2. It is possible to follow the historical traces of the current Music Theory in Anatolia for a time span of 5000 years starting with the establishment of the Ancient Mesopotamian Music Theories. These sounds lying deep in the memories of Anatolian people constitute a very substantial part of their cultural identities. The oral tradition transmitted by memory represent both the creative power and the stability of folk music. The oral tradition can be represented as an expression of the shared values holding the community together by reflecting the impression and the perception of the community about herself and the outsiders. Traditional music is critically important as a source conserving, transforming and transmitting several of these values made up of sounds and lyrics filtered through the memories of the people in the comunity. For a successful accomplishment of these functions “oral tradition of music” should have the ability of determining the “boundaries of social acceptability” for these values and classifying then by means of natural collation and elimination methods. Through this procedure, while some of the values are gathered to be united with the tradition forming “specific styles”, the remaining ones leave the tradition as quick as they had contacted it. Oral transmission depends on the “musical patterns” formed through such “spesific styles” assisting the remembrance.

3. The local musician learns a “ folk music example ” though the use of “ patterns ” he/she is familiar with. Furthermore, these patterns encourage producing new structures and improvisational aspects. These transmission procedure continuing for milleniums in Anatolia had crystallized two critical musical patterns, namely Usul and Makam. While Usul creates a rhythmic organization just like a port where the melody is poured into to be shaped, the Makam constitutes a naturally obtained serials of rules, leading to the melody organization within the matrix created by the Usul structures transmit the historical signs of this ancient heritage through the organization of the melodies. Today, the theory of Turkish Music concentrating on these Makam and Usul structures has been carrying the memories of a 500 years journey of an ancient tradition to the present. This written theory and its music represent one of the oldest ‘ memory heritages ’ of humankind: it can be traced back within Ancient Mesopotamia through Ancient Greece, Rome and Byzantine, Ottoman and Turkish Republican periods of Anatolia. As it can be predicted, this historical music heritage is also transmitting an expressive story of multi- cultural interactions, aesthetic variations, political decisions dominating the social transformations experienced in Anatolia and neighbouring areas.

4. Anatolian Music Cultures  Ancient Mesopotamian Music

5. Ancient Greek Music

6. The Byzantine Music

7. Ancient Byzantine Music

8. The Ottoman Music  Ottoman court music has a large and varied system of modes or scales known as makams, and other rules of composition. A number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation. Turkish classical music is taught in conservatories and social clubs, the most respected of which is Istanbul's Üsküdar Musiki Cemiyeti.

9. The Ottoman Music A specific sequence of classical Turkish musical forms become a fasıl, a suite an instrumental prelude (pe ṣ rev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations taksim. A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl remains is the same makam throughout, from the introductory taksim and usually ending in a dance tune or oyun havası. However shorter şarkı compositions, precursors to modern day songs, are a part of this tradition, many of them extremely old, dating back to the 14th century; many are newer, with late 19th century songwriter Hacı Arif Bey being especially popular.

10. Ottoman Music Fasıl Music at the Ottoman Palace

11. Fasıl Music

12. Fasıl Music at the Ottoman Palace

13. Ottoman Music

14.  Ottoman military band:  Mehter Takımı is the oldest type of military marching band in the world. Individual instrumentalists were mentioned in the Orhun inscriptions, which are believed to be the oldest written sources of Turkish history, dating from the 8th century. However, they were not definitively mentioned as bands until the 13th century. Mehter Takımı

15.  Sufi Music and dance

16. Turkish Folk Music Turkish folk music, in various regions of Turkey, local ethnic Turkish music, all sung in different dialects and forms. Structured as a part of Folklore. Turkish folk music, verbal and nonverbal folk music, folk music is divided into two. Oral folk music in general is called. Wordless melodies of folk music from the regular local instrument.  Taken into consideration for the works of Turkish folk music, classical and modern are divided into: Classic Turkish Folk Music, compiled many of the various regions of the anonymous folk songs and folk music consists of non- verbal. Anonymous works is not known who owns the lyrics and compositions, and has cost the region. In modern Turkish folk music since the 1970s, created on the model of the next period, the old patterns of local music, lyrics and the compositions of some of folk music.

17. Turkish Folk Music

20. Turkish Folk Music and Dance

23. The Kanun is a Turkish stringed instrument similar to the Zither. There is an evidence that the Kanun has been in use continously since the ninth century. It is commonly believed that the Kanun was invented by the Turkish scientist Farab who lived between the years 870-950. There are an average of 26 different notes (possibly up to 30 notes), and for each note there are two or three (mostly three) strings for a total of from 74 to 81 strings.The total range is up to 3.5 octaves. The Kanun is very common instrument used during the Ottoman Empire and it’s also very important instrument in Classical Turkish Music. The Kanun

28.  The basic notes named according to the solfege system and thus, for example, "Do" is C and "Re" is D.  In Turkish music theory, one whole tone is divided into nine commas. The following figure gives the comma values of Turkish accidentals. In the context of the Arab maqam, this system is not of equal temperament. In fact, in the Western system of temperament, C-sharp and D-flat—which are functionally the same tone—are equivalent to 4.5 commas in the Turkish system; thus, they fall directly in the center of the line depicted above.

30. The Yemen War and Yemen Türküsü  Yemen Türküsü is a very well known Turkish folk song (türkü means Turkish folk song). It is about Turkish soldiers who were sent to Yemen in the First World War to fight in a battle against Arabs during the Ottoman Empire. They all died in a place far away from their homeland, named Huş. There were 130.000 Turkish soldiers dead in Egypt.türküTurkish folkYemenArabsOttoman Empire

31. Western Influence on Turkish Classical Music  It was during this period that the famous opera composer GaetanoDonizetti ‘ s brother, Giuseppe Donizetti, was invited to become Master of Music to Sultan Mahmud II in 1827.  After the decline of the Ottoman Empire and the creation of a Turkish republic, the transfer of the former Imperial Orchestra or Mızıka-ı Hümayun from Istanbul to the new capital of the state Ankara, and renaming it as the Orchestra of the Presidency of the Republic, Riyaset-i Cumhur Orkestrası, signalled a Westernization of Turkish music. The name would later be changed to the Presidential Symphony Orchestra or Cumhurbaşkanlığı Senfoni Orkestrası.

32.  In 1924, renaming the Istanbul Music School as the Istanbul Conservatory in 1926, sending talented young musicians abroad for further music education. These students include well-known Turkish composers such as Cemal Reşit Rey, Ulvi Cemal Erkin, Ahmet Adnan Saygun, Necil Kazım Akses and Hasan Ferit Alnar, who became known as The Turkish Five. The founding of the Ankara State Conservatory with the aid of the German composer and music theorist Paul Hindemith in 1936 showed that Turkey in terms of music wanted to be like the West.Cemal Reşit ReyUlvi Cemal ErkinAhmet Adnan SaygunNecil Kazım AksesHasan Ferit Alnar

34.  By 1976, Turkish classical music had undergone a renaissance and a state musical conservatory in Istanbul was founded to give classical musicians the same support as folk musicians. Modern day advocates of Western classical music in Turkey include Fazıl Say, İdil Biret, Suna Kan and the Pekinel sisters.Fazıl Sayİdil BiretSuna KanPekinel sisters

35. Fazıl Say

36. İdil Biret Suna Kan

37. Süher-Güher Pekinel