The adoption of western notation (which is an exampleof graphic notation) as the “official system” inTurkey dates from after 1828. Sultan Mahmud II(reigned 1808–1839) abolished the Janissary force in1826 and with it the musical unit of that army, itwas a band for wind and percussion instruments(Mehterhâne-i Hümâyûn). He thenorganised his new army on western lines and thusintroduced an institution of western origin, themilitary band, as the musical unit of his modernarmy. This new institution, which was European inits music system, instruments, repertoire and firstand foremost its methods of education, was formedunder the name Muzika-i Hümâyûn(the royal military band). Professional musicianswere invited from Europe to participate and, withthe foundation of Muzika-i Hümâyûnin 1827, the most far-reaching change in Turkishmusical history took place. It was an outstandingmanifestation of westernisation which necessarilymade a deep impact on both the Turkishmakam (modal) music system andthe existence and the behaviour of the musicians whoproduced and performed it. The domination ofmakam music and its masters incourt circles and their claim to be the sole andabsolute system of taste was undermined, althoughthe appreciation and respect of certain sultans andbureaucrats continued on a personal level. From thatdate on, a duality, an East-West dichotomy (theeffects of which can still be seen), overtook thecultural sphere of which music was a part. Withinthis dichotomy, tonal polyphonic music of the Westbegan to make its influence felt at least as muchas, if not more than, makam basedTurkish music both within the state framework and inthe society at large. These dual concepts werereferred to as Alla Turca andAlla Franga. While AllaFranga (alafranga incommon parlance) came to symbolise modernity, changeand the new life style, Alla Turca(alaturka in common parlance)became a manifestation of being archaic andconservative and of having a blind commitment totradition and an under-developed taste (even notaste at all). Within this series of dichotomies,which took hold of every area of life (fromliterature to fashion also, eating habits, systemsof beliefs, and education as well as government)makam based Turkish musicreceived a large share of “cultural negation” withthe judgement that it did not even have a decentnotation system. It became marginalised andrestricted to a narrow social group deeply andpassionately devoted to it. Even during thisprocess, makam music developed adynamic of self-protection against “culturalnegation” with its composers, theorists, publishers,performers and listening public.Makam music composers andperformers learnt western notation, they wrotepieces down and deciphered music from that notation;a system of education based on modern methodsdeveloped while still preservingmeşk (the traditional oralteaching method of Turkish music). These effortswere driven by the ‘ideal’ of transformingmakam music, which was claimed tobe archaic due to its monodic structure, into apolyphonic music. The musicians who knew westernnotation (such as Melekzet Efendi, Leon [Hancıyan]Efendi, etc.) were paid great amounts of money inorder to record the works of the old masters inwestern notation and compile them, along with newcompositions, into extensive note-collections (suchas Muzika-i Hümâyûn Kumandanı [the commander of theroyal military band] Necîp Paşa Collection and thePertev Paşa Collection, etc.). Works were alsopublished in note editions (such asMâlûmat [literally meaningknowledge], Müntehâbât [literallymeaning selections], Ûdî[lute-player] Arşak editions,etc.). Moreover, educational guides devoted toteaching makam theory andsolmisation (such as Tanbûrî Cemîl Bey'sRehber-i Mûsikî [The MusicGuide], Muallim [teacher] İsmailHakkı Bey's Mahzen-i Esrâr-ı Mûsikî[The Cellar of the Secrets of Music], Muallim KâzımBey's Mûsikî Nazariyâtı [MusicTheory], etc.) and the first methods for learningthe instruments of makam music(such as Ûdî Salâhî Bey's Ud metodu[Lute Method], Seyyid Abdülkaadir Bey'sUsûl-i Ta'lîm-i Keman [Method forPractising Violin, etc.], modelled on their Europeancounterparts, were beginning to be published.