The presence of Rum and, more broadly, non-Muslim musicians at the imperial court became firmly established in the second half of the 17th century. Initially, they distinguished themselves as instrumentalists and composers in instrumental forms, and later, from the 18th century onward, in vocal forms as well. The Rum composers presented here were active in different historical periods, and it is important to remember that their work and musical trajectories were shaped by the era in which they lived and by the career paths available to them. Furthermore, despite being members of the Rum community, they did not belong to a homogeneous group. Some were actively involved in the circles of the Patriarchate, chanting in the city’s churches and excelling as theorists, composers, or teachers of ecclesiastical music. Others belonged to the upper strata, such as the Greek-speaking elites who participated in Ottoman administration or the higher clergy, as well as affluent merchants and scholars. However, the vast majority were musicians of humble, popular backgrounds who primarily composed and performed secular music. While they all identified as Rum, their ethnic, linguistic, and social identities could vary significantly.

It is also important to remember that beyond the well-documented musicians and composers—whether Rum or others—who have been recorded by history, there exists a vast number of lesser-known or anonymous musicians. They were active in the various music venues or within the Palace itself, leaving their sonic imprint in churches, synagogues, and tekkes throughout the city, though not in the written sources. This realization has led modern historians to reconsider the person-centered approach through which the history of Ottoman music has traditionally been written.