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Old and New Testament texts, considering the historical process of the art of painting are among the important sources that were drawn upon. "The Fall of Jericho ", "David", "The Adoration of the Shepherds", "The Prodigal Son", "The Wedding Feast at Cana", "Musical Angels", "The End of Time" and "Hell-Heaven" depictions that were mentioned in these texts, occur as themes of work of art by inclusion of the music. Horns and trumpets in "The Fall of Jericho", psaltery, harp and other stringed instruments in "David", usually stringed and more rarely percussion instruments in "The Prodigal Son", flutes', shawms, bagpipes and other winged instruments in "The Adoration of the Shepherds", stringed instruments and flutes in "The Wedding Feast at Cana", stringed and percussion instruments and flutes in "Musical Angels", trumpets and oliphants in the hands of angels, organ and various stringed instruments in the hands of twenty-four elders in "The End of Time", various instruments sometimes used for torture in "Hell" winged and stringed instruments in "Heaven" take its place in the work of art associated with the story as well as the persons. This work, aims to outline the transformation of the Old and New Testament texts, by the way of image together with music themes, and to examine the transformation from the examples of paintings. [ABSTRACT FROM AUTHOR]

Since the ninth century many a musicologist conducted research on classical Turkish musicians and their sound systems. These studies were initiated by Farabi and İbni Sina in the 9th century. They were taken over by Safiyüddin and Abdülkadir of Meraga in the 13 th and 15th centuries respectively. In the course of following centuries, some other theoretical works were composed. Al-Kindi, Hızır Bin Abdullah, Bedri Dilşad, Ladikli Mehmet Çelebi, şükrullah, Molla, Kantemiroğlu, Abdülbâtki Nastr Dede, Hakim Bey were musicologists who depended on the systematic school. Our musicologist being enlightened with these written works became interested in the theory of Turkish Music and begun rendering their own ideas. Especially the scientific side of our music was scrutinized, physical and mathematical sources were investigated. The sheikh of the Galata lodge of Mevlevi dervishes Ataullah Efendi, the sheikh of Yenikapt lodge of the Mevlevi dervishes Celaleddin Dede Efendi and the sheikh of the Bahriye lodge of Mevlevi Dervishes Hüseyin Fahreddin Dede were path breaking fine musicians promoting these studies and transmitted their knowledge to the following progeny of followers. The initial scientific work bears the signature of Rauf Yekta Bey, from which he exploited ways and means to establish a well founded order in our musical tradition. Thanks to immaculate achievements of Arel, Ezgi and Uzdilek, his prime studies were endowed with progress, and established in an order. Today's systems are comprised of 24 unequal intervals and 25 sounds. They are named Arel, Ezgi, and Uzdilek system. There are many other national qualified musicians in the twentieth century other than Arel, Ezgi and Uzdilek, who have voiced their ideas. All the system theories in this work are defined and compared with each other according to basic mode (makam). [ABSTRACT FROM AUTHOR]

The mythology of Turkish music has special characteristics like the Greek mythology. When the history of Turkish music mythology is examined, one may find a rich mixture of knowledge and myth in it. In many books of Turkish musical theory, for example, Dimitry Cantemir's Kitâb Ilmu'l-Musiqa or Nasir Dede's Tedkik u Tahkik, there are a lot of mythological stories. These stories portray some heroes of Greek and Turkish scientific, history and philosophy. You can find many scholars and philosophers such as Aristotle, Ptolemy, al-Farabi, and Ibn Sina (Avicenna). Also, one can find some prophets like Adam and Sheet, his grandchildren, and Noah's son. Some personalities from the history of Greeks and Turks in the books on Turkish musical theory are also examined. One can discover how these characters were utilized in popularizing music among people. [ABSTRACT FROM AUTHOR]