In this study; Abdülbaki Nasır Dede's understanding of maqam, maqam descriptions and Dede's maqam definitions in folk music and the feasibility of maqam definitions of folk songs are emphasized. Folk music repertoire, which has an important place within the scope of Turkish music, includes Uşşak, Hicaz, Kürdi, Segah, Hüzzam etc. The subject of transferring or explaining with a few main maqams or foot concepts such as Kerem, Garip, Tatyan, Müstezat has caused the study to be revealed. In the

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... y, it is aimed to analyze the folk music works in maqam and to match the sample works with the maqams. As a result of the researches, it was thought that it would be appropriate to express and analyze the folk music works in terms of maqam with the theoretical understanding of Abdülbaki Nasır Dede, one of the representatives of the note-centered approach. With the maqam descriptions of Abdülbaki Nasır Dede, five folk music pieces were determined as Nühüft-i Kadim, Mahur-ı Kebir, Hûzi, Araban and Muhayyer. The concept of maqam in folk songs has been drawn attention by specifying the starting notes, the movements and the leading notes, which are the determining elements of the makams, on the works. In the collection of information and data included in the research; The theses and published books about Abdülbaki Nasır Dede were researched, and maqam descriptions were obtained from Dede's work, "Tedkik-ü Tahkik". The notes of the folk songs belonging to the study were taken from the TRT notation archive, and the relevant parts of the maqam were transferred to the notation again by us and a maqam analysis was made on them. As a result of the study, suggestions were made for the works related to the field of folk music to be made with the maqam descriptions of Abdülbaki Nasır Dede and thus to ensure the integrity of the theory.