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
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 LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor
Read moreFryderyk Chopin’s Mazurka Op. 30 No. 2: The Perception of Form from a Dynamic Perspective
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 LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor, Master
Read moreMattheson’s Concept of Klangrede in Two Fugues by Bach and Mozart
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 LevelLevel of music analysis knowledge: Intermediate
Study cycle: Bachelor, Master
Read moreFranz 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
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 LevelLevel of music analysis knowledge: Advanced, Intermediate
Study cycle: PhD and professional
Read moreThe Coherence of the Form: Fryderyk Chopin, Rondo C Minor Op. 1
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 LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor, Master
Read morePrinciples of Rondo Form Analysis: Ludwig van Beethoven’s Piano Sonata Op. 13, 2nd movement
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 LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor
Read moreAlbeniz’s Evocación: A Timbral 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 LevelLevel of music analysis knowledge: Advanced, Intermediate
Study cycle: Master, PhD and professional
Read moreFormal and Harmonic Coherence in Franz Liszt’s Ballade No. 2 in B Minor
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 LevelLevel of music analysis knowledge: Advanced, Intermediate
Study cycle: Bachelor, Master, PhD and professional
Read moreManifestations of the Variation Technique in the Mazurka Op. 30, No. 2 by Fryderyk Chopin
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 LevelLevel of music analysis knowledge: Advanced, Intermediate
Study cycle: Bachelor
Read moreAffordable Approaches to Timbral Analysis of Music: Using Today’s Computer Technology
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 LevelLevel of music analysis knowledge: Advanced, Intermediate
Study cycle: Master, PhD and professional
Read moreThe Origin and Possible Usage of Transgressio in Music Theory Classes
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 LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor
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