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Artículos de revistas sobre el tema "Frederick Chopin"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de abril de 2022

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1

Sweeney-Turner, Steve, Iwo Zaluski y Pamela Zaluski. "The Scottish Autumn of Frederick Chopin". Musical Times 135, n.º 1815 (mayo de 1994): 286. http://dx.doi.org/10.2307/1003168.

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Musielak, Henri, Józef Michał Chomiński, Teresa Dalila Turło, Frederick Chopin, Jozef Michal Chominski y Teresa Dalila Turlo. "Katalog Dzieł Fryderyka Chopina -- A Catalogue of the Works of Frederick Chopin". Revue de musicologie 80, n.º 1 (1994): 143. http://dx.doi.org/10.2307/947314.

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3

Sourian, Eve. "George Sand and Frederick Chopin in Majorca (review)". Nineteenth Century French Studies 35, n.º 3 (2007): 688–90. http://dx.doi.org/10.1353/ncf.2007.0068.

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4

Berezutsky, V. I. y M. S. Berezutskaya. "CASE OF FREDERIC CHOPIN: COULD MUSIC BE A SYMPTOM?" Journal of the Grodno State Medical University 18, n.º 2 (2020): 211–16. http://dx.doi.org/10.25298/2221-8785-2020-18-2-211-216.

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5

Vazquez Caruncho, M. y F. Branas Fernandez. "The hallucinations of Frederic Chopin". Medical Humanities 37, n.º 1 (24 de enero de 2011): 5–8. http://dx.doi.org/10.1136/jmh.2010.005405.

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6

Berezutsky, V. I. y M. S. Berezutskaya. "FOURTEEN PHYSICIANS OF FREDERIC CHOPIN: FOURTEEN WAYS TO TELL A PATIENT ABOUT HIS DISEASE". Journal of the Grodno State Medical University 19, n.º 3 (1 de julio de 2021): 344–55. http://dx.doi.org/10.25298/2221-8785-2021-19-3-344-355.

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The narratives based on history of the disease of famous people are an effective pedagogical tool for future physicians’ preparation in medical ethics and psychology. The objective of this study was to analyze the methods that doctors used to inform Frederic Chopin about his disease. Frederic Chopin's and Georges Sand's letters, the works of the composer's biographers as well as scientific publications devoted to Chopin's illness were analysed. The analysis showed that most of Frederic Chopin's physicians hid from him an incurable and fatal diagnosis for ethical reasons. This tactic proved to be effective: Chopin lived for more than 10 years with severe symptoms of pulmonary tuberculosis.
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Kubba, Adam K. y Madeleine Young. "The Long Suffering of Frederic Chopin". Chest 113, n.º 1 (enero de 1998): 210–16. http://dx.doi.org/10.1378/chest.113.1.210.

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Popiołek-Walicki, Aleksandra. "Cultural Importance of the 4th International Chopin Piano Competition in the Light of Polish Music Life Reviving after the WW II". Edukacja Muzyczna 15 (2020): 327–45. http://dx.doi.org/10.16926/em.2020.15.08.

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The article aims at summarizing different activities undertaken to organize and run the first post- war Chopin piano competition. It is an attempt to collect facts, accounts and memories concerning actions initiated by Polish music culture environment after the Second World War. The author fo- cuses on a detailed description of the organization and proceedings of the 4th International Piano Competition, making use of information that has existed in independent sources so far. The article uses diaries, biographies, autobiographies, private notes, interviews with representatives of Polish culture, archive films and documentaries belonging to the Polish Film Chronicle. Press excepts were not used on purpose, as most press information was included in the aforesaid bibliography entries. The analyzed sources let us conclude that the organization of the first post-was Chopin piano competition in Warsaw was an event requiring both the engagement of all state institutions and personal contribution of musicians and music teachers. The author considers such a detailed historical-cultural account justified and necessary, especially in 2020, the 210th birth anniversary of Frederic Chopin, the year in which the 18th Frederic Chopin International Piano Competition was supposed to take place.
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9

Berezutskyy, V. I. y M. S. Berezutska. "Spes phthisica: the case of Frederic Chopin". Ukrainian Neurological Journal, n.º 4 (23 de diciembre de 2019): 67–71. http://dx.doi.org/10.30978/unj2019-4-67.

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10

Margolis, Mitchell L. "The Long Suffering of Frederic Chopin, Revisited". Chest 114, n.º 2 (agosto de 1998): 655. http://dx.doi.org/10.1378/chest.114.2.655.

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11

Ellis, Katharine. "The Parisian Worlds of Frederic Chopin (review)". Notes 57, n.º 2 (2000): 394–96. http://dx.doi.org/10.1353/not.2000.0069.

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12

Milewski, Barbara. "Frederic Chopin: A Guide to Research (review)". Notes 57, n.º 3 (2001): 611–12. http://dx.doi.org/10.1353/not.2001.0042.

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13

Charlier, Philippe, Antonio Perciaccante, Marc Herbin, Otto Appenzeller y Raffaella Bianucci. "The Heart of Frederic Chopin (1810-1849)". American Journal of Medicine 131, n.º 4 (abril de 2018): e173-e174. http://dx.doi.org/10.1016/j.amjmed.2017.12.005.

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14

Piotrowska, Anna G. "Kategoria narodowości w recepcji twórczości Fryderyka Chopina". Sprawy Narodowościowe, n.º 38 (18 de febrero de 2022): 91–100. http://dx.doi.org/10.11649/sn.2011.007.

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The Category of Nationality in the Reception of Frederic Chopin’s MusicThe article outlines general tendencies and prevailing notions adopted in the interpretation of music by Fre­deric Chopin (1810–1849) in the context of its acclaimed Polishness. Initiated already in the early nineteenth century – during the composer’s life – the attitude towards his music as national heritage continues until today, creating a wide panorama of different interpretations and reinterpretations. The article presents the category of nationality in the reception of Frederic Chopin’s music by both Polish and foreign researchers.
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15

Kallberg, Jeffrey y Ernst Burger. "Frederic Chopin: Eine Lebenschronik in Bildern und Dokumenten". Notes 50, n.º 3 (marzo de 1994): 963. http://dx.doi.org/10.2307/898558.

