Relevant bibliographies by topics / Sufi music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sufi music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Sufi music"

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Hanif, Abdulloh, and Ahmad Fathy. "DIMENSI SPIRITUALITAS MUSIK SEBAGAI MEDIA EKSISTENSI DALAM SUFISME JALALUDDIN RUMI." FiTUA: Jurnal Studi Islam 4, no. 2 (October 10, 2023): 111–28. http://dx.doi.org/10.47625/fitua.v4i2.508.

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Music in Islam is not only related to art and culture. It is also included in the discourse of religious worship and experience. Many jurists debate the legal status of music, both at the listening level and at the singing level. However, for Sufis, music is a medium of worship, a medium for expressing their experience of closeness to God. Jalaluddin Rumi, as a Sufi who often uses music and expresses his Sufi experiences through poetry and music. He has a different meaning about music, which seems to contain a spiritual (ruhani) element which is a form of his experiential existence. This issue will be explored in this article through the question: what spiritual values are contained in Sufi music? and how can music occur as a way of existence in Sufism? This research is qualitative in nature with descriptive analysis which results in the conclusion that Rumi's poetry and music show his more intimate and secret teachings in relation to the expression of his relationship with God. So the experience of ecstasy and the ma’rifat often arises through poetry or music.
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Frishkopf, Michael. "Sufi Music: The Rough Guide to Sufi Music (review)." Asian Music 43, no. 1 (2012): 148–55. http://dx.doi.org/10.1353/amu.2012.0000.

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LAHORA, DR PANKAJ. "Sufi Sama – The Soul of Sufi Mystical Music." Swar Sindhu 5, no. 1 (June 30, 2017): 5–7. http://dx.doi.org/10.33913/ss.v05i01a02.

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Ahmed, Bakhtiar, and Amir Ali Chandio. "Countering Extremism Through Sufi Practices in Sindh." Global Regional Review IV, no. II (June 30, 2019): 421–26. http://dx.doi.org/10.31703/grr.2019(iv-ii).45.

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This article is an analysis of Sufism and Sufi practices performed at Sufi shrines of Sindh. Moreover, the ways to counter the growing menace of extremism through Sufi practices is discussed in this paper. The approach adopted is from traditional to modern, in understanding the importance of Sufism. Sindh is considered the land of Sufis but unfortunately, it is badly affected by extremism. Although there is a huge number of Sufi shrines in Sindh, the data has been collected and analyzed from the shrines of Shah Abdul Latif Bhittai, Usman Marwandi (Lal Shahbaz Qalander) and Sachal Sarmast, particularly at Urs celebrations. The important Sufi practices include Sufi music, Sufi poetry, Lunger, Urs celebrations etc. The participants in Urs celebrations belong to a variety of groups from upper class to lower and middle class, irrespective of their caste, creed and religion.
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Tanvir Anjum. "Religious Inclusiveness and the Medieval Sindhi Sufi Poetry: Intangible Cultural Heritage of Sindh." Progressive Research Journal of Arts & Humanities (PRJAH) 6, no. 1 (March 18, 2024): 77–87. http://dx.doi.org/10.51872/prjah.vol6.iss1.307.

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Cultural heritage in a given society may take the form of both tangible and intangible manifestations. Concerning Sufism in Sindh, manifestations of tangible cultural heritage may include Sufi shrine complexes, sites of meditation and dwellings, Sufi relics, and artifacts of devotion. In contrast, intangible cultural heritage may include, inter alia, Sufi traditions, literary productions, music and dance, festivals, and Sufi ethos. The rich Sufi ethos of multi-ethnic and multi-religious medieval Sindhi society was informed by varied socio-historical traditions. The Sufis of Sindh composed vernacular poetry encompassing the theme of religious inclusiveness and pluralistic accommodation, squarely in line with the eclecticism of the region's religious landscape. It freely imbibed elements from varied local cultural traditions. Sufi poetry, together with centuries-old Sufi practices, allowed fluidity of religious affiliation and created a space where religious identities became inextricably intertwined. However, these identities were communalized and rigidified in colonial and post-colonial periods. Recent years have unfortunately witnessed the growing menace of religious radicalization, considerably undermining the Sufi ethos. The situation calls for devising a coherent strategy to cope with religious radicalization to reclaim and preserve the tolerant cultural heritage of the region.
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Rasyid, Mufti. "REINVENTING RELIGIOUS MODERATION IN INDIA THROUGH SUFI CONTENT IN BOLLYWOOD MUSIC VIDEO." Mahakarya: Jurnal Mahasiswa Ilmu Budaya 3, no. 2 (December 31, 2022): 28–36. http://dx.doi.org/10.22515/mjmib.v3i2.5574.

