Saygun'un Müziğinde Modalitenin Yeri ve Önemine Bir Bakış: 1. ve 4. Senfonilerinin Modal Açıdan İncelenmesi

Abstract

The main aim of this study is to explore the modal understanding of Adnan Saygun (1907-1991) within his 1st and 4th Symphonies. The reason why these two works were chosen, which belong to the different creativity periods of Saygun, is to examine how and to what extent these two stylistically divergent works handle and contain the modes in itself and to try to present the place of the composer’s modal understanding in his own musical language through a sample consisting of two works with determining whether there are modal differences and similarities between them. To be able to comprehend Saygun’s modal understanding comprehensively, it has been tried to define the term mode and its semantic modifications in the history of musicology have been discussed in the 1st chapter. Afterwards, the ancient Greek and western modal theories have been analysed in detail and the relation between them was presented with its justifications. In the 2nd chapter, the modal understanding of Saygun was examined through his publications and the clarifications relating to the roots of his understanding was made. In the 3rd and last chapter, Saygun’s 1st and 4th symphonies were analysed modally based on the content of the first two chapters and it is explained which modes how and in which context were used with its attached examples. The number of studies, which analyse the original roots of Saygun’s musical style in detail, are extremely rare. This study ensued from the intention of fulfilling the abovementioned need within a limited scope. It is thought that the understanding of composer’s approach to the fact mode, which is one of the main factors of Saygun’s musical style, in his abovementioned works would make an important contribution to decode his unique language.