Bibliografie tematiche / Scriabin

Letteratura scientifica selezionata sul tema "Scriabin"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 20 febbraio 2023

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Articoli di riviste sul tema "Scriabin"

1

Galeyev, B. M., e I. L. Vanechkina. "Was Scriabin a Synesthete?" Leonardo 34, n. 4 (agosto 2001): 357–61. http://dx.doi.org/10.1162/00240940152549357.

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This survey and summary of documentary material on Scriabin's “color hearing” is being presented for consideration by researchers studying his ideas of light-music synthesis. On the basis of their analysis, the authors conclude that the nature of Scriabin's “color-tonal” analogies was associative, i.e. psychological; accordingly, the existing belief that Scriabin was a distinctive, unique “synesthete” who really saw the sounds of music—that is, literally had an ability for “co-sensations”—is placed in doubt.
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2

Motorna, Tetiana. "Managerial aspect of missionary activity of A. Scriabin". Almanac "Culture and Contemporaneity", n. 1 (31 agosto 2021): 240–45. http://dx.doi.org/10.32461/2226-0285.1.2021.238630.

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The purpose of the article is to identify the historical and cultural specifics of A. Scriabin's missionary activity in dealing with the features of music management as a value, creative phenomenon of spiritual culture, which has a practical implementation in the conditions of socio-cultural interaction. The methodology includes analytical, comparative-historical, and genre-nominative musicological approaches determined by aesthetic-cultural and philosophical positions, as we have in the works of P. Valeri, O. Losev, L. Sabaneev, in the dissertations of D. Androsova, V. Batanov, Liu Binqian, etc. The methodological foundations of the research are the theory of knowledge, philosophical principles of dialectics of unity and interaction of object and subject, general and individual, spiritual and material, cultural and historical. The scientific novelty lies in the distinctive historical and cultural features of Music Management in the missionary efforts of Fr. Scriabin, directed by the Christian-Hesychast incentives of his ideological attitudes, which fueled both the creative and practical activities of both a brilliant artist and organizational and peacekeeping efforts to protect the "intellectual rebirth" of people during the bloody realities of the first World War. Conclusions. The Christian-Hesychast, including the genesis of the ideological foundations of Fr. Scriabin, who gave the features of music management, organizational and managerial principles determined by the national mentality of the need to "save humanity" through religious unity in an ecumenical-expanding interpretation of planetary-significant actions ("Religare"-communication). Scriabin saw the value-semantic load of organizational and managerial means in the dispatch of the mystery as a planetary-unifying factor-despite the socio-political discord of the first World War. Extra-artistic indicators of missionary activity by their nature are indicated. Scriabins demonstrate the paradigmatic component of combinations of creative-practical and organizational-educational, theoretical-cultural-creative, etc. in the person of outstanding personalities of the last century, the phenomenon of which is indicated in the "Leonardo da Vinci system" by P. Valerie as a marking index of the psychological attitude of a creative person in the last century.
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Vanechkina, I. L., e B. M. Galeyev. ""Prometheus": Scriabin + Kandinsky". Leonardo 31, n. 3 (1998): 183. http://dx.doi.org/10.2307/1576568.

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Trifunović, Branislava. "The Scriabin postcard: The importance of Alexander Nikolayevich Scriabin in the intellectual circles of the Russian fin de siècle". Zbornik Akademije umetnosti, n. 10 (2022): 188–201. http://dx.doi.org/10.5937/zbaku2210188t.

