The first institution of compilation studies in the field in Turkish music culture is Dârülelhân compilation. Important musical figures of the period participated in these field studies and approximately 1000 folk songs and folk-dance melodies were compiled. The collected songs were published as a corpus of 15 magazines. Due to the musical developments of the period and the notation approach adopted during compilations, it can be mentioned that there are some problems with today's point of view in recording the songs. Due to the reasons, a significant part of the collected songs was not widespread and remained hidden in the corpus. In this study; because of the compilations of Dârülelhân, 677 folk songs and folk-dance melodies published in 15 magazines were examined. The data needed in the research were obtained by document analysis method. The notation problems that stand out in the songs have been tried to be determined in terms of melody, rhythm, and lyrics structure. As a result of the examination, it was understood that a different notation approach was used in the songs found in the corpus compared to today's notation approach. In addition, it has been seen that the notations in the corpus are important for understanding the use of Western music notation techniques in traditional music. It is understood from these research data that these notations are also very important in understanding the music policy, understanding and musical point of view of the period. In the light of the data obtained from the research, the periodical musical thinking styles and attitudes of the compilers were also tried to be revealed. It has been understood from the musical analysis conducted during the research process that these thinking styles and attitudes generally emerge in the notation approach, and that this approach they exhibit sometimes causes structural differences in the relevant musical work.