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The '''mazurka''' began as a [[Poland|Polish]] folk dance from the region of Mazovia around [[Warsaw]]. It is in triple time with the accent on the second or third beat and usually danced by, four, eight or twelve couples. There can be a degree of improvisation in the step, which can vary from the “refined” and formal to a certain wildness with stamping of spurred heels on the accented beat. It began spreading to other [[Europe]]an capitals during the first half of the nineteenth century.

The '''mazurka''' began as a [[Poland|Polish]] folk dance from the region of Mazovia around [[Warsaw]]. It is in triple time with the accent on the second or third beat and usually danced by, four, eight or twelve couples. There can be a degree of improvisation in the step, which can vary from the “refined” and formal to a certain wildness with stamping of spurred heels on the accented beat. It began spreading to other [[Europe]]an capitals during the first half of the nineteenth century.

It entered the salon,  then recital hall, when [[Chopin]] began writing mazurkas for the piano in the 1820s. They would become a symbol of “Polishness” during and after the uprising against [[Russia|Russians]] in 1830. Chopin would write over 6o of them.

It entered the salon,  then recital hall, when [[Chopin]] began writing mazurkas for the piano in the 1820s. They would become a symbol of “Polishness” during and after the uprising against [[Russia]]ns in 1830. Chopin would write over 6o of them.

During the nineteenth and early twentieth centuries the piano form was taken up by many Slav composers – the Russians [[Glinka]], [[Tchaikovsky]] and [[Alexander Scriabin|Scriabin]], the Czechs [[Smetana]] , [[Dvorak]] and Martinu. The Pole,  Szymanowski, wrote many of them.  

During the nineteenth and early twentieth centuries the piano form was taken up by many Slav composers – the Russians [[Glinka]], [[Tchaikovsky]] and [[Alexander Scriabin|Scriabin]], the Czechs [[Smetana]] , [[Dvorak]] and Martinu. The Pole,  Szymanowski, wrote many of them.  

Tchaikovsky introduced mazurkas into his ballets and the ball scene of his opera, ‘’”Eugene Onegin”’’. The form has since reached most parts of the globe, including [[South America]] and [[Australia]] and needs no Polish context to be enjoyed.

Tchaikovsky introduced mazurkas into his ballets and the ball scene of his opera, ‘’”Eugene Onegin”’’. The form has since reached most parts of the globe, including [[South America]] and [[Australia]] and needs no Polish context to be enjoyed.

Reference: The Grove Concise Dictionary of Music 1988 p. 475

Reference: The Grove Concise Dictionary of Music 1988 p. 475

[[Category:Musical forms]]

[[Category:Musical forms]]

[[Category:Dancing]]

[[Category:Dancing]]