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What Rothstein (1989) calls Chopin’s “late period” (1840-49) is flush with ingenious phrasing, cunning harmonic devices and “endless melody.” However, he limits this praise to those post-1840 compositions. This paper shows that at least one of Chopin’s pre-1940 compositions, Opus 10 No. 12, subtitled Revolutionary, exemplifies all of these characteristics, going so far as to radically restructure the phrase rhythmical approaches common in mid 19th century compositional practice. Chopin achieves this radical restructuring through unorthodox use of orthodox technique. The paper also includes a speculative section, where Romantic era thoughts on music are applied to the thesis.


This was a term paper written for Professor Keith Water's "Advanced Tonal Analysis" class in the Spring of 2016

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