Artists, antagonisms and the ney in the popularization of ‘Sufi Music’ in Turkey

Artists, antagonisms and the ney in the popularization of ‘Sufi Music’ in Turkey

Following its successful marketing as a sub-genre of ‘world music’ in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate variety of musical styles in the Turkish popular music industry. In this article, I explore this phenomenon through the recent history of the...

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Published in:European journal of cultural studies Vol. 18; no. 1; pp. 52 - 69
Main Author: Senay, Banu
Format: Journal Article
Language:English
Published: London, England SAGE Publications 01-02-2015
Subjects:
Artists
Audience
Audiences
Entertainment Industry
Global Local Relationship
Globalization
Marketing
Music
Music industry
Musical styles
Musicians
Religiosity
Turkey
the ney
Turkey
Sufi music
Globalization
world music
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Abstract Following its successful marketing as a sub-genre of ‘world music’ in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate variety of musical styles in the Turkish popular music industry. In this article, I explore this phenomenon through the recent history of the ney (reed-flute), an instrument that has been re-contextualized as the acoustic and visual signifier of Sufism, and utilized to evoke feelings of spirituality in listeners in affirming the authenticity of the new genre. Musicians’ and recording studios’ sonic strategies for signifying and communicating a Sufi sound have not only generated new musical aesthetics but garnered both a global and local audience. They have also generated intense debates among musicians concerning the very existence of a thing named ‘Sufi music’ and the ney’s place in it.
AbstractList Following its successful marketing as a sub-genre of ‘world music’ in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate variety of musical styles in the Turkish popular music industry. In this article, I explore this phenomenon through the recent history of the ney (reed-flute), an instrument that has been re-contextualized as the acoustic and visual signifier of Sufism, and utilized to evoke feelings of spirituality in listeners in affirming the authenticity of the new genre. Musicians’ and recording studios’ sonic strategies for signifying and communicating a Sufi sound have not only generated new musical aesthetics but garnered both a global and local audience. They have also generated intense debates among musicians concerning the very existence of a thing named ‘Sufi music’ and the ney’s place in it.
Following its successful marketing as a sub-genre of 'world music' in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate variety of musical styles in the Turkish popular music industry. In this article, I explore this phenomenon through the recent history of the ney (reed-flute), an instrument that has been re-contextualized as the acoustic and visual signifier of Sufism, and utilized to evoke feelings of spirituality in listeners in affirming the authenticity of the new genre. Musicians' and recording studios' sonic strategies for signifying and communicating a Sufi sound have not only generated new musical aesthetics but garnered both a global and local audience. They have also generated intense debates among musicians concerning the very existence of a thing named 'Sufi music' and the ney's place in it. Reprinted by permission of Sage Publications Ltd
Following its successful marketing as a sub-genre of 'world music' in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate variety of musical styles in the Turkish popular music industry. In this article, I explore this phenomenon through the recent history of the ney (reed-flute), an instrument that has been re-contextualized as the acoustic and visual signifier of Sufism, and utilized to evoke feelings of spirituality in listeners in affirming the authenticity of the new genre. Musicians' and recording studios' sonic strategies for signifying and communicating a Sufi sound have not only generated new musical aesthetics but garnered both a global and local audience. They have also generated intense debates among musicians concerning the very existence of a thing named 'Sufi music' and the ney's place in it. [Reprinted by permission of Sage Publications, Ltd., copyright holder.]
Author Senay, Banu
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Cites_doi 10.1017/CHO9781139029476.032
10.1080/00263209608701111
10.1146/annurev.anthro.33.070203.143916
10.7208/chicago/9780226775074.001.0001
10.2307/20174605
10.1177/1367549411424948
10.1215/9780822388463
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Keywords the ney
Turkey
Sufi music
Globalization
world music
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Snippet Following its successful marketing as a sub-genre of ‘world music’ in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate...
Following its successful marketing as a sub-genre of 'world music' in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate...
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SubjectTerms Artists
Audience
Audiences
Entertainment Industry
Global Local Relationship
Globalization
Marketing
Music
Music industry
Musical styles
Musicians
Religiosity
Turkey
Title Artists, antagonisms and the ney in the popularization of ‘Sufi Music’ in Turkey
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