Philosophy is one of the fields that most interaction could be detected in interdisciplinary works. Teleology as a philosophy doctrine originating from “telos” and “logos” in Greek also has inspired musical analysis and built the foundations of a new approach in form analysis. While explaining rotational forms, Warren Darcy and James Hepokoski remarks that some themes and forms may express teleological traits. Therefore in this study rotational forms are clarified in first place. Rotational forms are based on the repetitions of rotations which consist of different musical elements. This simple statement associates with rondo forms at first. However, rotational form is much more inclusive notion than that. Hence the rotations does not have to be alike as the recurring rondo themes and episode like intervening sections between rotations don’t need to exist at all. For instance a seven-part rondo could be explained with rotational approach in 4 rotations: AB - AC - AB’ - A(Coda). As it can clearly be seen in this statement, both rotations include a common “A” section and another different section. In order to mention teleological genesis in rotational forms, rotations should have a function serving to reach to an ultimate goal, a telos, at the end of the piece. And the stronger evidences are referred while mentioning these functions, a more compelling teleological genesis outline could be framed. Gustav Mahler’s 6th and Jean Sibelius’s 7th symphonies are two pieces that could be explained with teleological genesis as well. In this study, after referring the analysis in the literature on these pieces, the analysis on Sibelius’s Symphony No.7 will be discussed. Eventually it is aimed to explain teleological genesis with its philosophical background and point out crucial notions that should be explained precisely in an analysis.

Form Analysis, Rotational Forms, Teleological Genesis, Sibelius, Symphony No.7