The education that Sultan Mohammad Fatih received under the shadow of his father Sultan Murad made him become one of the prominent supporters of science and culture in the Islamic world. After conquering Istanbul, Sultan Mohammad Fatih, by building scientific and cultural centers, made this city one of the most important scientific and cultural centers of the Islamic world in a very short period of time. With his invitation, many scholars went to Istanbul. Many people decided to stay in Istanbul after hearing about the qualities of Istanbul and the friendship of Sultan Mohammad Fatih. This also caused many works in various sciences to be authored or copied in his name. The knowledge of music was also one of the sciences that Fatih was interested in and on behalf of people such as Abd al-Qadir Maraghi’s son, Abd al-Aziz who named “Naqawa al-Adwar” and Fath Allah Shirwani who wrote “Al-Majla fi al-Musiqi” in his name. Also, Yusuf bin Nizam al-Din Qarshahri’s treatise on music was translated from Persian to Turkish by Darvish Hariri in 873 AH (1468). The first musical work written under the name of Fateh and also the first independent Persian poem in the science of music is Mahmoudi Molavi’s “Nazm-ı Advar”. Mahmoudi, one of the poets and writers of this era, after hearing the attributes of Fatih, left for Istanbul and dedicated his poem to Fatih. Mahmoudi composed his work, which is a poem of 337 verses in ten chapters, in 875 AH (1470). There is not much information about Mahmoudi’s life. Based on what can be understood from his works, he was one of the poets and writers of the time and in the Maulviyyah Tariqat. In addition to literature and music, he was also familiar with other sciences such as mathematics and astronomy. A manuscript of Mahmoudi’s “ Nazm-ı Advar “ is known, which is kept in Sulaimaniye library in Istanbul and in Asher Effendi library with number 450. Mahmoudi, in the first two chapters of “ Nazm-ı Advar “, praised the Lord and praised the Prophet and the four caliphs, in the third chapter he mentioned the reason for authoring his work, and in the fourth to sixth chapters he praised Sultan Muhammad Fatih. In the seventh chapter, he talks about the importance and honor of the science of music and tells the famous story of Safi al-Din and the camel. In the 8th and 9th chapters, twelve musical Maqam are: Rast, Iraq, Isfahan, Hosseini, Bozorg, Hijazi, Kochak, Zanguleh, Nava, Ushak, Rahavi, Buslik; Seven Avazeh, which are: Gavasht, Salmak, Nowruz, Shahnaz, Hisar, Mayeh, Gardanieh; Four Shubeh, which are: Yekgah, Dogah, Segah, Chargah; And fifty-four Tarkibs, some of which are Sabz Ander Sabz, Baste Negar, Niriz, Panjgah, Isfahan Baste, Dilkash Khavaran, Khajesti, Sambleh, Bad Saba, Ashiran, Rahah Al-Arwah, Negar, Uzzal Ajam, Muhalifak, Mukhalif Hijaz, Ashiran Nawa, Iraq Maye, Segah Maye, Rast Maye, Zavuli, Mubarqa, Zamzam, Nowruz Rumi, Nowruz Ajam, Rakb, Rakb Nowruz, Zirafkand, Neishaburak, Sazghara, Nahavand Rumi, Ajam, Gardanieh, Negarink, Muhayyir, Vejhi Hosseini, Qarachghar, Mustaar, Naheft, Sepehr, Hosseini, Ajam, Sehgah Ajam, Ajam Rast, Ovj, Nahavand, Bahr Nazoq, Homayun, Hisar, Hisarak, Hisar Ovj, Turki Hejaz, Shushtarak, Mahoor, Urian, Marghak, have been described. Is. In the ninth chapter, the Makams and Avaze of these Tarkib, their names and combinations, and their relationship with the four elements, twelve towers, and the hours of the day and night have been discussed. In the 10th chapter, by mentioning an anecdote from Rumi’s Masnavi, he spoke about his own Tariqat and attribution to Rumi and Maulviyyah.