Dissertations / Theses on the topic 'Scriabin'
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Salley, Keith Phillip. "Scriabin the progessive : elements of modernism in the early works of Alexander Scriabin /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343181&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 268-280). Also available for download via the World Wide Web; free to University of Oregon users.
Shergold, Roderick. "Harmony and voice leading in late Scriabin." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69565.
Full textThe thesis proposes that a structural, ten-note, harmonic matrix (formed through the summation of the octatonic and whole-tone scales) is the key to an understanding of the harmonic language in Scriabin's final works. Graphic illustrations are an important feature of the various analyses presented; these depict both horizontal and vertical aspects of Scriabin' s musical language in his final works, specifically, selections from the piano compositions op.71-74. The analyses also present an evaluation of the importance of the octatonic scale, believed by George Perle, Jay Reise, and Claude Herndon, among other theorists, to be the structural matrix in the late Scriabin oeuvre.
McVay, Michael (Michael Jones). "Scriabin: A New Theory of Harmony and Structure." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501031/.
Full textBarany-Schlauch, Elizabeth A. "Alexander Scriabin's ten piano sonatas : their philosophical meaning and its musical expression." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1239362920.
Full textSong, Soomi. "The Development of Expressionism in Alexander Scriabin’s Piano Sonatas." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535701694022433.
Full textSukhina, Nataliya. "Alexander Scriabin (1871-1915) piano miniature as chronicle of his creative evolution, complexity of interpretive approach and its implications /." Thesis, Recital, recorded Feb. 27, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6048.
Full textSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 22, 2004, Mar. 28, 2005, Feb. 27, 2006, and Nov. 26, 2007. Includes bibliographical references (p. 82-86).
Powell, Jonathan Anthony. "After Scriabin : six composers and the development of Russian music." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.
Full textCoelho, Luís Miguel Carvalhais Figueiredo Borges. "Alexander Scriabin: the definition of a new sound space in the crisis of tonality." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19157.
Full textLing, Cheong Wai. "The late Scriabin : pitch organization and form in the works of 1910-14." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333287.
Full textLee, Kuo-Ying. "An Examination of Innovations in Alexander Scriabin’s Late Etudes for Piano." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407854/.
Full textCheong, Wai-Ling. "The late Scriabin : pitch organisation and form in the works of 1910-14." Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/283672.
Full textBell, Cully. "Scriabin’s Preludes, Opus 11: A Pedagogical Guide." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1328546129.
Full textTomasacci, David Nelson. "A Theory of Orthography and the Fundamental Bass for the Late Oeuvre of Scriabin." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366214596.
Full textCull, Logan P. "The Mysteries of Spirit: Cross-Currents in Russian Modernism (Alexander Scriabin & Nikolai Shperling)." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1494013315151203.
Full textHoffman, Brian D. "Tonal mirages a multifaceted view of tonality in the early transitional pieces of Alexander Scriabin /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204809598.
Full textAdvisor: Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Keywords: Steven Cahn (Advisor); David Berry (Committee Member); Catherine Losada (Committee Member) Includes bibliographical references.
HOFFMAN, BRIAN D. "Tonal Mirages: a multifaceted view of tonality in the early transitional pieces of Alexander Scriabin." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204809598.
Full textFernandes, Sara Cristina Monteiro. "O desenvolvimento do estilo de Alexander Scriabin através das suas quatro primeiras sonatas para piano." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/16214.
Full textSpivey, Zachary James Rogner. "The Scriabin Mystic Hexachord as a Structural Harmonic and Motivic Device in Three Parables for Solo Instruments by Vincent Persichetti." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1628334738542662.
Full textDe, Castro Martins Amaro Olga Maria. "An orchestration of the Sonata no. 3 in F-sharp minor, Op. 23 by Alexander Scriabin." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2705.
Full textThe work presented herewith is an orchestration of one of the most idiomatic piano pieces composed by Alexander Scriabin: the Sonata no.3 in F‐sharp minor, Op. 23. This particular orchestration involved a process of profound examination and comprehension of the form of the sonata, as well as understanding the role of each instrument of the symphony orchestra, and how they could contribute to an orchestral reconstruction of Scriabin’s work. The re‐creation of the piano part, and the whole experience that supported this challenge, resulted in the individual production in which my particular interpretation of Scriabin’s music reflects the maturity of an absorbed investigation of his style of composition.
Kallis, Vasilis. "Modes of cross-collectional interaction : a study of four collections in music by Debussy, Ravel and Scriabin." Thesis, University of Nottingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397636.
