Tesi: "Scriabin" – Grafiati

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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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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3

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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4

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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5

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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6

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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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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7

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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8

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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9

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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10

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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11

Cheong, 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.

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12

Bell, Cully. "Scriabin’s Preludes, Opus 11: A Pedagogical Guide". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1328546129.

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13

Tomasacci, 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.

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14

Cull, 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.

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15

Hoffman, 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.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisor: 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.

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16

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.

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17

Fernandes, 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.

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A intenção deste trabalho é esclarecer a relação que existe entre o processo criativo e a vida pessoal de Alexander Scriabin no período que decorre entre 1892 e 1903, uma vez que acreditamos que isso poderá contribuir para um melhor entendimento acerca da ligação entre a sua personalidade e o seu estilo. Iremos debruçar-nos sobre estes anos iniciais para mostrar que Scriabin compõe baseando-se na sua intuição de modo a assegurar, assim, a verdadeira genuinidade da sua obra. Finalmente, iremos estabelecer uma ligação entre a pesquisa biográfica e a Análise Musical das Quatro Primeiras Sonatas para Piano, procurando retirar conclusões acerca das motivações e/ou influências que podem ter levado a mudanças na forma e na harmonia destas obras; Abstract: The development of Alexander Scriabin’s style through his first four piano sonatas. This work´s intent is to bring some clarity about the relationship we believe can be established between Scriabin´s personal life and his creative process in the period between 1892 and 1903, hoping that this will lead to a better understanding on how his personality and style came together. We´ll show that Scriabin´s line of thought was to compose based on his intuition, therefore assuring that his work would remain genuine. Finally, and most importantly, we´ll establish a connection between the biographical data and the first Four Piano Sonatas musical analysis since this will help us draw some conclusions on the influences and motivations that might have led to changes in the form and harmony of these works.

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18

Spivey, 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.

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19

De, 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.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
The 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.

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20

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.

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21

Wessels, 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.

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The left hand has always been perceived as the weaker of the two hands and since about 1840, a substantial amount of piano repertoire for the left hand has seen the light. Composers continue to show an interest in composing works in this genre and the reasons are mainly because of injuries to the right hand, to aid in the pianist's technical development, because of the challenge it poses to the composer and finally to delight audiences with an unique technical display. The technical challenges that are present in these works, differ greatly from the difficulties found in piano music for both hands. In order to give a commanding performance, the pianist is required to make certain adjustments. In music for the left hand alone, this hand is suddenly solely responsible for both the melodic lines and accompanying textures simultaneously. By addressing the technical difficulties of a composition, the interpretation of the work is invariably influenced. One of the most well-known works in this genre, A. Scriabin's Prelude for the left hand, Op. 9, no. 1, has been used to identify the technical aspects in piano music for the left hand. The question that arises, is: which specific technical aspects can be identified in A. Scriabin's Prelude for the left hand, Op. 9, no. 1? The following questions are subsequently raised: firstly, how will the pianist approach these technical aspects, and secondly, how will certain technical adjustments benefit the performance and interpretation of the work? The hypothesis holds that the pianist will have to identify and address the unique technical aspects of piano works for the left hand alone, in order to perform these works successfully. Four specific areas have been identified that could be considered the main factors contributing to the technical challenges idiomatic of music for the left hand: fingering, pedalling, balance and voicing and physical flexibility.
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

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22

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.

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23

Kounadi, 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/.

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Since the advent of the record, more than forty recordings of the Scriabin Sonata-Fantasy op. 19 n. 2 have been produced, as well as two piano rolls, with Igumnov (1911) and the composer himself performing the work (1910). This thesis sets out to analyse the evolution of performance style of this work within the last two centuries, using numerical values and music analysis software, in search of a verifiable analysis of performance traits. This study aims to detect strategies and techniques that performers of the work have used to form their performances. Observation is oriented to register long-scale and short-scale performance details, which are equally valuable in one’s preparation when practising a musical work. The actual sound of the sonata has been primarily assessed. The sonata is secondarily viewed as music text (Belaieff edition) and simultaneously compared to Scriabin’s own recorded performance on piano roll, which is valid only to a certain extent, due to recording technical impediments. The final goal of this research is to bring to light some neglected or merely underrated pianistic techniques, so as to inform the contemporary performer on different possibilities of expression. This experimentation could result in a richer musical language.

