Starting from the end of the 19th century, it has been witnessed that the composers had begun to perform new pitch organizations based on scale or mode that would affect the dominance of the tonal zone. This study that examines the first movement (I. Moderato mosso) of Sonata in A minor for cello and piano (dating back to 1929) of Mario Pilati - one of the leading composers of modern Italian music- is also the first analytical research about this movement in Sonata form to examine the degree to which the movement is suitable for the traditional Sonata form. At first, the movement was divided into the themes by considering the tonal areas, and the diversity of the materials. Thus, the degree to which the movement is suitable for the traditional Sonata Form was examined. Secondly, it was analyzed that how the modern approach for the movement was put into practice and which tools the composer applied in what intensity to get out of common sound structures of tonal harmony. As a consequence of the analysis, it is seen that the composer kept to the general features of the Sonata Form, and exhibited all the thematic zones in a tonal function. On the other hand, it is spotted that the composer used modes and various scales in the non-stable parts such as transition and Development of the form.
Mario Pilati, Sonata for Cello and Piano, form, contemporary Italian music, mode