The concept of a 'National school' seems to be highly controversial. The very term 'school' is ambiguous and is used by music historians in various, to refer both to geographic centers, and to type of music as well as in terms of a national group. Usually this concept implies a distinctive style of music, within which other stylistic categories can be distinguished. Above all, however, it is associated with a cycle of pupils, trained under one master, and grouped around a prominent figure. In the 19th-century the crystallization of a national character in art occurred in the new socio-political situation arising from the French Revolution. The victory of 'Third Estate' as the presentative of wide social strata over the cosmopolitan aristocracy contributed to a marked intensification of the feeling of national consciousness, the deciding factor in the question of whether a certain collectivity of people forms a nation. Accepting as one of the basic features of 19th-century art the strengthening of the national element, we ought to widen the concept of 'national school' to include the music of all the countries of Europe. This does not mean that 19th-century music developed in closed national circles; it drew stronglt on the whole of European art. The demand for nationalism in art did not imply isolationism in native art. The concept of a 'national school' is a historical category typical of the music of the 19th-century. It applies not only to the manifestations of a national style, symptomatic of that century, obviously perceptible in compositions in which the composer transforms the folk music of his country, or clearly refers to his native artistic tradition. A clearly defined 'Polish national school' stance appeared in Poland in the 19th-century is as follows;In solo and chamber instrumental music, thanks to his master of the composer's skill, Jozef Elsner, Frederic Chopin took advantage of folk creativity I an unparalleled way. In his mazurkas and polonaises he introduced the Polish national style in music. Karol Szymanowski, who was prominent in the pursuit of Chopin's idea, fully realized this. In vocal music, the works of Stanislaw Moniuszko selected text by the composer from the works of Mickiewicz, Malczewski for his indisputable Polishness he relied not so much on musical devices the dance rhythms of folk music. The work of Oskar Kolberg not only played a fundamental role in the history of ethnography, but also had a decisive influence on the direction in which music turned in the second half of the 19th-century. Abandoning his practice of adding piano accompaniments to the folk melodies, as he had done in his first publications, Oskar Kolberg presented in authentic form over 13,000 folk songs from various regions of Poland. In Opera, Stanislaw Moniuszko's opera, Historical opera only gained the designation national when a folk thread was introduced next to the historical thread; the more folk elements it contained, the more national it was considered to be. It is revealed above all in the introduction of Polish dances, masterfully presented in Stanislaw Moniuszko's opera, in the wider utilization of folk rhythms in vocal, and especially choral, parts, and in the modification of folk melodies. His role in Poland at that time was like Glinka in Russia and Smetana in Bohemia. These four artistic individuals, Frederic Chopin, Stanislaw Moniuszko, Oskar Kolberg, Karol Szymanowski, form as it were the essence of the 'Polish national school; The most typical features of 19th-century Polish music culture are concentrated in their activities. Chopin created the model for approaching the wealth of folk music and raised Polish piano music to a European level; Moniuszko established the line of development for the national opera and song; 'Songs of the Polish Peasantry', collected by Kolberg, became a boundless source of artistic inspiration; Szymanowski, a father of Polish contemporary music in the beginning of 20th-century.