synesthete composer a. scriabin: reception history and archetypal imagery of late piano miniatures

259 Pages·2017·30.38 MB·English

SYNESTHETE COMPOSER A. SCRIABIN: RECEPTION HISTORY AND
ARCHETYPAL IMAGERY OF LATE PIANO MINIATURES,
VISUALISATION OF MUSICAL TEXTURE.
Alexander Scriabin: IMÁGENES ARQUETÍPICAS DE LAS MINIATURAS TARDIAS
PARA PIANO. VISUALIZACIÓN DE LA TEXTURA MUSICAL.

TESIS DOCTORAL, con mención INTERNACIONAL

Doctoranda: SVETLANA RUDENKO
Programa de Doctorado: (B01.56.1) Programa de Doctorado en Historia y Artes
Línea de Investigación : Creación Artística, Audiovisual y Reflexión

DIRECTORA: DR. MARÍA JOSÉ DE CÓRDOBA SERRANO
DPTO. DE DIBUJO.
Universidad de Granada
2018
Editor: Universidad de Granada. Tesis Doctorales
Autor: Svetlana Rudenko Dunne
ISBN: 978-84-9163-854-4
URI: http://hdl.handle.net/10481/51160
Acknowledgement
I would like to express my gratitude to my Supervisor, Dr Maria José de Córdoba
Serrano, for her guidance and inspiration while this dissertation was in preparation.
In addition, I would like to thank my colleagues in Bray Institute of Further
Education, School of Computer Science and Statistics Trinity College Dublin, Royal
Irish Academy of Music, Artecitta, ASA , IASAS, my dear friends synesthetes, my
son Vadim, and SEMPRE (Society for Education, Music, and Psychology Research)
for great support.

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I hereby certify that this material, which I now submit for assessment on the
programme of study leading to the award of Doctor of Fine Arts is entirely my own
work and has not been submitted for assessment for any academic purpose than is
practical fulfilment for that stated above.

Signed: _____________________ (Candidate)

Date: ______________________

© Copyright by Svetlana Rudenko 2015
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Index/ Table of Contents
Acknowledgement ...................................................................................................................... 1
Table of Contents ....................................................................................................................... 3
Resumen (Spanish) ..................................................................................................................... 9
Capítulo 1 - Introduccíon
1.1 Justificatíon ..................................................................................................................... 12
1.2 Objetivos ......................................................................................................................... 13
1.3 Hipótesis ......................................................................................................................... 14
1.4 Metodología .................................................................................................................... 15
Abstract (English) ..................................................................................................................... 19
Chapter 1 - Introduction
1.1 Justification ..................................................................................................................... 22
1.2 Objectives ....................................................................................................................... 24
1.3 Hypothesis ...................................................................................................................... 25
1.4 Methodlogy ..................................................................................................................... 26
Chapter 2 - Theoretical Framework
2.1 Introduction. Synesthesia and Sensory Pairings ............................................................. 30
2.2 Background. Art and Music Synesthete's Collaborations .............................................. 36

Capítulo 3 - Compositor de Sinestesia Alexander Scriabin (Spanish)
3.1 Alexander Scriabin: Introduccíon. Historia de la Recepión ........................................... 43
Historia de la Recepinón de Scriabin I: Rusia ...................................................................... 43
Historia de la Recepinón de Scriabin II: El Occidente ......................................................... 46
Historia de la Recepinón de Scriabin III: Analisis Actual, Rusia, Occidente y America .... 49
Chapter 3 - Synesthete composer Alexander Scriabin (English)
3.1 Alexander Scriabin. Introduction. Reception History .................................................... 51
Reception History of Scriabin I: Russia ............................................................................... 55
Reception History of Scriabin II: The West ......................................................................... 59
Reception History of Scriabin III: Analysis Today - East and West .................................... 62
3.2 Scriabin y el Simbolismo (Spanish) ............................................................................... 65
La Mentalidad del Simbolismo (1890-1920) ....................................................................... 65
Simbolismo Ruso .................................................................................................................. 68
Hacia Mysterium .................................................................................................................. 70
3.2 Scriabin and Symbolism (English) ................................................................................. 73
The Mentality of Symbolism (1880-1920) ........................................................................... 73
Genre Poem .......................................................................................................................... 77
Schopenhauer ....................................................................................................................... 80
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Nietszche .............................................................................................................................. 81
Towards Symbolism ............................................................................................................. 83
Towards Theosophy ............................................................................................................. 86
Towards Mysterium .............................................................................................................. 88
Scriabin and Theurgy ........................................................................................................... 89
Scriabin as a Precursor ........................................................................................................ 95
The Psychology of Scriabin .................................................................................................. 98
Silver-Age Aesthetics: Solovoy's 'Eternal Feminine', A Transmogrification of the Divine
Sophia ................................................................................................................................. 101

