The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.

Teufelsmühle e omnibus são nomenclaturas empregadas para designar modelos estruturais profundamente aparentados, que envolvem cromatismo, polifonia, modulação, relação de terças menores, inversão simétrica, condução de vozes e reinterpretações enarmônicas de acordes. Trata-se de padrões cujas origens remontam no mínimo à prática musical do século XVIII e que já nesta época começaram a ser codificados por teóricos. No entanto, estas sequências cromáticas só receberam estudos específicos a partir do final da década de 1960 por duas principais correntes de pesquisa, a alemã, que emprega o termo Teufelsmühle e a americana, com a designação omnibus. Dividido em duas partes, este trabalho expõe inicialmente os aspectos estruturais do Teufelsmühle e omnibus, a partir de uma revisão bibliográfica e apontamentos críticos realizados por esta pesquisa. Já a segunda parte busca vislumbrar a representatividade e abrangência destes modelos cromáticos no processo composicional de F. Chopin, evidenciando o modo com que tal princípio foi utilizado e os principais contextos em que está inserido. / Teufelsmühle and omnibus are nomenclatures used to designate structural models deeply similar, which involve chromaticism, polyphony, modulation, minor thirds relation, symmetrical inversion, voice leading, and enharmonic reinterpretations of chords. They refer to patterns originated at least with the musical practice of the eighteenth century, and that even in that time started to be codified by theorists. Nevertheless, these chromatic sequences were studied specifically only beginning at the end of the 1960s and done by two main streams of research, the German, which uses the term Teufelsmühle, and the American, with the designation omnibus. Divided in two parts, this study presents initially structural aspects that refer to Teufelsmühle and omnibus based on a literature review and critical comments developed in this research. The second part intends to look at the relevance of these chromatic models and what they encompass in the compositional process of Chopin, showing the way such principle was used and the main contexts in which it happens.

Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo. / This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.

Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo. / This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.

Teufelsmühle e omnibus são nomenclaturas empregadas para designar modelos estruturais profundamente aparentados, que envolvem cromatismo, polifonia, modulação, relação de terças menores, inversão simétrica, condução de vozes e reinterpretações enarmônicas de acordes. Trata-se de padrões cujas origens remontam no mínimo à prática musical do século XVIII e que já nesta época começaram a ser codificados por teóricos. No entanto, estas sequências cromáticas só receberam estudos específicos a partir do final da década de 1960 por duas principais correntes de pesquisa, a alemã, que emprega o termo Teufelsmühle e a americana, com a designação omnibus. Dividido em duas partes, este trabalho expõe inicialmente os aspectos estruturais do Teufelsmühle e omnibus, a partir de uma revisão bibliográfica e apontamentos críticos realizados por esta pesquisa. Já a segunda parte busca vislumbrar a representatividade e abrangência destes modelos cromáticos no processo composicional de F. Chopin, evidenciando o modo com que tal princípio foi utilizado e os principais contextos em que está inserido. / Teufelsmühle and omnibus are nomenclatures used to designate structural models deeply similar, which involve chromaticism, polyphony, modulation, minor thirds relation, symmetrical inversion, voice leading, and enharmonic reinterpretations of chords. They refer to patterns originated at least with the musical practice of the eighteenth century, and that even in that time started to be codified by theorists. Nevertheless, these chromatic sequences were studied specifically only beginning at the end of the 1960s and done by two main streams of research, the German, which uses the term Teufelsmühle, and the American, with the designation omnibus. Divided in two parts, this study presents initially structural aspects that refer to Teufelsmühle and omnibus based on a literature review and critical comments developed in this research. The second part intends to look at the relevance of these chromatic models and what they encompass in the compositional process of Chopin, showing the way such principle was used and the main contexts in which it happens.

