This article explores Ottoman musical life through an examination of four Greek printed music collections published in Istanbul in the 19th century. They contained songs of Ottoman art music written in the Karamanlidika script and notated in the New Method, the reformed music notation that was officially adopted by the Ecumenical Patriarchate in 1814 and paved the way for the printing of Byzantine notation. As hybrid printed books situated in-between Greek, Karamanlidika, and Ottoman Turkish book production and history, as well as in-between Ottoman-Turkish and Byzantine musicology, these collections have to date not been adequately studied. Attention to their networks of production and circulation and to their reading publics reveals the interrelatedness of the world of print and the world of aurality/orality and performance. It also points to forms of music sociality that developed in the shifting musical geography of late Ottoman Istanbul: a community of “music-lovers” emerges which draws together music professionals and amateurs, Greek orthodox church music and Ottoman secular music, and oral and written transmission.