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24

Dejos, Virginie. "Analyse et interprétation des six dernières sonates pour piano d’Alexandre Scriabine". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040224/document.

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La thèse porte sur les six dernières sonates de Scriabine. L’analyse des œuvres a été pensée en relation avec l’interprétation pianistique. L’univers de référence et l’imaginaire sonore de Scriabine sont reconstitués à partir de la perception des œuvres et des indications d’interprétation présentes dans les partitions. Une méthode inspirée par l’analyse schenkerienne est développée pour étudier les logiques d’écriture d’un langage dans lequel la notion de tonalité est considérablement élargie. La dernière partie, plus directement liée à l’interprétation, étudie les spécificités de l’écriture pianistique et des paramètres du timbre et du temps en s’appuyant sur l’étude d’enregistrements historiques
The 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

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25

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.

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26

Hakanson, 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.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. 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.

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27

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/.

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The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.

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28

Lemoine, 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.

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Nous souhaiterions proposer une nouvelle lecture du XXᵉ siècle musical, qui rapprocherait de façon a priori surprenante des compositeurs comme Scriabine, Webern, Wyschnegradsky et Harvey. Si des études ont déjà été réalisées sur chacun de ces compositeurs individuellement, à ce jour jamais encore l’idée d’une quelconque parenté ou continuité entre eux ne semble avoir été exprimée, probablement parce que ce qui semble les réunir relève de questions qui sont généralement devenues incidentes voire écartées dans les approches musicologiques. Au-delà des techniques compositionnelles propres à chacun de ces compositeurs, c’est en effet leur sensibilité et leur attirance communes pour des questions d’ordre spirituel qui ont marqué leur production et leur pensée musicales. Cette thèse se donne pour but d’étudier la pensée musicale de ces quatre compositeurs et, parallèlement, d’expliciter les techniques de composition qui en ont découlé et dont ils ont fait usage. Au-delà de la lecture de leurs textes et de l'analyse de leurs partitions, nous pressentons plus qu’une simple forme de parenté entre ces productions : s’y dessine une orientation commune relevant de préoccupations souvent attachées à des temps plus anciens mais qui n’en ont pas moins connu des prolongements significatifs tout au long du XXᵉ siècle. Les entreprises à bien des égards comparables de ces quatre compositeurs paraissent finalement témoigner de ce qu’on pourrait appeler un « spiritualisme musical »
We 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”

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29

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.

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30

Yunek, 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.

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31

Rossignol, Paule Renée Laure Lola. "Poétique de la sonate pour piano d'Alexandre Scriabine : Analyse, signification". Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10114.

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Personnalité fascinante et originale, véritable figure de proue du courant musical moderne de la Russie au début du XXe siècle, Alexandre Scriabine a souvent été déconsidéré. Cette étude sur la poétique du piano chez Scriabine à travers ses dix sonates (douze en comptant les deux qui n'ont pas de numéro d'opus) essaiera de ne pas séparer la dimension pratique d'exécution de ses oeuvres et la dimension réflexive visant ici à découvrir la "poétique" qui leur est implicite. L'analyse centrale de l'ensemble du cycle des Sonates sera axée sur l'étude des formes, des morphologies, architectures musicales que forment ces Sonates dans leurs agencements internes, autant que dans les relations intertextuelles qu'elles entretiennent entre elles. La Poétique musicale de Scriabine sera alors approchée et pourra mener à la signification.

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32

Smith, 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.

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33

Secor, Tyler. "Mystic Chord Harmonic and Light Transformations in Alexander Scriabin's Prometheus". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13442.