Full textWessels, Rachelle. "'n Ondersoek na die tegniese aspekte van A. Scriabin se Prelude vir die linkerhand, Op. 9, no. 1 / R. Wessels." Thesis, North-West University, 2009. http://hdl.handle.net/10394/5108.
Full textThesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
KEE, SOONBOK. "Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204677896.
Full textKounadi, Anna. "Scriabin Sonata-Fantasy op. 19 n. 2 on record : a comparative study of sound recordings and piano rolls." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18522/.
Full textDejos, Virginie. "Analyse et interprétation des six dernières sonates pour piano d’Alexandre Scriabine." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040224/document.
Full textThe following thesis focuses on the six final piano sonatas by Alexander Scriabin from the point of view of pianistic interpretation. The first part reconstitutes Scriabin’s unique musical and image-oriented universe from the basis of the listener’s perspective. The second part analyses the works from a musicological stand-point, taking into consideration indications on interpretation found in the scores. In order to more clearly identify the logic and structure of the musical language, which is marked by the usage of extended tonality, the analyses presented are inspired from Schenkerian traditions. The third part, directly linked to performance practises, explores the pianistic writing style as well as the timbral and temporal parameters, with an important place given to historical recordings
Lim, Seong-Ae. "The influence of Chopin in Piano music on the twenty-four preludes for Piano, Opus 11 of Alexander Scriabin." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298988346.
Full textHakanson, Michelle. "The seed ideas of Dane Rudhyar : sources, influence, and reception /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192183661&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 300-312). Also available for download via the World Wide Web; free to University of Oregon users.
Cheung, Ching-Loh. "Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277674/.
Full textLemoine, Baptiste. "Scriabine, Webern, Wyschnegradsky, Harvey : une communauté de pensée ? : techniques compositionnelles et signification musicale." Thesis, Rennes 2, 2022. http://www.bu.univ-rennes2.fr/system/files/theses/2022theseLemoineB.pdf.
Full textWe would like to propose a new reading of the twentieth century of music, one that would bring composers such as Scriabin, Webern, Wyschnegradsky and Harvey together in a surprising way. While studies have been made of each of these composers individually, to date the idea of any kinship or continuity between them seems never to have been expressed, probably because what seems to unite them concerns issues that have generally become incidental or even dismissed in musicological approaches. Beyond the compositional techniques specific to each of these composers, it is in fact their common sensitivity and attraction to spiritual issues that have marked their musical production and thought. The aim of this thesis is to study the musical thinking of these four composers and, at the same time, to explain the compositional techniques that resulted from it and which they used. Beyond the reading of their texts and the analysis of their scores, we sense more than a simple form of kinship between these productions : a common orientation emerges, often related to earlier times, but which nonetheless had significant extensions throughout the twentieth century. The in many ways comparable undertakings of these four composers seem ultimately to testify to what might be called a “musical spiritualism”
Keller, Andrew James. "Part I -- The Forgotten Child of Zeal; Part II -- Scriabin's Mysterium Dream: An Analysis of Alexander Nemtin's Realization of Prefatory Action: Part I - Universe." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556932468905459.
Full textYunek, Jeffrey. "Scriabin's transpositional wills| A diachronic approach to Alexander Scriabin's late piano miniatures (1910 -- 1915)." Thesis, Louisiana State University and Agricultural & Mechanical College, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3576178.
Full textRossignol, Paule Renée Laure Lola. "Poétique de la sonate pour piano d'Alexandre Scriabine : Analyse, signification." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10114.
Full textSmith, Sarah Elizabeth. "Analysing and performing texture in Scriabin's piano music." Thesis, Royal Holloway, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415568.
Full textSecor, Tyler. "Mystic Chord Harmonic and Light Transformations in Alexander Scriabin's Prometheus." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13442.
Full textChow, June. "Scriabin's "Fourth Piano Sonata": A turning point in his compositional style." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187144.
Full textRobbins, Dorothy. "Turning Sound into Ecstasy| Symbolist Aesthetics in Scriabin's Fantasy in B Minor." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10786243.
