Özet:

It is difficult to include in the scope of the review works whose authors are unknown and whose exact century it is not known. Regarding this, first of all, some starting points need to be determined. For example, it is necessary to examine the written language of the work to be examined, the calligraphy format used, the terminology used in the relevant field, and the approaches in the field in question. As far as we can determine, no study has been done on The Risâle before. This reveals the originality of the article. In this article, qualitative research method was used and document and data analysis was used. The findings were evaluated by comparing them with different musicology sources. The Risâle, whose author is unknown, in the sample of this study was analyzed with the indicators mentioned above and an effort was made to position it in a period. The most important of the findings obtained is that the author deals with musical issues in The Risâle by making use of different sources and does not give references to them. Most of these sources were copyrighted in different centuries. Many issues related to Turkish music are discussed in The Risâle. It is seen that this work, whose author is unknown, is named “Adwâr” somewhere. Although the method in edvâr system was followed, a circle was used only in one place. The Risâle in general, deals with the etymological examination of music, its acceptance within the scope of mathematical sciences, and the association of maqam and other elements with cosmology, in a partially parallel way with the sources of the past period. In The Risâle, the abjad system initiated by Safi al-Din al-Urmawī (d. 693/1294) was used instead of the pitch. The relationship between the beautiful voice and the recitation of the Quran and the positioning of the maqams according to the times are other issues discussed in this study.

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