Özet:

A natural result of the long-term use of the mixed method in the transmission of Turkish music works to the future generations is that in the subsequent times the people are changing the works due to their own nuances and differences in comments. The study of the transcription works carried out by Dârü'l-Elhân as the most comprehensive initiative in the recording of works in the Turkish music history, also shows the findings of the existence of words that distort the meaning of errors and errors in writing in the buffets. In this context, the purpose of the work is to ensure the symmetrical placement of their transcriptions on the note and to perform their restarosions in this context through the originality of the works in the context of the relationship between the work and the work. The method that the study will follow is based on the acceptance that the most important subject of the verbal works of Turkish Music is the buffet, that in this sense the structures support each other between buffet and music and that the disturbances in the usûl-vezin relationship may have occurred in the later periods and that the removal of these disturbances and a transcription closer to the original of the work can be achieved. In the restoration of the works, first of all the related works have been identified and in the presence of the words that break the bladder in the bladder, the relevant words are studied etymologically and if the related errors are corrected, the bladder is corrected. Then the repaired mouth was placed again on the note and examined whether the symmetrical process in the ground was repeated in the mouth and mouth. In Egypt, when deterioration occurs, the words in the meyanhane and in the part of the repetitions are placed in the appropriate note units, taking into account the symmetrical structure in the ground.