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.
Author(s): Ande Hammarlund
Year: 2001
Language: English
Pages: 169
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
