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Journal articles on the topic 'Alexander Scriabin'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

SHUMILIN, DMITRIY. "The Minor Mode in Alexander Scriabin’s Last Works: 150th Anniversary of Alexander Scriabin." Временник Зубовского института, no. 4 (2021): 168–82. http://dx.doi.org/10.52527/22218130_2021_4_168.

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2

Samson, T. J., and James M. Baker. "The Music of Alexander Scriabin." Journal of Music Theory 32, no. 2 (1988): 353. http://dx.doi.org/10.2307/843440.

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Pople, Anthony, and James M. Baker. "The Music of Alexander Scriabin." Music Analysis 7, no. 2 (1988): 215. http://dx.doi.org/10.2307/854057.

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4

Topilin, D. I. "Alexander Scriabin. An elite composer." Muzyka. Iskusstvo, nauka, praktika, no. 4 (2022): 52–61. http://dx.doi.org/10.48201/22263330_2022_40_52.

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5

Trifunović, Branislava. "The Scriabin postcard: The importance of Alexander Nikolayevich Scriabin in the intellectual circles of the Russian fin de siècle." Zbornik Akademije umetnosti, no. 10 (2022): 188–201. http://dx.doi.org/10.5937/zbaku2210188t.

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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

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6

Listengarten, Julia. "Visual Aurality in Russian Modernist Experiments: Explorations in Synesthesia and Auditory Imagination." Recherches sémiotiques 35, no. 2-3 (2018): 77–96. http://dx.doi.org/10.7202/1051069ar.

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Russian modernist experiments in sensory communication include the interplay of sound and light in Alexander Scriabin’s symphonic mysteries as well as colored sounds in Wassily Kandinsky’s stage compositions. Inspired by various philosophical principles and creative methodologies, these artists explored the dialogue between the aural and the visual and its potential to influence the creative process and impact audience perception. This article seeks to assess the role of music and sound in synesthetic experiments of Scriabin and Kandinsky and place their theory and practice within the larger p

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7

Trifunovic, Branislava. "Composer of the revolution: Scriabin’s idea of the Mysterium - the total work of art." Muzikologija, no. 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 S

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8

Guenther, Roy J. "The Music of Alexander Scriabin . James M. Baker ." Journal of the American Musicological Society 41, no. 1 (1988): 194–99. http://dx.doi.org/10.1525/jams.1988.41.1.03a00090.

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9

Witztum, Eliezer, and Vladimir Lerner. "Alexander Nikolaevich Scriabin (1872–1915): Enlightenment or illness?" Journal of Medical Biography 24, no. 3 (2016): 331–38. http://dx.doi.org/10.1177/0967772014537151.

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10

Dyatlov, D. A. "THE LAST OPUS OF ALEXANDER SCRIABIN AS A MUSICAL "SKETCH" OF THE MYSTERY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 86 (2022): 63–73. http://dx.doi.org/10.37313/2413-9645-2022-24-86-63-73.

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The article is devoted to the last piano opus by A.N. Scriabin - Five Preludes Op. 74 - in whose music one can see a certain artistic intention associated with the general idea of Scriabin - a musician and thinker. For a number of years the composer was completely absorbed in the idea of the Mystery. The grandiose plan involved the involvement of all mankind in a synthetic action in which civilization and culture would come to an end of their existence. The ecstatic feeling was to become the condition of unity in the last act of creation. The obvious impracticability of the Mystery was express

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11

Callender, Clifton. "Voice-Leading Parsimony in the Music of Alexander Scriabin." Journal of Music Theory 42, no. 2 (1998): 219. http://dx.doi.org/10.2307/843875.

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12

Fanning, D. "The Performing Style of Alexander Scriabin. By Anatole Leikin." Music and Letters 93, no. 4 (2012): 614–15. http://dx.doi.org/10.1093/ml/gcs076.

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13

Rego, John. "The Performing Style of Alexander Scriabin (review)." Notes 68, no. 4 (2012): 799–802. http://dx.doi.org/10.1353/not.2012.0040.