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ALİYEVA, Mehriban. "FREDERİC CHOPİN VE FRANZ LİSZT’İN PİYANO MÜZİĞİNDE ETÜT". Journal of Academic Social Science Studies Year: 15 - Number: 89, Year: 15 - Number: 89 (2022): 195–214. http://dx.doi.org/10.29228/jasss.57525.

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17

Martinek, Libor. "Literature reflecting on Frederic Chopin’s visits to the spa towns of western Czechia". Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, n.º 1 (28 de marzo de 2019): 325–44. http://dx.doi.org/10.18778/1505-9057.52.19.

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The composer Frederic Chopin is connected with Czechia through a number of visits (in Carlsbad, Prague, Děčín, Teplice, and Marienbad) which he spent joyfully meeting his family, who lived in the Russian-occupied Poland. In Czechia, he met and fell deeply in love with Maria Wodzińska, who, unfortunately, did not reciprocate his feelings. In Prague, he became acquainted with Czech national revivalists (Václav Hanka, among others) and with famous composers of the time. In Vienna, the centre of the Habsburg monarchy, he met many Czech composers and befriended the violinist Josef Slavík. Chopin was invited to play in several Czech castles; he received a particularly warm welcome in Děčín. His music teachers in Warsaw were of Czech origin. Chopin’s numerous relationships with Czechia inspired the establishment of the Frederic Chopin Society, the international festival held in Mariánské Lázně (formerly Marienbad), and even musicological symposia. Many Czechs – poets, fiction writers, literary historians, musicians, and music scholars – emphasised how Chopin and his music influenced them. They were inspired by the many notable facts associated with Chopin’s visits and experiences in Czechia and in other locations throughout the Austrian Empire; by his romantic life, democratic thinking, personal qualities, and artistic skills. Various interesting literary works include poetry collections by Kamil Bednář, Jiří Karen, Josef Pávek, Oldřich Zemek, Karla Erbová, and a collection of three novellas by Vladislav Mareš. Apart from writing about Czech Chopin-related works and translating key Polish chopiniana into Czech, the author of this study focuses mainly on the interpretation of the relations between literature and music in the works of the these Polish writers: Jarosław Iwaszkiewicz, Tadeusz Łopalewski, Janina Siwkowska, Maria Kuncewiczowa, Juliusz Kaden-Bandrowski, Jerzy Broszkiewicz, Mira Jaworczakowa and more.
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18

Bellman, J. "Frederic Chopin, Antoine de Kontski and the carezzando touch". Early Music 29, n.º 3 (1 de agosto de 2001): 399–407. http://dx.doi.org/10.1093/em/29.3.399.

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19

Annur, Bima Atyaasin y Joko Winarko. "ANALISA VARIASI MELODI DALAM KARYA MUSIK PRELUDE IN E MINOR (OP. 28 NO. 4) KARYA FREDERIC FRANCOIS CHOPIN ARANSEMEN TRIO ZINGARA". GETER : Jurnal Seni Drama, Tari dan Musik 4, n.º 1 (1 de abril de 2021): 72–90. http://dx.doi.org/10.26740/geter.v4n1.p72-90.

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Tujuan penelitian ini untuk mengetahui dan mendeskripsikan variasi melodi pada karya musik Prelude In E Minor (Op. 28 No. 4) karya Frederic Francois Chopin aransemen Trio Zingara. Metode penelitian yang digunakan adalah metode penelitian kualitatif. Tindakan analisis dilakukan dengan tiga tahapan yaitu tahapan deskripsi, tahapan reduksi, dan tahapan seleksi. Hasil penelitian menunjukan bahwa karya musik Prelude In E Minor (Op. 28 No. 4) karya Frederic Francois Chopin aransemen Trio Zingara merupakan lagu berbentuk 1 (satu) bagian. Terdiri dari 5 (lima) kalimat tanya dan 1 (satu) kalimat jawab. Komposisi Prelude In E Minor (Op. 28 No. 4) menggunakan tangga nada E minor, yang disajikan dengan tempo Largo, kemudian menggunakan sukat 4/4, dan diolah dengan menggunakan dinamika piano, espressivo, crescendo, decrescendo, pianissimo, smorzando, diminuendo, dan fortesimo. Karya musik Prelude In E Minor (Op. 28 No. 4) yang disajikan oleh kelompok Trio Zingara berdurasi 2 menit 41 detik, dan terdiri dari 25 birama. Trio zingara dalam mengaransemen karya musik Prelude In E Minor (Op. 28 No. 4) menggunakan format trio dengan instrumen Violin, Cello, dan Piano. Terdapat 7 (tujuh) variasi melodi dalam karya musik Prelude In E Minor (Op. 28 No. 4) aransemen Trio Zingara. Yang terdiri dari 3 (tiga) variasi melodi Counter Melody, 1 (satu) variasi melodi Obbligato, 1 (satu) variasi melodi Dead Spot Filler, 1 (satu) variasi melodi Melodic Variation and Fake, dan 1 (satu) variasi melodi Rhytmyc Variation and Fake.
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20

Erlinger, S. "Frederic Chopin and Michael Jackson: What could they have in common?" Gastroentérologie Clinique et Biologique 34, n.º 4-5 (abril de 2010): 246–49. http://dx.doi.org/10.1016/j.gcb.2010.03.001.

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21

FRAȚILĂ, Lioara. "The national specific at Frederic Chopin and Edvard Grieg – a parallel". Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), n.º 2 (20 de enero de 2022): 57–64. http://dx.doi.org/10.31926/but.pa.2021.14.63.2.6.

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22

FRĂȚILĂ, Lioara. "Development of the Sonata genre in Frederic Chopin’s creation". Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), n.º 1 (20 de junio de 2020): 65–74. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.7.

