Diferentation of Symphonic Music in Saygun's 1st Symphony, 1st Part Formal and Armonical Approaches

Yıl 2014, Sayı: 6, 127 - 138, 12.08.2015

Levent Kuterdem

Öz

Evaluation made to the first part of Adnan Saygun's 1^st Symphony coincides to 1950's. It has been observed that the concept of tradition reflects itself in the works of Saygun as one of the main characteristics of composer’s musical identity and the view of aesthetics. However, the materials taken from Turkish traditional music have been used in a very personal way in the music of Saygun.The richness of the harmonic language becomes the overall platform for the presentation of these Non-European musical elements. This kind of creative approach to the usage of the materials of traditonal Turkish music gives the most unique sound of the piece, which forms a continous change.The maqams are not used with their traditional progressions, but as mode series. Saygun in 1940's follows a different mentality with different technic and understanding within his musical characteristic. Symphonies, string quartetes, composed within this period are accepted as masterpieces. Saygun in his 1^st Symp reinforces western musical sonata form within his own musical philosophy and mentality. He reflects important elements in his own musical language. Within this mentality, he includes chords and harmonies selected within musical mode he uses. He establishes armonical language with polymodal and polytonal elements. Besides, he takes into account of Turkish Folk Music and Classical Turkish Music mode structures. One of the important points within Saygun's music is the importance given to the continum expanding sentence modes and increasing textural passages. In this article, Saygun's bi-cultural approach is also had been emphasized.

Keywords: Symphony, analysis, form in music.

Anahtar Kelimeler

Symphony, analysis, form in music

Evaluation made to the first part of Adnan Saygun's 1st Symphony

Öz

Ahmed Adnan Saygun’un birinci senfonisinin ilk bölümü üzerine yapılan değerlendirme Saygun’un 1950’li yıllarına denk gelir. Söz konusu eserin çözümlemesinde, Saygun’un müzikal kişiliğinin ve sanatsal görüşlerinin temelinde önemli bir dayanak noktası olan gelenek kavramının, senfonik müzik boyutundaki yansıması gözlemlenmektedir. Ancak, bu geleneksel öğeler Saygun’un müziğinde yalın olarak kullanılmamışlardır. Eser boyunca karşılaşılan makam dizileri geleneksel kullanımlarından farklı olarak sergilenirler. Avrupa müziğinin 20. yüzyılda eriştiği armonik dil zenginliği eser boyunca bu geleneksel öğelerin sunulduğu bir ortam olarak belirir. Biçimsel olarak sürekli bir gelişimin hakim olduğu müzikte, Türk Müziği öğelerinin besteci tarafından ne kadar soyut yaklaşımlarla kullanıldığı dikkat çekicidir

Anahtar Kelimeler

Senfoni, analiz, müzikte form

Kaynakça

• Saygun, Ahmed Adnan (1953) First Symphony Score
• Saygun, Ahmed Adnan (1958-1966) Musiki Temel Bilgisi I-II-III-IV
• Rosen, Charles. (1988) Sonata Forms. WW Norton Company Incorporated.
• Stein, Leon. (1979). The Study and Analysis of Musical Forms. USA: Sumy-Birchard Inc.