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Abstract (sommario):
Due to the rich and stylistically heterogeneous artistic creativity of Alexander Nikolayevich Scriabin, his affinity towards various philosophical and religious narratives, as well as to his interest and accomplishments in the domain of poetry, the discourse created around the name and works of Scriabin has been abundant with exceptional diversity in artistic, critical and ideological context. Contemporary researchers, dealing with such often conflicting views on the art and worldview of Alexander Scriabin, are faced with numerous issues and doubts. In this paper, two questions are posed that need to be unravelled in order to finally demystify Scriabin: how and in what way did Scriabin, an apparently apolitical artist, participate in the aspirations of the Russian intelligentsia and artists of the Silver Age to create a social utopia and to what did this composer owe a distinguished social status in his time? The answers to these questions lead to the conclusion that Scriabin was a reactionary, modernist figure, who, by representing his own conception of social transformation and future utopia, mediated between the idealist and materialist currents of the Russian intelligentsia.
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Motorna, Tetiana. "Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality". Collection of scientific works “Notes on Art Criticism”, n. 39 (1 settembre 2021): 210–14. http://dx.doi.org/10.32461/2226-2180.39.2021.238723.

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The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.
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Trifunovic, Branislava. "Composer of the revolution: Scriabin’s idea of the Mysterium - the total work of art". Muzikologija, n. 26 (2019): 161–81. http://dx.doi.org/10.2298/muz1926161t.

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The purpose of this paper is to demonstrate that Alexander Scriabin with his conception of the total work of art, named Mysterium, unconsciously provided the artistic vision of revolutionary claims, anticipating the October Revolution of 1917. Since the first decade of the 20th century, the revolutionary conscience was a singular feature of the Russian intelligentsia, so the concept of Mysterium was, in such social climate, a concept of force that prompted the artist to seek a better world. Just like avant-garde artists - whose actions are an intervention in social systems - in his Mysterium Scriabin emphasized the need for a transformation of the world through art. Bearing this in mind, the musicological interpretation of Mysterium here is made with the aim of positioning Scriabin as a modernist subject. The insights into the composer?s responses to socio-political reality - both within Scriabin?s philosophical and creative narratives - refer to the demands of the revolutionaries for the collective/sobornost. This study shows that those demands were, in the case of Scriabin, shaped as the idea of the utopian function of art.
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Guenther, Roy, Boris de Schloezer e Nicolas Slonimsky. "Scriabin: Artist and Mystic". Notes 47, n. 3 (marzo 1991): 758. http://dx.doi.org/10.2307/941882.

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Vanechkina, Irina L. "Scriabin Celebrations in Moscow". Leonardo Music Journal 8 (1998): 76. http://dx.doi.org/10.2307/1513406.

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Barnes, Christopher J., Boris de Schloezer e Nicolas Slonimsky. "Scriabin: Artist and Mystic". Modern Language Review 85, n. 3 (luglio 1990): 815. http://dx.doi.org/10.2307/3732318.

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Emerson, Caryl, Boris de Schloezer e Nicolas Slonimsky. "Scriabin: Artist and Mystic". Slavic and East European Journal 33, n. 2 (1989): 316. http://dx.doi.org/10.2307/309360.

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Tesi sul tema "Scriabin"

1

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.

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Abstract (sommario):
Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. 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.
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2

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.

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In this thesis, a new approach to an understanding of the harmonic language in Scriabin's final compositions is presented. The analytical methods used draw significantly upon previous work done by Varvara Dernova, as well as some of the concepts of Manfred Kelkel. The thesis presents a qualified vindication of the structural importance of the quartal spacing in Scriabin's harmonic language. (This characteristic feature of the composer's pitch organization tends to be regarded by most contemporary theorists as merely an idiomatic spacing that the composer favoured.)
The 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.
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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/.

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The thesis speculates upon the source of Scriabin's pitch selection in several of his atonal works, concluding that Scriabin's "principle" stems from his own "mystic chord," its inversion at the major third, and the transposition of these two chords at the tritone. These four chords share the same invariant harmonic basis, Scriabin's characteristic French-sixth sonority. The quartet of chords combine to form two nine-note scales, each containing as a subset the octatonic scale. The thesis demonstrates how Scriabin composed his works in harmonic blocks, utilizing only the notes from these scales. The thesis traces Scriabin's atonal style back to his tonal period. His fascination with tritone adjacencies and relationships is discussed, and serves to support the theory. Other harmonic and linear theories are discussed. Also, the thesis shows how Scriabin used these scales structurally in his works.
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Barany-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.