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"The paper herein highlights those aspects of Chopin’s sonata that demonstrate the strong connection with the classical-type sonata, as well as the fact that the piano poet took inspiration from some German composers’ themes, which he afterwards developed and transformed into genuine chefs-d’oeuvre – Sonata op 4, Sonata op 35, Sonata op 58 and Sonata for cello and piano op. 65. By analyzing piano sonatas composed by Frederic Chopin, one can notice how the composer perceived the sonata form, the compositional procedures resorted to and the level wherefrom the sonata form in Chopin’s conception began to evolve."
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23

Józsa, László. "Two hundred anniversary of birthday of Frederic Chopin. Was Chopin’s illness actually tuberculosis?" Orvosi Hetilap 151, n.º 34 (1 de agosto de 2010): 1394–97. http://dx.doi.org/10.1556/oh.2010.ho2299.

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24

Dubiński, Krzysztof y Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION". Muzealnictwo 58, n.º 1 (21 de junio de 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.

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Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
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Rimm, Robert. "The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo, and: 53 Studies on Etudes of Frederic Chopin and Other Chopin Arrangements (review)". Notes 61, n.º 2 (2004): 561–65. http://dx.doi.org/10.1353/not.2004.0160.

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26

Grabowski, Christophe. "Wessel's Complete Collection of the Compositions of Frederic Chopin: the history of a title-page". Early Music XXIX, n.º 3 (agosto de 2001): 424–34. http://dx.doi.org/10.1093/earlyj/xxix.3.424.

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Grabowski, C. "Wessel's Complete Collection of the Compositions of Frederic Chopin: the history of a title-page". Early Music 29, n.º 3 (1 de agosto de 2001): 425–34. http://dx.doi.org/10.1093/em/29.3.425.

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28

Gerhard, Anselm. "Ballade und Drama. Frederic Chopins Ballade opus 38 und die franzosische Oper um 1830". Archiv für Musikwissenschaft 48, n.º 2 (1991): 110. http://dx.doi.org/10.2307/930480.

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Witt, Michał, Artur Szklener, Wojciech Marchwica y Tadeusz Dobosz. "Disease not genetic but infectious: multiple tuberculomas and fibrinous pericarditis as symptoms pathognomonic for tuberculosis of Frederic Chopin". Journal of Applied Genetics 59, n.º 4 (25 de julio de 2018): 471–73. http://dx.doi.org/10.1007/s13353-018-0456-3.

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Isfahani, Alireza Moshabaki y Vahideh Mojahed. "Comparative comparison of music and architecture (case study: Frank Lloyd Wright falling water and Frederic Chopin Prelude No.15)". Estação Científica (UNIFAP) 8, n.º 3 (7 de agosto de 2019): 37. http://dx.doi.org/10.18468/estcien.2018v8n3.p37-47.

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Zielińska, Kinga, Bożenna Karczmarek-Borowska, Konrad Kwaśniak, Justyna Czarnik-Kwaśniak, Aleksandra Ludwin, Bogumił Lewandowski y Jacek Tabarkiewicz. "Salivary IL-17A, IL-17F, and TNF-α Are Associated with Disease Advancement in Patients with Oral and Oropharyngeal Cancer". Journal of Immunology Research 2020 (13 de agosto de 2020): 1–8. http://dx.doi.org/10.1155/2020/3928504.

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Delayed diagnosis of oral cavity and oropharyngeal cancer is associated with a poor prognosis. Despite progress in systemic therapy and radiotherapy, there has only been a slight improvement in the five-year survival rate. A non-invasive diagnostic method that consists of an assessment of specific proteins in saliva samples may significantly facilitate assessment of treatment results in patients diagnosed with oral and oropharyngeal cancer. The aim of this study was to assess the levels of IL-17 and TNF-α in the saliva of patients with oral and oropharyngeal cancer. The study was conducted prior to treatment in patients hospitalized in the Frederic Chopin Provincial Specialist Hospital No. 1 in Rzeszów, Poland. Saliva samples were collected from subjects on an empty stomach. Cytokine concentrations in the saliva were measured with ELISA and Luminex Multiplex Assays. The higher salivary concentrations of IL-17A, IL-17F, and TNF-α were significantly associated with disease advancement. Lower levels of IL-17A were associated with colonization of the oral cavity with aerobic bacteria. On the other hand, higher concentration of TNF-α was observed in patients with positive aerobic culture of oral swabs. Our results suggest that IL-17A, IL-17F, and TNF-α measured in the saliva may be a potential biomarker for cancer of the oral cavity and oropharynx.
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Hoeppner, Vernon. "Comparing the Clinical Course of Tuberculosis with the Musical Flow of Chopin’s Prelude No. 4". Music and Medicine 8, n.º 4 (26 de octubre de 2016): 207. http://dx.doi.org/10.47513/mmd.v8i4.464.

