Scriabin's "Fourth Piano Sonata": A turning point in his compositional style.

Persistent Link:
http://hdl.handle.net/10150/187144
Title:
Scriabin's "Fourth Piano Sonata": A turning point in his compositional style.
Author:
Chow, June.
Issue Date:
1995
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
This paper demonstrates how and why Alexander Scriabin's Fourth Piano Sonata marks a critical turning point in his compositional style. It also touches lightly upon the philosophical underpinnings of his musical evolution. Three piano sonatas are examined in turn: the Third Sonata--a work representing Scriabin's early style; the Fourth Sonata--a significant transitional piece; and the Seventh Sonata--a sophisticated work from his later period. The innovative harmonic language and musical form of the Fourth Sonata is traced back to its roots in the Third Piano Sonata, after which its evolution reflected in the Seventh Piano Sonata is elucidated. Scriabin's innovations in the Fourth Sonata include his use of the chord-pair, his exploration of the tritone, his manipulations of dominant seventh chords and the condensation of the multi-movement sonata into the one-movement sonata. The Fourth Piano Sonata marks a clearly turning point in Scriabin's compositions.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
Music.
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Committee Chair:
Zumbro, Nicholas

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleScriabin's "Fourth Piano Sonata": A turning point in his compositional style.en_US
dc.creatorChow, June.en_US
dc.contributor.authorChow, June.en_US
dc.date.issued1995en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractThis paper demonstrates how and why Alexander Scriabin's Fourth Piano Sonata marks a critical turning point in his compositional style. It also touches lightly upon the philosophical underpinnings of his musical evolution. Three piano sonatas are examined in turn: the Third Sonata--a work representing Scriabin's early style; the Fourth Sonata--a significant transitional piece; and the Seventh Sonata--a sophisticated work from his later period. The innovative harmonic language and musical form of the Fourth Sonata is traced back to its roots in the Third Piano Sonata, after which its evolution reflected in the Seventh Piano Sonata is elucidated. Scriabin's innovations in the Fourth Sonata include his use of the chord-pair, his exploration of the tritone, his manipulations of dominant seventh chords and the condensation of the multi-movement sonata into the one-movement sonata. The Fourth Piano Sonata marks a clearly turning point in Scriabin's compositions.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.subjectMusic.en_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.chairZumbro, Nicholasen_US
dc.contributor.committeememberErlings, Billie R.en_US
dc.contributor.committeememberFan, Paulaen_US
dc.identifier.proquest9534655en_US
dc.identifier.oclc705935976en_US
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