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This thesis seeks to explore the voice leading parsimony, bass motion, and chromatic extensions present in Alexander Scriabin's Prometheus. Voice leading will be explored using Neo-Riemannian type transformations followed by network diagrams to track the mystic chord movement throughout the symphony. Bass motion and chromatic extensions are explored by expanding the current notion of how the luce voices function in outlining and dictating the harmonic motion. Syneathesia will also be examined as a composition device used to create the light, harmony, and drama of Prometheus.

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34

Chow, 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.

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This paper demonstrates how and why Alexander Scriabin's Fourth Piano Sonata marks a critical turning point in his compositional style. It also touches lightly upon the philosophical underpinnings of his musical evolution. Three piano sonatas are examined in turn: the Third Sonata--a work representing Scriabin's early style; the Fourth Sonata--a significant transitional piece; and the Seventh Sonata--a sophisticated work from his later period. The innovative harmonic language and musical form of the Fourth Sonata is traced back to its roots in the Third Piano Sonata, after which its evolution reflected in the Seventh Piano Sonata is elucidated. Scriabin's innovations in the Fourth Sonata include his use of the chord-pair, his exploration of the tritone, his manipulations of dominant seventh chords and the condensation of the multi-movement sonata into the one-movement sonata. The Fourth Piano Sonata marks a clearly turning point in Scriabin's compositions.

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35

Robbins, 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.

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Scriabin’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.

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36

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.

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Abstract (sommario):

Throughout 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.

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37

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.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisor: 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.

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38

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/.

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Abstract (sommario):

Pianist and composer Alexander Scriabin (1872-1915) is regarded as one of the most unique and important innovators of the early modernist Russian school. His search for new and more complex sonorities – as well as his evolving belief in the role that his music would play in the spiritual future of society – led to experimentation with octatonic, whole-tone and bi-tonal harmonic and melodic patterns, most clearly demonstrated in the formation of the mystic chord. The extra-musical significance of these sonic explorations are related by Scriabin in the unusual descriptions found in the scores of his late piano music, which suggest that the musical content is closely connected to Scriabin’s own very individual philosophical belief system. There has already been research in this area, connecting the music of the late piano sonatas with Mystic Russian Symbolism, as well as Scriabin’s orchestral Prometheus Op. 60 with the occultism and mysticism of Theosophy. My contribution in this regard lies in a detailed, practice-led research project based on the interpretation of the score instructions found in the Sixth Piano Sonata, Op. 62, in which I connect aspects of the music to a detailed study of the philosophical content of Scriabin’s unfinished libretto to the Prefatory Act and the Theosophy-inspired concept of the resulting Mysterium. In doing so I suggest how these score descriptions may be interpreted and put into practice, based on such research findings. This complex process of performative interpretation employs multiple methodologies including score analysis, factual research relating to biographical and historical context, critical recording analysis and ongoing self reflection. Crucially, practice is used throughout to judge the validity and relevance of analytical and research findings, as well as a means of research in itself, in which new ideas have been discovered through the act of live performance. The value of first-person research is presented in a wider musicological and performance context, through which it is argued that such practice-led research has the potential to lead to a more inclusive and open research environment.

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39

Kraevska, Sofia. "Terra Mirabilis: A Composition for Symphony Orchestra in Three Movements". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/199.

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Abstract (sommario):

Terra Mirabilis is a three-movement musical composition for symphony orchestra with piano solo inspired by natural landscapes photographed by the composer. The three movement composition and its corresponding landscapes portray three times of a day: early morning (I. The Mists), evening (II. Oceanus), and late night (III. Nocturne). Each chapter is devoted to the discussion of one movement, wherein overall concept and form are addressed, followed by detailed analyses of harmonic structure, motivic and thematic development, orchestration, and representational elements. As a complement to the score and the text, a CD-R audio recording of orchestral mock-ups accompanies this dissertation.

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40

Seah, 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/.

