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A Theory of Orthography and the Fundamental Bass for the Late Oeuvre of ScriabinTomasacci, David Nelson 24 July 2013 (has links)
No description available.
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Scriabin: A New Theory of Harmony and StructureMcVay, Michael (Michael Jones) 12 1900 (has links)
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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A Statistical Study of the use of the "Mystic Chord" in the First Four Piano Sonatas of Alexander ScriabineHallmark, Philip R. 08 1900 (has links)
The purpose of this paper is to discover the environmental characteristics of the "Mystic Chord" in the first four Sonatas for Piano by Alexander Scriabine. This paper explores the manner of approach, manner of resolution, harmonic function, position, melodic function, and rhythmic position of the "Mystic Chord".
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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 - UniverseKeller, Andrew James 21 May 2019 (has links)
No description available.
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