Globalization and localization dialectically has articulated the relation between traditional and the modern and has paved the way for popular music types that are produced in line with the zeitgeist. Without doubt, one of these music types is the concept of the New Ankaralı Music, which has always been on the agenda in Turkey in recent years. The main purpose of this study is to assess this music type, which began to produce its first samples in the early 1980s and which has become an important object of popular culture over the past ten years by surpassing local boundaries in terms of its musical foundations as well as socio-cultural dynamics. The fact that this approach, which is conceptualized as Ankaralı music, is based on certain determining factors comes to the forefront as one topic that must be addressed in this study. Indeed, it is necessary that this topic be explained in detail, because Ankaralı music possesses indicators that evoke certain musical notions in the mind in terms of etic and emic (traditional dance of Ankara, spoon dance) and a unique sensual design under the title of Ankara sound. Furthermore, it refers to a discourse of Ankaralı that is male-dominant in an ideological context, and finally, it takes place within a certain historical adventure with new entertainment locations and rituals that are based on ancient traditions. In its shortest definition, the music of Ankara is a new concept which is shaped amid the traditional and the modern within a certain geographical area. It is influenced by both traditional and popular culture, which is a manifestation of modern life, and which is open to global articulation and hence to change and innovation. While this music type has its roots in local music traditions of Ankara and its peripheral geography (the music tradition of Seymens, the folk music of Ankara and the music tradition of the Central Anatolia), it continues to develop through production forms based on popular culture. One part of Ankaralı music is rooted in an ancient tradition, while another part of it depends on a form of interaction with current popular culture music forms. Of course, this structure is a natural outcome of the cultural relationship between the traditional and modern, and is directly related to the dialectics of center-periphery, as conceptualized by Hannerz (1998). In this sense, Ankaralı music corresponds to the meanings ascribed to music by lower income residential areas as compared to the Ankara city center, which is equally distant to the rural and the urban areas - not spatially but with respect to lifestyle. It is also a cultural projection of the peripheral life that is formed based on the center-periphery dynamics. All these events gave rise to a music centered on Ankara, which can be clearly defined today. It has its unique musical and oral discourse, can produce locations based on historical inclinations, and develops new rituals and practices. Although Ankaralı music is a product of periphery dynamics in demographic terms, it is an urban music in its essence, and it partially reflects city life. While this music type that emerged from slum culture brings forward its proximity to Arabesk music, it is not a coincidence that a new type of urban folklore appears around Ankara in a period during which the meaning of Arabesk changed. It is inevitable that the urban population mostly from Central Anatolia and the districts around Ankara and settling in the periphery, and those who define themselves as Ankaralı, would express themselves with this music. Another justification for Ankaralı music is that it depends on some practices based on historical inclinations. For instance, it is possible to connect the historical foundations of the locations in which this music is produced to music assemblies that were performed in and around Ankara, such as cümbüş and muhabbet. Indeed, the current data indicate that the Seymens of Ankara had a kind of entertainment called cümbüş, which they secretly performed in accordance with a certain hierarchical order, style, and discipline, and which involved elements such as alcohol consumption, women, music, and dance. The rapid modernization and urbanization process that Ankara underwent with the foundation of the Republic inevitably removed the traces of the cümbüş tradition from the city center. This entertainment practice was replaced with modern venues such as music halls and night clubs as of the 2000s. Today, there are tens of venues performing Ankaralı music in the triangle of Ulus, Maltepe and Cebeci. The association of venue and sound has an important place in the formation of Ankaralı music. Indeed, this music type has a distinguishable sensual design beyond its history, discourse, cultural venues, and entertainment practices, and all these factors contribute to the emerging tonal construct. In this respect, Ankaralı music needs to be designated as a local sound manifestation in the musicological context. While the display areas of this structure, conceptualized as “Ankaralı sound”, is doubtlessly formed by instrument elements and vocal styles, we can see that elektrosaz, a type of instrument that works with electronic