Research Article

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

Volume: 5 Number: Special Issue: Mevlana's Philosophy and Art December 30, 2024
EN

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

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.

Keywords

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.

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.

References

  1. Barks, C. (1995). The Essential Rumi. HarperCollins.
  2. Chittick, W. (1983). The Sufi Path of Love: The Spiritual Teachings of Rumi. State University of New York Press.
  3. Chittick, W. (2000). Sufism: A Short Introduction. Oneworld Publications.
  4. Ernst, C. (1997). The Shambhala Guide to Sufism. Shambhala.
  5. Keshavarz, F. (1998). Reading Mystical Lyric: The Case of Jalal al-Din Rumi. University of South Carolina Press.
  6. Kramer, L. (2021). Musical Meaning: Toward a Critical History. University of California Press.
  7. Lewis, F. (2000). Rumi: Past and Present, East and West. Oneworld Publications.
  8. Monelle, R. (2001). The Sense of Music: Semiotic Essays. Princeton University Press.

Details

Primary Language

English

Subjects

Interpretation in Western Classical Music

Journal Section

Research Article

Authors

Early Pub Date

December 30, 2024

Publication Date

December 30, 2024

Submission Date

October 16, 2024

Acceptance Date

December 29, 2024

Published in Issue

Year 2024 Volume: 5 Number: Special Issue: Mevlana's Philosophy and Art

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. https://doi.org/10.5281/zenodo.14593986
AMA
1.Altun F. The musical representation of unity, divine love, and inner journey in Graham Hair’s Sufi Couplets. JIAE. 2024;5(Special Issue: Mevlana’s Philosophy and Art):85-95. doi:10.5281/zenodo.14593986
Chicago
Altun, Fırat. 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. https://doi.org/10.5281/zenodo.14593986.
EndNote
Altun F (December 1, 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.
IEEE
[1]F. Altun, “The musical representation of unity, divine love, and inner journey in Graham Hair’s Sufi Couplets”, JIAE, vol. 5, no. Special Issue: Mevlana’s Philosophy and Art, pp. 85–95, Dec. 2024, doi: 10.5281/zenodo.14593986.
ISNAD
Altun, Fırat. “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 (December 1, 2024): 85-95. https://doi.org/10.5281/zenodo.14593986.
JAMA
1.Altun F. The musical representation of unity, divine love, and inner journey in Graham Hair’s Sufi Couplets. JIAE. 2024;5:85–95.
MLA
Altun, Fırat. “The Musical Representation of Unity, Divine Love, and Inner Journey in Graham Hair’s Sufi Couplets”. Journal for the Interdisciplinary Art and Education, vol. 5, no. Special Issue: Mevlana’s Philosophy and Art, Dec. 2024, pp. 85-95, doi:10.5281/zenodo.14593986.
Vancouver
1.Fırat Altun. The musical representation of unity, divine love, and inner journey in Graham Hair’s Sufi Couplets. JIAE. 2024 Dec. 1;5(Special Issue: Mevlana’s Philosophy and Art):85-9. doi:10.5281/zenodo.14593986
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