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14

Starcevic, Vladan. "The life and music of Alexander Scriabin: megalomania revisited." Australasian Psychiatry 20, no. 1 (2012): 57–60. http://dx.doi.org/10.1177/1039856211432480.

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15

Taruskin, Richard. "The Music of Alexander Scriabin James M. Baker Scriabin: Artist and Mystic Boris de Schloezer Nicolas Slonimsky." Music Theory Spectrum 10 (April 1988): 143–69. http://dx.doi.org/10.2307/745797.

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16

Guenther, Roy J. "Review: The Music of Alexander Scriabin by James M. Baker." Journal of the American Musicological Society 41, no. 1 (1988): 194–99. http://dx.doi.org/10.2307/831758.

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17

Berman, Greta. "Synesthesia and the Arts." Leonardo 32, no. 1 (1999): 15–22. http://dx.doi.org/10.1162/002409499552957.

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The term “synesthesia” has often been used metaphorically rather than accurately. Ongoing scientific research shows the condition to be “real,” rather than imagined. The author focuses her discussion on the effects of colorsound synesthesia, or “chromesthesia,” and on a selection of composers and visual artists. The composers discussed include Alexander Scriabin, Olivier Messiaen and Michael Torke. Visual artists discussed include Robert Delaunay and David Hockney.

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18

Piechnat, Mateusz. "Scriabin – piano music in the context of the composer’s creative ideology. Part 2." Notes Muzyczny 2, no. 10 (2018): 103–21. http://dx.doi.org/10.5604/01.3001.0012.9814.

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The article is the second part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. Throughout the period of around 20 years, Scriabin’s musical language transformed drastically, which is most fully shown in his piano pieces, especially miniatures a

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Piechnat, Mateusz. "Scriabin – piano music in the context of the composer’s creative ideology. Part 3." Notes Muzyczny 2, no. 12 (2019): 161–74. http://dx.doi.org/10.5604/01.3001.0013.7174.

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The article is the third part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative views a

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20

Keprt, Marek. "To the Issue of Evil in the Late Works by Alexander Nikolayevich Scriabin." Musicologica Olomucensia 25, no. 1 (2017): 78–97. http://dx.doi.org/10.5507/mo.2017.005.

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21

Chupakhina, T. I. "The idea of messianism in the late work of Alexander N. Scriabin." Culture Space of Russian World 5, no. 2 (2021): 15–18. http://dx.doi.org/10.24147/2782-2532.2021.5(2).15-18.

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Piechnat, Mateusz. "Scriabin – piano music in the context of the composer’s creative ideology. Part 1." Notes Muzyczny 1, no. 9 (2018): 89–106. http://dx.doi.org/10.5604/01.3001.0012.9900.

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The article is the first part of a cycle of texts devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative

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23

Raba, Bogusław. "Trajektoria tonalno-harmoniczna jako wyraz archetypu narracyjnego unii mistycznej w twórczości Charles’a Tournemire’a i Aleksandra Skriabina." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 118–39. http://dx.doi.org/10.14746/rfn.2021.22.10.

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The subject of the article is a comparison of the process of transformations of the tonal-harmonic structure in the works of Alexander Scriabin and Charles Tournemire in relation to the narrative archetype of the mystical union. The justification for comparing these aspects of the work of these two composers is their development of a similar harmonic idiom, which they used to symbolically justify diametrically opposed worldviews. Scriabin’s work is considered a breakthrough for European music culture, whereas Tournemire’s is still little known. Just as the former assumed the role of composer-p

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24

Ловчикова, Ульяна Викторовна. "Valentina Rubtsova: “Many of Scriabin's Manuscripts Contain Pages Filled with Mathematical Calculations”." Музыкальная академия, no. 1(777) (March 31, 2022): 6–13. http://dx.doi.org/10.34690/215.

