Adnan Saygun’un Orkestra İçin Süit Başlıklı Eserinin 3. Bölümünün Tempo Sorunu Bağlamında Şeflik Teknikleri Bakımından İncelenmesi
Özet
The main purpose of this study is to analyse the last movement entitled Horon of
the Suite for Orchestra, op. 14 by Adnan Saygun, who has a prominent and
important place in the music history of modern Turkey with his works and fed his
creativity with musical and cultural source of folk as a result of his
ethnomusicological studies and researches which were carried during his lifetime
in parallel with his compositional efforts, within the context of tempo problem due
to a great speed difference found between the score and its recordings on hand,
to examine if it is possible to find and by extension to determine the methods
which are able to cause to settle the above-mentioned difference in terms of
conducting techniques. This study was trichotomized as follows: In the 1st chapter
Saygun’s close relation with folk music was mentioned and general information
on his studies about the process of collecting folk music was given within this
framework. Afterwards, his journey to Eastern Blacksea region in 1937 and the
two publications of him written right after were put under the scope because of
their relationship with the work which is found in the focal point of this study. In
the 2nd chapter, general information about Suite for Orchestra, op.14 was given
and the relationship of the work’s first two movements with folk music was tackled
and examined based on the titles of the movements they bear. In the 3rd and last
chapter, after researching the musical root of the last movement of the work, the
technical causes of the discrepancy arisen from the speed difference between
the recordings and score were tried to be determined and suggestions concerning
methods and working types which are needed to settle this discrepancy in terms
of conducting techniques were brought forward. After all, the commentaries made
on performing of the work within the predetermined speed were also mentioned.