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Frederic Chopin is a widely known composer and pianist who probably died of tuberculosis at age 39. The symptoms of the disease dominated much of his life, starting from early adulthood. He was extraordinarily creative, preferring to express his emotions through music, telling his piano things that weighed heavily on his mind. Early in his life, as he perused art, he would hear music; when he said his goodbyes he did so with music. The dominant weight that he carried privately, but grew heavier on his mind, with time was his illness, tuberculosis. His sister probably and friends whose deaths he’d witnessed also had tuberculosis. He was aware that he had a disease without hope and he foresaw his own death. He composed the Prelude No. 4 in E minor in Majorca during the winter of 1838-39 when his symptoms brought him near to death.The Prelude has been described by experts as an expression of illness. Chopin requested that it be played at his funeral. While we do not know his thoughts about the Prelude, this paper considers how he expressed himself with music, the gathering burden of tuberculosis, and compares the clinical course of tuberculosis with the musical course of the Prelude. Keywords: Chopin, music, prelude, tuberculosisSpanishComparación el curso clínico de la Tuberculosis con el flujo musical del Preludio nro. 4 de Chopin Frederic Chopin es un compositor y pianista ampliamente conocido que murió de una supuesta tuberculosis a la edad de 39 años. Los síntomas de su enfermedad dominaron la mayor parte de su vida, comenzando en la temprana adultez. Él fue extraordinariamente creativo, prefiriendo expresar sus emociones a través de la música, utilizando el piano para expresar cuestiones que pesaban mucho en su mente. Tempranamente en su vida, mientras se encaminaba hacia el arte , él escuchaba música, cuando fue el momento de las despedidas también lo hizo con la música. El peso dominante que llevaba de manera privada, pero que crecía en el tiempo en su mente fue su enfermedad, la tuberculosis. Fue testigo de la muerte de su hermana y de amigos que también tuvieron tuberculosis. Estaba consciente que la enfermedad que tenía era una lenta condena, y sin esperanza el previó su propia muerte. Compuso el preludio Nro 4 en Mi menor en Mayorca, durante el invierno del 1838/39 cuando sus síntomas lo llevaron cerca de la muerte. Este preludio ha sido descripto por expertos como una expresión de la enfermedad. Chopin pidió que la obra sea ejecutada en su funeral. Si bien no conocemos sus pensamientos acerca del Preludio, este trabajo considera el modo en el que se expresó con la música, la carga de la tuberculosis y compara el curso clínico de la enfermedad con el curso musical del PreludioPalabras claves: Chopin , musica , preludio , tuberculosis GermanVergleich des klinischen Verlaufs von Tuberkulose mit dem musikalischen Fluss von Chopin’s Prelude No. 4Vernon H. HoeppnerFrederic Chopin ist ein weithin bekannter Komponist und Pianist, der im Alter von 39 Jahren an vermuteter Tuberkulose starb. Die Symptome der Krankheit dominierten die meiste Zeit seines Lebens von Beginn seines frühen Erwachsenenlebens an. Er war außergewöhnlich kreativ, er drückte seine Gefühle vorzugsweise durch Musik aus, und nutzte das Klavier, um Dinge auszudrücken, die schwer auf seiner Seele lagen. Schon früh in seinem Leben, von der Kunst überzeugt, hörte er Musik; wenn immer er sich verabschiedete, tat er das mit Musik. Der dominierende Schmerz, den er privat zu tragen hatte und der mit der Zeit immer schwerer seine Seele belastete, war seine Krankheit, die Tuberkulose. Eine Schwester und Freunde, deren Tod er miterlebte, hatten ebenfalls Tuberkulose. Er wusste, dass er eine Krankheit hatte, die sich schicksalhaft hinzog, ohne seinen eigenen Tod vorhersagen zu können. Während des Winters 1938/39 auf Mallorca komponierte er das Prélude No 4, in der Zeit, als ihn seine Symptome beinahe töteten. Experten beschrieben dieses Prèlude als Ausdruck seiner Krankheit. Chopin bestimmte, dass es bei seiner Beerdigung bespielt werden solle. Wir kennen seine Gedanken über das Prèlude nicht – dieser Artikel denkt darüber nach, wie er sich selbst durch Musik ausdrückte, die gesammelte Last der Tuberkulose, und vergleicht den klinischen Verlauf von Tuberkulose mit dem musikalischen Verlauf des Prèludes.Keywords: Chopin, Musik, Prelude, Tuberkulose ItalianConfrontando il Decorso Cliico della Tubercolosi con il Flusso della Musica di Chopin’s Prelude No. 4Vernon H. Hoeppner Frederic Chopin è un compositore e un pianista molto conosciuto che è morto di sospetta tubercolosi all’età di 39 anni. I sintomi della malattia hanno dominato gran parte della sua vita, a partire dalla prima età adulta. Era estremamente creativo, preferendo di esprimere le sue emozioni attraverso la musica, usando il pianoforte per esprimere I problemi che pesavano pesantemente sulla sua mente. All’inizio della sua vita, mentre guardava l’arte, sentiva la musica; quando ha detto I suoi addii lo ha fatto con la musica. Il peso dominante che portava in privato, ma che cresceva più pesante nella sua mente, con il tempo era la sua malattia, la tubercolosi. Sua sorella e I suoi amici la cui morte era testimone, avevano anche loro la tubercolosi. Era consapevole del fatto di avere una malattia in cui la sorte indugiava, e senza speranza previde la propria morte. Ha compost oil preludio n 4 in Mi minore a Majorca durante l’inverno del 1838-39 quando I suoi sintomi lo hanno portato vicino alla morte. Il preludio è stato descritto dagli esperti come espressione di malattia. Chopin ha chiesto che al suo funerale lo avrebbero suonato. Anche se non conosciamo il suo pensiero circa il Preludio, questo documento considera come egli si espresse con la musica, l’onere di raccolta della tubercolosi’ e confront ail decorso clinico della tubercolosi con il corso musicale del Preludio.Parole Chiave: Chopin, musica, preludio, tubercolosi Chinese肺結核臨床病程與蕭邦第四號前奏曲音樂流動之比較蕭邦是為人所熟知的作曲家與鋼琴家，他在39歲時疑似死於肺結核。這些疾病的症狀從他的成年早期即支配著他大部分的生活。蕭邦非常富於創意，喜歡透過音樂表達他的情緒，用鋼琴來表現壓在他心頭的沉重問題。在蕭邦生命早期，他追求藝術，聆聽音樂，而到了生命盡頭，他也以音樂向生命告別。他獨自扛下隨著時間在心中越來越沉重地負擔─他的疾病─肺結核。他曾目睹姊姊與一些朋友同樣因為肺結核而離世。他知道自己在厄運中徘徊，毫無希望的預見了自己的死亡。1838-39年的冬天，他的症狀已逐步帶領他走向死亡，他在馬略卡島創作了第四號E小調前奏曲。這首前奏曲被形容為透徹的表現出疾病的狀態。蕭邦自己要求在他的葬禮上演奏這首曲子。我們或許無從得知蕭邦對這首前奏曲的想法，但僅以本文探討他如何透過音樂表達自我─肺結核帶來的沉痾，並以此前奏曲的音樂進程與肺結核的臨床病程兩相比較。 Japaneseショパンのプレリュード4番における音楽的流れと、肺結核の進行段階の比較 Vernon H. Hoeppnerフレデリック・ショパンは、世界に知られた作曲家およびピアニストであり、肺結核により39歳で死没した。この病気の症状は成人になってからすぐ始まっており、彼の人生のほとんどを占めた。彼は、並外れた創造性を持っていて、自身の感情を音楽でくまなく表現することを好み、ピアノ演奏を通じて自分の精神状態に重くのしかかっていた問題を表していた。彼は若い頃から音楽を聴き芸術を探求していたが、人生に別れを感じたとき音楽にも別れを告げた。 私生活で時間と共に彼を苦しめた大きな重荷は、彼の持病である肺結核であった。彼の妹や友人たちも同じ病に苦しみ、ショパンは彼らを看取っていた。彼は自身の病気に運命を感じ、絶望的に死を覚悟していた。ショパンは、プレリュード4番、イ短調を 1838年末から1839年にかけた冬の時期に作曲し、この間彼の症状はほぼ死期に近づいていた。このプレリュードは、専門家たちによっても、病の表現であると言われている。ショパンが、自身の葬儀で弾いてほしいと依頼した曲でもある。我々は、彼がプレリュードに対して感じていた本当の気持ちはわからないが、本論文では彼が音楽で自身や肺結核の辛さをどのように表現したかについて考察し、肺結核の進行状態とプレリュードの音楽的展開を比較する。キーワード:ショパン、音楽、プレリュード、肺結核Korean쇼팽의 서곡 No.4의 음악적 흐름과 결핵의 임상학적 과정 비교하기 Vernon H. Hoeppner쇼팽은 널리 알려진 작곡가이자 피아니스트이며, 39세 나이에 결핵으로 죽었다. 그 질병의 증상들은 성인기 초반에 시작되어 그의 삶의 대부분을 지배했다. 그는 아주 창의적이었으며, 자신의 감정을 음악으로 표현하는 것을 좋아하였고, 피아노로 내면의 중요한 문제들을 표현했다. 생애 초반, 그는 예술에 대한 진지함을 가지고 음악을 들었다. 그는 작별을 고할 때도 음악으로 했다. 그는 이러한 음악에 대한 진중함을 은밀하게 유지하고자 하였으나 그의 질병은 시간이 갈수록 마음속에서 그를 더무겁게 했다. 그가 죽음을 목격했던 그의 누이와 친구들도 결핵을 앓았다. 그는 죽게 될 질병을 갖고 있다는 것을 인식했으며, 희망 없이 자신의 죽음을 예견했다. 그는 그의 증상이 그를 죽음으로 내몰던 1838-39년 겨울 동안 Majorca에서 Prelude No.4 in E minor를 작곡했다.전문가들은 그 곡이 질병을 표현한 것이라고 말한다. 쇼팽은 그 곡을 자신의 장례식에서 연주해 달라고 요구했다. 우리가 그 곡에 대한 그의 생각을 알지 못하지만, 본 논문은 그가 음악으로 자기 자신을 표현한 방법과 결핵을 고려하며 작곡되었을 서곡의 음악적 과정과 결핵의 임상학적 과정을 비교했다. 키워드: 쇼팽, 음악, 서곡, 결핵
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33

Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos". Review of Artistic Education 17, n.º 1 (1 de marzo de 2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.

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Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience’s sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, “the best of all” as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes” considers this would have an ironic character. “Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six”.143
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Subbotina, M. V. y I. B. Zabbarova. "Effect of voice fold length on voice range in novice vocalists". Russian Otorhinolaryngology 19, n.º 2 (2021): 43–49. http://dx.doi.org/10.18692/1810-4800-2021-2-43-49.

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The aim of the study was to determine the effect of vocal cord length on vocal range in aspiring vocalists. On the basis of the Frederic Chopin Irkutsk Regional College of Music. 141 student vocalists (18 ± 3.6 years, 122 girls) underwent indirect laryngoscopy, the length of the vocal folds was measured using an ultrasound scan of the larynx using an Aloka SSD 500 apparatus with a 5 MHz sensor during breathing and during phonation of the lowest and highest tones, measured weight and height, the voice range in Hz and the number of semitones were assessed. Spearman’s correlation coefficient was calculated, the significance of differences according to the U-Mann – Whitney and Wilcoxon criteria was calculated using the Statistica 10.0 software (reliable data at p <0.05*). Results. Spearman’s correlation coefficient was: between the length of the vocal folds and weight + 0.52*, height + 0.43*, gender + 0.45* (female 1, male 2), the lowest tone –0.34*, between height and the lowest tone is –0.23*. The range of the voice in arbitrary units and Hz correlated weakly with the length of the folds during breathing (-0.18/–0.24*, respectively), with the lowest pitch (+ 0.42/+ 0.59 *), but there was a high correlation with the highest (+ 0.88/+ 0.99*). The latter depended on: the length of the vocal folds at rest (–0.32*), weight (–0.25*), gender (–0.45*), the length of the folds during high-pitched phonation (–0.6*). Differences in the length of the vocal folds during breathing in female vocalists with different vocal ranges were not significant, while in males and females (soprano) they were significant. The length of the fold during phonation in all types of voices was shorter than during breathing. The voice range of novice vocalists was increased mainly by high tones in parallel with the shortening of folds during phonation, which could be measured using ultrasound scanning and which is achieved by training.
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35

Woźniak, Krzysztof. "Preface". Pure and Applied Chemistry 79, n.º 6 (1 de enero de 2007): iv. http://dx.doi.org/10.1351/pac20077906iv.

