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Over the last two decades, scholars started investigating the figure of Schenker within the wide cultural horizons of the turn-of-the-century central Europe. Following their footsteps, this book considers the full range of cultural and musical issues in Schenker's interpretation of Chopin, in particular it investigates the path by which Schenker ended up considering Chopin as a German composer - a master in the art of diminution - which constitutes a very important chapter in the wider discourse of Chopin's reception.