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В 2022 году отмечается юбилей Александра Николаевича Скрябина - 150 лет со дня его рождения. Издательский дом «Музыка - П. Юргенсон» выпустил полное собрание сочинений, что стало завершением важного этапа в истории изучения творчества композитора и представляет большую ценность как для почитателей или исполнителей его музыки, так и для исследователей. Проведен разносторонний анализ наследия музыканта: рукописей, писем. В интервью с главой редакционной коллегии проекта - Валентиной Васильевной Рубцовой, доктором искусствоведения, заместителем директора по научной работе Мемориального музея А. Н

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25

Jurkowski, Edward. "Alexander Scriabin's and Igor Stravinsky's Influence upon Early Twentieth-Century Finnish Music: The Octatonic Collection in the Music of Uuno Klami, Aarre Merikanto and Väinö Raitio." Articles 25, no. 1-2 (2012): 67–85. http://dx.doi.org/10.7202/1013306ar.

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This article examines a significant shift in musical style and compositional technique that occurred in Finland during the 1920s, a time during which the music of Jean Sibelius exerted a strong influence. Specifically, I discuss how the octatonic collection, a prominent feature in the music of the two early twentieth-century Russian modernists Igor Stravinsky and Alexander Scriabin, is incorporated as a fundamental harmonic resource in three celebrated orchestral works: Uuno Klami's 1935 "The Creation of the Earth" (movement one from his five-movement Kalevala Suite), movement one from Aarre M

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26

Bazayev, Inessa. "The Alexander Scriabin Companion: History, Performance, and Lore ed. by Lincoln Ballard and Matthew Bengtson." Notes 75, no. 3 (2019): 492–95. http://dx.doi.org/10.1353/not.2019.0015.

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27

Ballard. "A Russian Mystic in the Age of Aquarius: The U.S. Revival of Alexander Scriabin in the 1960s." American Music 30, no. 2 (2012): 194. http://dx.doi.org/10.5406/americanmusic.30.2.0194.

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28

Poast, Michael. "Color Music: Visual Color Notation for Musical Expression." Leonardo 33, no. 3 (2000): 215–21. http://dx.doi.org/10.1162/002409400552531.

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In this article, the author de-scribes Color Music, an alternative notation system for musical expres-sion. The system uses colors and shapes-powerful tools of expres-sion-in conjunction with sound to form a new language for musical no-tation. The author briefly describes the history of color/sound relation-ships since the time of Aristotle and discusses the use of color in scores by Alexander Scriabin, Arnold Schoenberg, John Cage, Krzysztof Penderecki, Gyorgy Ligeti, Olivier Messiaen and other contemporary composers who recognized color as a tool of expression for musical no-tation. He also

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29

Sukhov, A. D. "The Interconnections between Russian Philosophy and Other Realms of Public Consciousness." Russian Journal of Philosophical Sciences, no. 8 (November 28, 2018): 108–24. http://dx.doi.org/10.30727/0235-1188-2018-8-108-124.

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Among the characteristic features of Russian philosophy, there is its openness and connections with other realms of public consciousness. In the Middle Ages Orthodox religion (i.e. theology as theoretical part of it) was trying to take over the main functions of Russian philosophy. Philosophy was not just under the aegis of religion, as it was in Western Europe and Byzantium, but in its depths. Active philosophical life manifested itself under non-philosophical covers. Russian literature also is involved in philosophy. A plenty of a philosophical writers could doubtlessly be called great. They

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30

Колганова, О. В. "Composer/Conductor Igor Miklashevsky and Artist/Inventor Grigory Gidoni: the Story of an Exlibris." Научный вестник Московской консерватории, no. 1(32) (March 28, 2018): 132–47. http://dx.doi.org/10.26176/mosconsv.2018.32.1.05.

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В статье рассматривается экслибрис ленинградского композитора и дирижера Игоря Миклашевского, выполненный художником и изобретателем Григорием Гидони в 1926 году. На основе анализа экслибриса, содержащего фрагменты светоцветовых аранжировок, автор представляет возможные пересечения творческих судеб дирижера и художника. Значительную роль в этом пересечении играет личность Александра Скрябина. Статья основана на архивных документах из Кабинета рукописей Российского института истории искусств, рукописного отдела Библиотеки Академии наук, рукописного отдела библиотеки Вильнюсского университета. T

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31

Taruskin, R. "James M. Baker. The Music of Alexander Scriabin. New Haven and London: Yale University Press, 1986. Boris de Schloezer. Scriabin: Artist and Mystic. Translated from the Russian by Nicolas Slonimsky with an Introduction by Marina Scriabine. Berkeley and Los Angeles: University of California Press, 1987." Music Theory Spectrum 10, no. 1 (1988): 143–69. http://dx.doi.org/10.1525/mts.1988.10.1.02a00100.

