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Dissertations / Theses on the topic 'Alexander Scriabine'

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Published: 4 June 2021

Last updated: 6 February 2022

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1

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 musi

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Salley, Keith Phillip. "Scriabin the progessive : elements of modernism in the early works of Alexander Scriabin /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343181&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.<br>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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3

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 abando

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4

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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5

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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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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7

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

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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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Thesis (D.M.A.)--University of North Texas, 2008.<br>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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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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10

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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11

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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12

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.<br>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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13

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 p

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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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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.<br>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,

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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.<br>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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17

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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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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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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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

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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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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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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

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Weng, Jui-Hsia, and 翁瑞霞. "A Study of Alexander Scriabin’s Mazurkas." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/02393535175691425314.

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碩士<br>國立中山大學<br>音樂學系研究所<br>100<br>Alexander Nikolayevich Scriabin is a Russian composer in the late nineteenth century. His compositions can be divided into three periods. Influenced by the romantic music and Frederic Chopin, the early period is from 1888 to 1902 in which his works are tonal music. In the second period, 1903-1908, Scriabin started to use more dissonances and chromaticism resulting in lacking tonality. In the late period, 1909-1915, Scriabin was impacted by mysticism, and his music style became more atonal. Scriabin’s Mazurkas composed between 1889 to 1903, are in three sets, o

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Combrink, Albert Christiaan. "A stylistic and technical analysis of Skryabin's Etudes, Op. 8." Thesis, 1992. http://hdl.handle.net/10413/8880.

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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, performa

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

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博士<br>國立臺北藝術大學<br>音樂學系碩(博)士班<br>107<br>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

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CHEN, YEN-LING, and 陳彥伶. "A Study of Alexander Scriabin’s Piano Sonata No. 2." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/26562188667913764464.

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Jian, Wan-Ting, and 簡婉婷. "An Analysis and Performance Interpretation of Alexander Scriabin Piano's Fantasy Op.28." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18258373291872572674.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>100<br>For centuries,fantasy has existed with the strong fantasy style and features.Many composers express personal feelings by writing fantasies. Since the nineteenth century,fantasy has become one of the character pieces which have free form and unrestricted composition techniques.Between late Romantic and early Modern era,Russian composer Scriabin created a fantasy work“Piano Fantasy, Op.28”.According to the views of Russian music critic Boris de Schloezer who classifies Scriabin's works into three periods，Op.28 is the demarcation point between first period and

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Liang, Yi-Pai, and 梁亦白. "The Music Analysis and Interpretation of Alexander Scriabin''s Fantasy, Op. 28." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/25561987221463041710.

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碩士<br>國立臺北藝術大學<br>音樂學系碩士班鋼琴組<br>103<br>Instrumental works have appeared abundantly after 16th century. Fantasy, characterized as fantastic style of emotional expression and liberal composition form, had become an indipendent category of Instrumental works. The development history of Fantasy is very long and has a enormous amout of artworks, among which keyboard Fantasy is among the main stream. Alexander Scriabin was born at the end of 19th century, and meanwhile at Russia it was the thriving period of music creation and education. Affected by last stage of Romanticism as well as Modernism, he

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Lai, Mei-yu, and 賴美瑜. "A Study of Alexander Scriabin’s “Sonata No.2, Opus 19”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87611429356231577850.

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碩士<br>國立臺南大學<br>音樂學系碩士班<br>100<br>As a musical composer in the late 19th century, Alexander Nikolayevich Scriabin (1872-1915) expressed his enthusiasm in religion, philosophy and literature via his music. Especially with the esoteric harmony and tonality in his later period, his composition style varied greatly throughout his musical life. As one of Scriabin''s piano pieces in the early stage, “Sonata No.2, Opus 19” was composed in 1897. It was filled with full of romance, and put the main attention on the relationship between functional harmonies. The dissertation firstly defines

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Lee, Hwa-Young. "Tradition and innovation in the twenty-four preludes, Opus 11 of Alexander Scriabin." Thesis, 2006. http://hdl.handle.net/2152/2563.

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yen, Yu-Wen, and 嚴玉雯. "The Interpretation and Research of Alexander Scriabin The Twenty-Four Preludes, Opus 11." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/87vkcu.

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碩士<br>台南科技大學<br>音樂研究所<br>98<br>Articulation, meaning tone movement and rhythm, is a vital issue in performers. Also, it affects the composer’s expression about the rhythm and melody of interaction from the composers, performers, and audiences’ interaction. Timothy M. Walker (2004) has opinions about “what is the articulation” that is from melody, rhythm, harmony and tone color, so he defines articulation in three points: (a) performance instrument, (b) expressional types, (c) beat location. The purpose of this study is to discusses some of the influences of Alexander Scriabin 24 piano prelude

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Chang, Chia-lun. "Five Preludes opus 74 by Alexander Scriabin : the Mystic Chord as basis for new means of harmonic progression." Thesis, 2006. http://hdl.handle.net/2152/3449.

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Ching, Kao-Hsiao, and 高筱晶. "The study of 2 Alexander Scriabin's Piano Tone Poems Op.32 and Op.72." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/71856119921286429786.

