Musical Forms and Analysis

National University of Arts George Enescu IASI
The general objective of the discipline is to acquire analytical skills of basic formal principles and to distinguish and relate correctly to the concepts of genre/form, morphology/syntax. Students must learn to use the terminology (motif, phrase, period, articulation, strophic forms) and principles of musical analysis for any score or musical work, to be able to adopt a musical analysis strategy and to identify and choose the optimal methods of identifying the given shape pattern (bi-strophic, ternary, multi-strophic, baroque rondo, classical rondo, ostinato variations, ornamental variations, character variations, fugue, sonata form, hybrid forms, intertwined principles of forms).
Before starting the course of Musical Forms and Analysis, students must have basic knowledge of Music Theory and Harmony, because it is essential to identify the musical key, chord structures, the main types of harmonic relations, cadences, and the laws of the tonal system.
At the end of the bachelor studies, students should be able to demonstrate concern for professional improvement by using the acquired skills of analysis of musical forms and structures and should integrate all the assimilated knowledge in a wider context of the approach of the musical field, regardless of the historical or stylistic affiliation of a score.

Further information

  • assessment
    Exam with grade E
  • level
    Beginner, Intermediate, Advanced, Expert
  • Completed Semester
    Semesters no. 3, 4, 5, 6, (7, 8) - depending on the specialization
  • How many semesters does the course last?
    4 semesters (Musical Pedagogy and Religious Music specializations), 6 semesters (Musicology, Composition, Conducting)
  • hours per week
    1h course/week + 1h seminar/week
  • Link of the course
  • Target group of course
    Music theory students, beginner
    Music theory students, advanced
  • credits
    2 or 3
  • Type of Course
    Lecture, Seminar
  • Degree Level
  • e-learning-elements
    Internal archive of books and courses, as PDF.
  • Course
  • students #
    15-25 students
  • Hours per year
    • Herman, Vasile – Formele muzicale ale clasicilor vienezi. Conservatorul de Muzică „Gheorghe Dima”, Cluj, 1973 • Herman, Vasile – Formă și stil în noua creație muzicală românească. Editura Muzicală, București, 1977 • Herman, Vasile – Originile și dezvoltarea formelor muzicale. Editura Muzicală, București, 1982 • Teodorescu-Ciocănea, Livia – Tratat de forme și analize muzicale. Editura Muzicală, București, 2005 • Timaru, Valentin – Compendiu de forme și analize muzicale. Brașov, Universitatea Transilvania, Facultatea de Muzică, 1997 • Timaru, Valentin – Analiza muzicală între conștiința de gen și conștiința de formă. Editura Universității din Oradea, 2003 • Timaru, Valentin – Dicționar noțional și terminologic (prolegomene ale unui curs de analiză muzicală). Editura Universității din Oradea, 2004 • Toduță, Sigismund – Formele muzicale ale Barocului în operele lui J. S. Bach. Editura Muzicală, București. Vol. I, Forma mică mono-, bi- și tristrofică (1969); Vol. II, 15 Invențiuni la două voci, 15 Invențiuni la trei voci (1973); Vol. III, Variațiunea, Rondo-ul (1978). • Vasiliu, Laura – Intrepătrunderea principiilor de formă, Curs de analiză muzicală, Editura Artes, 2007, - Articularea şi dramaturgia formei muzicale în epoca modernă (1900-1920), Ed. ARTES, Iaşi, 2002 • Balan, Mihaela-Georgiana – Limbaj, structură, semantică muzicală în Sonatele pentru pian ale compozitorilor ruși din prima jumătate a secolului al XX-lea, Editura Muzicală, București, 2022
  • evaluation grid
  • evaluation grid
    and document
  • Document


Mihaela-Georgiana Balan

current position

Lecturer PhD


National University of Arts George Enescu IASI

Be a part of our european project !

This European project (KA 203 Strategic Partnership) created by Salvatore Gioveni promotes cross-border collaboration in the field of Music Theory through sharing knowledge and transferring pedagogical innovation. It thus responds to a lack of centralised source and framework to deepen reflection by means of cross-disciplinary study at European and international level.

There is a significant wealth of educational practices from one country to another in this sector, especially in terms of harmonic musical notation and analysis. However, HMEI's are facing the nonexistence of a European network for pedagogical staff in Music Theory so far. To improve the situation, the project will among other things develop several intellectual outputs such as Online Platform (IO 1), an EU Bibliography (IO 2), a Repository Courses (IO 3), a Multilingual Glossary (IO 4) and an Exchange Online Learning Platform.

Besides the Conservatoire royal de Bruxelles as leader and manager of the project, the following partner institutions are involved: Music Academy S. Moniuszki Gdańsk (Gdańsk, Poland), F. Liszt Academy of Music Budapest (Budapest, Hungary), Estonian Academy for Music and Theatre (Tallinn, Estonia), HfMTh "Felix Mendelssohn Bartholdy" (Leipzig, Germany).

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