècle", Theory (English) and Lehre (German) versus Téori (Indonesian), red. A. Pompilio, EDT Srl 1990, pp. 538-546.
[2] A. Zamoyski, Chopin: A new biography, Garden City, NY, Doubleday, 1980.
[3] I. Poniatowska, "Lumières et décadence de la musique de salon au XIXe siècle", pp. 89-97.
[4] C. Dahlhaus, "Über musikalischen Kitsch", Studien zur Trivialmusik im.19. Jahrhundert, Regensburg, 1972, pp. 63-67.
[5] A. B. Marx, "Methode der Musik. Die Musik des neunzehnten Jahrhunderts und ihre Pflege", Leipzig, B&H 1855, pp. 227–228.
[6] S. L. Bosacki & Susan A. O'Neill,"Early adolescents' emotional perceptions and engagement with popular music activities in everyday life", Routledge, International Journal of Adolescence and Youth, 2015, 20:2, pp. 228-44.
[7] A. Orga, New Illustrated Lives of Great Composers: Chopin, Omnibus Press, 2015.
[8] J.-J. Eigeldinger, Chopin and 'La Note Bleue': An Interpretation of the Prelude Op. 45, Music & Letters, Vol. 78, No. 2, Oxford University Press, 1997.
[9] J. W. Crowley, "Kate Chopin, Frédéric Chopin and the music of future", American Literary Realism, Volume 47, Number 2, Winter 2015, pp. 95-116.
[10] I. Poniatowska: Chopin and his Critics: An Anthology – from the composer’s time to the First World War, Warszawa, NIFC, 2011.
[11] W. Wolf, "Intermediality Revisited, Reflections on Word and Music relations in the context of a General Typology of Intermediality", Word and Music studies. Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, red. S. M. Lodato, S. Aspden, W. Bernhart, GA Rodopi, Amsterdam –New York, 2002.
[12] N. Bell, the British Library's Curator of Music Manuscripts.
[13] M. Tomaszewski, Chopin. Człowiek, dzieło, rezonans. Poznań 1998.
[14] L. Escudier, concert review in La France Musicale, May 2, 1841 and Feb. 27, 1842.
[15] J. Ekier, Jak gral Chopin?
[How Did Chopin Play?] («Rocznik Chopinowski»
[«The Chopin Yearbook»], XX/1992.
[16] I. Poniatowska, Chopin and his Work in the Context of Culture. Studies, Krakow,The Fryderyk Chopin Institute Musica Iagellonica Polish Chopin Academy, 2003.
[17] J. Kallberg, Chopin at the Boundaries: Sex, History, and Musical Genre, in the series Convergences, edited by Edward W. Said, Cambridge, Mass.: Harvard 3, University Press, 1996, xiii, 303 pp.
[18] I. Poniatowska, Frederic Chopin, A poet of Sound.
[19] https://fr.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin
[20] http://www.art.com/products/p11728197-sa-i1353737/henryk-siemiradzki-chopin-playing-the-piano-in-prince-radziwill-s-salon-1887.htm
[21] http://www.24presse.com/ImgUsers/18/18399/doc/Pleyel_piano_Chopin_discovered_Kohler.pdf