Turkish music education was carried out until the end of the 1950s with the relationship between master-apprentice without the concept of method. In addition to the similarities between the written Turkish music sound systems and the education given by ekol people, which are the main stones of this musical system, which contributed to the education of the 20th century Turkish music, there are also contradictions. From the beginning of the twentieth century until today Rauf Yekta, Abdülkadir Töre and Arel-Ezgi-Uzdilek theories described in the maqam theory, these people before the education of the scholars according to the information of ekol artists seems to be quite inadequate. Kani Karaca is one of the artists who lived in the mentioned century, who had received his education before the written narratives. For this reason, the knowledge of the artist and the Arel-Ezgi-Uzdilek theory used in the education of Turkish music and comparative analysis of similarities and contradictions by putting forward the current Turkish music sound systems are thought to allow a detailed revision. According to the research findings, according to Kani Karaca, despite the Arel-Ezgi-Uzdilek theory, which is one of the contemporary educational theory, it has been found that there are differences in theoretical and practical applications.