Bir Düalite Ekseninde Beş Analiz: Saygun, Opus 76

Abstract

Op. 76 is not only Saygun's last completed work, but also his first and only Piano Sonata. With its characteristics, the work has the potential to reflect the composer's cumulative musical cache; it offers an important field of study to identify the components that Saygun used to create his unique musical language. At different points in the third and fourth movements of the work, a theme that is repeated five times draws attention. The design of the theme is characterized by simple melodies, often over a specific pedal sound, and simultaneously announced, texturally dense clusters of sounds. However, there is a remarkable point here: The pitch that determines the trajectory of the simple melodies is not the same as the pitch that usually preferred as the pedal sound. These two poles (reb-do), being consecutive, exert an enormous gravitational pull on each other, leading to an ambiguity as to "what the axis sound is". In this study, the answer to this question was sought, and for this purpose, a multidimensional analysis was conducted on the basis of "pitch organization" and "pedal ideas" in the five variants in which the theme is exhibited. As a result of the analysis, the following two critical findings were reached: iv The composer creates tonal, modal and maqamic atmospheres simultaneously -with an understanding of "duality"- and uses the concept of biaxiality as the most characteristic element of the theme. The designs of the melodic and rhythmic structures of the theme are realized through the integration of various modules.