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Title
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Harmony, voice leading, and phrase rhythm in three early piano preludes by Scriabin: A Schenkerian perspective [and] Requiem for Mezzosoprano, Mixed Chorus, and Orchestra.
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Identifier
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AAI3103128
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identifier
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3103128
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Creator
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Kutnowski, Martin.
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Contributor
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Advisers: William Rothstein | Bruce Saylor
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Date
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2003
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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Harmony, voice leading, and phrase rhythm in three early piano preludes by Scriabin: A Schenkerian perspective. While widely recognized as a pioneer of twentieth-century post-tonal practices, Alexander Scriabin has not received equivalent attention for the music that he composed during his initial, tonal period. Several historical circumstances shaped a particular perception of Scriabin as a composer less worthy than his more illustrious contemporaries, and his early music was largely seen as a weakly derivative of other composers, particularly Chopin. This dissertation shows, however, that the music is fully mature, with distinctive and original harmony and voice leading in coordination with rhythmic structure. Specifically, the music involves the intensive elaboration and extension of certain tonal norms, particularly those governing voice leading and phrase rhythm. The tonal system is thus pushed to its limits, but not beyond---the music is idiosyncratic in some ways, but ultimately grounded in tonal conventions. This dissertation examines three pieces composed during those early years: Op. 11, No. 2, part of the Twenty-Four Preludes for piano Op. 11, published in 1895; and Op. 22, Nos. 1 and 3, two of the four preludes published as Op. 22 in 1897. The particulars of voice leading, phrase and tonal rhythm, and form make apparent the uniqueness of Scriabin's voice in his relatively early works. The first chapter of the dissertation surveys the literature on Scriabin. Each of the three following chapters provides a detailed analysis of each of the three preludes, Op. 11, No. 2, and Op. 22, Nos. 1 and 3. Chapter Five summarizes the conclusions.;Requiem, for mezzo-soprano, mixed chorus, and orchestra. A composition in four movements, commissioned by Associazione Romana di Musica Sacra e Religiosa (A.R.Mu.S.eR) for the 2001 edition of Incontri di Musica Sacra Contemporanea. The piece was premiered in San Nicola di Bari, Italy, in December 1, 2001. Performers: Constance Beavon, mezzo-soprano, Paolo Lepore, conductor, Orchestra Sinfonica "G. Paisiello" della Provincia di Taranto, and Debreceni Kodaly Korus.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