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The 18th International Conference on Physical Organic Chemistry (ICPOC-18) took place at the Gromada Hotel in Warsaw, Poland on 20-25 August 2006 under the local auspices of Warsaw University and the Polish Chemical Society. It was organized by a local Organizing Committee from the Department of Chemistry of Warsaw University led by Prof. Tadeusz M. Krygowski.Although physical organic chemistry began in the 1930s and at the beginning was concerned mostly with the mechanisms and kinetics of organic reactions and their dependence on structural and medium effects, a great extension of the field toward bioorganic, organic, organometallic, theoretical, catalytic, supramolecular, and photochemistry has been observed for decades now. Representative topics for modern physical organic chemistry include: reaction mechanisms; reactive intermediates; bioprocesses; novel structures; reactivity relationships; solvent, substituent, isotope, and solid-state effects; long-lived charges; sextet or open-shell species; magnetic, nonlinear optical, and conducting molecules; and molecular recognition. Contributions from all of these fields were presented.About 220 researchers, representing 31 countries, participated in the conference. The following eight plenary lectures were presented:R. Huber (Nobel laureate, Germany): "Molecular machines in biology"A. Yonath (Israel): "The spectacular ribosomal architecture: Nascent proteins voyage towards folding via antibiotics binding-pockets"P. Coppens (USA): "Time-resolved diffraction studies of molecular excited states and beyond"K. S. Kim (South Korea): "De novo design based on nano-recognition: Functional molecules/materials and nanosensors/nanodevices"I. P. Beletskaya (Russia): "Mechanistic aspects and synthetic application of carbon-carbon and carbon-heteroatom bonds formation in substitution and addition reactions catalyzed by transition-metal complexes"S. Fukuzumi (Japan): "New development of electron-transfer catalytic systems"D. Braga (Italy): "Making crystals from crystals: A green route to crystal engineering and polymorphism"L. Latos-Grażyński (Poland): "Carbaporphyrinoids: Exploring metal ion-arene interaction in a macrocyclic environment"Additionally, 17 invited talks and, during two parallel sessions, 51 oral communications were presented. There were more than 100 poster presentations.I am pleased to introduce a representative selection of outstanding papers based on plenary and invited lectures delivered at ICPOC-18. In addition to the contributions mentioned above, this volume contains: a discussion of modern understanding of aromaticity (P. Fowler, UK); fascinating studies of new mechanisms focused on reactive intermediates (R. Moss, USA); interpretation of acidity, basicity, and hydride affinity by the trichotomy paradigm (Z. Maksić, Croatia); a quantum approach to proton transfer across hydrogen bond (F. Fillaux, France); a discussion of self-assembly of nickel(II) pseudorotaxene nanostructures on Au surface (R. Bilewicz, Poland); a discussion of synthesis and properties of macrocyclic receptors for anions (J. Jurczak, Poland); a description of novel organic-inorganic frameworks (J. Klinowski, UK); an application of microemulsions as microreactors (J. R. Leis, Spain); a discussion of silicon rehybridization and molecular rearrangements in hypercoordinate silicon dichelates (D. Kost, Israel); and a description of solvation in pure and mixed solvents (O. El Seoud, Brazil). All of these papers exemplify the broad range and diversity of interests of the participants and characterize the present and future challenges in physical organic chemistry.The social program of the conference included: a welcome reception; a Chopin music concert organized in cooperation with the Frederic Chopin Society; conference excursions, including Warsaw Old Town and Żelazowa Wola, the house where Chopin was born; the Warsaw Uprising (1944) Museum and the Heroes of Ghetto Memorial; and folk music dances during the conference dinner.Because ICPOC-18 was attended by quite a number of young chemists from all over the world, it can be expected that the next conference in this series, ICPOC-19, which will be held in July 2008 and is being organized by Profs. J. Ramon Leis from the University of Santiago de Compostela and A. Santaballa from the University of A Coruna (Spain), will not only reflect recent developments and the rich potential of physical organic chemistry, but will also demonstrate the aspirations of younger generations of scientists in this field.Krzysztof WoźniakConference Editor
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Lanovyk, Mariana. "POETICS OF NOCTURNE IN LYRICS OF JURIJ KOSACH". Polish Studies of Kyiv, n.º 35 (2019): 216–22. http://dx.doi.org/10.17721/psk.2019.35.216-222.

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The article deals with the poetical works of Ukrainian writer in exile Jurij Kosach in context of Frederic Chopin nocturne tradition in the European art. The parallels to the visions of Ukrainian oral national tradition, romantic writers (particularly T.Shevchenko), Ukrainian emigrant poets of the previous generation (B.Lepky, E.Malaniuk, Alexander Oles’ and others), and European symbolists (Sh. Baudelaire, A.Rimbaud) are given. The author outlines the nocturne tendencies in music, literature and other arts as traditions of cultures in bondage as well as the artists in exile. The main attention is drawn to the influences of existential situations after the revolutions of the beginning of the 20th century and two World Wars. In Soviet space the minority of nocturne music was interpreted as a protest against major tone of so called social realism pseudo art. Night as the main concept of Jurij Kosach’s lyrical selections (especially “Manhattan Nights”, “Summer in Delaware”) is analyzed in different poetical intentions and interpretative perspectives: night in Motherland as an idea of national and spiritual darkness of enslavement Ukraine, as lost land (in parallel to Atlántida); night of exile as the way of uncertainty and lost, as the nostalgia; night travelling by sea as a development of antique Homeric tradition of Odyssey as well as Alcaeus traditions of the idea of life obstacles; night travelling by land as a development of Goethe’s tradition – way of life to the calmness of death; mystery of night as the reinforced Faustian and Wagnerian ideas; solitude of night as a reflection of Nietzsche’s ideas of the world sorrow and existential fear. Motives of night, night travelling, poetics of starlit sky, constellations as secret signs and silent language etc. are analyzed in their projection upon the philosophic concepts of destiny, solitude, and bondage. They are interpreted on different levels: in the life of one person (night reflections of different artists in exile, such as T. Shevchenko, A.Pushkin, M.Tsvetaeva, F. Villon, E.A. Poe, A. Mickiewicz, W.Whitman and others are outlined in the contexts of their destiny situations); in the existence of a city (European, American and Ukrainian in their “night” living in different centuries and historical circumstances); or in the life of the nation at large.
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37

Bobryk, Urszula, Renata Gozdecka y Tomasz Jasiński. "Niedokończony koncert dla Lublina. Wspomnienie o Beacie Dąbrowskiej (1960-2016)". Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, n.º 2 (12 de enero de 2017): 11. http://dx.doi.org/10.17951/l.2016.14.2.11.

