This study examines the compositional aesthetics of Classical Turkish makam music in terms of perceptual multistability and semantic complex isotopy. Multistability in perceptual psychology involves ambiguity or rivalry between multiple sensory percepts. On the plane of semantic content, the Greimassian concept of complex isotopy similarly involves the signification of multiple semantic values in the same ambiguous reading of a text. The aesthetics of multiple subjective interpretations is examined in traditional Turkish arts such as miniature painting, poetry, and theater, as related to Classical Turkish music. Likewise, the multistable perception of musical events becomes manifest as interoceptive complex isotopies in the syntactical semantics of the Turkish art music idiom. This study proposes that multistabile interpretation is an integral to the perception and understanding of makam music, which is evident in features such as phrasal overlap and ambiguity, multiple perde (pitch) functions, and ambiguity and perceptual competition within reductional and prolongational regions. In order to accomodate perceptual significations in makam music, an adaptation of Lerdahl and Jackendoff's Generative Theory of Tonal Music is utilized in the compositional examples provided. This analytical approach reflects the cognitive apprehension of makam music, therefore complimenting the author's larger work on A Generative Theory of Makam Music. The identification of multistable perception and complex isotopy in makam music suggests new possibilities in cognitive and semiotic studies for both Western and non-Western musical idioms.