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Analysis of Ten Etudes on Aksak Rhythms, Op. 38 No.4 Piano Piece by Saygun Formally and Compositionally Within the Scope of “Contrast” Concept
The works of Ahmed Adnan Saygun (1907-1991) are generally studied in three periods. The composer created the most mature, deepest and most proficient works in the third of these periods. The etude numbered 4 in the Ten Etudes on Aksak Rhythms, Op.38 series is one of the works written in this period. However, although its name reminds us pianistic writing, it shows pretty abstract expression where the depth of hearing rather than techniques come to the forefront. In this study, the aforementioned piano piece was subjected to a compositional analysis within the scope of contrast concept after it was examined formally. These contrasts can be gathered in main two groups; musicaltechnical and style-content. Ten Etudes on Aksak Rhythms, Op. 38 No.4, a piano piece is one of the work reached the maximum structural and ideational integrity of composer that is being a source of inspiration for young composers about the use of contrast in the composition as well as offers a content-rich material to musicologist and analysts who want to work on this field.

Saygun, Musical Composition, Form, Analysis, Contrast.

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