3.3 Percepción Musical. La mente sinestésica y el estilo performativo de Scriabin.
Sinestesia Espacio-Musical (Spanish) ................................................................................ 103
Sistema de Notas Musicales Coloreadas de Scriabin ......................................................... 106
Conclusíon .......................................................................................................................... 115

3.3 Music Perception: The Synesthetic Mind and Scirabin's Performing Style (English) . 117
Scriabin's System of Coloured Musical Keys .................................................................... 121
Conclusion .......................................................................................................................... 148

Capítulo 4 - Visualización de la Textura Musical. Metodología del Análisis Musical Basado
en las Imagenes Arquetípicas (Spanish) ................................................................................. 151
Yavorsky y Dernova ........................................................................................................... 151
Cinco Preludios op.74 (1914): ............................................................................................ 157
No.1, Douloureux, dechirant. ......................................................................................... 157
No.2, Très lent, contemplative ....................................................................................... 161
No.3, Allegro drammatico .............................................................................................. 164
No.4, Lent, vague, indécis .............................................................................................. 166
No. 5, Fier, belliqueux .................................................................................................... 168
Chapter 4 - Methodology of Music Analysis Based on Archetypal Imagery. Visualisation of
Musical Texture (English) ...................................................................................................... 172
Yavorsky and Dernova ....................................................................................................... 173
Five Preludes op.74 (1914): ............................................................................................... 193
No.1, Douloureux, dechirant. ......................................................................................... 193
No.2, Très lent, contemplative ....................................................................................... 197
Archetypes of Musical Texture, Prelude No. 2: ............................................................. 198
No.3, Allegro drammatico .............................................................................................. 200
No.4, Lent, vague, indécis .............................................................................................. 202
No. 5, Fier, belliqueux .................................................................................................... 204
Two Dances, op. 73 (Guirlandes, Flammes Sombre) ..................................................... 209
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Two Poemes, op. 71 (Fantastique, En revant avec une grande douceur) ....................... 216
Op 71, Deux Poemes, No. 1 Fantastique: ....................................................................... 216
Op 71, No 2, En Revant, avec une grande douceur ........................................................ 221
Two Preludes, op. 67 (Andante, Presto) ........................................................................ 224
No. 1, Andante ................................................................................................................ 224
No. 2, Presto ................................................................................................................... 226
Two Poems, op 63 (Masque, Estrangete) ....................................................................... 229
No. 1, Masque, Allegretto, Avec une douceur cachée ................................................... 231
No 2, Etrangeté, gracieux delicat ................................................................................... 232
Deux Morceaux, op. 57 (Desir, Caresse Dansée) ........................................................... 235
Conclusions .................................................................................................................... 237

Capítulo 5 - Conclusiones (Spanish) ...................................................................................... 240
Chapter 5 - Conclusions (English) ......................................................................................... 242
BIBLIOGRAPHY .................................................................................................................. 245

