It is clear that every composer, who aims to write new music through using a traditional component, will not authentically use the material and will involve various reflections, impressions, in other words, abstractions created by some methods. This occasion also applies to the music of Ahmed Adnan Saygun: His statements that he regards the maqam as color in polyphony and uses them freely in the equal-tempered system constitute the background of the maqam abstractions in Saygun’s music naturally. Which maqams are used and abstracted in a rather short extract of Saygun? Are there any materials out of the maqam domain included? This study, which analyzes the pitch organization of the first 19 measures of Saygun’s Piano Concerto No. 1 (Op. 34), seeks answers to these questions.
Saygun, Op. 34, pitch organization, maqam, abstraction