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<p>Professor Beata Dąbrowska – a conductor, teacher, and organizer of musical life, highly merited for Lublin’s musical culture and Maria Curie-Skłodowska University (UMCS) – died on 14<sup>th</sup> March 2016. She was born on 5<sup>th</sup> January 1960 in Lublin, She attended the Karol Lipiński Music School in Lublin, and then studied at the Frederic Chopin Music Academy in Warsaw, from which she graduated in 1982 and received a Master of Music Degree in Choral Conducting. From 1982 until the end of her life she worked at the Institute of Music, Maria Curie-Skłodowska University (until 2000 it was the Institute of Arts Education). In 1992 she received the first-grade qualification (today – a PhD equivalent) in the artistic discipline of <em>conducting vocal and vocal-instrumental groups</em>; in 1999 she received her second-grade qualification (now – a postdoctoral degree: Habilitated Doctor). In 2003 she was appointed Associate Professor of UMCS. In 2005 she became Head of the Institute of Music. She held this function till her death, combining it with multiple academic activities. At the same time she pursued her artistic activity. In 1987, together with her husband Dariusz Dąbrowski, she founded the Chamber Choir of the Henryk Wieniawski Music Society of Lublin, whose conductor she was for almost 30 years. She and the Choir gave several dozen vocal-instrumental concerts and over 300 concerts a cappella; they took part in many festivals and competitions in other countries and won awards and honors. Most often she performed in Lublin at religious and official state ceremonies, various jubilees, or anniversaries; many times she took part in Lublin concert series (inter alia Ars Chori, Spotkania Chórów Akademickich [Meetings of Academic Choirs]), she also gave concerts in other towns ( e.g. in Gdańsk, Grudziądz, Olsztyn, Toruń, Wrocław). She was engaged in many initiatives of Lublin’s music culture and, at the same time, she improved her skills (in 1990 she completed Podyplomowe Studium Chórmistrzowskie [Postgraduate Choirmaster Training Program at the Feliks Nowowiejski Academy of Music in Bydgoszcz]). In 1995 she initiated in Lublin Międzynarodowe Dni Muzyki Chóralnej (International Days of Choir Music). She organized concerts in Lublin for many years. She was awarded many times for her dedicated and invaluable work, the formation of Lublin’s cultural image, and for the promotion of Polish culture in Poland and abroad.</p>
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Cvetnić, Željko. "Povijest tuberkuloze". Veterinarska stanica 52, n.º 1 (17 de diciembre de 2020): 73–84. http://dx.doi.org/10.46419/vs.52.1.13.

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Tuberkuloza je imala velik utjecaj na povijest čovječanstva pa tako i na umjetnost. Što bi umjetnički geniji iz svijeta književnosti, glazbe i slikarstva stvorili da nisu umrli vrlo mladi? U radu je prikazan utjecaj tuberkuloze na stvaranje umjetnika koji su bolovali od tuberkuloze. Tijekom romantizma pojavilo se mišljenje da tuberkuloza u oboljelih povećava kreativne sposobnosti. Među piscima koji su oboljeli od tuberkuloze bili su poznati njemački pisci: Wolfgang von Goethe, Friedrich Schiller i Georg Philipp Friedrich von Hardenberg. Tuberkulozan je bio i pisao o tubekulozi Lord Gordon Byron, a i Edgar Allan Poe je još kao dijete ostao bez roditelja oboljenih od tubekuloze, a i sam je umro od te bolesti. John Keats, engleski pjesnik, a i cijela njegova obitelj umrli su od tuberkuloze; od tuberkuloze je umro i ruski književnik Anton Pavlovič Čehov. Obitelj Brontë jedna je od najtragičnijih, ali isto tako i najtalentiranijih književnih obitelji. Svi su kao vrlo mladi umrli od tuberkuloze. Antun Branko Šimić, jedan od najvećih hrvatskih pjesnika, umro je od tuberkuloze u 27. godini života. Iako nije dugo živio, A. B. Šimić ostavio je iznimno bogati knjiženi opus. Mnogobrojna obitelj, otac i braća Ive Andrića književnika i dobitnika Nobelove nagrade za kniževnost umrli su od tuberkuloze, a i sam Ivo Andrić je dugo bolovao od te bolesti. U operama “La Traviata” Giuseppea Verdija i “La bohème” Giacoma Puccinija tematizirana je bolest toga vremena. tuberkuloza. Frederic Chopin, utjelovljenje je romantičarskog umjetnika, ne samo zbog pripadnosti stilskom razdoblju romantizma, već i zbog svog života ispunjenog događajima, osobnih i društvenih patnji. Umro je u 39. godini od tuberkuloze i uz velike je počasti pokopan na groblju Père Lachasie u Parizu, a njegovo je srce, potajno, prenijeto u Varšavu, gdje je uzidano u jedan stup crkve Svetoga Križa. Tuberkuloza je bila zastupljena i u likovnoj umjetnosti. Talijanski slikar Amadeo Modigliani, u početku svog umjetničkog rada želio je postati kipar, ali tjelesni napor prilikom klesanja, prašina i kašalj odvratili su ga od klesanja i vratili slikarstvu. Umro je od tuberkuloze u 36. godini života. Ferdinandu Hodleru, švicarskom slikaru, otac, majka, braća i sestre umrli su od tuberkuloze. Ovo teško iskustvo bolesti i smrti odrazilo se na njegovo slikarstvo. Edvard Munch, samouki norveški slikar bio je duboko pogođen smrću voljenih članova obitelji. Mračna raspoloženja tjeskobe i očaja ogledavaju se na njegovim platnima. Opisani su i mnogi hrvatski slikari oboljeli ili umrli od tuberkuloze: (Slava Raškaj umrla je u 29. godini života, Miroslav Kraljević u 28., Milan Steiner u 25., Tomislav Kolombar u 21. godina života). Usprkos njihovim kratkim životima, svaki je od njih ostvario izniman, cjelovit i znatan umjetnički opus.
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Malaieva, Tetiana. "The method of double repetition action in the art of piano playing as an artistic and expressive technique". Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, n.º 18 (2019): 57–62. http://dx.doi.org/10.34079/2226-2849-2019-9-18-57-62.

