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Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

According to J. Barrie Jones who was the only true successor to Chopin?

56cff6f3234ae51400d9c191

Karol Szymanowski

Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Many people were considered influenced by Chopin's what?

56cff6f3234ae51400d9c192

national modes and idioms

Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Who was Alexander Scriabin's teacher?

56cff6f3234ae51400d9c193

Nikolai Zverev

Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Who was Chopin's worthy successor according to Jones?

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Karol Szymanowski

Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Who was devoted to the music of Chopin?

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Alexander Scriabin

Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Who was Alexander Scriabin's teacher?

56d3a9282ccc5a1400d82dca

Nikolai Zverev

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances?

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Jonathan Bellman

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

What did Chopin tend to avoid?

56cff817234ae51400d9c1a4

rigid procedures

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

What has been falsely credited to Chopin?

56cff817234ae51400d9c1a5

"always crescendo to a high note"

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

What did Chopin tell a student is given up in concerts?

56d3a1e959d6e41400146841

hearing in them all the most beautiful things of art

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Who wrote about Chopin's "chromatic embroidery"?

56d3a1e959d6e41400146842

Berlioz

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?

56d3a1e959d6e41400146843

Hiller

Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

Chopin's compositions are often played with what?

56cff885234ae51400d9c1b3

rubato

Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

What does rubato mean?

56cff885234ae51400d9c1b4

the practice in performance of disregarding strict time

Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

In Chopin's music where strict timing is disregarded, what is it called?

56d3a2cd59d6e41400146849

rubato

Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

What type of Chopin's music had the most disregard for strict timing according to Charles Rosen?

56d3a2cd59d6e4140014684a

mazurkas

Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

According to who did Chopin demand strictly sticking with rhythm?

56cff905234ae51400d9c1b7

Friederike Müller

Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

Which student said Chopin made sure his students knew his legato, cantabile style of playing?

56d3a32259d6e4140014684f

Friederike Müller

Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

According to Friederike Müller, Chopin insisted his students have the strictest adherence to what?

56d3a32259d6e41400146851

rhythm.

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Chopin was noted as introducing music to what?

56cffa2a234ae51400d9c1cf

sense of nationalism

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

What year did Schumann review Chopin's piano concertos?

56cffa2a234ae51400d9c1d0

1836

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

In his review Schumann made note of Chopin's emotions for what?

56cffa2a234ae51400d9c1d1

Poland

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Why did Schumann say the Poles were in mourning?

56cffa2a234ae51400d9c1d2

the failure of the November 1830

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

A biography on Chopin released under Franz Liszt's name was likely written by who?

56cffa2a234ae51400d9c1d3

Carolyne zu Sayn-Wittgenstein

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Chopin was able to bring about a new sense of nationalism with his music because of his mazurkas and what?

56d3a3df59d6e4140014685f

polonaises

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Who wrote a glowing review of Chopin's love for his country through his music in 1836?

56d3a3df59d6e41400146860

Schumann

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Schumann described Chopin's music as cannons buried in what?

56d3a3df59d6e41400146861

flowers

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Though Franz Liszt is credited with Chopin's 1863 biography, who probably actually wrote it?

56d3a3df59d6e41400146862

Carolyne zu Sayn-Wittgenstein

Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

Who said that Chopin's familiarity with Polish music was more "urbanised" than true folk music?

56cffb2b234ae51400d9c1e1

Barbara Milewski

Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

George Golos references what two musicians when claiming Chopin's nationalism was overrated?

56cffb2b234ae51400d9c1e2

Michał Kleofas Ogiński and Franciszek Lessel

Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?

56d3a46a59d6e41400146869

Richard Taruskin

A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

William Atwood suggested that Chopin's music wasn't purposely patriotic but what?

56cffba5234ae51400d9c1f1

intuitive

A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

A modern commentator, William Atwood, feels Poles not only sought solace in Chopin's music but also found them a source of strength as they continued to fight for what?

56d3a51459d6e41400146877

freedom

A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

Where were Poles scattered to?

56d3a51459d6e41400146878

Europe and the New World

Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Arthur Hutchings stated that Chopin's lack of what made him special?

56cffc2b234ae51400d9c1ff

Byronic flamboyance

Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Who were two of Chopin's contemporaries?

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Liszt and Henri Herz

Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

What place was considered lucky for Chopin to have arrived at considering how much he charged for piano lessons?

56d3a65259d6e41400146888

Paris

Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz?

56d3a65259d6e4140014688a

Arthur Hutchings

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

In what suite did Schumann name a work for Chopin?

56cffcf3234ae51400d9c20d

Carnaval

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

What piece of Chopin's work was dedicated to Schumann?

56cffcf3234ae51400d9c20e

Ballade No. 2 in F major

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

How many of Chopin's Polish songs did Liszt transliterate for piano?

56cffcf3234ae51400d9c20f

six

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

With who did Chopin feel comfortable speaking of folk music with?

56cffcf3234ae51400d9c210

Alkan

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

What was recognized about Chopin from his musical peers?

56d3a74159d6e414001468a1

qualities as a pianist and composer

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

What Schumann suite contained the name of a piece Schumann named for Chopin?

56d3a74159d6e414001468a2

Carnaval

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

What piece did Chopin dedicate to Schumann?

56d3a74159d6e414001468a3

Ballade No. 2 in F major

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

What other musician shows to have elements of Chopin in his work?