Kate Chopin’s stories including “A Pair of Silk Stockings,” “A Very Fine Fiddle” and “Azelie” are rich in subject-object relationships. Close text analysis helps explicate the power of these objects or things. A thing is animate and an object is not. The stockings, fiddle, and store objects are part of a transaction between things and people; what is an object to one character is a thing to another. Exploration of Victorian women and department stores illuminates how stockings overpower Mrs. Sommers. Research on share tenant life, violins’ value, and Louisiana mixed ancestry reveals how the fiddle enables Fifine and Cleophas to re-imagine their identities and cross social boundaries; similarly, “authentic woman” feminist theory highlights how objects affect Azelie’s agency. Functioning atypically, stockings, a fiddle, and store items become things and not just objects. Things invite Chopin’s characters to embrace uncertainty. We are in things and things are in us. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

Frederic Chopin's contemporaries took note of his preference for a piano with a light escapement. They commented that his method of playing was light in touch, and that his demeanor on stage contrasted strongly with that of other performers who were outwardly expressive. Although his performances enjoyed support from some members of his society, most contemporary commentators viewed his performances negatively. His performances were seen as deficient when they were contrasted with those of others, and especially those of Franz Liszt. Some of Chopin's contemporaries saw his playing as feminine and contrasted his works with those of Beethoven, whose works seemed to them to express masculinity. Negative assessments of Chopin's works also appear in later critical and musicological literature. In 1889, the music critic Henry T. Finck suggested that the desire of French, Polish, German and Viennese audiences for what he called "aesthetic jumboism" was detrimental to Chopin's popularity. It is my thesis that smallness has been, and often still is, associated with femininity and that those pianists and authors who advocated largeness - however defined (be it 'grand,' 'healthy,' 'forte,' or 'masculine') - were afraid that Chopin's refined pianism and the "small" aspects of his compositions might be used as evidence that Chopin was not strictly heterosexual. Largeness seems to have been linked in a number of ways to heroism, and it seems that smallness was seen consequently as lacking in heroism. Thus, musicians and musicologists have criticized his works for their lack of complexity and length and for the nature of their melodies, characteristics that I show to have been associated with both size and masculinity. For example, in 1986, Jean-Jacques Eigeldinger analyzed Chopin's compositions in a way that seems to me to reveal Eigeldinger's own search for complex underlying forms. This search appears to be an attempt to illustrate that Chopin was intellectually 'heroic' because he could match the organic unification that some musicologists find in the works of other great composers. While the nineteenth-century development of the piano into a powerful concert instrument undoubtedly reflected the changing nature of concert venues and audiences, since recitals moved from the salon to the concert hall, the changes in design could also been seen as reflecting an ever-increasing desire for largeness. The forcefulness and consequent loudness with which Chopin's music was played on these larger pianos might well have caused (and could still be causing) some pianists' physical problems. Jeffrey Kallberg has analyzed an array of gender-oriented metaphors in relation to Chopin's possible gender-ambiguity, wishing to remove the veil of suspicion that surrounds smallness. It is my argument that a veil of suspicion is indispensable when analyzing the language that people have used to describe their experiences with music, because they have used language to express their preferences for certain kinds of experiences. Thus I attempt to show that during the hundred and fifty years since Chopin's death, both pianists' performance practices and musicological discourse have attempted to cleanse Chopin's music from its associations with smallness and, consequently, with femininity. / Thesis (Ph.D.)-University of Natal, Durban, 2004.

Kate Chopin, 1851-1904, gained national fame when her local color stories became published in acclaimed magazines such as Vogue and the Atlantic. Her novel, The Awakening (1899), however, criticized for its controversial content and its heroine, Edna Pontellier, whose ambiguous actions and final suicide were focus of the critical attention, received only negative reactions and silenced Chopin as a writer. Interpretations by feminists, realists, or culturalhistorians proved insufficient in their attempts to explain the dilemma of the heroine. Approached from an existentialist point of view, the novel seems to derive new meaning, but the few extant critical discussions remain either too superficial or too general in scope. A thorough explication of J.-P. Sartre's existentialism, in particular, however, would provide a fresh, insightful interpretation not only of The Awakening, but also of selected short stories that had critics equally torn when faced with the seemingly ambivalent decisions of their heroines.Following the literature review of Chapter I, Chapter II will provide background information on Sartrian existentialism while focusing on such terms as anguish, bad faith, and authenticity that are especially relevant for a better understanding of Chopin's works. How several of her short stories and The Awakening will derive new significance when approached from an existentialist perspective will be shown in Chapters III and IV, respectively, the interpretation mainly centering on the argument that the dilemmas of the heroines, formerly described as "female" or "romantic," are essentially "human" and derive universal, therefore existential significance. Finally, I will try to account for Kate Chopin's "existentialism" in Chapter V by not only taking a closer look at the social issues she was surrounded by, and also her personal life that was the foundation of her thinking, being expressed in ideas that would put her way beyond the "Zeitgeist" of her times. / Department of English

