Sufism, Music and Society in Turkey and the Middle East (Swedish Research Institute in Istanbul Transactions Volume 10)

After decades of prohibition, Mevlana ceremonies of whirling dervishes attract renewed interest as forms of sacral music, both in formal and popular genres. This trend runs parallel to an increasing concern for cultural, ethnic and religious identities, where the rising tide of religious revivalism sets the tone. Book Cover......Page 1 Half-Title......Page 2 Title......Page 3 Copyright......Page 4 Preface......Page 5 Contents......Page 9 Introduction: An Annotated Glossary......Page 11 Some Musical Instruments......Page 12 Music and Society......Page 14 PART I TASAVVUF AND MUSIC......Page 17 The Role of Music in Islamic Mysticism......Page 18 PART II METHOD AND AESTHETICS......Page 28 Music as Expression and Expressive Activity......Page 29 Structure and Structural Interpretation......Page 30 Music and Context......Page 32 Concluding Remarks......Page 34 Patterns of Change and Continuity in Liturgical and Ritual Music......Page 35 Ascription or Achievement......Page 43 Logos and Melos......Page 44 Secular Temples of Art......Page 47 Eidos and Ethos......Page 48 Ethos and Ethnos......Page 49 PART III STRUCTURE AND EVOLUTION......Page 51 Structure and Evolution of the Mevlevi Ayin: The Case of the Third Selam......Page 52 Sources and Formal Structures of the Ayin......Page 53 Third Selam: Devr-i Kebir......Page 56 Third Selam: Sema’i......Page 57 Conclusion......Page 59 Music and Sama‘ of the Mavlaviyya in the Fifteenth and Sixteenth Centuries: Origins, Ritual and Formation......Page 68 Mavlavī Music and Ancient Compositions (Beste-i Kadimler)......Page 74 Mavlaviyya in Historical Change......Page 77 Concluding Remarks:......Page 80 From the Court and Tarikat to the Synagogue: Ottoman Art Music and Hebrew Sacred Songs......Page 82 Conclusion......Page 88 Appendix......Page 91 PART IV CHANGE AND CONTINUITY IN THE MODERN ERA......Page 95 The Durak: Form and Structure......Page 96 The Durak: Liturgy, Style and Transmission......Page 98 “The Taming of the Shrew”......Page 100 The invention of a “technical tradition” by Ezgi and Arel......Page 102 The “Restoration” Project......Page 107 Towards Reforms in Turkish Music......Page 110 Nota’s Idea of Synthesis......Page 115 Content of the Magazine......Page 118 A Questionnaire on the Future of Turkish Music......Page 119 Conclusion......Page 122 The Rise of the Grand Dichotomy-Turkish Music and Western Music......Page 124 The Rise Of Arabesk and the Retreat of the Grand Dichotomy......Page 127 Concluding Remarks......Page 131 References......Page 132 Social Changes Endured by the Balkan Muslims and the Survival of the Mystical Brotherhoods in the Twentieth Century......Page 135 Some Features of Sufi Music in the Balkans and its Development in the Twentieth Century......Page 136 The Albanian Case......Page 138 Bibliography......Page 143 PART V SUFI MUSIC AND THE MEDIA......Page 145 Sufi Music and Rites in the Era of Mass Reproduction Techniques and Culture......Page 146 Sufi Music and Persian Art Music......Page 147 Preservation of the Secret and Diffusion of Patrimony......Page 150 Sufi Music on the Oriental Scene......Page 155 Between Concert and Ritual......Page 157 Conclusion: The Sense of Secret and the Time of Transparency......Page 162 List of Participants......Page 165 Edited By Anders Hammarlund, Tord Olsson, Elisabeth Özdalga. Includes Bibliographical References.