The participation of the Turkish musicologist Rauf Yekta (1871–1935) in the Cairo Congress of Arab Music in 1932 and his rejection of the proposed 24-tone equal-tempered scale are well-known facts in musicological literature. However, due to the dearth of primary sources, Yekta’s influential role in the discussions remains largely unknown. Recently discovered notes, published in the periodical Mukhādana/Muhadenet following the Congress, provide new insights into Yekta’s musicological approach in general and his position relative to other participants at the Congress. Based on these notes, this article provides the first comprehensive analysis of Yekta’s opinions on the Congress. While Yekta’s stance cannot be fully understood without considering Turkey’s position between the “Arab” and the “Western” world at the time, as a scholar defending the Turkish makam tradition from the musical revolution of the Republic, his views did not align with the official views of Turkish state representatives. Instead, Yekta depicted a dual musical universe and considered himself capable of reconciling these two worlds’ respective qualities, positioning himself as a mediator between them.