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Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment
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Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as small as a single sound.
Title: Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment
Description:
Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû.
I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul.
This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production.
This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as small as a single sound.
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