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Abstract (sommario):

Alexander Scriabin's piano sonatas are largely regarded as the most significant works in the genre since Beethoven. They outline the development of his compositional style from the youthful Chopinesque works, to his mature, idiosyncratic post-tonal offerings. According to his close friend, biographer, and critic Leonid Sabaneyev, despite Scriabin's philosophy suffering “from too many manifest faults”, his late music is “incomprehensible and incomplete” when “severed from his philosophy”. Consequently, this treatise focuses on Scriabin's unique compositional voice through an examination of his idiosyncratic musical gestures, and the points of their interaction/intersection with his eclectic philosophizing. Recognizing the absence of a substantial interpretive system that reconciles Scriabin's music with his philosophical outlook in the available Scriabin-scholarship, this dissertation investigates the impact of his mystical beliefs upon his compositional style. This is largely achieved through the identification and scrutiny of symbolic gestures in his idiosyncratic pianistic style. Part 1 constitutes the examination of Scriabin's symbolic gestures that routinely feature in his late works: unity, summons, light, flight, occult, resonance, sensuality, eroticism, ecstasy, and transformation/dissipation. Part 2 discusses Sonata no.8, which stands to benefit the most from a gestural reading, due to the near absence of the composer's customary vivid French annotations. A brief discussion regarding issues of interpretation and performance of that sonata and Scriabin's late keyboard works completes this dissertation. The investigative method outlined above, in synergy with the composer's complex beliefsystem, develops a new gestural framework for perceiving and interpreting Scriabin's work; one that blurs the conventional distinctions between musicologist and performer, enabling informed conceptualizations and gestalt performances of these ‘symbolist' works. Sonata No.8 is used as a matrix upon which this theoretical approach is applied. Through relative comparisons and references to the other late sonatas, the Eighth is proffered as an interpretive model upon which analogous interpretations may be based.

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Kiely, 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.

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Abstract (sommario):

The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.

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42

Voss, J. "Scriabin in context". Thesis, 1989. https://eprints.utas.edu.au/21890/1/whole_VossJames1989_thesis.pdf.

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The purpose of this research project is to present a background to the composer Alexander Scriabin and his compositions. His life and works have been well documented although less has been written on the forces which affected his life and compositions. It is the writer's opinion that a purely technical dissection of his scores or a chronological recording of the events of his life will not shed much light on the music itself. The Diaries reveal a great deal of the man and his sometimes complicated philosophies as do the numerous letters which have survived him. What a tragedy that his playing was not recorded acoustically as by 1915 the technological facility to do so was of a high order. Our reliance on the many ambiguous accounts of his playing by those that heard him could then be gratefully 'cast into the hedge'. In this document Scriabin emerges as a child of the nineteenth century and a pathfinder to modernism in the twentieth century. His music begins in the chromatic meliodic tradition of Chopin and ends at the brink of atonality. The origins of the bitter acrimony between the Russian Nationalist composers, predominantly the Big Five and the pro-Western or Eurasian composers, Tchaikovsky, Rachmaninoff and Scriabin, are traced back to the time of Peter the Great. Parallels are suggested in the field of fine art with the World of Art looking to the West for inspiration and the group known as the Wanderers looking to Russian folklore and history for their roots. The reforming zeal with which the composer strove to convert those around him has done much to hinder an appreciation of the music itself. The lucidity of his compositions contrasts sharply with the convolutions of his mystical theosophy with which he became progressively more obsessed. Interest in the supernatural and strange nervous afflictions were common amongst wealthy Russians at the turn of the century and it is against this background that Scriabin's mysticism and symbolism are identified in this document. Discussion of his works attempts to trace the transient musical influences of other composers such as Chopin, Wagner and Liszt. His detractors called his piano compositions parodies of Chopin. It is submitted that they resemble his Polish idol far less than, for example, early Beethoven resembles Haydn. In the end, I feel, Scriabin's music must stand as a unique testament to an extraordinary man.

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43

Hsieh, Shu-ya, e 謝舒雅. "Scriabin "Prelude for Piano" Opus 11". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/11423297536352541398.

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碩士
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.