56d3a74159d6e414001468a4

Liszt

Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

Who dedicated his 1915 piano Études to Chopin?

56cffdaa234ae51400d9c226

Debussy

Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

For what publisher to Debussy edit Chopin's music for?

56cffdaa234ae51400d9c227

Jacques Durand

Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

Who was a student of Chopin's former students and actually recorded some Chopin music?

56d3a85259d6e414001468aa

Raoul Koczalski

Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

What music did Debussy play a lot at the Paris Conservatoire?

56d3a85259d6e414001468ac

Chopin's

The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet.

Who were Wang Jiawei and Nyima Gyaincain?

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Mainland Chinese scholars

Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

What important trade did the Ming Dynasty have with Tibet?

56cc27346d243a140015eeba

horse trade

Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

During what years did the Mongol leader Kublai Khan rule?

56cc27346d243a140015eebb

1402–1424

Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

Who did the Yongle Emperor try to build a religious alliance with?

56cc27346d243a140015eebc

Deshin Shekpa

Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

Deshin Shekpa was the head of what school?

56cc27346d243a140015eebd

the Karma Kagyu school

Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

The Tibetan leaders had a diplomacy with what neighboring state?

56cc27346d243a140015eebe

Nepal

The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

What did the Tibetans use against Ming forays?

56cc306b6d243a140015eec5

armed resistance

The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

Who were the armed protectors for the Gelug Dalai Lama?

56cc306b6d243a140015eec6

the Mongols

The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

Which regime did Güshi Khan help establish?

56cc306b6d243a140015eec7

the Ganden Phodrang

The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

When was the Mongol-Tibetan alliance started?

56cc306b6d243a140015eec8

1578

Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

In what century did the Tibetan Empire fall?

56cc36926d243a140015eece

the 9th century

Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

Who signed multiple peace treaties with the Tang?

56cc36926d243a140015eecf

The Yarlung rulers of Tibet

Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

What did one of the treaties between the Tang and Tibet help fix?

56cc36926d243a140015eed0

the borders between Tibet and China

Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

Who was the Tangs biggest rival?

56cc36926d243a140015eed1

Tibet

Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

What year did Tang and Tibet sign a treaty to fix the borders?

56cc36926d243a140015eed2

821

During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

When did the Five Dynasties and Ten Kingdoms period of China take place?

56cc3ad16d243a140015eed8

907–960

During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

When did the Song dynasty take place?

56cc3ad16d243a140015eed9

960–1279

During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

What dynasty was concerned with countering northern enemy states?

56cc3ad16d243a140015eeda

Song dynasty

During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

Who ruled the Liao dynasty?

56cc3ad16d243a140015eedb

the Khitan

During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

Who ruled the Jin dynasty?

56cc3ad16d243a140015eedc

Jurchen

In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.

Which ruler took Western Xia under their control?

56cc41416d243a140015eee2

Genghis Khan

In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.

Who was Genghis Khan's successor?

56cc41416d243a140015eee4

Ögedei Khan

In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.

What years did Ögedei Khan rule?

56cc41416d243a140015eee5

1229–1241

In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.

Who invaded Tibet?

56cc41416d243a140015eee6

Ögedei Khan

The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

Who was the Mongol prince?

56cc44b76d243a140015eeec

Godan

The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

Who was the leader of the Sakya school of Tibetan Buddhism?

56cc44b76d243a140015eeed

Sakya Pandita

The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

Who was the regent of the Mongol Empire?

56cc44b76d243a140015eeee

Töregene Khatun

The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

In what years was Töregene Khatun the regent of the Mongol Empire?

56cc44b76d243a140015eeef

1241–1246

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

How many states were ruled by myriarchies?

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thirteen

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

What title did prince Kublai rule as from 1260 to 1294?

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Khagan

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

Who was the superior of prince Kublai?

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Ögedei Khan

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

Who became the second Karmapa Lama?

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Karma Pakshi

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

With whom did Kublai Khan have a unique relationship with?

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the Phagpa lama

Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

When did Kublai Khan conquer the song dynasty?

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1279

Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

When did the Yuan dynasty rule?

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1271–1368

Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

Which dynasty ruled all of china?

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the Yuan dynasty

Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

What did Khubilai claim for a while?

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universal rule

Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

Where did Khubilai seek support as Emperor?

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China

In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

What year was the Sakya viceregal regime eradicated?

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1358

In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

Who placed the Sakya viceregal regime position of authority?

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the Mongols in Tibet

In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

Who eradicated the Sakya viceregal regime?

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the Phagmodru myriarch Tai Situ Changchub Gyaltsen

In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

Which dynasty became ruler of Tibet?

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the Phagmodrupa Dynasty

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

Who created the Ming Dynasty?

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Zhu Yuanzhang

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

Who caused the Yuan dynasty to fall?

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the Red Turban Rebellion

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

Who ruled as the the Hongwu Emperor?

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Zhu Yuanzhang

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

What years did Zhu Yuanzhang rule as the Hongwu Emperor?

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1368–1398

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

Who did the Hongwu Emperor send convoys to?

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Yuan officeholders

As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.

Who was the fourth Karmapa Lama?

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Rolpe Dorje

As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.

Who rejected an invitation by the Hongwu Emperor?

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Rolpe Dorje

As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.

What did the the Hongwu Emperor want to continue to promote?

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the Buddhist link between Tibet and China