The evaluation of the names of traditional Turkish folk music sequences in vocational music training

İn this study, İt was aimed to determine a method relating to what the problems encountered are when the names of traditional Türkish Folk Music Sequences are evaluated, and how they developed, and negative reflections of Traditional Türkish Folk Music Training performed in some institutions and organizations on Vocational Music Training, and depending on Cause ? Effect relation, what the suggestions about problem solving may be. The study subject developed by means of documentary scanning (semistructured) oral interview technique and work analysis methods required General Scanning Model in which the relation between ?makam concept? used in giving name of the sequence in the theory of Traditional Türkish Classical Music an ? ayak consept? used in giving name of te sequence in the theory of Traditional Türkish Folk Music was determined, and also required the collection of descriptively qualified data based on the ideas of experts in the field of Traditional Türkish Folk Music.. The study context consisted of expert persons in the field of Traditional Türkish Folk Music, academicians, the artists of Türkish Folk Music of TRT and Türkish Culture Ministeryard researchers, and oral Works in the repertoire of Traditional Türkish Folk Music ? expert 17 persons were interviewed in the cities chosen as pilot ones such as, Ankara, İstanbul, İzmir, Samsun, Kayseri and Erzurum. - İn choosing work, in order to determine whether tune features of the folks showed difference from region to region when evaluated as regards tune, they were chosen various places of Türkish geography, and the ones registered in the repertoire of TRT were taken into consideration. İn the result of the findings and comments obtained, in order to give more healthly the training of Traditional Turkish Folk Music, We concluded that making use of Tune in the giving name to the sequence of Traditional Turkish Folk Music would be beter.