amplification, comes to the forefront as a designator of authenticity in the Ankaralı music. Along with elektrosaz, percussion instruments like kaşık (spoons), bells, darbuka, bendir, bongos, tef, and keyboards, which provide harmonization, are instrument groups that complete the Ankaralı sound. Of these sound components, percussion instruments construct the traditional aspect of Ankaralı music, whereas the keyboards, which form the harmonic framework, represent music’s modern side. Elektrosaz, on the other hand, has a symbolic meaning as an indicator of the dialectic relation that this music type has formed between the traditional and the modern. However, live musical performances based on a context of scene underlie this local sound concept. Here, while the notion of scene plays a significant role in understanding Ankaralı music, it is inevitable to look at the groups of people with shared values, organizations, and behaviors that cluster around this music practice and the relationship of production and consumption of the music constructed in this scope from the framework of the “local scene”. Indeed, urban venues such as night clubs and music halls in which the Ankaralı music is constructed today are outcomes of the collective consciousness that requires a large number of people to work as a team, as stated by Becker (2013). Further, all these collective conventions are carried out by actors such as the musicians, the women dancers, the owners of the venues, the staff, and the audience. Doubtlessly, the figure of the musician is the driving force of this joint activity. The data obtained show that the development of Ankaralı music within a specific cultural location is shaped by the habits of musicians in a Bourdieu’s sense. It can be said that especially the performance practices that Ankara musicians carry out in these locations and their performance techniques, styles, and repertoires are associated with direct historical inclinations they have, and that their cultural capital is based on tradition. Another factor that reproduces Ankaralı music in the environment of the local scene is entertainment practices, and the woman figure stands out in this dimension. Indeed, the performances that women dancers carry out on stage in these venues and the entertainment rituals that appear at the same time are an important determinant of strategies for making music. There is effective communication, on the stage, between the women dancers and the musicians throughout the performance. In particular, the high-pitched darbuka can lead the dance by changing rhythmic combinations according to the movements of the dancer, and the women actors can consolidate a whole musical performance. Again, an entertainment ritual taking place through the woman dancer on the stage and the consumers/audience is directly related to music. This practice, which has been conceptualized in Ankara jargon as “çök”, depends on a traditional understanding of entertainment that was performed in the past in indoor environments in and around Ankara, and in which music and dance were intertwined. In these environments in which Ankaralı music is constructed, taking the dance floor with the women is a significant indication of prestige for the audience and it is an important source of income for all these venues. The most distinct feature of this entertainment practice within the context of music is that it diversifies the repertoire of Ankaralı music. Indeed, this ritual, which is performed throughout the night in a cyclical manner, is accompanied by music pieces from different styles. In this sense, it is possible to mention five types of repertoire components, named bozlak, traditional dance music, muhabbet-oturak music types, Central Anatolian folk songs, eclectic dance music, and ankarabesk. In conclusion, Ankaralı music is not a culture of disharmony that brings a traditional atmosphere to the city or turns its back on the urban culture; on the contrary, it is a practice which accepts that there is a problem of meaning determined by urban dynamics, brings about a response to it, and carries a consciousness of harmony and tradition with this response. This music is also actualized through the discourse of Ankaralı as an indicator of identity. However, the identity of Ankaralı emphasized here indicates the masses who came into this city from the peripheral settlements and identified themselves with this city. They embraced being an Ankaralı as a tool of upper identity, rather than defining the capital Ankara, which is an indication of the modernization of the Republic. This indication will certainly bring with it the contrast of the old and new Ankaralı music cultures. Definitely, musical pieces with a “moral-didactical-spiritual” discourse, which are often encountered in the “old Ankaralı” music culture, have been replaced with a more “humorous-earthly-immoral” discourse in the new Ankaralı music culture. In spite of this serious shift in discourse, although the old and the new traditions resemble each other particularly in terms of melodic structures, it is an undeniable fact that the biggest influence on the melodic choices has been popular culture.