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32

Чинаев, В. П. "Russian cosmism in the search of the absolute: parallels and interconnections in music, poetry and art in the 1910–20s." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 70–97. http://dx.doi.org/10.26176/mosconsv.2019.39.4.003.

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В опоре на метод компаративного анализа в статье предпринята попытка показать встречность живописных, поэтических и музыкальных поэтик. Главный аспект проблематики статьи— выяснение общности артистических интенций, которые основываются на творческой идее космизма как одной из парадигм русского искусства первой четверти ХХ века. Именно в этом ключе кратко прослеживаются реалии поисков в сфере организации звуковой, поэтической и живописной поэтик, рассматриваемых под углом зрения «абсолюта» как «высшего», «совершенного» критерия творчества. Вместе с тем «абсолют» трактуется как категория, свойст

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33

Peacock, Kenneth. "Synesthetic Perception: Alexander Scriabin's Color Hearing." Music Perception 2, no. 4 (1985): 483–505. http://dx.doi.org/10.2307/40285315.

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Scriabin's decision to orchestrate his fifth symphony "Prometheus" with a "counterpoint of light" resulted from his perception of sound as literal color. This phenomenon is known as synesthesia, and by the early decades of this century, well over 100 specialized case studies had appeared in the experimental literature. The present article is in two parts. The first is a general discussion of the vast literature on synesthesia. With this perspective, Scriabin's color hearing can be understood to have resulted from a typical synesthetic pairing of diverse sensory stimuli. In part two, the compos

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34

Plotnikova, Olga M. "Fractal Geometry in Alexander Scriabin’s Sonata No. 10." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2019): 15–21. http://dx.doi.org/10.17674/1997-0854.2019.1.015-021.

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35

Parascandola, John. "Pharmaceutical Innovation: Revolutionizing Human Health. Ralph Landau , Basil Achilladelis , Alexander Scriabine." Isis 92, no. 1 (2001): 231–32. http://dx.doi.org/10.1086/385160.

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36

Janis, Ronald A. "Collaborating with Alexander Scriabine and the Miles Institute for Preclinical Pharmacology." Biochemical Pharmacology 98, no. 2 (2015): 318–21. http://dx.doi.org/10.1016/j.bcp.2015.06.017.

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37

Mosusova, Nadezda. "Samuel Beckett and music an absurd essay about the idea of musicality and musical form in Samuel Beckett’s short pieces - influences and possibilities." Muzikologija, no. 4 (2004): 113–20. http://dx.doi.org/10.2298/muz0404113m.

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The premise of musicality of Beckett?s short dramas contains more questions than answers. Is the musicality of text present only in the work of Samuel Beckett? Do only the (musical) stage remarks in Beckett?s dramas suggest the idea of musicality? Can the absurdity of his output be expressed with music and through music? Some short musical compositions, especially by Alexandre Scriabine, can be in some way compared with Beckett?s "dramaticules", but only in form not in the meaning and musical language. The question of hidden influences remains to be developed.

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38

Kaykov, Michael. "Principles of Tonal Organization in Alexander Scriabin’s Works after Op. 58." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2020): 123–29. http://dx.doi.org/10.33779/2587-6341.2020.4.123-129.

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39

OPIE, L. "Alexander Scriabine, Editor, New Cardiovascular Drugs 1985, Raven Press, New York (1985), p. 320." Journal of Molecular and Cellular Cardiology 19, no. 3 (1987): 331–32. http://dx.doi.org/10.1016/s0022-2828(87)80601-6.

