The article examines Prokofiev’s compositional oeuvre through the lens of the RimskyKorsakov scale (octatonic collection) and its prominence in selected works from 1915 through 1941. Although he never took a composition lesson with Rimsky-Korsakov, Prokofiev’s careful use of the collection shows his intimate knowledge of the scale. The article seeks to add a understanding of the development of the Rimsky-Korsakov scale within Russian theoretical thought. A survey of short octatonic sections culminates in the analysis of Sonata no. 6, which not only uses the same octatonic collection to characterize the themes of first and last movements, but also features a scalar version of the octatonic collection at the very climax of the last movement. This event further enhances the importance of the scale and takes on a dramatic role from its initial association with magical characters in Rimsky-Korsakov’s music to depicting the despicable woes of the Great Patriotic War in Prokofiev’s music. Volume 24, Number 2, June 2018 Copyright © 2018 Society for Music Theory

中文翻译：

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普罗科菲耶夫作曲作品的八分音符历史

这篇文章通过里姆斯基科萨科夫音阶（八音系列）及其在 1915 年至 1941 年精选作品中的突出地位来考察普罗科菲耶夫的作曲作品。虽然他从未与里姆斯基-科萨科夫一起上过作曲课，但普罗科菲耶夫对这些作品的谨慎使用表明了他的渊博的规模。本文旨在增加对俄罗斯理论思想中里姆斯基-科萨科夫量表发展的理解。对短八音部分的调查以对第 1 号奏鸣曲的分析告终。6，它不仅使用相同的八音合集来表征第一乐章和最后乐章的主题，而且在最后一乐章的高潮处还具有八音合集的标量版本。这一事件进一步增强了音阶的重要性，并从最初与里姆斯基-科萨科夫音乐中的魔法人物联系到普罗科菲耶夫音乐中描绘伟大卫国战争的卑鄙困境，发挥了戏剧性的作用。2018 年 6 月第 24 卷第 2 期 版权所有 © 2018 音乐理论协会