Ходжа Н. (hojja_nusreddin) wrote,
Ходжа Н.



Division of Musicology and Ethnomusicology, School of Music, University of Maryland

This dissertation investigates the concept of motion as a fundamental aesthetic element in the devotional music, dance, and rituals performed in honor of the celebrated 13 century Persian mystic poet and saint, the Mevlana Celal ed-Din Muhammad Rumi.
The main focus of the study is threefold:
1. it investigates the prevalence of the notion of movement in Islamic music and culture, specifically within the Sufi communities of Turkey, in order to arrive at a broader understanding of the relationship between music, aesthetics, and worldview;
2. it explores how musical performance functions as a form of devotion or religious worship by focusing on the musical repertories performed in honor of a single holy figure, the Mevlana Rumi.
3. it provides an ethnographic account of contemporary developments in Sufi musical culture in Turkey and across the world by describing the recent activities of the Mevlana’s devotees, which includes members of the Mevlevi Order of Islamic mystics as well as adherents of other Sufi brotherhoods and followers of so-called New Religions or New Age.

The primary research for this study involved:
- 2 short one-month field trips to Turkey and India in 2002 and 2003, respectively, and
- a longer 1 year expedition to Turkey in 2004 and 2005, which also included shorter stays in Cyprus, Syria, and Egypt.

Additionally, the dissertation draws directly from critical theories advanced in the fields of:
- ethnomusicology,
- cultural anthropology, and
- ethnochoreology
and focuses on the kinesthetic parameters of:
- music,
- dance,
- trance, and
- ritual
as well as on broader forms of socio-cultural movement including:
- pilgrimage,
- cultural tourism, and
- globalization.
These forms of movement are analyzed in 4 broad categories of music used in worship, including:
- classical Mevlevi music,
- music of the zikr ceremony,
- popular musics, and
- non-Turkish musics.



CHAPTER I Introduction: From Plurality to Unity 1
- Starting in the Middle 1
- Bearings, Directions, and a Roadmap: Introduction 2
- The Journeys of the Mevlana Celal ed-Din Muhammad al-Balkhi al-Rumi 7
- Advancing after Annihilation: The Cult of the Mevlana 13
- The Mevlevi and Music for the Mevlana 19
- Paths Well Trodden: Previous Scholarship 25
- Fieldwork in Multiple Field Sites 30
- Itineraries to Enlightenment: Structure of the Dissertation 33

CHAPTER II The Geometries of Belief: Toward an Understanding of the Aesthetics of Motion 36
- At the Shrine of the Mevlana 37
- Music as Culture : Worldview in the Study of Music and Culture 42
- Haram as Aesthetic: The Legality of Music and the Arts 49
- Motion as Devotion: Motion in Sufi Cosmology 53
- Music as Devotion: The Music of the Spheres 65

CHAPTER III Modes of Motion: The Spirit of Motion in Musics for the Mevlana 71
- The Konya Otogar, A Modern Caravanserai 72
- Global Movement and the World of Islam 77
- Theoretical Wanderings on Pilgrimage and Tourism 85
- Music, Trance, and the Inner Journey 92
- Dance, Musical Motion, and Structured Movement Systems 98

CHAPTER IV In Perfect Proportion: The Sacred Sounds of a Secular State 103
- Reviving Rumi: The Mevlana Cultural Center 104
- The Political Economy of the Soul: The Mevlana in Politics, Tourism, and Ziyaret 111
- The Ottoman-Classical Musical Tradition of the Mevlevi 125
- The Concept of Makam 128
- The Concept of Usul 130
- The Concept of Suite 131
- Performing Forces and Performance Practice 140
- Mevlevi Composers and the History of the Ayin-i !erif 146
- Ethnography of a Whirling Show 153
- Musical Movement in Mustafa Nak"i Dede’s !edaraban Ayin-i !erif 171

CHAPTER V Arcs of Ascent and Descent: Music, Trance, and Ritual in Zikr Ceremony 184
- “Always Remember God” 185
- Modes of Remembrance: On the Various Types of Zikr 190
- Music, Ecstasy, and the Zikr Ceremony 195
- Ethnography of a Zikr Gathering 208
- Arcs of Ascent and Descent: Analysis of a Zikr Ceremony 214

CHAPTER VI Sounds Like Sufi Spirit: The Mevlana in Popular Music and Culture 226
- Sufi Spirituality at the Supermarket 227
- Towards a Sufi Popular Music in Turkey 229
- The Mevlana in the New Age 236
- Our Lady of Mysticism: Madonna and the Mevlana 249
- Sufism and Popular Music in South Asia 254
- Mevlevi Sufism and Rock and Roll Music in Turkey 262
- Mercan Dede, Sufi Traveler 273
- Spinning in Circles: Intentionality and the Polemics of Authenticity 278

CHAPTER VII Songs from Other Spheres: Non-Turkish Music in the Worship of the Mevlana 283
- “Sanctus, Sanctus, Sanctus…. It Means Allahu Akbar” 284
- The Mevlana and Western Music 286
- The Pyrotechnics of Piety: Music at the First Annual International Mystic Music Festival 295
- Returning to Rumi’s Roots: Music from Iran and Afghanistan 304

CHAPTER VIII Caught in Motion: Conclusion 313
- “Welcome Home” — Caught in Motion 313
- Music and the Mevlevi in the Year of the Mevlana 315
- Moving Beyond Static States: An Offering to Ethnomusicology 322
- Coming Full Circle: An Offering to the Mevlana 326

APPENDIX: List of Makams Used in the Sedaraban Ayin of Mustafa Naksi Dede 329
Download: drum.lib.umd.edu/bitstream/1903/7198/1/umi-umd-4588.pdf
Tags: rumi, дисер, музыка, танец

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