ABSTRACT
This chapter presents the historiography of analyses and interpretations of the form of Chopin's music. It discusses the sources for the music, the role of editors, and differing interpretations from the contrasting viewpoints of classicism and romanticism. The chapter discusses reception of the mazurka and contrasting interpretation of the work, with some scholars searching for traces of relation to Jewish music. It contains variation technique definitions from the literature of the 19th and 20th centuries, and applies them to Chopin's music. The chapter also explores the 1950s state of knowledge of the genesis, compositional history, sources, form, harmony, and other elements of the sonatas. In addition, it covers the general characteristics of his works and Italian influences seen in 'rubato' and 'bel canto'. It presents the challenging issues of stylistic unity and periodization into distinct phases argued by specific scholars. Finally, the chapter also gives an overview of Chopin's songs and his involvement with the romantic generation of poets.