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44

Kung, En-Dian, e 龔恩典. "Scriabin: Fantasie in B minor, Op. 28". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/kuk9ky.

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45

Whitehead, Laura Lynn. "Transcendent Sounds: The Early Piano Music of Alexander Scriabin". Thesis, 2014. http://hdl.handle.net/1828/5223.

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Studies of Alexander Scriabin (1871-1915) have traditionally focused on his middle- and late-period music after 1902. Discussions of his personal philosophy and its impact on his music also concentrate on these two periods. This thesis examines Scriabin’s philosophy and piano music from a sub-section of his early period—1892 to 1897—that I designate his “formative” period. I argue that Scriabin’s eccentric belief in transcendence through music was already developing and influencing his music during his formative period. Evidence to support this theory is found in three areas: context, performance practice and analysis. A contextual evaluation of Scriabin’s formative years is compared against his late ideologies from his opera and the Mysterium. Scriabin’s performance practices, as seen in both first-hand documentation and his piano roll recordings, reveal possible philosophical performance traits. Analyses of selected formative compositions expose philosophical and performance related elements, demonstrating the interaction between composer, pianist and philosopher.
Graduate
0413
lauralwhitehead@hotmail.com

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46

Huey, Liaw Ling, e 廖玲惠. "A Study of Scriabin''s Piano Sonata OP.53". Thesis, 1999. http://ndltd.ncl.edu.tw/handle/27769001870520163286.

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碩士
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.

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47

Chiang, Emily Chia-Lin. "Rubato and Climax Projection in Two Piano Sonatas by Scriabin". Thesis, 2013. http://hdl.handle.net/1807/35791.

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Abstract (sommario):

Alexander Scriabin (1872-1915) is well known as a composer for his inventive tonal language and as a performer for his approach to rubato. As is evident through his piano roll recordings, Scriabin's pianism epitomizes the performance practice of the early twentieth century and raises significant issues for the modern interpreter of Scriabin’s scores. The diversity in Scriabin's compositional style has prompted a variety of analytic approaches. Chapter one surveys Scriabin’s stylistic development in terms of his piano music and explores relevant analytic and interpretive approaches. Chapter two explores Scriabin's pianism as described by his close friends, pupils, and critics of the time. These reports characterize Scriabin's playing as rhythmically flexible, sensitive to different layers of voicing, and subtle in its dynamic nuances. In Chapter three, the two central topics of the dissertation—rubato and climax—are explored in general and in relation to Scriabin’s music. In Scriabin’s early piano music the indication for rubato correlates with a specific melodic contour, and the broader connection between rubato and melodic contour is explored. The study of climax draws on Austin T. Patty’s theory of pacing, in which climaxes of different types arise through different handling of various musical parameters. The musical components of Scriabin’s climaxes evolve during his output. Chapters four and five examine the Piano Sonata No. 4, Op. 30, and Piano Sonata No. 10, Op. 70, respectively. These case studies provide a formal-thematic overview of each work, consider the use of rubato and the handling of climaxes with respect to the theoretical frameworks established in Chapter three, and assess performance choices with reference to several recorded performances. This dissertation provides an alternative outlook to the performance of Scriabin's music. Tempo graphs reveal the pacing between phrases and sections and permit comparisons among artists from different generations. The recordings surveyed for both sonatas indicate that the flexibility in timing within individual phrases or thematic sections is much greater in the earlier recordings compared to more recent ones, as is the degree of tempo contrast between slow and fast sections.

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48

Tsou, Ming-Hsuan, e 鄒銘軒. "The Mysticism in the Late Piano Sonatas of Alexander Scriabin". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/dwhpxr.

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博士
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.

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49

Liu, Zi-Feng, e 劉姿鳳. "Analysis and Interpretation of Scriabin''s Piano Sonata No.4,Op.30". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/y2s7qm.

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50

CHANG, HUI-TIN, e 張惠婷. "Fantasy-Analytical Study of Selected Fantasies by Bach, Mozart, Chopin and Scriabin". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/11951411787337663194.

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碩士
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.

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