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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.

The five Preludes, Op. 15 were composed in the year 1897 while Scriabin was occupied in concert tours with his friend and publisher, Beliaef. This year brought no less than forty-seven short preludes written at various times and collected in five sets: Opp. 11, 13, 15, 16, and 17. These preludes, though clever and original in melody, show the great influence of Chopin on Scriabin.

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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.

Analysis of Sonatas no. 1, 4, and 10

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 300-312). Also available for download via the World Wide Web; free to University of Oregon users.

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, performance practice and analysis. A contextual evaluation of Scriabin’s formative years is compared against his late ideologies from his opera and the Mysterium. Scriabin’s performance practices, as seen in both first-hand documentation and his piano roll recordings, reveal possible philosophical performance traits. Analyses of selected formative compositions expose philosophical and performance related elements, demonstrating the interaction between composer, pianist and philosopher. / Graduate / 0413 / lauralwhitehead@hotmail.com

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, performance practice and analysis. A contextual evaluation of Scriabin’s formative years is compared against his late ideologies from his opera and the Mysterium. Scriabin’s performance practices, as seen in both first-hand documentation and his piano roll recordings, reveal possible philosophical performance traits. Analyses of selected formative compositions expose philosophical and performance related elements, demonstrating the interaction between composer, pianist and philosopher. / Graduate / 0413 / lauralwhitehead@hotmail.com