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The Music RoadCoherence and Diversity in Music from the Mediterranean to India$
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Reinhard Strohm

Print publication date: 2019

Print ISBN-13: 9780197266564

Published to British Academy Scholarship Online: January 2020

DOI: 10.5871/bacad/9780197266564.001.0001

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PRINTED FROM BRITISH ACADEMY SCHOLARSHIP ONLINE (www.britishacademy.universitypressscholarship.com). (c) Copyright British Academy, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in BASO for personal use.date: 04 August 2021

From ‘Rhapsodic Gypsy’ to ‘Gypsy Rhapsody’

From ‘Rhapsodic Gypsy’ to ‘Gypsy Rhapsody’

Chapter:
(p.337) 17 From ‘Rhapsodic Gypsy’ to ‘Gypsy Rhapsody’
Source:
The Music Road
Author(s):

Ana G. Piotrowska

Publisher:
British Academy
DOI:10.5871/bacad/9780197266564.003.0017

Although rhapsodies—since the mid-19th century predominantly identified as musical compositions without fixed form—were composed by a number of prominent European and American composers, it was Franz Liszt, the author of Rhapsodies hongroises, who played the seminal role in establishing the status of rhapsody as a musical genre intrinsically joined with the imaginary ideal of gypsyness (defined as an intellectual construct). The chapter discusses consequences of uniting the concept of rhapsody with gypsyness, but also underlines the similarities between instrumental rhapsodies and ballads. It argues that although both genres shared a number of resemblances, the distinctive feature of the rhapsody remained its close association with romantic ideals of gypsyness. This strong link, the author claims, has been affecting the development and reception of the rhapsody as a genre.

Keywords:   rhapsody, gypsyness, Franz Liszt, rhapsode (rhapsodist), ballad, Frédéric Chopin

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