Full textScriabin’s music is saturated with the mystical and heavily influenced by the psycho philosophical presence of his evolving thoughts throughout his life. Scriabin constructed his own self-mythology modeled on Romantic idealizations based on Nietzschean philosophy and Prometheon narrative. He combined this construction with his Symbolist aesthetics for total unity through mystical transcendence. The combining of these archetypes is seen in his Fantasy in B Minor, Op. 28. The Fantasy inhabits both psychological realities which manifests into different aesthetic characteristics. The presence of the more conservative nineteenth-century style alongside the Symbolist narrative elements are what make the Fantasy and elusive and transitory piece that represents the shifts occurring within Scriabin’s psyche during the dawn of the twentieth-century.
The Fantasy has been neglected by scholars but was written merely three years before all his pieces became drenched in the mystical. I therefore propose from my own analysis of the piece and from the evidence of Scriabin’s close associations to the Symbolist movement that the Fantasy, Op. 28 is driven by Symbolist mythological undertones within the thematic narrative. Evidence will be provided from close friends and acquaintances of Scriabin, his own writings, exploration of Romantic and Symbolist aesthetics, and evidence provided by previous scholarship on Scriabin’s theosophical beliefs.
Hollow, Malila Louise. "Scriabin's Gradual Journey to Post-tonal Writing| Pushing Boundaries through Harmonic Exploration and Synesthesia." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638764.
Full textThroughout his career, Alexander Scriabin created a bridge between traditional romantic harmony and modernistic, chromatic tendencies that ultimately led to the post-tonal era. Scriabin’s middle period after Opus 32 displays several examples of his progressive harmony. However, Scriabin’s transition into harmonic exploration is quite apparent in his Fantasy in B minor , which was written three years before his middle period is observed. This may demonstrate that Scriabin was developing his harmonic techniques much earlier in his career.
Furthermore, the thorough documentation of Scriabin’s color associations shows that Scriabin conceived his music with a strong integration of sound-color awareness. Many moments in the Fantasy appear to possess relationships between sound and color, which can be found in expanded harmonic techniques and multi-timbral textures within the pianistic writing. This essay will first discuss the existing research completed on Scriabin’s harmonic tendencies within earlier works, and then analyze the similar techniques used in the Fantasy. Using previous knowledge gathered about synesthesia, this essay will then examine the connections between Scriabin’s perspective on composition and his connection to synesthesia.
In summary, Scriabin’s unconventional voice leading, chromatic harmonic progressions, and altered tertian voicing, will be analyzed in Opus 28. Afterwards, synesthetic and multi-textural analysis will be demonstrated for the purposes of observing Scriabin’s exploration of the pianistic soundscape and synesthetic-inspired compositional techniques.
Kee, Soonbok. "Elements of continuity in Alexander Scriabin's Musical Language an analysis of selected piano preludes /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204677896.
Full textAdvisor: Dr. C. Catherine Losada Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Keywords: Alexander Scriabin; Piano Preludes; Continuity; Repetition; Set Theory Includes bibliographical references.
Kreiling, J. "Towards a performance of Scriabin's Sonata No. 6, Op. 62 : a practice-led exploration." Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18034/.
Full textKraevska, Sofia. "Terra Mirabilis: A Composition for Symphony Orchestra in Three Movements." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/199.
Full textSeah, Stefanie Huei-Ling. "Alexander Scriabin's style and musical gestures in the late piano sonatas : Sonata No.8 as a template towards a paradigm for interpretation and performance." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6959/.
Full textKiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.
Full textVoss, J. "Scriabin in context." Thesis, 1989. https://eprints.utas.edu.au/21890/1/whole_VossJames1989_thesis.pdf.
Full textHsieh, Shu-ya, and 謝舒雅. "Scriabin "Prelude for Piano" Opus 11." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/11423297536352541398.
Full text國立中山大學
音樂學系研究所
92
Scriabin composed the piano work “Prelude” Op.11 during 1886 to 1889. This set of 24 preludes is regarded as the essential early work of Scriabin. The composition is influenced by Chopin’s work “Prelude” Op.28. The first part of the thesis are discussed the life of Scriabin, then, the definition and the development of preludes. The second part generalize the early style of Scriabin and compare the relationship between Scriabin’s “Prelude” Op.11 and Chopin’s “Prelude” Op.28. Finally, the focus would be on analyzing difficult skills of the Scriabin’s “Prelude” Op.11 and explaining the practicing process. The main purpose of this research is to present the compositional technique and idea of Scriabin, so it will benefit the performers who are learning this piece.
Kung, En-Dian, and 龔恩典. "Scriabin: Fantasie in B minor, Op. 28." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/kuk9ky.
Full textWhitehead, Laura Lynn. "Transcendent Sounds: The Early Piano Music of Alexander Scriabin." Thesis, 2014. http://hdl.handle.net/1828/5223.
