Author(s): Filiz Karapinar*

While exploring universal language, Penderecki has engaged with several compositional styles. He has explored a wide range of contemporary compositional techniques, notations, styles and genres including sonorism, serialism, as well as neo-Romanticism. In the course of the 1980s, he discovered his own musical pluralism, a chromaticism that is primarily polyphonic without tonality, but with themes and motifs that make a counterpoint interaction possible. With his ultimate craftsmanship, Penderecki comfortably incorporated such extremes into the mainstream of his personal musical language which is called “synthesis”. He believes that synthesis refers not only to a composition technique but it could also synthesis old themes with new musical techniques; or be a synthesis of modern and traditional techniques which would speak directly to audiences. The main purpose of this study is to investigate composer’s creativity process towards the period of synthesis as well as to exemplify important aspects of chosen works under the circumstances of the style of synthesis.


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