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The musical representation of unity, divine love, and inner journey in Graham Hair's Sufi Couplets

Year 2024, Volume: 5 Issue: Special Issue: Mevlana's Philosophy and Art, 85 - 95

Abstract

This study provides an in-depth analysis of the symbolic and semiotic dimensions of Graham Hair's composition Sufi Couplets, exploring how it encapsulates the themes of unity, divine love, and the inner spiritual journey central to the mystic philosophies of Mevlâna Celaleddin Rumi and Yunus Emre. By employing a musical semiotics approach, the research examines Hair’s specific compositional choices—such as his use of 12-tone equal temperament (12-EDO), intricate vocal harmonies, and the continuous drone sounds produced by the harmonium—that collectively embody and reflect these profound mystical concepts. Rumi’s philosophy of Wahdat al-Wujud (unity of being) is musically symbolized through the sustained harmonium drone, representing the unchanging and eternal nature of the divine presence. The concept of transformative divine love is manifested in the dynamic melodic leaps and shifts within the vocal lines, mirroring Rumi's notion of ascension toward the divine essence. Furthermore, the theme of the inner spiritual journey is emphasized through repetitive rhythmic patterns and the harmonium’s constant tone, which together create a meditative and immersive experience for the listener, akin to the practices of Sufi meditation. Grounded in hermeneutics and musical semiotics, this study demonstrates how Sufi Couplets effectively bridges Eastern mystical ideals with Western musical aesthetics. By integrating elements from both traditions, the composition offers a universal narrative that transcends cultural and linguistic barriers, presenting transcendental themes in a manner accessible to a diverse audience. The findings contribute to the field of intercultural musicology by showcasing the capacity of music to convey complex philosophical and spiritual concepts across cultural boundaries. This underscores the role of music as a universal language capable of fostering intercultural understanding and spiritual exploration.

Ethical Statement

This study was conducted meticulously adhering to scientific research ethics and principles of academic integrity. In this analysis, which examines the relationship of Graham Hair's Sufi Couplets with the mystical philosophies of Mevlana Jalaluddin Rumi and Yunus Emre, respect was shown to the philosophical depth of the mentioned thoughts and cultural values. Ethical standards were fully observed by carefully respecting the copyright and confidentiality rights of third parties.

Supporting Institution

All stages of the research were carried out independently, and no external funding or institutional support was provided for the execution of the study.

References

  • Barks, C. (1995). The Essential Rumi. HarperCollins.
  • Chittick, W. (1983). The Sufi Path of Love: The Spiritual Teachings of Rumi. State University of New York Press.
  • Chittick, W. (2000). Sufism: A Short Introduction. Oneworld Publications.
  • Ernst, C. (1997). The Shambhala Guide to Sufism. Shambhala.
  • Keshavarz, F. (1998). Reading Mystical Lyric: The Case of Jalal al-Din Rumi. University of South Carolina Press.
  • Kramer, L. (2021). Musical Meaning: Toward a Critical History. University of California Press.
  • Lewis, F. (2000). Rumi: Past and Present, East and West. Oneworld Publications.
  • Monelle, R. (2001). The Sense of Music: Semiotic Essays. Princeton University Press.
  • Nasr, S. H. (1987). Islamic Art and Spirituality. State University of New York Press.
  • Nicholson, R. A. (1978). Rumi: Poet and Mystic. Unwin Hyman.
  • Schimmel, A. (2011). Mystical Dimensions of Islam. University of North Carolina Press.
  • Schimmel, A. (2001). Rumi’s World: The Life and Works of the Greatest Sufi Poet. Shambhala Publications.
  • Sells, M. (1996). Early Islamic Mysticism: Sufi, Quran, Mi'raj, Poetic and Theological Writings. Paulist Press.
  • Turino, T. (1999). Signs of Imagination, Identity, and Experience: A Peircian Semiotic Theory for Music. Ethnomusicology, 43(2), 221-255. https://doi.org/10.2307/852734
Year 2024, Volume: 5 Issue: Special Issue: Mevlana's Philosophy and Art, 85 - 95

Abstract

References

  • Barks, C. (1995). The Essential Rumi. HarperCollins.
  • Chittick, W. (1983). The Sufi Path of Love: The Spiritual Teachings of Rumi. State University of New York Press.
  • Chittick, W. (2000). Sufism: A Short Introduction. Oneworld Publications.
  • Ernst, C. (1997). The Shambhala Guide to Sufism. Shambhala.
  • Keshavarz, F. (1998). Reading Mystical Lyric: The Case of Jalal al-Din Rumi. University of South Carolina Press.
  • Kramer, L. (2021). Musical Meaning: Toward a Critical History. University of California Press.
  • Lewis, F. (2000). Rumi: Past and Present, East and West. Oneworld Publications.
  • Monelle, R. (2001). The Sense of Music: Semiotic Essays. Princeton University Press.
  • Nasr, S. H. (1987). Islamic Art and Spirituality. State University of New York Press.
  • Nicholson, R. A. (1978). Rumi: Poet and Mystic. Unwin Hyman.
  • Schimmel, A. (2011). Mystical Dimensions of Islam. University of North Carolina Press.
  • Schimmel, A. (2001). Rumi’s World: The Life and Works of the Greatest Sufi Poet. Shambhala Publications.
  • Sells, M. (1996). Early Islamic Mysticism: Sufi, Quran, Mi'raj, Poetic and Theological Writings. Paulist Press.
  • Turino, T. (1999). Signs of Imagination, Identity, and Experience: A Peircian Semiotic Theory for Music. Ethnomusicology, 43(2), 221-255. https://doi.org/10.2307/852734
There are 14 citations in total.

Details

Primary Language English
Subjects Interpretation in Western Classical Music
Journal Section Music
Authors

Fırat Altun

Early Pub Date December 30, 2024
Publication Date
Submission Date October 16, 2024
Acceptance Date December 29, 2024
Published in Issue Year 2024 Volume: 5 Issue: Special Issue: Mevlana's Philosophy and Art

Cite

APA Altun, F. (2024). The musical representation of unity, divine love, and inner journey in Graham Hair’s Sufi Couplets. Journal for the Interdisciplinary Art and Education, 5(Special Issue: Mevlana’s Philosophy and Art), 85-95.

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