...Halina Goldberg The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak , a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals...

... of the composer at work and therefore—if we adopt the insight of Chopin's artistic interlocutor Eugène Delacroix—to his thinking presence. The Mazurka in C Minor, op. 56, no. 3, represents a reverse strategy. There an imagining mind is personified from the beginning, restlessly searching through a catalog...

... the aesthetic of three of Chopin's later Mazurkas (the op. 59 set) in the cult of the dandy, especially as described by Charles Baudelaire; to identify the musical means Chopin devised to realize that aesthetic, namely the “rogue pitches” of my title; and to illustrate how these rogue pitches and the persona...

...Michael Klein This article views Chopin's Mazurka in C# Minor, op. 30, no. 4, as akin to a dream that is open to analysis from a Lacanian perspective. After a discussion of Jacques Lacan's famous orders of subjectivity (the imaginary, the symbolic order, and the Real), the article turns to his idea...