Analysis of the 3rd movement of Adnan Saygun's Suite for Orchestra in terms of conducting techniques within the context of tempo problem

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.