Papers by Jay Reise
Journal of the Scriabin Society , 2024
Scriabin's compositional methods have been a highly debated topic since the premiere of Promethe... more Scriabin's compositional methods have been a highly debated topic since the premiere of Prometheus in 1910. Staying within the confines of traditional music theory, I will attempt a relatively straightforward but comprehensive explanation of the composer’s basic methodology. Many books and articles have been written about Scriabin's methods, some more convincing than others. In this article, I hope to "tighten up the loose ends" and present the complete working principles of pitch organization that Scriabin employed.
Expanding on my 1983 article, "Late Skriabin: Some Principles Behind the Style," and reviewing and comparing discoveries and observations by many scholars since, I will elaborate on the roles of the octatonic and whole tone scales, the synthetic ("mystic") chord and Scriabin's unique orthography. At the conclusion, almost every note of Scriabin's late music will be shown to have its place - as he expressed it, according to "law" and “principles.” I suggest explanations for the few exceptions.
Keywords: Scriabin - music theory - mystic chord - octatonic - whole tone scale– voice leading - orthography
19th-Century Music, 1983
Skriabin was always unwilling to explain the compositionaltechniques ofhis late works, starting w... more Skriabin was always unwilling to explain the compositionaltechniques ofhis late works, starting with Prometheus, op. 60 (1910). Composers, like magicians, are often reluctant to give away secrets. Skriabin once invited Sergei Taneiev and Alexander Goldenweiser to his apartment promising to demonstrate some of his procedures, but then got cold feet and sent the two away. Perhaps the puritanically conservative Taneiev, who had been Skriabin's theory and composition teacher, would have reacted badly to his former student's avant-garde ways; Goldenweiser, who was something of a Moscow Steuermann, would almost certainly have been intrigued if not enthusiastic. The mystery of Skriabin's methodology has been the subject of many analyses since Leonid Sabaneiev published his article "Skriabin's Prometheus" in Der Blaue Reiter in 1912. From
Reading World Literature, 1994
Perspectives of New Music, 1980
Nineteenth Century Music, 1983
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission.
Articles and Book Chapters by Jay Reise
Journal of the Scriabin Society of America , 2023
Scriabin's compositional methods have been a highly debated topic since the premiere of Prometheu... more Scriabin's compositional methods have been a highly debated topic since the premiere of Prometheus in 1910. Staying within the confines of traditional music theory, I will attempt a relatively straightforward but comprehensive explanation of the composer’s basic methodology. Many books and articles have been written about Scriabin's methods, some more convincing than others. In this article, I hope to "tighten up the loose ends" and present the complete working principles of pitch organization that Scriabin employed.
Expanding on my 1983 article, "Late Skriabin: Some Principles Behind the Style," and reviewing and comparing discoveries and observations by many scholars since, I will elaborate on the roles of the octatonic and whole tone scales, the synthetic ("mystic") chord and Scriabin's unique orthography. At the conclusion, almost every note of Scriabin's late music will be shown to have its place - as he expressed it, according to "law" and “principles.” I suggest explanations for the few exceptions.
Keywords: Scriabin - music theory - mystic chord - octatonic - whole tone scale– voice leading - orthography
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Papers by Jay Reise
Expanding on my 1983 article, "Late Skriabin: Some Principles Behind the Style," and reviewing and comparing discoveries and observations by many scholars since, I will elaborate on the roles of the octatonic and whole tone scales, the synthetic ("mystic") chord and Scriabin's unique orthography. At the conclusion, almost every note of Scriabin's late music will be shown to have its place - as he expressed it, according to "law" and “principles.” I suggest explanations for the few exceptions.
Keywords: Scriabin - music theory - mystic chord - octatonic - whole tone scale– voice leading - orthography
Articles and Book Chapters by Jay Reise
Expanding on my 1983 article, "Late Skriabin: Some Principles Behind the Style," and reviewing and comparing discoveries and observations by many scholars since, I will elaborate on the roles of the octatonic and whole tone scales, the synthetic ("mystic") chord and Scriabin's unique orthography. At the conclusion, almost every note of Scriabin's late music will be shown to have its place - as he expressed it, according to "law" and “principles.” I suggest explanations for the few exceptions.
Keywords: Scriabin - music theory - mystic chord - octatonic - whole tone scale– voice leading - orthography
Expanding on my 1983 article, "Late Skriabin: Some Principles Behind the Style," and reviewing and comparing discoveries and observations by many scholars since, I will elaborate on the roles of the octatonic and whole tone scales, the synthetic ("mystic") chord and Scriabin's unique orthography. At the conclusion, almost every note of Scriabin's late music will be shown to have its place - as he expressed it, according to "law" and “principles.” I suggest explanations for the few exceptions.
Keywords: Scriabin - music theory - mystic chord - octatonic - whole tone scale– voice leading - orthography
Expanding on my 1983 article, "Late Skriabin: Some Principles Behind the Style," and reviewing and comparing discoveries and observations by many scholars since, I will elaborate on the roles of the octatonic and whole tone scales, the synthetic ("mystic") chord and Scriabin's unique orthography. At the conclusion, almost every note of Scriabin's late music will be shown to have its place - as he expressed it, according to "law" and “principles.” I suggest explanations for the few exceptions.
Keywords: Scriabin - music theory - mystic chord - octatonic - whole tone scale– voice leading - orthography