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Religious violence in India has become one of the bloodiest humanitarian crises in history. There have been many efforts to stop or reduce these conflicts, one of which is promoting religious moderation using art media. Within the last decade, incorporating Sufi content in Bollywood music videos has become a new trend. Sufism, as a mystical form of Islam, has been viewed as more pluralistic and acceptable for all societies in India. Therefore, this study aimed to observe the Sufi content in Bollywood music videos and measure its role as a new approach to religious moderation in India. Using Roland Barthes' semiotics theory, this qualitative research observed how Sufism is depicted in Bollywood music videos and analyzed how it represents religious moderation. The research results revealed that the Sufism depiction in Bollywood music videos is represented in two forms: visualized music videos and the lyrics. Sufi content in the selected Bollywood movie songs has some religious moderation principles like tasamuh (tolerance), i'tidal (justice), qudwah (leadership), i'tiraf al-urf (respecting tradition), and anti-violence. Analyzing the comments on Youtube featuring those music videos, it could be concluded that the Sufi content in Bollywood music videos has successfully influenced the audience to be more religiously moderate.
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Qasbi, Rachid. "(Re)defining the Dichotomies within Moroccan Sufism." Advances in Social Sciences Research Journal 8, no. 1 (February 2, 2021): 578–88. http://dx.doi.org/10.14738/assrj.81.9563.

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Although marked by diversity, the Moroccan Sufi rituals have been associated with mysterious aspects and reputed for the dichotomy of their different facets. The complexity of this field has intrigued my curiosity to investigate to what extent the type of music deployed can contribute to categorizing Sufi orders. In this context, it is worth exploring how the music is used and for which purposes. Through contrasting samaã to gnawa as major Sufi music genres, this paper sheds light on the duality inherent within the former as an elitist Sufi practice and the latter as its popular counterpart. In support if this, I conduct interviews and focus groups with several Moroccan disciples to further investigate the type of audience they both attract and how the two genres help the disciples to get into the Sufi atmosphere and the desired metaphysical level. By reviewing the literature carried out by Moroccan as well as foreign authors in this field, I also look into how researchers position Sufi activities and whether they approach them with awareness of the dichotomies categorizing the two genres within high and low cultures.
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KOLBAŞI, Guyem, and Selçuk KIRLI. "Comparison of Relaxing Effects of Sufi and Gregorian Music on People with High State Anxiety Levels." Gevher Nesibe Journal IESDR 6, no. 11 (March 25, 2021): 74–78. http://dx.doi.org/10.46648/gnj.191.

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Objective: The aim of this study is to compare therelaxing effects of two religious music in people who has normal trait anxiety levels but high state anxiety levels and to investigate if the relaxing effect is relevant to cultural background. Methods: Sixty university students, aged between 20 and 25 with no psychiatric illnesses and no visual or hearing impairment were enrolled in this study. The participants were divided into subgroups consisting of ten people each. The two music applications were performed in two different sessions for each participants. All participants were given the trait anxiety inventory (STAI-2) at the beginning of the study, and state anxiety inventory (STAI-1) before the visual anxiety triggering material and after the music applications. Results: Both Sufi and Gregorian music caused a decrease in STAI-1 anxiety points, however, Sufi music was significantly effective in relieving anxiety compared to Gregorian music. Conclusion: The relatively more relaxing effect of Sufi music among participants may be due to the cultural archetypes.
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Ridgeon, Lloyd. "The Controversy of Shaykh Awḥad al-Dīn Kirmānī and Handsome, Moon-Faced Youths: A Case Study of Shāhid-Bāzī in Medieval Sufism." Journal of Sufi Studies 1, no. 1 (2012): 3–30. http://dx.doi.org/10.1163/221059512x617658.

