Scriabin’s Atonal Problem

Author:

Bazayev Inessa1

Affiliation:

1. Louisiana State University

Abstract

An integral feature in many of Scriabin’s late musical narratives is the presence of an atonal problem—a musical event that threatens a harmony which the piece is based on. I offer a new interpretation of Scriabin’s late music, in which the idea of an atonal problem becomes a defining feature of his style (after op. 58). This atonal problem is defined as a non-chord tone, which disrupts the balance of the collection (octatonic, whole-tone, or Mystic) which the work is based on. Drawing from Schoenberg’s concept of a tonal problem and from Straus’s expansion of this concept in Disability Studies in music, I use Scriabin’s piano miniatures to show that, within each work, a single pitch class always stands out registrally, dynamically, and/or rhythmically, and becomes an important staple of Scriabin’s late style. Thus, the accommodation of this “wrong” note no longer represents that pitch class as a disruptive note, but rather it adds to the unique aspect of that work.

Publisher

Society for Music Theory

Subject

Music

Reference28 articles.

1. Bazayev, Inessa. 2013a. “Triple Sharps, Qnt Relations, and Symmetries: Orthography in the Music of Nicolaĭ Roslavets.”Music Theory Spectrum35 (1): 111–31.

2. Bazayev, Inessa. 2013b. “The Circle of Fifths in Russian Non-Tonal Music: A Case Study of Selected Works by Roslavets and Stravinsky.”Dutch Journal of Music Theory18 (2): 51–68.

3. Bazayev, Inessa. 2014. “The Expansion of the Concept of Mode in Twentieth-Century Russian Music Theory.”Music Theory Online20 (3).

4. Beliaev, Viktor. 1923. “Mekhanika ili Logika?” [Mechanism or Logic?]K Novym Beregam3: 21–30.

5. Callender, Clifton. 1998. “Voice-Leading Parsimony in the Music of Alexander Scriabin.”Journal of Music Theory42 (2): 219–33.

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