Various changes have occurred in Turkish music culture since prehistory. In this process, music culture has taken its present form by constantly transforming. In the 10th century, Farabî did not accept the thoughts of Pythagoras about the sounds of the planets that he had put forward hundreds of years ago, and he developed the 17-tone sound system on the Khorasan Drum by explaining the occurrence of the sound by striking the objects against each other. Farabî, with his work al-Mûsîḳa’l-kebîr, guided many music people who came after him in the history of maqam music. Farabi’s 17-sound system in maqam music showed its effect for many years with the contributions of Urmevî and appeared in the edvars of theorists such as Abdülkadir Merâgi, Yusuf Kırşehrî, Hızır bin Abdullah, Ahmedoğlu Şükrullah. In these edvars, perde (pitchs), makam (maqams) and usûl (rhytmic cycles) are shown with circles, and information about musical genres is given along with the âvâze, şûbe and terkip. Various genres and forms have emerged within the framework of maqam music in different centuries and geographies. One of them is nevbet-i müretteb, which has influenced music circles for centuries. Nevbet-i müretteb, which is a long-term music genre consisting of four or five parts in the same makam, has been compared to a suite by some musicologists. There is extensive information about nevbet-i müretteb, especially in the works of Abdülkadir Merâgi. In addition, Yusuf Kırşehrî, Hızır bin Abdullah and Seydî gave various information about nevbet-i müretteb in their works. Despite the great interest of nevbet-i müretteb in music circles for a long time, the fact that its name was not mentioned as of the 16th century and there were very few studies on the subject necessitated this research. In this study, using the descriptive approach in the scanning model of the qualitative research method, the transformation of the nevbet-i müretteb in different cultures was evaluated in terms of the concepts of interculturality and intertextuality. In these evaluations, an interdisciplinary approach was taken within the fields of history, musicology, literature and sociology. As a result of this research, it has been determined that nevbet-i müretteb has undergone a transformation as a result of intercultural interactions by establishing intertextual relations. This transformation spreads over a wide geography and appears with different names in different cultures. Species found to be similar to nevbet-i müretteb: Nuba in Andalusia and Maghreb countries, fasıl in Turkey, waslah in Syria and Egypt, dastgah in Iran, mugam in Azerbaijan, maqam in Iraq, Uzbekistan and Tajikistan it manifests itself as maqam (shashmaqam) in, nobat in Malaysia, and muqam in East Turkestan. It is possible to point out the nuba, which we encountered in the 8th and 9th centuries in written sources, as the oldest of the mentioned species, for the starting point of nevbet-i müretteb. It can be thought that this research, which examines the effects of nevbet-i müretteb on its traces in different geographies, will constitute a resource for researchers who will study on the subject with a limited literature. In the studies to be carried out after this study, it may be possible to reach a reconstructed nevbet-i müretteb with the comparative analyzes of the cyclical works still performed in various cultures.