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This article is a deep study of the technical possibilities of the modern piano and the use of this knowledge in the musical and pianistic development of the personality. The history of the modern piano begins in the XIX century. In 1823, Sebastien Erar in Paris invented the mechanism of double rehearsal. It was a double rehearsal that marked the beginning of a new history of the modern piano. Its main task is to achieve the sensation of closing a fingertip with a string. Similarly, as the ligaments of the vocalist close or the bow with the string of the violinist. Double rehearsal is a thin spring mechanism that allows you to repeatedly press a key from half or a quarter of a key's stroke without lifting your finger from the key.This mechanism drives the hammer, and the damper remains motionless. This creates a pedal sound effect. Possession of a double rehearsal allows the pianist to understand that any touch to the keyboard affects the quality and color of the sound. Touching the keyboard is called Touche - unfortunately a forgotten professional concept. Frederic Chopin owned an excellent touche, for which he was called the "Singer of the piano." Famous musician, conductor, pianist, composer, music theorist, philosopher, human rights activist, Honored Artist of Russia Mikhail Arkadyev is considered a modern researcher of double rehearsal. Mastering a double rehearsal is achieved by repeating a single sound or akorda of three, four sounds on a legato without using the right pedal. Therefore, it is necessary to learn from the very beginning and the first touch. There are many examples of the use of double rehearsal in music literature. It can be any repetition of the same sounds. She creates a variety of musical images. Possession of a double rehearsal contributes to the technical freedom of the pianist, aesthetic and physical support when playing the piano. The research of the ordered topic revealed that the sophisticated mechanism of the double rehearsal is the first and true "soul of the piano" (pedal - "friend") She (double rehearsal) contributes to the technical maintenance of the perfect performance of the musical work and requires a painstaking work as a music teacher, and his students. And this must be done from the beginning of education and education of music school students. As a conclusion of the study, it should be emphasized that today in education the personal-oriented pedagogy comes to the fore. Therefore, the upbringing, development, formation of individual and personal qualities in pupils with the means of music should occupy the current place in the work of musical schools. And this only confirms the relevance of the topic of research and requires its further development.
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Fernandes, Vinícius, Guto Brambilla y Fernando Iazzetta. "A Emergência do Sujeito na Narrativa do Prelúdio Op. 28 no. 14 de Chopin". Musica Theorica 2, n.º 2 (9 de mayo de 2018). http://dx.doi.org/10.52930/mt.v2i2.49.

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Tomando como baliza epistemológica a teoria de narratividade musical de Byron Almén, empreendeu-se uma análise do Prelúdio para piano, op. 28 no 14 de Frederick Chopin. Entendemos esta composição como uma polifonia a duas vozes, constituída a partir da interdependência contrapontística entre elas. Percebeu-se um esforço de autonomização melódica, alcançada apenas nos últimos compassos. Concluiu-se que este processo constitui o núcleo do conflito narrativo. Sob este escopo, a estrutura desta peça revelou-se emblemática na expressão de uma questão capital à poética romântica: a urgência da emergência do sujeito diante de forças integrativas associadas a uma determinada hierarquia, seja ela política, social ou, em última instância, metafísica.
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41

"Cyril Huve, Frederic Chopin". Early Music XXI, n.º 2 (1 de mayo de 1993): 327–28. http://dx.doi.org/10.1093/em/xxi.2.327.

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42

"Music and the Mind: Frederic Chopin". Psychiatric News 45, n.º 4 (19 de febrero de 2010): 33. http://dx.doi.org/10.1176/pn.45.4.psychnews_45_4_036.

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43

"Frederic Chopin: a guide to research". Choice Reviews Online 37, n.º 11 (1 de julio de 2000): 37–5998. http://dx.doi.org/10.5860/choice.37-5998.

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44

"The Parisian worlds of Frederic Chopin". Choice Reviews Online 37, n.º 08 (1 de abril de 2000): 37–4399. http://dx.doi.org/10.5860/choice.37-4399.

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45

Berezutskyi, V. I. y M. S. Berezutska. "Iatrogenic depression: the case of Frederic Chopin". Ukrainian Neurological Journal, n.º 3—4 (30 de noviembre de 2021). http://dx.doi.org/10.30978/unj2021-3-61.

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Psychological disorders caused by the doctor’s rash words are as common as the side effects of drug. Iatrogenic depression caused by ethical and psychological mistakes of doctors will never go away. Their frequency can be reduced only by improving the physicians’ skills in the fields of medical ethics and psychology. A clinical case analysis based on a famous person’s history of the disease is an effective pedagogical tool. The study aims to present the case of the famous Polish composer Frederic Chopin. The A comparative analysis of doctors’ objective actions and patients’ subjective evaluations of their actions were made based on a study of Chopin’s and Sand’s letters as well as the works of composer’s biographers. This approach provides a valuable opportunity to see doctors through the patient’s eyes. In the fall of 1838, during his rest in Majorca, the local doctors diagnosed pulmonary tuberculosis in Chopin. The Majorcan doctors made a serious ethical mistake. They ignored the patient’s anamnesis vitae indicating his phthisiophobia and informed Chopin about the diagnosis of pulmonary tuberculosis and a poor prognosis in a very cynical manner. Chopin wrote: ‘One (doctor) said I had died the second that I am dying, the 3rd that I shall die’. Chopin perceived the diagnosis of tuberculosis as a ‘death sentence’, as a result of which he developed iatrogenic depression. All previous and subsequent Chopin’s doctors used other tactics: they prescribed the correct treatment, but the diagnosis was not voiced. The analysis shows the effectiveness of this tactic: Chopin lived another 10 years after the Majorcan episode. Chopin’s case shows typical doctors’ ethical and psychological issues in informing the patient about the dangerous diagnosis and poor prognosis as well as tactics for building a good physician‑patient relationship.
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Witt, Michał y Tadeusz Dobosz. "Inheritance vs. infectivity as a mechanism of malady and death of Frederic Chopin". Journal of Applied Genetics, 4 de agosto de 2021. http://dx.doi.org/10.1007/s13353-021-00651-2.

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AbstractBased on a macroscopic analysis of the heart of Frederic Chopin performed in 2014, it can be stated with high probability that the composer suffered from a long lasting tuberculosis as a primary disease, which was the cause of progressive deterioration of his physical condition and numerous symptoms mainly from the respiratory tract. Tuberculous pericarditis rapidly progressing within a rather short period of time, a relatively rare complication of diffuse tuberculosis, might have been an immediate cause of death. This would aptly coincide with a startling opinion that in an autopsy picture the composer’s heart had been more affected by the disease than the lungs.
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