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The reed flute nai/ney was one of the most ancient instruments of the Near East. It had been adopted as the classic instrument of medieval Persian Sufis, and it maintained that role among the Mevlevis until the present day. Beginning with Rumi, the ney has been the subject of a continuous poetic discourse, first in Persian and then in Turkish. These Turkish verses created mainly by Mevlevi but also by other Turkish Sufi poets, developed the symbolism of both music and the sema, in a manner rather distinct from the theoretical poetic treatises mentioned in the previous chapter. It seems that Mevlevi neyzens (flautists) had helped to perfect the new Ottoman form of the ney with a mouthpiece, by the later sixteenth century. And with this newly improved ney, the Mevlevi neyzens perfected their form of improvised performance, known as taksim. While the neyzens performed taksim in many contexts, the music of the ayin ceremony came to begin with a highly developed and meditative performance, known as the baş-taksim (“head taksim”). |