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Abstract The ability to witness the divine in creation has been one of the features that has often distinguished Sufis from non-Sufis. One of the most controversial manifestations of this was shāhid-bāzī (“playing the witness”), which was a practice of gazing at the form of young males in order to witness the inner, divine presence. Since medieval times a Persian Sufi by the name of Awḥad al-Dīn Kirmānī has been most commonly associated with shāhid-bāzī (especially during the samāʿ—or the ritual of Sufi music and dance). The controversy relating to Kirmānī seems to have focused on the homoerotic nature of shāhid-bāzī, yet a close examination of the texts reveal that the criticisms about Kirmānī relate to a wide range of Sufi practices and doctrines. An investigation of the contexts of these criticisms indicate that thirteenth–fourteenth-century Sufism was diverse and fluid, and that the systematisation of Sufism into brotherhoods (ṭarīqa) which was taking place in Kirmānī’s lifetime had not resulted in a bland conformity of faith and practice.
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Guilhon, Giselle. "Sufi Night: Music, Ritual and Ecstasy on the Conteporary Scene." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 70. http://dx.doi.org/10.18542/arteriais.v3i5.5356.

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ResumoÀs vinte horas dos dias 14 e 15 de maio de 2004, a Sala de Concertos da Cité de la Musique, em Paris, abriu suas portas para quatro ordens sufis do mundo muçulmano – Murid (do Senegal), Yesevi (do Egito), Kadiri (do Afeganistão) e Chisti-Qawwali (do Paquistão) – uma após a outra, apresentarem seus concertos espirituais. A audição (al-sama) da Nuit Soufie (nome dado ao concerto) terminou, nas duas noites, de madrugada. Através das recitações e cantos poéticos dos Murids do Senegal, das recitações corânicas apresentadas em elaboradas técnicas vocais, pelo Sheikh Ahmad Al-Tûni (do Egito), do círculo de zikr (repetição dos nomes de Deus), liderada por Mir Fakr al-Din Agha (do Afeganistão) e do canto alegre e contagiante dos Qawwâli (do Paquistão), sob a batuta de Asif Ali Khan, os rituais sufis rivalizaram com os “transes” techno da cultura rave atual. Neste texto – que é fruto de uma etnografia de passagem – a autora faz uma reflexão comparativa entre os “transes vertiginosos” produzidos nas pistas rave de dança e os “transes esotéricos” experimentados pelos participantes (“musicantes” e “musicados”) dos e nos concertos ou audições (al-sama) públicos, sufis.AbstractAt eight o’clock on the 14th and 15th of May 2004, the Salle des Concerts of the Cité de la Musique, in Paris, opened its doors to four Sufi orders of the Muslim world – Murid (from Senegal), Yesevi (from Uper Egypt), Kadiri (from Afghanistan) and Chisti-Qawwali (from Pakistan) –, one after another, present their spiritual concerts. The audition (al-sama) of the Sufi Night (the name given to the concert), on the both of the two nights, ended in the small hours. With the recitations and poetic songs of the Murids from Senegal, the Koranic recitations presented in elaborate vocal techniques by Sheikh Ahmad Al-Tûni (from Egypt), the zikr circle (repetition of the names of God), led by Mir Fakr al-Din Agha (from Afghanistan) and the joyful and contagious Qawwali songs (from Pakistan), led by Asif Ali Khan, the Sufi rituals rivaled the profane techno “trances” of modern rave culture. In this text – which is fruit of an ethnography of passage – the author makes a comparative reflexion between the “vertiginous trances” produced on the rave dance floors and the esoteric “trances” or “ecstasies” experienced by the participants (“musicians” and “listeners”) of and in the public Sufi concerts or auditions (al-sama).
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Dissertations / Theses on the topic "Sufi music"

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Johnston, Sharilee Mehera. "Poetics of performance : narratives, faith and disjuncture in qawwali /." Digital version:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004299.

