In this paper, the interaction between Turkish Makam Music and Western Music who is composed from tampered sounds has been discussed and the interaction has been situated in a historical period. This interaction has been evaluated in three domains which are; education; performance and composition. The education on this two musical language has been done detachedly in Ottoman Empire and in Turkey as well and this fact may interrupt the formation of composers who can compose with both languages. As composition process is an individual process this two musical knowledge has to be given to one same person. At the other hand even the education goes detachedly the performers has used the western harmony with makam at the last 40 years. This has been showed with different examples from the albums of artists such as Zeki Müren, Barış Manço, Sezen Aksu, İnci Çayırlı. All this examples has showed that this period starts at 1970’s. The multicultural character of this music has been underlined for showing how this music is able to adapt himself to a different culture. After adapting Arabic, Persian and Byzantine music characteristics to himself, this music can and should embrace western music harmony system at the end of 200 years of intense interaction.

Keywords: Makam Music, Maqam Music, Western Music, Multiculturality, Music Education, Harmony