摘要：Musical analysis enables us to study the various elements of a musical work, for example texture, melody, dynamics, or harmony (including tonality). Thanks to musical analysis we are able to trace the compositional technique, or assess the artistic value of given work. In addition to traditional, descriptive methods of music analysis, we can observe in 20th century the development of methods based on science (mathematics, otherwise statistics). Such methodologies allow us to obtain a strict understanding of the structure of musical pieces. Applying mathematical methods for musical analysis seems very reasonable in relation to the output of Frederic Chopin, due to large originality of the elements of musical pieces of this composer. Present paper was written as a result of research related to the applying of numerical method of analysis for exploring the tonal structure of Chopin"s works. The author"s research method enables a strict analysis of the chord"s domination that can be classified under given key (range)-taking into consideration the harmonic functions. By the method of analysis, we can get charts that depict whole diatonic vertical music material of the given piece. The main objective of the present study is to describe observations on the high uniqueness in the tonal construction of selected Chopin"s mazurkas, especially, when compared to the miniatures of other composers of the first half of the 19th century and previously analyzed Chopin"s pieces: etudes, preludes, and songs.

摘要：Basing upon the tonality analytic method, the present paper aims at: (1) Drawing attention to the subordination of the minor key vs. the major key in the chord classification, using the same methodology; and (2) Showing the differences for the major key and the minor (harmonic) key in the classification of chords, as an aspect of importance for interpreting a piece"s tonal structure diagram. The relations between chords appearing in the major and minor (harmonic) key will be shown by applying the comparisons of: (1) third-based chords; and (2) degrees in the C major and A minor keys, on which the same diatonic chords appear.