Full textGraduate
0413
lauralwhitehead@hotmail.com
Huey, Liaw Ling, and 廖玲惠. "A Study of Scriabin''s Piano Sonata OP.53." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/27769001870520163286.
Full text國立中山大學
音樂學系
87
Abstract Scriabin’s solitary genius in piano composition and harmonic innovation may be observed in his piano sonatas. The Fifth Piano Sonata analyzed in this thesis is situated in the evolution of Scriabin’s piano composition. There are three chapters in this treatise besides the introduction and conclusion. The first chapter discusses Scriabin’s background as a composer and the development and application of sonata form. The second chapter focuses on the musical analysis of Scriabin’s piano sonata, op.53, including the musical structures and harmonic treatments. The third chapter is regarding the interpretation of this piece, exploring the unique musical elements and performing interpretation, followed by a comprehensive conclusion. The compositional approach of Scriabin’s Fifth Piano Sonata continues the musical style of Post Romanticism, and implies the significant appearance of “mystic chord” in the later era. The harmonic web of such complexity is constructed upon various types of fourths, purposely avoiding the distinct tonality and conventional harmonic function. This harmonic innovation marks the new epoch in the musical development of the twentieth century. Scriabin’s Fifth Piano Sonata possesses more expression marks than that of other piano sonatas he wrote. Futhermore, it is the last piece using Italian indications. Scriabin’s genuine creativity and profound artistry are disclosed through the synthesis of constant tempo changes and stylistic variations, and particularly the sensuous expression marks.
Chiang, Emily Chia-Lin. "Rubato and Climax Projection in Two Piano Sonatas by Scriabin." Thesis, 2013. http://hdl.handle.net/1807/35791.
Full textTsou, Ming-Hsuan, and 鄒銘軒. "The Mysticism in the Late Piano Sonatas of Alexander Scriabin." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/dwhpxr.
Full text國立臺北藝術大學
音樂學系碩(博)士班
107
Alexander Nikolayevich Scriabin (1872-1915) was a significant pianist and composer around the turn of the century, one of the first Russian composers to be influenced by the Romantic style of Frédéric Chopin, Franz Liszt and Richard Wagner. Later in his career he developed unique ideas in the literary trend of the 20th century. In his late years Scriabin was influenced by Russian philosophy, mysticism and theosophy which determined his new, unique and personal music language. His late works, inspired by complex metaphysics, express the “journey of mystic experience” and are based on the “mystic chord” through which he created a new sonority and musical system. This thesis provides an analysis of Scriabin's late piano sonatas and their mystic background. The research focus is on Scriabin’s philosophy, mysticism, and theosophy as well as on the power of the “mystic chord” to structure the mystic language of his late piano sonatas.
Liu, Zi-Feng, and 劉姿鳳. "Analysis and Interpretation of Scriabin''s Piano Sonata No.4,Op.30." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/y2s7qm.
Full textCHANG, HUI-TIN, and 張惠婷. "Fantasy-Analytical Study of Selected Fantasies by Bach, Mozart, Chopin and Scriabin." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/11951411787337663194.
Full text中國文化大學
音樂研究所
93
Abstract Fantasia refers to “imagination”, “wild thoughts”, and “imaginative creation”. The term first appeared in European vocabulary in late Middle Ages, and its connotation in musical creation concerns imaginative thoughts, free from fixed forms, with characteristics of sectional style. The characteristics of Fantasia drive the composers to present the style of Fantasia with unique techniques. This study focused on the characteristics of Fantasia, and discussed how composers presented fancy styles in Fantasia. This paper comprises four chapters. Chapter 1 describes the research motive, purpose, scope, methodology, and literature review. Chapter 2 discusses the transformation of the Fantasia types in terms of style and techniques in the music history. Chapter 3 analyzed a few compositions with special characteristics, namely d minor Chromatic Fantasia and Fugue, BWV903 by J.S. Bach, Fantasia in c minor, K.396 by W.A. Mozart, Polonaise-Fantasia, Op.61 by F. Chopin, and Sonata-Fantasy No.2, Op.19 by A. Scriabin. The four Fantasia compositions revealed the use of different materials and musical syntax by the composers to express their emotions. As shown, Fantasia is suitable for describing people, things, objects, and metaforms. Chapter 4 is the conclusion, and generalizes the commonalities of Fantasia in different eras: 1) the impromptu style; 2) the sectional characteristic.