A way to come to terms with this ambiguity, as well as with other questions about the generic identity of the piano nocturne, is to investigate their vocal model: not the operatic model that is most often considered to have inspired the lyrical style of piano nocturnes, Chopin’s in particular, but the vocal nocturne, for which the piano nocturne (starting with Field) was named.
It is easier to assert that Chopin wrote the defining examples of the piano nocturne than to say how they define it, since his nocturnes overlap so frequently with other piano genres-including the barcarole, the lullaby, and the march-especially in rhythmic nature. Poetry, Song, and the Voice in the Piano Nocturne
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