HarMAnalysis

The HarMAnalysis Repository is a unique online collection of analytical case studies (ACS) on specific musical works or subjects related to compositional techniques or musical style elements. The papers are intended for sharing with music analysis professors in their teaching practice, for use by their students, and for contributing to research in the music theory field. A double-blind peer-review procedure ensures critical evaluation, objectivity, and the highest level of each analytical case study published in the HarMAnalysis Repository.

To integrate ACS into the authors’ scholarly output, digital identifiers are applied to the HarMAnalysis Repository (e-ISSN), author (ORCID, if available), and each article (DOI). The collection of ACS is published in open access on the HarMA HUB platform.

The editors particularly encourage the submissions of multimedia-oriented forms of analytical studies: original texts (in English) can include models, diagrams and charts (graphics), dynamic sonograms (computer-assisted analysis), examples from scores (source materials), and musical examples (audio files or/and links to audio or audio-video recordings). The repository presents various research perspectives, methodological preferences and traditions of practicing music theory in Higher Music Education Institutions.

The users of HarMAnalysis Repository – students, teachers and researchers – can find the analyses of their interest by searching according to various criteria (musical work title, method of analysis, etc.).

If you are interested in publishing your analytical study, please read the guidelines for authors, which are available below as a template (via the “Download the instructions” button). We accept texts prepared according to the instructions and sent to the following email address: analysis.harmahub@amuz.gda.pl (it can be done via the “Submit a case study” button).

The call for papers is continuously open to all music analysts: music theorists or musicologists, teachers or non-teachers, but also music theory graduates.

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Analytical Case Studies

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Rhetorical Strategies in Renaissance Sacred Polyphony: Three Examples for the Undergraduate Music Classroom

Andreo Francisco José Gázquez

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Circumdederunt me, Lamentations of Jeremiah, Super flumina Babilonis
Year of creation: 16th century
Composer's name: Cristóbal de Morales, Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria
Methods of analysis: Rhetoric analysis, Style analysis

Target Group / Study Level

Level of music analysis knowledge: Beginner, Intermediate

Study cycle: Bachelor

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Fryderyk Chopin’s Mazurka Op. 30 No. 2: The Perception of Form from a Dynamic Perspective

Stefano Procaccioli

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Mazurka op. 30 No. 2
Year of creation: 1836-1837
Composer's name: Fryderyk Chopin
Methods of analysis: Conventional / Traditional analysis, Formal analysis, Other

Target Group / Study Level

Level of music analysis knowledge: Beginner, Intermediate

Study cycle: Bachelor, Master

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Mattheson’s Concept of Klangrede in Two Fugues by Bach and Mozart

Maximilian Nickel

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Fugue in D major BWV 873 / The Well-Tempered Clavier (vol. 2), Kyrie / Requiem in D minor K. 626
Year of creation: 1739–42, 1791
Composer's name: Johann Sebastian Bach, Wolfgang Amadeus Mozart
Methods of analysis: Formal analysis, Rhetoric analysis, Style analysis

Target Group / Study Level

Level of music analysis knowledge: Intermediate

Study cycle: Bachelor, Master

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Franz Liszt’s Religious Vocal Compositions from the Holy Year 1879: The Composer’s Religious Intonation in the Light of the Aesthetics of the Romantic Fragment

Gergely Balazs

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Cantantibus Organis (S.7), Gebet (S. 331), O Roma nobilis (S.54), Ossa Arida (S.56), Rosario (S.55), Sei still (S. 330), Via crucis (S.53)
Year of creation: 1879
Composer's name: Franz Liszt
Methods of analysis: Conventional / Traditional analysis, Rhetoric analysis, Style analysis

Target Group / Study Level

Level of music analysis knowledge: Advanced, Intermediate

Study cycle: PhD and professional

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The Coherence of the Form: Fryderyk Chopin, Rondo C Minor Op. 1

Marek Podhajski

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Rondo in C Minor Op. 1
Year of creation: 1825
Composer's name: Fryderyk Chopin
Methods of analysis: Conventional / Traditional analysis, Formal analysis, Structural analysis

Target Group / Study Level

Level of music analysis knowledge: Beginner, Intermediate

Study cycle: Bachelor, Master

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Principles of Rondo Form Analysis: Ludwig van Beethoven’s Piano Sonata Op. 13, 2nd movement

Marek Podhajski

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Piano Sonata No. 8 Op. 13 (2nd movement)
Year of creation: 1798
Composer's name: Ludvig van Beethoven
Methods of analysis: Conventional / Traditional analysis, Formal analysis, Structural analysis

Target Group / Study Level

Level of music analysis knowledge: Beginner, Intermediate

Study cycle: Bachelor

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Albeniz’s Evocación: A Timbral Analysis

Marcin Strzelecki

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Recording, Score
Musical work: Evocación
Year of creation: 1905
Composer's name: Isaac Albéniz
Methods of analysis: Computational analysis

Target Group / Study Level

Level of music analysis knowledge: Advanced, Intermediate

Study cycle: Master, PhD and professional

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Formal and Harmonic Coherence in Franz Liszt’s Ballade No. 2 in B Minor

Salvatore Gioveni

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Ballade No. 2 in B minor S.171
Year of creation: 1853
Composer's name: Franz Liszt
Methods of analysis: Conventional / Traditional analysis, Formal analysis, Other, Structural analysis

Target Group / Study Level

Level of music analysis knowledge: Advanced, Intermediate

Study cycle: Bachelor, Master, PhD and professional

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Manifestations of the Variation Technique in the Mazurka Op. 30, No. 2 by Fryderyk Chopin

Baiba Jaunslaviete

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: Mazurka op. 30 No. 2
Year of creation: 1837
Composer's name: Fryderyk Chopin
Methods of analysis: Style analysis

Target Group / Study Level

Level of music analysis knowledge: Advanced, Intermediate

Study cycle: Bachelor

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Affordable Approaches to Timbral Analysis of Music: Using Today’s Computer Technology

Marcin Strzelecki

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Recording, Score
Musical work: N/A
Year of creation: N/A
Composer's name: N/A
Methods of analysis: Computational analysis

Target Group / Study Level

Level of music analysis knowledge: Advanced, Intermediate

Study cycle: Master, PhD and professional

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The Origin and Possible Usage of Transgressio in Music Theory Classes

Sebina Weich

Source(s), Object(s) and Method(s) of Analysis

Source(s) of analysis: Score
Musical work: 3 Rosenkavalier, Concerti musicali Op. 6 No 7 (3rd movement), Piano Concerto KV 414, Solche hergelaufnen Laffen / Die Entführung aus dem Serail, Stabat mater, Symphony 86, Trio Sonata Op. 4 No. 1 (3rd movement), Trio Sonata VII/2 Op.3, Von den Stricken meiner Sünden / St. John Passion
Year of creation: 1689, 1694, 1698, 1724, 1736, 1782, 1786, 1911
Composer's name: Bach, Corelli, Haydn, Mozart, Pergolesi, Strauss, Torelli
Methods of analysis: Conventional / Traditional analysis, Rhetoric analysis, Structural analysis, Style analysis

Target Group / Study Level

Level of music analysis knowledge: Beginner, Intermediate

Study cycle: Bachelor

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