alexander scriabin's prometheus

115 Pages·2013·5.42 MB·English

by  Tyler Matthew Secor

MYSTIC CHORD HARMONIC AND LIGHT TRANSFORMATIONS IN
ALEXANDER SCRIABIN’S PROMETHEUS

by

TYLER MATTHEW SECOR

A THESIS

Presented to the School of Music and Dance
and the Graduate School of the University of Oregon
in partial fulfillment of the requirements
for the degree of
Master of Arts

September 2013
THESIS APPROVAL PAGE

Student: Tyler Matthew Secor

Title: Mystic Chord Harmonic and Light Transformations in Alexander Scriabin’s
Prometheus

This thesis has been accepted and approved in partial fulfillment of the requirements for
the Master of Arts degree in the School of Music and Dance by:

Dr. Jack Boss Chair
Dr. Stephen Rodgers Member
Dr. Frank Diaz Member

and

Kimberly Andrews Espy Vice President for Research and Innovation
Dean of the Graduate School

Original approval signatures are on file with the University of Oregon Graduate School.

Degree awarded September 2013

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© 2013 Tyler Matthew Secor

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THESIS ABSTRACT

Tyler Matthew Secor

Master of Arts

School of Music and Dance

September 2013

Title: Mystic Chord Harmonic and Light Transformations in Alexander Scriabin’s
Prometheus

This thesis seeks to explore the voice leading parsimony, bass motion, and
chromatic extensions present in Alexander Scriabin’s Prometheus. Voice leading will be
explored using Neo-Riemannian type transformations followed by network diagrams to
track the mystic chord movement throughout the symphony. Bass motion and chromatic
extensions are explored by expanding the current notion of how the luce voices function
in outlining and dictating the harmonic motion. Syneathesia will also be examined as a
composition device used to create the light, harmony, and drama of Prometheus.
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CURRICULUM VITAE

NAME OF AUTHOR: Tyler Matthew Secor

GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED:

University of Oregon, Eugene, Oregon
Manchester College, North Manchester, Indiana
Loyola University of Chicago, Chicago, Illinois

DEGREES AWARDED:

Master of Arts, Music Theory, 2013, University of Oregon
Bachelor of Science, Music Theory and Composition and Piano Performance,
2010, Manchester College
Bachelor of Social Work, 2007, Loyola University of Chicago

AREAS OF SPECIAL INTEREST:

Applying Neo-Riemannian theory to atonal works
Modeling Schenkerian analysis for atonal works
Music Theory pedagogy as it applies to students with learning disabilities

PROFESSIONAL EXPERIENCE:

Music Theory Teaching Assistant, Manchester College, North Manchester,
Indiana, 2009-2010

Addiction Specialist, AIDS Task Force, Fort Wayne, Indiana, 2007-2009

Youth Program Intern, Center on Halsted, Chicago, Illinois, 2005-2007

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ACKNOWLEDGMENTS

I must first thank my thesis committee who were all patient, kind, and thoughtful
throughout the thesis writing and submitting process. A special thank you must go to Dr.
Debra Lynn, without her persistent nudging and support I would have lost faith many
times along my life path. To Dr. Tim Reed and Dr. Debora DeWitt: thank you for your
excellent teaching that instilled the knowledge and the wonder that is music theory. And
to Mr. Zachary Blatz, thank you for being a rock in the stormy seas of graduate school.

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TABLE OF CONTENTS

Chapter Page

I. INTRODUCTION ........................................................................................... 1
Transformational Theory ..................................................................... 5
Bass Motion ......................................................................................... 6
Chromatic Extensions .......................................................................... 6
Synesthesia as a Compositional Device ............................................... 6

II. VOICE LEADING PATTERNS OF THE MYSTIC CHORD ....................... 13
Network Diagrams ............................................................................... 22

III. BASS MOTION............................................................................................... 27

IV. MYSTIC CHORD CHROMATIC EXTENSIONS ......................................... 36

V. SYNESTHESIA AS A COMPOSITIONAL DEVICE ................................... 46

VI. EXCERPT CASE STUDIES ........................................................................... 49

VII. TRANSFORMATIONS AND BEYOND ....................................................... 57

APPENDICES

A: P, S AND C TRANSFORMATIONS ......................................................... 60

B: VOICE LEADING DIAGRAMS ............................................................... 93

REFERENCES CITED ................................................................................................ 103

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LIST OF MUSICAL EXAMPLES

Musical Example Page

1. P2 transforamtion with octave transfer ............................................................. 15
2. P2 and S transformation ................................................................................... 16
3. Standard P2 transformation .............................................................................. 17
4. C transformation that eliminates the potential for a limbo pitch ..................... 19
5. C transformation that moves the limbo pitch to a pitch held in common ........ 20
6. C transformation that removes the limbo pitch................................................ 21
7. Op. 58 I to V bass relationship......................................................................... 29
8. Op. 58 movement between C and F ................................................................. 29
9. Altered bass where higher pitches remain unaltered ....................................... 30
10. Altered bass where higher pitches remain unaltered ..................................... 31
11. Altered bass to create perfect fifth ................................................................. 32
12. Altered bass to create perfect fourth .............................................................. 33
13. Altered second lowest bass pitch ................................................................... 33
14. Slow luce voice takes over the fast luce voice’s role ..................................... 37
15. Nonharmonic tone .......................................................................................... 38
16. Chromatic extensions ..................................................................................... 40
17. Chromatic extensions #2 ................................................................................ 41
18. C and F# aggregate ........................................................................................ 42
19. C and A aggregate ........................................................................................ 42
20. D, F, and A aggregate ................................................................................... 43
21. Chromatic extension to create I and V relationship in the bass ..................... 44
22. Chromatic extension in bass F# ..................................................................... 44
23. Chromatic extension to create I and V relationship in the bass #2 ................ 45
24. Chromatic extension to create I and V relationship in the bass #3 ................ 45
25. Foreshadowing aggregates through chromatic extension .............................. 55

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LIST OF FIGURES

Figure Page

1. P relations...................................................................................................... 14
2. Split and Fuse transformations...................................................................... 15
3. Common Tone Half Step transformation ...................................................... 19
4. Network diagram .......................................................................................... 22
5. Network diagram showing diminished triangle ............................................ 25
6. Network diagram showing two diminished triangles ................................... 25

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LIST OF TABLES

Table Page

1. Home chords ................................................................................................. 23
2. Mystic chord roots and color associations .................................................... 52

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