Even though composing and musical form are one of the most controversial issues of the era, the composer or the instrumentalist has to grasp and examine the structural elements of the musical form correctly in order to grasp the spirit of the music to give what is desired during the performance. The stylistic parts of the music and their relations with each other have been researched on the basis of the motifs, which are the smallest building blocks of the musical form. When the musical form is expressed as "time made sound" (Langer, 1953: 135), it becomes necessary to write the formal unity in a way that appeals to the eye by taking the help of letters and numbers to explain the distribution of temporal elements in the form. Explaining the formal elements in the article with literary language and making them visible will help us to understand the perceptual form of music by helping to explain the temporal setup of Bartok's compositional logic with Gestalt theory. Thus, examining the structures that make up the whole with the principles of Gestalt theory, such as proximity and sameness, and making them visible with shapes will enable the music to be depicted and understood from a holistic perspective, regardless of the structure of the form. The act of schematizing what is heard, based on loudness and lengths, will enable us to see music as an element of perception, not theoretically. The aim of the study is to show the perceived time with the help of Gestalt theory, to make a holistic inference about how the individual perceives music, and to provide a perceptual analysis method to music independent of music theory.
Keywords: Composer, Bartok, Music, Form, Form, violin, duet, string, Gestalt