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Table of Figures

Figure 2.1, Art on Chopin Prelude op. 28, by Ninghui Xiong ................................................. 38
Figure 2.2, Sounds and Textures, María José de Córdoba Serrano .......................................... 39
Figure 2.3 Synesthetic cross-modal associations on Rachmaninoff Prelude op. 32, no. 12 in
G-Sharp Minor, Svetlana Rudenko .......................................................................................... 40
Figure 2.4, 4D Visualisation of Musical Texture, Musical Space Synesthesia Model, Scriabin
Op. 57, no .1 Svetlana Rudenko & John Dingliana .................................................................. 40
Figure 3.1, Musico-Chromo-Logo Schema by Vanechkina and Galleyev. ........................... 120
Figure 3.2, Blavatsky's paradigm of colours .......................................................................... 122
Figure 3.3, Scriabin, Prelude Op. 11 No. 2, bb.1-9 ................................................................ 127
Figure 3.4, Archetypes of Musical Texture (synesthetic assesment by author), Scriabin,
Desir, op.57 ............................................................................................................................ 135
Figure 3.5, B. Galeyev’s ‘Detailed diagram of probable synesthetic ties’ ............................. 135
Figure 3.6, Gubaidulina, Fish's Night Song (gestured music) ................................................ 140
Figure 3.7, Gubaidulina, Mechanical Accordion ................................................................... 141
Figure 3.8, Messiaen, Regard de l'etoile ................................................................................ 142
Figure 3.9, John Buckley, The silver apples of the moon, the golden apples of the sun ........ 143
Figure 3.10, Leikin, Case Studies 1: The Welte Rolls. .......................................................... 145
Figure No. 4.1 – Yavorsky Tritone Series .............................................................................. 175
Figure No. 4.2 – Yavorsky Dual Modality as discussed by Dernova .................................... 176
Figure No. 4.3 – Dernova Departure/Derived Dominants ..................................................... 177
Figure No. 4.4 – Basis for Dernova Enharmonic Sequence ................................................... 177
Figure 4. 5 – Scriabin Prelude Op. 74 No. 1 Dual Mode ....................................................... 193
Figure 4. 6 - A.Scriabin, op.74, Prelude No. 1, Archetypes .................................................. 194
Figure 4.7, bar 1 Departure Dominant .................................................................................... 195
Figure 4.8, bar 15 Derived Dominant ..................................................................................... 196
Figure 4.9, Prelude op. 74 No. 2, bar 1 .................................................................................. 198
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Figure 4.10, Prelude op.74 No.2, bar 9 .................................................................................. 198
Figure 4.11, Prelude op.74 No.3, Archetypes, bb 1-3 ........................................................... 200
Figure 4.12, Prelude op.74 No.3, bar 13 .............................................................................. 201
Figure 4.13, bb 15-16 ............................................................................................................. 201
Figure 4.14, bb 23-26 ............................................................................................................. 202
Figure 4.15 Prelude op.74 No.4, Dual Mode ......................................................................... 202
Figure 4.16, bb 1-2 ................................................................................................................. 203
Figure 4.17, bb 9-10 ............................................................................................................... 203
Figure 4.18, bb 21-24 ............................................................................................................. 204
Figure 4.19 Prelude op.74 No 5, Dual Mode ......................................................................... 204
Figure 4.20 Prelude op. 74 No. 5, Archetypes, page 1 ........................................................... 205
Figure 4.21, page 2 ................................................................................................................. 206
Figure 4.22, page 3 ................................................................................................................. 206
Figure 4.23, last line, D -T resolution distant by triton .......................................................... 207
Figure 4.24, Two Dances Op. 73 No.1 Guirlandes, Dual Mode ............................................ 209
Figure 4.25, Two Dances Op. 73 No.1 Guirlandes, Archetypes, bb.1-5 ................................ 210
Figure 4.26, Op. 73, I. Guirlandes, bb.7-12 ............................................................................ 210
Figure 4.27, Op. 73, I. Guirlandes, bb.13-30 .......................................................................... 211
Figure 4.28, Op. 73, bb.37-42 ................................................................................................ 212
Figure 4.29, bb.57-61 ............................................................................................................. 212
Figure 4.30, Two Dances, op.73 No.2, Flammes sombre , Dual mode .................................. 213
Figure 4.31, Op. 73, II. Flammes sombre, Archetypes, bb.1-15 ............................................ 213
Figure 4.32, bb.47-58 ............................................................................................................. 214
Figure 4.33, bb.23-31 ............................................................................................................. 215
Figure 4.34, bb.59-70 ............................................................................................................. 215
Figure 4.35, bb.78-82 ............................................................................................................. 216
Figure 4.36, bb.26-29 ............................................................................................................. 217
Figure 4.37, Op. 71, Deux Poèmes, No. 1, Fantastique,bb.1-4 .............................................. 218
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Figure 4.38, bb.13-18 ............................................................................................................. 218
Figure 4.39, bb.41-48 ............................................................................................................. 219
Figure 4.40, bb.21-26 ............................................................................................................. 220
Figure 4.41, bb.57-60 ............................................................................................................. 220
Figure 4.42, Two Poems Op.71 No.2, En rêvant, avec une grande douceur, Dual Mode ..... 221
Figure 4.43, Two Poems Op. 71 No.2, Archetyeps, bb.1-6 .................................................. 222
Figure 4.44, bb.19-25 ............................................................................................................. 222
Figure 4.45, bb.12-13 ............................................................................................................. 223
Figure 4.46, bb.30-31 ............................................................................................................. 223
Figure 4.47, bb.34-36 ............................................................................................................. 223
Figure 4.48, Two Preludes, op.67 No.1, Andante, Archetyeps, bb.1-7 .................................. 224
Figure 4.49, bb.13-19 ............................................................................................................. 225
Figure 4.50, bb.28-35 ............................................................................................................. 225
Figure 4.51, Two Preludes, op.67 No.2, Presto, bb.1-15 ....................................................... 227
Figure 4.52, bb.31-35 ............................................................................................................. 228
Figure 4.53, Two Poems, op. 63 No.1 Masque, bb.1-13 ........................................................ 231
Figure 4.54, Two Poems, op. 63 No.2, Estrangete, bb.1-9 ..................................................... 233
Figure 4.55, bb.19-26 ............................................................................................................. 234
Figure 4.56, Two Morceaux op.57 No.1, Desir, bb.1-14 ....................................................... 235
Figure 4.57, Two Morceaux op.57 No.2, Caresse dansée, bb.1-12 ........................................ 236
Figure 4.58, bb.49-59 ............................................................................................................. 236
Figure 4.59, Visualisations of Musical Texture: Svetlana Rudenko/Musical Space synesthesia
................................................................................................................................................ 245

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