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Utter, Hans Fredrick. "Networks of Music and History: Vilayat Khan and the Emerging Sitar." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308392450.

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Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.

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Serio, Stefania <1997&gt. "«I suoi mondi, i suoi sfondi, i suoi sogni nei bordi dei fogli» Rap come poesia nella musica di Murubutu (Alessio Mariani)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21596.

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Il presente elaborato intende svolgere un’analisi tematica della produzione musicale di Murubutu (Alessio Mariani) a partire da una riflessione teorica che pone al centro la relazione tra musica e poesia. Dopo aver ripercorso la genesi e lo sviluppo del genere rap nel corso degli anni, verrà analizzata la scrittura di Murubutu a partire da alcune considerazioni riguardanti la tecnica dello storytelling, per poi passare ad una riflessione sulle teorie della narrazione e della ricezione applicate alla musica. La tesi si prefigge infine di svolgere un’analisi di tipo tematico di alcuni motivi e situazioni ricorrenti nella scrittura musicale di Murubutu. Si partirà analizzando la struttura degli album, concepiti come veri e propri racconti, per poi approfondire le tematiche specifiche di ogni singola raccolta musicale e gli altri contenuti ricorrenti all’interno della produzione dell’artista.
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Ciliberti, Galliano. "Francesco Coppetta de' Beccuti in musica. E la trasmissione dei suoi testi poetici." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37090.

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Newell, James Richard. "Experiencing Qawwali sound as spiritual power in Sufi India /." Diss., 2007. http://etd.library.vanderbilt.edu/ETD-db/available/etd-09262007-151811/.

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Sonneborn, D. A. "Music and meaning in American Sufism the ritual of Dhikr at Sami Mahal, a Chishtiyya-derived Sufi Center /." 1995. http://catalog.hathitrust.org/api/volumes/oclc/38298248.html.

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Lin, Kuang-Hui, and 林光輝. "A Study of Islamic Sufi Music in India and Pakistan─Taking Qawwali For Example." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/72299534574411463741.

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碩士
玄奘人文社會學院
宗教學研究所
92
The topic is Qawwali, it is an often seenly musical form in northern India and Pakistan. Qawwali is a kind of songs mixed by Islamic and Indian influences. The Sufis(you can understand them as an school of Islam, but it is not nearly right) in this area depend or use Qawwali to get the situation of hāl(it is an arabian word, meaning ecstasy or trance), and they say they could get closer to Allah(God of Islam) in Qawwali. Qawwali is believed to survive in this area at least 800 years. The texts of Qawwali are the words of Qur’ān(Bible of Islam), Hadith(the words of Prophet Muhammed), and words of muslim or Sufi saints. The musical or song forms are but from India, like bhajans, ghazals. So Qawwali are very welcomed in muslim or Sufi cultural areas here. But the Formal Islam in and out India says they don’t like musical instruments or musical uses in the rituals of Islam. Thus the points I want to explore are: 1. The cultural aspects of conflict and mixing of Islamic Sufis in Northern India and Pakistan, especially focusing on Sufis and non-Sufis. 2. The muslim’s attitudes to music, and their musical activities in and outside India. 3. Studies in Qawwali itself, including its outer, musical specialities, and its religious connections to Islamic and Indian cultures.
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Koerbin, Paul V. "I am Pir Sultan Abdal : a hermeneutical study of the self-naming tradition (mahlas) in Turkish Alevi lyric song (deyiş)." Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/507150.

