Gotowe bibliografie tematyczne / Scriabin, Aleksandr Nikolayevich, 1872-1915

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  2. Książki
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Gotowa bibliografia na temat „Scriabin, Aleksandr Nikolayevich, 1872-1915”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 27 stycznia 2023

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Rozprawy doktorskie na temat "Scriabin, Aleksandr Nikolayevich, 1872-1915"

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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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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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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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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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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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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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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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Książki na temat "Scriabin, Aleksandr Nikolayevich, 1872-1915"

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

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Marina, Scriabine, i Slonimsky Nicolas 1894-, red. Scriabin: Artist and mystic. Berkeley: University of California Press, 1987.

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

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

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Scriabin, Aleksandr Nikolayevich. Mazurkas, poèmes, impromptus and other works forpiano. New York: Dover, 1991.

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

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Das Auge hört mit: Die Idee der Farblichtmusik und ihre Problematik, beispielhaft dargestellt an Werken von Alexander Skrjabin und Arnold Schönberg. Frankfurt am Main: P. Lang, 1996.

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Skryabin, philosophy and the music of desire. Burlington, VT: Ashgate, 2013.

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Modernism in Russian piano music: Skriabin, Prokofiev, and their Russian contemporaries. Bloomington, Ind: Indiana University Press, 1993.

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Notebooks of Alexander Skryabin. Oxford University Press, Incorporated, 2018.

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Części książek na temat "Scriabin, Aleksandr Nikolayevich, 1872-1915"

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"Alexander Scriabin (Aleksandr Nikolayevich Skryabin) (1872–1915)". W The Classical Music Lover's Companion to Orchestral Music, 692–97. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-054.

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