its lack of ability to convey these structures’ function or meaning.

Moreover, syntactic,
grammatical, semiotic or any other kinds of analyses will be used for the purpose of
concretisation of the piece. Concretisation is an important process for understanding
such pieces as they are often of abstract nature or due to the fact that we are accustomed
to perceive them so, maybe because of that the abundant availability of tonal tradition
has shaped our understanding in such a way that two completely different musical
traditions, one coming before the functional tonality and the other one after, sound
supposedly similar in terms of familiarity, expectancy, cadences, style, components,
form, narrative, purpose, accentuation and so on.

At this point, it is also necessary to define form, formal structures and form analysis
in order to constitute a basis for the analyses and commentaries ahead. Form is defined
as the phenomenon that makes it possible for music or any other creation to be
organized and built in terms of structure and design (Whittall, 2001). In my opinion
form is a necessary condition of existence as ‘being’ is a form of definition.
Etymologically, definition comes from Latin dēfinitīuus which turns into various
words via Old French in English with meanings to limit, boundary, an end (Partridge,
2009). In case there is an end in something, there must be a beginning, as well.
Definition, therefore, requires a beginning and an end which could be regarded as the
most basic components of form. Philosophically, ‘form’ is used as an equivalent to the
Greek word ‘eidos’. The term is actually the denotation for Plato’s forms and ideas.
Approaches to form by the two great philosophers of antiquity, Plato and Aristotle,
indicate perspectives that are used even today, form as a tool to grasp the nature of
music and form as a tool to perceive it and its units, respectively. For Plato, form and
idea are virtually the same concepts probably due to the fact that he regards ideas as
the basic schemes according to which things come into existence. For Aristotle,
though, form is a necessity to be understood by human mind. In accordance with the
first approach by Plato, one might use ideal schemes and understand the nature of a
partial piece, which is reminiscent of analysis oriented musical form perpectives.
Aristotle, on the other hand, focuses on the limited perception abilities of humans and
asserts that ‘a being’ must have some sort of form in order to be intelligible, which
reminds us of pedagogy oriented musical form. Both philosophers further their
comments on form with a tendency to go beyond matter and make idealistic statements
such as that Aristotle asserts that human soul is the form and body is the matter which