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The lyric songs of Turkish oral tradition broadly understood by the term deyiş provide one of the richest perspectives on the historical construction, communal perceptions and creative impetus of Turkish Alevi culture. One of the most evident defining characteristics of the deyiş is the convention in which the poetic persona to which the lyric is attributed, known as the mahlas, is incorporated in the final verse. While this convention is ubiquitous in this lyric form it has received little scholarly attention particularly in regards to is role in expressive culture. This study approaches Alevi expressive culture by means of focusing on the interpretive force of the mahlas. The theoretical basis for this study is the tripartite model proposed for ethnomusicological study by Timothy Rice in 1987, by which musical experience may be understood as being historically constructed, socially maintained and individually applied. In applying this model my study pursues an interpretive approach both in terms of identifying interpretive practice and in suggesting interpretive perspectives. This approach follows Paul Ricoeur's hermeneutical perspective as an encounter that seeks not to understand the inner experience of people of another culture, but rather to understand the world that is suggested by music sounds, performance and contexts. The structure of this study follows this hermeneutical epistemology in terms of pre-understanding (encounters in text), explications (the analysis of the form and structure of the text and music) and experiences (interpretive encounters with expressive culture that suggest new understandings). Methods employed for this study include a broad reading and familiarity with Alevi related and initiated publications and scholarship (in Turkish and English); observation of Alevi (and more broadly Turkish) public expressive culture through audio and visual recordings and attending festivals and other events; and participation in Alevi expressive culture and critical reflection through learning the bağlama (Turkish lute) and performing Alevi deyiş informally and in public. This study begins by considering ‗pre-understandings‘ through the way the persona of the most influential of the Alevi poets, Pir Sultan Abdal, is presented in the pursuit of a historical identity as the lyrics or oral tradition attributed to him have become the basis of canonical textual collections. This chapter suggests the limitation of this approach to understanding while revealing the centrality of the mahlas as the object of study. The second part of the study focuses on explicating the deyiş lyric form and the mahlas as a defining characteristic of that form. These explications suggests the mahlas is more than merely a convention used to identify the author of the lyric but is, rather, a subtle and adaptable traditional textual integer that, while inherently meaningful, is not fixed in its meaning or purpose; and with its immanent associations provides interpretive and creative potential. The third part of the study considers the interpretive and creative potential of the Alevi deyiş and the immanent qualities of the mahlas in performance. Firstly, a context to Alevi public expressive culture is provided by examining a series of commercial recordings produced in the 1980s by Arif Sağ, a formative period when Alevis began to be more open and assertive in the articulation of Alevi culture. This is followed by an examination of the interpretive potential of performance through the description and analysis of a performance by Tolga Sağ at the 2002 Pir Sultan Abdal festival in the village of Banaz in central Turkey. The study further considers the application of the interpretive potential provided by the immanent and associative qualities of the mahlas through a critical reflective analysis of my performances of Alevi deyiş. Finally, this study includes the largest collection of lyrics by the major Alevi poet Pir Sultan Abdal yet to appear in English translations. These translations are included to demonstrate and reveal the hermeneutical challenge presented by this material as well as providing broader scholarly access to a substantial representative sample of the lyrics associated with this major Alevi figure. This study concludes that the mahlas is a richly meaningful textual integer that conveys, with communicative economy, immanent aspects of authority, lineage, communal identity and inclusion. As such, rather than being a simple convention to identify authorship, it is an adaptive yet critical element in the creative and interpretive expression of Alevi culture. This study aims to contribute to the understanding of a rich oral lyric tradition and creative expressive culture that has received relatively little scholarly attention, especially in the English language scholarship, and to reveal the mahlas in the context of oral and expressive culture as a subject deserving of further scholarly study.
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Chen, Po-Jung, and 陳柏蓉. "A Study of the relationship between the Chiu Tsu Music and the Music Culture in Sui and Tang Dynasty." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/60649716712339194846.

