From Rumi to the Whirling Dervishes

Walter Feldman is a leading scholar of both Ottoman Turkish and Jewish music. His major publications include Klezmer: Music, History and Memory (Oxford, 2016) and Music of the Ottoman Court: Makam, Composition, and the Early Ottoman Instrumental Repertoire (Verlag für Wissenschaft und Bildung, 1996). As a lifelong musician, Feldman performs on the Ottoman tanbur and the cimbal—the traditional Klezmer dulcimer. He has held teaching positions at Princeton, the University of Pennsylvania, and New York University Abu Dhabi and is a board member of the Corpus Musicae Ottomanicae Project of the Wilhelm Westphalian University in Münster, and of the Istanbul Research Institute.

• List of Music Examples and FiguresList of ImagesA Note on Orthography and TransliterationTurkish Musical Symbols and the Intonation of Ottoman MusicPrefaceAcknowledgementsPart I: History and Culture of the Mevlevi DervishesIntroduction: Continuities and Ruptures in the Mevlevi Tradition1. Defining the Mystical Music of the Mevlevi Dervishes‘Mystical Music’ in the Anatolian Turkish ContextComparison of Sema and Zikr (Dhikr)Musical Style of the ZikrTerminology of the SemaThe Mevleviye and Music2. The Mevlevi PhenomenonBrief Outline of Mevlana’s CareerBrief History of the MevleviyeThe Mevlevi CentresWomen Sheikhs and DervishesBasis of Mevlevi Training and Education3. Development and Cultural Affinities of the Mevlevi Ayin Possibility of a Historical Approach to the Mevlevi CeremonyMovement within the Sema Western European SourcesSpatial Structure and MovementSymbolism of the Mevlevi Sema4. The Ney in Mevlevi MusicAesthetics of the Ney in Mevlevi LiteratureMyths and MetaphorsTechnical Development of the Ney, and the Ney as the Mevlevi InstrumentNey and TaksimThe Origin of the Taksim5. The Mevlevi Neyzen as an Ideal Representative of Ottoman CultureThe Mevlevi Neyzen and the Transmission of Ottoman MusicThe Instrumentarium of the Late Ottoman EmpireThe Leading Neyzens in HistoryTransition to the Early RepublicEmin Dede (1883–1945)Halil Dikmen (1906–1964)Neyzen Tevfik Kolaylı (1879–1953)Part II: Music of the Mevlevis6. The Position of Music within the MevleviyeWas There a Mevlevi Musical Discourse?Mevlevi Musicians and Poets in Seventeenth-Century Ottoman CultureThe Mevleviye and Musical History in Anatolia and IranThe ‘Science of Music’ in Iran and Istanbul and the Role of Mevlevi Musicians7. The Musical Structure of the AyinThe Music of the Ayin as Part of an Oral TransmissionMusical Structure of the Ayin compared with the Ottoman FasılRhythmic Cycle and Poetic MetreModulationMusical Techniques within a Mystical and Artistic Compositional FormThe Na’at-i PeygamberiThe Baş-taksimDevr-i Kebir: Origins and Issues of Historical Change in the Peşrev and in the Third Selam8. Music, Poetry and Composition in the Ayin Devr-i Revan and the First SelamThe ‘Ancient’ Dügah AyiniThe Beyati Ayini of Mustafa DedeThe Saba Ayini of Ismail DedeA Note on the Second Selam9. The Sema’i in the Third Selam and the Son Yürük Sema’i: Nucleus of the Antecedent Sema?‘Ey ki Hezar Aferin’Irak Sema’i Sultan Veled, ‘Kadim’Bektashi Nefes and Instrumental Sema’iA Brief Musicological ConclusionPostludeGlossaryReferences CitedIndex