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Song, 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.

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Sukhina, 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.

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Abstract (sommario):
Thesis (D.M.A.)--University of North Texas, 2008.
System 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).
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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.

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Coelho, 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.

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This dissertation describes the new compositional system introduced by Scriabin in 1909– 1910, focusing on Feuillet d’Album op. 58, Poème op. 59, nº1, Prélude op. 59, nº2 and Promethée op. 60. Based upon exhaustive pitch and formal analysis the present study (a) claims the inexistence of non-functional pitches in all analysed works, (b) shows that transpositional procedures have structural consequences on the “basic chord”, and (c) for the first time advances an explanation on the intrinsic relation between the sonata form and the slow Luce line in Promethée op. 60; RESUMO: Sob o título de “Alexander Scriabin: a definição dum novo espaço sonoro na crise da Tonalidade”, a presente tese descreve o novo sistema compositivo introduzido por Scriabin em 1909– 1910, tomando como ponto de partida o estudo de Feuillet d’Album op. 58, Poème op. 59, nº1, Prélude op. 59, nº2 e Promethée op. 60. Baseando-se numa análise exaustiva das alturas e da forma, este estudo (a) conclui pela inexistência de alturas não funcionais em qualquer das obras analisadas, (b) mostra que os procedimentos transpositivos têm consequências estruturais no “acorde básico”, e (c) pela primeira vez explica a estrutura formal de Promethée op. 60 a partir da relação intrínseca entre a sua forma sonata e a linha lenta de Luce.
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Ling, 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.

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Lee, 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/.

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Alexander Scriabin (1872-1915) stands as one of the most unconventional twentieth-century Russian composers, particularly with respect to his piano works. The overwhelming majority of Scriabin's compositions—sixty-seven of his seventy-four published works—were written for solo piano. His etudes from 1905 forward are revolutionary, especially compared with his earlier Chopinesque style. Among Scriabin’s twenty-six etudes, his Op.49, No. 1 (1905), Op.56, No. 4 (1908) and the last three etudes of Op.65 (1912) date from his last period of composition. In the Op.49 etude, Scriabin started to abandon traditional tonality. He omitted the key signature altogether in the Op.56 etude. The final three etudes of Op.65 feature constant dissonances on ninths, sevenths and fifths. Alexander Scriabin’s last five etudes represent the culmination of his compositional development and innovations at the piano. Several factors coalesce in these etudes, including unusual harmony, bichords, non-tonal hierarchy, and structural symmetry. Most of these factors derive in some fashion from Scriabin’s increasing reliance upon the so-called “mystic chord” in his late works. This study will illustrate how Scriabin explored new sonorous and aesthetic ideas in his late etudes by means of these innovations.
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Libri sul tema "Scriabin"

1

Bowers, Faubion. Scriabin, a biography. 2a ed. New York: Dover, 1996.

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2

Scriabin, a biography. 2a ed. Mineola: Dover, 1996.

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3

Marina, Scriabine, e Slonimsky Nicolas 1894-, a cura di. Scriabin: Artist and mystic. Berkeley: University of California Press, 1987.

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4

The music of Alexander Scriabin. New Haven: Yale University Press, 1986.

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5

M, Baker James. The music of Alexander Scriabin. New Haven, [Conn.]: Yale University Press, 1986.

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6

Scriabin, Aleksandr Nikolayevich. Scriabin settings: For chamber orchestra. Newton Centre, MA (167 Dudley Rd., Newton Centre 02159): GunMar Music, 1992.

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7

The performing style of Alexander Scriabin. Burlington: Ashgate, 2011.

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Gourlay, Elizabeth. Colours for Scriabin: New and selected poems. Vancouver: Caitlin Press, 1990.

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Ruckman, Robert Craig. The etudes of Alexander Scriabin: A performance perspective. Ann Arbor: UMI, 1987.