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碩士<br>東吳大學<br>音樂學系<br>95<br>This paper will trace the cultural influences and compositional characteristics of Scriabin’s earliest piano tone poems Op. 32, and his last piano tone poems Op. 72. It is divided into six chapters. Chapter IV focuses on various compositional aspects including the formal and harmonic analysis as well as the tonal, rhythmic and melodic structures. Chapter V discusses the performance practice and its interpretations.

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Lin, Chien-En, and 林千恩. "An Analysis and Interpretation of Alexander Scriabin's Piano Sonatas, opp. 19, 30 and 53." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/37967548637927292680.

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碩士<br>國立臺灣師範大學<br>音樂學系<br>105<br>This thesis on Alexander Scriabin’s three piano sonatas, Sonata No. 2 (1892-1897), Sonata No. 4 (1903), and Sonata No. 5 (1907), investigates the biography and musical style of composer to know the individual musical characteristics of Scriabin. Detailed musical analysis is included, with emphasis on the unique musical practice in each work, as well as my interpretative inputs on performing these three contemplative works are presented.

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Huang, Min-Hua, and 黃敏華. "MIN-HUA HUANG PIANO RECITAL WITH A SUPPORTING PAPER ALEXANDER SCRIABIN’S THREE FANTASY WORKS: CONTEXT AND PERFORMANCE PRACTICE." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/69215123952885358239.

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碩士<br>國立交通大學<br>音樂研究所<br>100<br>This thesis on Alexander Scriabin’s three Fantasy works, Sonata-Fantasy (1886), Sonata No. 2 (Sonata-Fantasy), and Fantasy Op. 28, investigates the individual characteristics of the composer, his musical style and the fantasy elements used in these works. Detailed musical analysis, with emphasis on the common practice of fantasia in each work, as well as my interpretative inputs on performing these three contemplative works are presented.

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LIANG, YI-NI, and 梁旖倪. "The Analysis of Alexander Nikolayevich Scriabin’s Piano Sonata No. 2 “Sonata-Fantasy” in G-Sharp Minor, Op. 19." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/dck8um.

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碩士<br>國立高雄師範大學<br>音樂學系<br>105<br>This article will take Scriabin’s “Piano Sonata No. 2, Op. 19” as the research target. This is one of the most important works of Scriabin’s. Besides, at the moment when the composer completed the work, he attached “Sonata Fantasy” as the title of it. When it comes to the works of Scriabin, they are always associated with the change of color. Is this related to his individual trait-synesthesia ? And his early works were influenced by Chopin；therefore, the author will focus on the work, “Sonata Fantasy” , to find out whether his fantasy inspiration had been affe

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García, Ana Lucía. "Estrategias de estudio : claves para la construcción de una interpretación musical." Bachelor's thesis, 2018. http://hdl.handle.net/11086/5942.

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Cuando pensamos en la interpretación musical muchas veces nos situamos en el resultado final. Al escuchar a un gran intérprete admiramos su ejecución, su destreza técnica, su capacidad de transmitir emociones… Pero, ¿cuándo comienza realmente la interpretación? ¿Cuál es el recorrido que nos lleva a ese resultado final? Cada una de las etapas que transitamos es parte fundamental del proceso, y puede ser explorada y analizada para perfeccionarse. La reflexión acerca de las características de la práctica, la búsqueda de estrategias de estudio y el análisis del proceso de construcción de una inte

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TSAI, CHIA-YUN, and 蔡佳芸. "The Analysis and Interpretation of “2 Nocturnes op. 5”, ”Prelude and Nocturne for the Left Hand op. 9-2” and “Poème-nocturne op. 61” by Alexander Scriabin (1872-1915)." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/4u9eq4.

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碩士<br>東吳大學<br>音樂學系<br>104<br>The purpose of this study is to analyze the compositional style of Alexander Scriabin’s (1872-1915) nocturnes from different periods, discuss musical interpretation, and also compare his nocturnes’ characteristics between the his early and late periods. The first chapter explains the motivation, purpose, methods, and references of this thesis. The second chapter outlines Scriabin's life and music style into three periods according to Scriabin: artist and mystic (1987) and also explains the characteristics of his nocturnes. The third chapter explores the backgr

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CHEN, HUEI-HAN, and 陳慧涵. "Analysis and Interpretation of Five Piano Etudes of Alexander Scriabin ─ Op. 2, No. 1; Op. 8, Nos. 2 and 12; Op. 42, No. 5 and Op. 65, No. 3." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/33b342.

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碩士<br>輔仁大學<br>音樂學系<br>107<br>Alexander Scriabin (1876-1915) is a Russian composer whose compositional career spanning from the end of the 19th century to the beginning of the 20th century. Scriabin’s compositional style changed drastically. His early writing of romantic style was greatly influenced by Chopin (1810-1949) and Liszt (1811-1886). In the second and late period, Scriabin was affected by Nietzsche’s philosophy, other phylosophies and mysticism. Scriabin’s harmonic language moves from the traditional harmony based on the interval of third, to the great use of the interval of fourth an

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