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Грохотов, С. В. "About “Masculine— Feminine” Dichotomy in Alexander Scriabin’s Sonata No. 5 (On the Example of Motivic Metrics)." Научный вестник Московской консерватории, no. 3(38) (September 25, 2019): 28–45. http://dx.doi.org/10.26176/mosconsv.2019.38.3.002.

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В статье рассматривается драматургия Пятой сонаты Скрябина в контексте символической дихотомии «мужского» и «женского»— одной из важных сквозных тем искусства начала XX века. Мужское и женское начала в музыке Скрябина символически отображаются в метрической конструкции мотивов: «мужские» направлены от неустоя к устою, «женские»— наоборот. В основе концепции произведения идея о развития мира от «гендерной неопределенности» (интродукция) к поляризации «мужского» и «женского» (экспозиция), их борьбе и роковому столкновению (разработка) и, наконец, к их новому слиянию в экстатической коде. The art

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41

Keprt, Marek. "Concerning the Symbol of Desire and Its Musical Rendition within A. N. Scriabin's Piano Compositions." Musicologica Olomucensia 20, no. 1 (2014): 47–60. http://dx.doi.org/10.5507/mo.2014.011.

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42

Lefer, Allan M. "New cardiovascular drugs 1987 Edited by Alexander Scriabine Raven Press, New York (1987) 271 pages, Illustrated, $69.00 ISBN: 0-88167-308-0." Clinical Cardiology 11, no. 3 (1988): 196. http://dx.doi.org/10.1002/clc.4960110316.

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43

Nebeker, Frederik. "Ralph Landau, Basil Achilladelis, and Alexandre Scriabine, eds. Pharmaceutical Innovation: Revolutionizing Human Health. Philadelphia:Chemical Heritage Press, 1999. xxiii + 409 pp. ISBN 0-941901-21-1, $44.95." Enterprise & Society 2, no. 2 (2001): 395–96. http://dx.doi.org/10.1017/s1467222700002640.

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Nebeker, F. "Ralph Landau, Basil Achilladelis, and Alexandre Scriabine, eds. Pharmaceutical Innovation: Revolutionizing Human Health. Philadelphia: Chemical Heritage Press, 1999. xxiii + 409 pp. ISBN 0-941901-21-1, $44.95." Enterprise and Society 2, no. 2 (2001): 395–96. http://dx.doi.org/10.1093/es/2.2.395.

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45

Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and

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46

Kaiser, Carl. "Pharmaceutical Innovation. Revolutionizing Human Health Edited by Ralph Landau, Basil Achilladelis, and Alexander Scriabine. Chemical Heritage Press, Philadelphia. 1999. xxiii + 408 pp. 16 × 24 cm. ISBN 0-941901-21-1. $44.95." Journal of Medicinal Chemistry 43, no. 9 (2000): 1899–900. http://dx.doi.org/10.1021/jm000120h.

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47

Gawboy, Anna M., and Justin Townsend. "Scriabin and the Possible." Music Theory Online 18, no. 2 (2012). http://dx.doi.org/10.30535/mto.18.2.2.

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Alexander Scriabin imagined hisPrometheus: Poem of Fire, op. 60, as a spectacular “dual symphony” of light and sound. For much of the work’s history, however, the light part remained enigmatic and technologically unperformable, contributing to a vicious cycle between performance and analysis. An incomplete understanding of the function of the lights resulted in a disregard for Scriabin’s lighting notation in performances, while the unavailability of accurate, convincing performances has inhibited curiosity regarding the lights’ full analytical potential.This paper reassesses the relationship b

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48

"The performing style of Alexander Scriabin." Choice Reviews Online 49, no. 04 (2011): 49–1972. http://dx.doi.org/10.5860/choice.49-1972.

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Samokhin, Valeri, and Kseniya Mescherinova. "In Memory of Alexander Scriabin (1872 – 1915)." Science and Education of the Bauman MSTU, August 3, 2015. http://dx.doi.org/10.7463/0815.0811324.

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Ballard, Lincoln. ""The Performing Style of Alexander Scriabin" by Anatole Leikin." Performance Practice Review 18, no. 1 (2014). http://dx.doi.org/10.5642/perfpr.201318.01.04.

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