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10

Card, Macgregor. Souvenir winner: For A.G. Rizzoli and A. Scriabin. [New York, N.Y.?]: Hophophop Press, 2002.

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Capitoli di libri sul tema "Scriabin"

1

Baranowski, Tomasz. "Scriabin and the Modernist Idea of Correspondance des arts". In Musik in der Moderne, 179–86. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791621.179.

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2

Tenkanen, Atte. "Tracking Features with Comparison Sets in Scriabin’s Study op. 65/3". In Communications in Computer and Information Science, 211–19. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04579-0_20.

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Agustín-Aquino, Octavio A., e Guerino Mazzola. "Contrapuntal Aspects of the Mystic Chord and Scriabin’s Piano Sonata No. 5". In Mathematics and Computation in Music, 3–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_1.

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Altenmüller, Eckart. "Alexander Scriabin". In Music, Neurology, and Neuroscience: Historical Connections and Perspectives, 197–215. Elsevier, 2015. http://dx.doi.org/10.1016/bs.pbr.2014.11.031.

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"ALEXANDER SCRIABIN". In Nicolas Slonimsky: Writings on Music, 49–55. Routledge, 2003. http://dx.doi.org/10.4324/9780203970294-15.

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"SCRIABIN, ALEXANDER". In Music in the 20th Century (3 Vol Set), 566. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-421.

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Frolova-Walker, Marina. "Playing Scriabin:". In Demystifying Scriabin, 247–68. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr735.18.

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Kallis, Vasilis. "Demystifying the Mystic". In Demystifying Scriabin, 134–57. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr735.13.

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Mitchell, Rebecca. "Scriabin and the Russian Silver Age". In Demystifying Scriabin, 26–45. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr735.7.

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Edwards, Ross. "Setting Mystical Forces in Motion:". In Demystifying Scriabin, 196–220. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr735.16.

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Atti di convegni sul tema "Scriabin"

1

Han, Chang Min. "Project Scriabin v.3". In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279828.

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Lomskov, M. A., N. V. Pimenov, A. M. Konovalov e R. F. Ivannikova. "Theory of zoocultures in veterinary and biological education". In III All-Russian Scientific Conference with International Participation "Science, technology, society: Environmental engineering for sustainable development of territories". Krasnoyarsk Science and Technology City Hall, 2022. http://dx.doi.org/10.47813/nto.3.2022.6.771-777.

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The article presents a brief retrospective of the experience of teaching the educational discipline "Zooculture" to students of the Veterinary and Biological Faculty of the Moscow Veterinary Academy (FSBEI V MGAVMiB - MBA named after K.I. Scriabin). This subject is extremely relevant in the system of higher veterinary and biological education, since it comprehensively examines the issues of animal cultivation in modern conditions of anthropogenic transformation of the environment. The theoretical basis of the course currently taught at the Faculty of Veterinary Biology is the work of scientists of the Academy Gabuzov O.S., Lebedev I.G., Alpatov V.V., Pimenov N.V., Lomskov M.A. The information of the educational discipline "Zooculture" contributes to the deepening of knowledge in the unified system of integrated veterinary and biological education and is consistent with classical and applied disciplines studied both before the beginning of the development of the considered educational course, and after. Also, in addition to analyzing the experience of teaching the discipline "Zooculture", the authors of the article indicate possible prospects for the development of the course under consideration, based primarily on modern genetic engineering methods of biotechnological science. Thus, "Zooculture", being an interdisciplinary educational course, combines theoretical knowledge of such biological disciplines as, for example, "Ecology and rational nature management", "Zoology", "General Biology" with relevant practical methods and skills of applied disciplines of veterinary and biological profile ("Fundamentals of Veterinary Medicine", "Genetics", "Model animals in biotechnology", "Applied immunology", etc.).
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Lee, Kuo-Ying. "The Technological Revolution of the Coloured Organ in Alexander Scriabin’s Fifth Symphony, Prometheus, Poem of Fire". In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.022.

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