Motivic/thematic development in the piano works of Alexander Scriabin

Scriabin is important as a key representative of one particular culmination point in tonal expansion. Although he was one of the first composers of the twentieth century to free tonal relationships between chords and scales, his \system\" nevertheless developed out of extending. the traditional parameters functioning and governing harmony and melody. The system he formulated involved compression of harmony and melody to a single entity. As his code evolved his compositional style gradually altered to 'accommodate increasing experimentation and subsequent mastery of the melodic and harmonic parameters. The direct result is that the motivic and thematic elements within his compositional style whether they be related to melody harmony or rhythm are subjugated to a strict disciplinary method of control. Further this control of two former parameters by -a single\"all-encompassing\" replacement resulted in an increasingly independent and distinct role of the-rhythmic parameter. The materials Scriabin used to develop his ideas were the traditional forms and constructional techniques employing the nineteenth-century harmonic language. Major minor augmented and diminished chords all forms of sevenths; ninths elevenths and thirteenths chromatic harmony such as Neapolitan and augmented sixths were just some of the harmonic elements that Scriabin could manipulate. Constructional techniques such as augmentation diminution retrograde inversion and canon were employed. The trend towards formerly dissonant chords being accorded consonant status by reasons of their regularity and usage was furthered by Scriabin. All in all his (later) compositions were logical extensions of his exploitation and expansion of traditional nineteenth-century compositional procedures. As a result discussion of his harmonic system is of paramount importance to the analysis. Two distinguished Russian theorists Boleslav Yavorsky and Uarvara Dernova were responsible for codifying Scriabin's Self-imposed.music language. - The starting point taken is from Scriabin's own words.: \"'I write in strict style .... There's nothing by accident ... I write according to definite principle\" 1 and : 'Melody' is harmony unfurled ... Harmony. is furled melody. ' \" 2 The works discussed represent each compositional \"period\" The-early Preludes Op.11 number's 1-6 surrender to raditional harmonic analysis. Two middle period or pivotal works - the Scriabin Sonata No.5 Op.53 and \"Nuances\" Op56 No.2 are highly experimental and undergo what is possible though incomplete in any single facet in traditional harmonic and melodic reduction analysis and Dernova systems of reference. Lastly the Sonata No-.9 Op.68 - succumbs to the Dernova code. This thesis has been divided into two main areas: that of background and that of analysis. As Scriabin placed importance on the notion that melody and harmony were different perspectives of a single parameter in time then the analytical methods which exploit the relationship between harmony and melody should apply."