Savaşkan's music employs highly personal pitch-time structuring methods, derived from notions of spatial perspective and architecture.
Since 1986, however, his music has exhibited greater diversity, whilst not abandoning the conscientious structuring of earlier works (to this day, he remains a committed Constructivist).
As Savaskan's harmonic method arrives at a concluding nodal point, the music ends with a cadence in the home pitch class, E. There have been other symphonies since then, and a chamber work "Unique strands, circular functions and Portofino", which premiered in London in 2001.
Sinan Savaskan was the music director and Composer for Oedipus Rex, University of Cambridge's triennial production performed entirely in classical Greek at Performances at Arts Theatre, Cambridge, 11–16 October 2004; featuring a production team including Director Annie Castledine and Royal National Theatre's Designer Stephen Brimson-Lewis.
[19][20] The event is held once every three years as the Cambridge Greek Play and is a tradition which started in 1882, often involving music commissioned by well-known composers of the day: R. Vaughan Williams, Parry, Wood, Stanford among them.
[21] His other music for the theatre in recent years includes Aristophanes' Lysistrata, The Birds, and The Frogs; Euripides' The Trojan Women; Sophocles' Philoctetes and Oedipus at Colonus; Plautus' The Rope; Molière's The Miser; Shakespeare's Pericles; Claudel's Partage de Midi; and Terence's Phormio and Adelphoe.
[10] In the early 2000s, he acted as musical director for a film-in-production on the life of the Renaissance composer Gesualdo, directed by Bernardo Bertolucci, produced by Jeremy Thomas with a screenplay by the Oscar-winning writer Mark Peploe.