Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form

Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form In tonal music, the way in which pitches are spelled reflects their meaning in various contextual and textural settings such as harmony, melody and voice leading. At the turn of the twentieth century, many composers attempted to progress beyond the confines of traditional tonality; and their works, as generally perceived by most analysts nowadays, treated the twelve chromatic pitches as twelve enharmonically equivalent pitch classes. No matter what musical context is encountered, we perceive F♯ and G♭ syntactically and structurally as the same pitch class, paying little attention to the composer's choice of notation. The present article brings the significance of pitch notation into sharper focus by investigating its crucial role in the structure and form of Scriabin's Prelude Op. 67 No. 1 (1912–13). I will demonstrate how Scriabin utilises orthography to create a concealed musical climax that reinforces the narrative design of the form, helping the analyst to regard notation as a core element when examining the pitch structure in music after 1900. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form

Music Analysis , Volume 36 (3) – Oct 1, 2017

Loading next page...
 
/lp/wiley/scriabin-s-prelude-op-67-no-1-pitch-orthography-musical-climax-and-D10Bf0LEj6

References (34)

Publisher
Wiley
Copyright
Music Analysis © 2017 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12090
Publisher site
See Article on Publisher Site

Abstract

In tonal music, the way in which pitches are spelled reflects their meaning in various contextual and textural settings such as harmony, melody and voice leading. At the turn of the twentieth century, many composers attempted to progress beyond the confines of traditional tonality; and their works, as generally perceived by most analysts nowadays, treated the twelve chromatic pitches as twelve enharmonically equivalent pitch classes. No matter what musical context is encountered, we perceive F♯ and G♭ syntactically and structurally as the same pitch class, paying little attention to the composer's choice of notation. The present article brings the significance of pitch notation into sharper focus by investigating its crucial role in the structure and form of Scriabin's Prelude Op. 67 No. 1 (1912–13). I will demonstrate how Scriabin utilises orthography to create a concealed musical climax that reinforces the narrative design of the form, helping the analyst to regard notation as a core element when examining the pitch structure in music after 1900.

Journal

Music AnalysisWiley

Published: Oct 1, 2017

There are no references for this article.