Principles of Pitch Organization in Scriabin's Early Post-tonal Period
The Piano Miniatures
Bibliographic Data
| ID | 4390464 |
|---|---|
| Authors | Vasileios Kallis (University of Nicosia, Cyprus, corresponding author) |
| Year | 2008 |
| Volume | 14 |
| Issue | 3 |
| Publication date | 2008-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.14.3.2 |
| OpenAlex | W2341464110 |
| Language | EN |
| Citations received | 4 |
Scriabin's post-tonal period, which begins around 1909 with Feuillet d'album, Op. 58, is defined by the subtle and sophisticated exploitation of some special non-diatonic sets and their pitch universes: (i) the acoustic scale: 0, 2, 4, 6, 7, 9, t (member of set-class 7-34), the parent scale of the Mystic Chord; (ii) the octatonic scale, Model Α: 0, 1, 3, 4, 6, 7, 9, t (member of set-class 8-28); and (iii) 9-10: 0, 1, 2, 3, 4, 6, 7, 9, t (the nine-note superset that arises from the union of the acoustic and the octatonic scales). Close examination of the post-Op. 58 works allows us to partition the late style into two periods: early, from Op. 58 to Op. 69 inclusive; and late, from Op. 70 to the final creation, Op. 74. During his early post-tonal period, Scriabin developed a pitch organization method based on the interaction between the acoustic and octatonic scales within the constraints of their nonachordal common superset 9-10. This essay examines the specifics and the application of the acoustic-octatonic interaction in the composer's miniature pieces written in his early post-tonal period
Acoustics · Art · Combinatorics · Physics · Speech recognition · Computer Science · Diverse Musicological Studies · Mathematics · Music Technology and Sound Studies · Musicology and Musical Analysis
| Citations per year | 0.29 |
|---|---|
| Citation span | 2012 - 2023 (12) |
| Highly cited | No |