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-23T17:57:12Z No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:28:26Z (GMT) No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Made available in DSpace on 2018-08-27T22:28:26Z (GMT). No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) Previous issue date: 2018-08-23 / O presente trabalho apresenta investigações sobre a ocorrência de texturas polifônicas na Sonata op. 35 n. 2 de Fryderyk Chopin, bem como estratégias de estudo que possam auxiliar na interpretação expressiva de tais texturas. Assim, esta dissertação estrutura-se em duas partes: a primeira apresenta diversas acepções sobre polifonia e, em seguida, aborda a forma em que a textura polifônica se encontra especificamente na obra de Chopin, à luz daquele contexto histórico e das diversas influências exercidas sobre o compositor. A segunda parte é composta pelos denominados “trechos polifônicos”, que são excertos escolhidos da Sonata op. 35, analisados e acompanhados de sugestões de estudos que visam o aprimoramento da execução polifônica. A pesquisa foi feita a partir da experiência de preparação para a performance da sonata e contempla a análise formal e interpretativa da obra, bem como a contextualização histórica da vida e obra de Chopin. Também são abordadas na pesquisa investigações musicológicas as quais vêm sendo feitas no sentido de elucidar aspectos polifônicos presentes ao longo de toda a produção chopiniana, bem como desvendar os principais fatos motivadores desta prática, quais sejam: a influência da música de Bach e o apreço de Chopin pela música vocal, especialmente o Bel Canto italiano, ao qual se atribui a presença dos diferentes caráteres ou vozes que compõem sua polifonia. / The present dissertation aims at investigating the occurrence of polyphonic textures in Fryderyk Chopin’s piano Sonata No. 2 Op. 35, as well as presenting study strategies that may aid in the expressive interpretation of such textures. Therefore, the present work is divided in two parts. The first one presents a myriad of interpretations on polyphony itself and then tackles the way polyphonic texture presents itself in Chopin’s works in light of the then-existing historical backdrop and the multitude of influences exerted upon the composer. The second part comprises the so-called “polyphonic stretches”, which are passages selected from Sonata Op. 35. These excerpts are analyzed and followed by study suggestions which aim at refining polyphonic execution. This research is rooted in the experience resulting from the author’s preparation for the execution of the sonata and encompasses the formal and interpretative analysis of this particular piece, as well as the historic contextualization of Chopin’s life and oeuvre. Musicological investigations are pursued throughout the research and they endeavor to clarify polyphonic aspects which are present in Chopin’s works, as well as unveil the main motivating factors behind such practice, namely Bach’s influence and Chopin’s own predilection for vocal music, most notably the Italian Bel Canto, to which different characters or voices that comprise his polyphony are attributed.

This paper examines the metaphoric structures that underlie Chopin's major novel, The Awakening, as well as those underlying selected short stories. Drawing on the modern theory of metaphor described by Mark Turner, George Lakoff, and Mark Johnson, the author argues that conceptual metaphors are the structural elements that underlie our experiences, thoughts, and words, and that their presence is revealed through our everyday language. Since these conceptual structures are representative of human thought and language, they are also present in literary texts, and specifically in Chopin's texts. Conceptual metaphors and the linguistic forms that result from them are so basic a part of our thinking that we automatically construct our utterances by means of them. Accordingly, conceptual metaphor mirrors human thought processes, as demonstrated by the way we describe our experiences.