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Books on the topic "Sufi music"

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Rifaʻi, Muhammad al-Jamal. Music of the soul: Sufi teachings. 2nd ed. [Petaluma, California]: Sidi Muhammad Press, 1997.

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Qureshi, Regula Burkhardt. Sufi music of India and Pakistan: Sound, context and meaning in Qawwali. Chicago: University of Chicago Press, 1995.

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Age of Sultan Süleyman the Magnificent. Music of the whirling dervishes. New York: Finnadar, 1987.

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Ḥusayn Ḥaydar Khānī Mushtāq ʻAlī. Samāʻ-i ʻārifān: Baḥs̲ī-i kāmil va farāgīr pīrāmūn-i Samāʻ. [Tehran]: Sanāʾī, 1995.

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Qureshi, Regula Burckhardt. Sufi music of India and Pakistan: Sound, context and meaning in Qawwali. Cambridge: Cambridge University Press, 1986.

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Peter, Pannke, and Friedrichs Horst A, eds. Troubadoure Allahs: Sufi-Musik im Industal. München: Frederking & Thaler, 1999.

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Caton, Margaret Louise. Hafez: 'Erfan and music as interpreted by Ostad Mortezá Varzi. Costa Mesa, CA: Mazda Publishers, 2008.

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Ḥarrāq, Muḥammad al-Tihāmī. Mūsīqá al-mawājīd: Muqārabāt fī fann al-samāʻ al-Ṣūfī al-Maghribī. al-Rabāṭ: Manshūrāt al-Zaman, 2010.

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Kaya, Mehmet Refik. Hüseyin Fahreddin Dede. İstanbul: Kitabevi, 2019.

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1888-1956, Güneren Hüseyin Şemsi, and Güneren M. Fatih, eds. Tasavvuf mûsikı̂sinde: Sıvâsı̂ ilâhileri. Teşvikiye, İstanbul: [s.n., 2000.

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Book chapters on the topic "Sufi music"

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Witulski, Christopher. "Sufi Ritual." In Focus: Music and Religion of Morocco, 79–96. Other titles: Music and religion of MoroccoDescription: New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315106014-8.

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Witulski, Christopher. "Sufi Entertainments." In Focus: Music and Religion of Morocco, 97–114. Other titles: Music and religion of MoroccoDescription: New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315106014-9.

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Minelli, Carla. "Riflessione sui sincretismi e l'evoluzione della musica latinoamericana negli ultimi cinque secoli." In De Diversis Artibus, 237–54. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.4.00615.

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"Sufi Music." In Islam, Judaism, and Zoroastrianism, 661. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1267-3_100501.

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Ghani, Kashshaf. "Etiquette is the Key." In Sufi Rituals and Practices, 207–50. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192889225.003.0006.

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Abstract Sufi rituals like sama, which involve the audition of poetry and music expressing love and longing for the Divine, often lead to ecstatic behaviour among Sufi listeners. Sufis are believed to dance in ecstasy in assemblies of sama, so much enraptured that they become oblivious to pleasure and pain. This chapter looks into the expression of ecstasy among Sufis during spiritual practices. This led to questions of behaviour and moral conduct, which led to an intense debate between sober states of composure and intoxicated behaviour. Manners and etiquette therefore became important for Sufis practicing such rituals. The chapter details adab as an important spiritual component of spiritual training, along with the forms of ecstasy which Sufis experienced during sama. The practice of adab towards the Sufi master as well as in spiritual practice thus became a key component of Sufi behaviour, as discussed in the chapter.
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Měsíc, Jiří. "Leonard Cohen, the ‘Sufi’ Mystic." In Exploring the Spiritual in Popular Music. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350086951.ch-002.

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Feldman, Walter. "The Ney in Mevlevi Music." In From Rumi to the Whirling Dervishes, 85–111. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0005.

