MA, Kent State University, 2022, College of the Arts / School of Music, Hugh A. Glauser
Alexander Scriabin (1872–1915) is known for his synesthesia, piano music, and transition from late Romantic tonality to early post-tonality or atonality. While previous scholarship has explored different systems of analyzing Scriabin's developing pitch language, the metric aspects of his music are often overlooked. That said, Mauchley (1982) observed the predominance of triple and compound meter in Scriabin's ninety preludes. The abundance of ternary metric organizations in Scriabin's music is notable given a survey of Western music that found that simple, duple, and quadruple meters are most common. Literature in music perception and cognition also discusses a bias toward binary metric organization (Huron, 2006; London, 2012). This thesis supports and expands Mauchley's observation. A survey of time signatures across Scriabin's corpus of solo piano music is reported, which found that 3/4, 6/8, 9/8, and 3/8 are among Scriabin's most common time signatures. An analysis of meter in randomly selected phrases from eighty-two of Scriabin preludes using the mathematical model Inner Metric Analysis is also reported. The Inner Metric Analysis found that ternary metric organization is prevalent even in pieces Scriabin notated in a binary meter. A major contribution of this thesis is the Mysterium corpus of Scriabin's solo piano music.
Committee: Joshua Albrecht (Advisor); Adam Roberts (Committee Member); H. Gerrey Noh (Committee Member)
Subjects: Music