title: Chopin at the Boundaries: Sex, History, and Musical Genre (Convergences: Inventories of the Present)
author: Jeffrey Kallberg
description: <i>Chopin at the Boundaries</i> aim[s] 'to expose and partially recover aspects of Chopin's style perceived in his day to be marginal or foreign, but which today's listeners have transformed or repressed.' In this respect and in others, [it] succeed[s] brilliantly; Kallberg's scholarship is consistently of the highest caliber, his research meticulous and exhaustive, his arguments engaging. (John Rink <i>Times Literary Supplement</i>)<br /><br />Kallberg is internationally accepted as one of the most knowledgeable writers on Chopin today. This book shows that he is also the most original. It is an extremely successful attempt to open out the study of Chopin into both social criticism and the history of reception...It is certainly the most stimulating book of Chopin criticism I have ever read. (Charles Rosen)<br /><br />Mr. Kallberg...[explores] connections between 'gender and genre' by way of showing Frederic Chopin's small forms and surface beauties congruent with 19th-century concepts of feminine expression. Most of the pages [of his book] are given over to fine analysis of Chopin's work. There is in particular an excellent examination of that strange end piece to Chopin's career, the F-minor Mazurka. (Kenneth LaFave <i>Washington Times</i>)<br /><br />[Kallberg's] meticulous scholarship is presented lucidly, and his acquaintance with pertinent literature of the past century and a half is impressive. (<i>Choice</i>)
zlib_text: H A R M O N Y 	 I N 	 C H O P I N
  Chopin’s	oeuvre	holds	a	secure	place	in	the	repertoire,	beloved	by	audiences,	performers,
  and	aesthetes.	In	Harmony	in	Chopin,	David	Damschroder	offers	a	new	way	to	examine
  and	understand	Chopin’s	compositional	style,	integrating	Schenkerian	structural	analyses
  with	an	innovative	perspective	on	harmony	and	further	developing	ideas	and	methods	put
  forward	 in	 his	 earlier	 books	 Thinking	 About	 Harmony,	 Harmony	 in	 Schubert,	 and
  Harmony	 in	 Haydn	 and	 Mozart.	 Reinvigorating	 and	 enhancing	 some	 of	 the	 central
  components	of	analytical	practice,	this	study	explores	notions	such	as	assertion,	chordal
  evolution	(surge),	collision,	dominant	emulation,	unfurling,	and	wobble	through	analyses
  of	 all	 forty-three	 mazurkas	 Chopin	 published	 during	 his	 lifetime.	 Damschroder	 also
  integrates	 analyses	 of	 eight	 major	 works	 by	 Chopin	 with	 detailed	 commentary	 on	 the
  contrasting	perspectives	of	other	prominent	Chopin	analysts.	This	provoc