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The reed flute nai/ney was one of the most ancient instruments of the Near East. It had been adopted as the classic instrument of medieval Persian Sufis, and it maintained that role among the Mevlevis until the present day. Beginning with Rumi, the ney has been the subject of a continuous poetic discourse, first in Persian and then in Turkish. These Turkish verses created mainly by Mevlevi but also by other Turkish Sufi poets, developed the symbolism of both music and the sema, in a manner rather distinct from the theoretical poetic treatises mentioned in the previous chapter. It seems that Mevlevi neyzens (flautists) had helped to perfect the new Ottoman form of the ney with a mouthpiece, by the later sixteenth century. And with this newly improved ney, the Mevlevi neyzens perfected their form of improvised performance, known as taksim. While the neyzens performed taksim in many contexts, the music of the ayin ceremony came to begin with a highly developed and meditative performance, known as the baş-taksim (“head taksim”).
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Feldman, Walter. "Music, Poetry, and Composition in the Ayin." In From Rumi to the Whirling Dervishes, 193–217. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0009.

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As the longest individual section of the ayin, the First Selam demonstrates the vision of the ayin’s composer. It also signals the start of the ‘whirling’ of the semazens. This chapter compares three compositions for the First Selam; the anonynous Dügah, Mustafa Dede’s later 17th century Beyati, and Ismail Dede’s early 19th century Saba Ayini. Almost all existing First Selams utilize the usul devr-i revan in 14/8. By comparing a variety of theoretical and poetic texts in both Persian and Turkish we learn that this usul had already characterized Sufi sama’ practices in Greater Iran, at least by the 16th century. A further comparison of notated examples of secular Ottoman music from both 17th century notated and later oral sources with, and the earliest of the Mevlevi ayins, reveals major differences in compositional techniques. Thus the Mevlevi First Selam emerges as a key locus for the creation of a ‘mystical’ musical form. İt may also be the sole survivor of a lost tradition of Iranian Sufi composition for the sama’.
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Ghani, Kashshaf. "Introduction." In Sufi Rituals and Practices, 1–36. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192889225.003.0001.

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Abstract After beginning with a brief definition and explanation of what Sufism is, the Introduction lays down the structure of the work which focuses on rituals and meditative practices as integral to the Sufi experience. It argues for an understanding of Sufism through distinct regional experiences rather than as an unchanging universal phenomenon. South Asia represents one such region on which the research focuses through the spiritual practices of Chishti and Suhrawardi orders. The historical background and origins of sama are briefly mentioned, along with its questionable position as a religious practice, since poetry and music are seen as contentious practices in the eyes of Islam. After briefly describing the individual chapters, the rest of the Introduction takes up the early debates on the legality of the Sufi practice of sama, in order to bring forth to readers a detailed analysis on how sama came to be defended by early generations of Sufi masters. The discussion of these debates sets the context for understanding Sufi rituals in South Asia.
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Korkmaz, Harun, and Martin Stokes. "Islam and Music in Turkey." In The Oxford Handbook of Religion in Turkey. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197624883.013.19.

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Abstract This chapter presents an overview of the field of Islamic music, listening, and sonic arts in modern Turkey, from the latter Ottoman years to the first decades of the 21st century. It describes distinctions between Mosque music (including Istanbul’s Qur’anic recitation traditions) and Tekke (Sufi lodge) music, discussing the effects of the official closure of the lodges in 1925, and subsequent efforts to preserve these repertories in notation and sound recording. The chapter goes on to explore musical distinctions and connections between Mevlevî and Alevî culture under the broad rubric of tasavvuf (Islamic mysticism) in its literary, poetic and ritual contexts (including ayin and cem). It also discusses ongoing debates about the legitimacy of sema (audition). The final section discusses religious music, media, and the “new piety” of the AKP years.
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Conference papers on the topic "Sufi music"

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Ding, Shuyue. "The Music Complex of Emperor Yang of Sui Dynasty." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.119.

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Jiang, Steven, Lawrence Lim, and Misha Sra. "Spatializing Music in Virtual Reality." In SUI '23: ACM Symposium on Spatial User Interaction. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3607822.3618011.

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