Ahmet Avni Konuk’s (1870–1938) Contributions to Mevlevī Music within the Late Ottoman Soundscape

Abstract: This article explores Ahmet Avni Konuk’s (1870–1938) dual role as a composer and theorist, highlighting his significant contributions to the reimagination of Turkish music during a period of profound transformation. Not a mere preservationist, Konuk’s contributions to the late Ottoman soundscape actively engaged with the intellectual and cultural currents of his time, particularly through his involvement with figures such as Zekāī Dede (d. 1897), his music master which represented a pivotal moment in the revival and restructuring of Ottoman-Turkish music. Konuk was closely involved with the revivalist efforts of other Ottoman intellectuals and Mevlevī music circles to reconnect with the core elements of Turkish music, particularly Raūf Yektā (d. 1935). His work focuses on the revival of forgotten modes ( maḳāms ) and ancient musical forms, breathing new life into traditions that had been overshadowed by the later developments in Ottoman music. By examining Konuk’s compositions, theoretical insights, and teaching methodologies, this article seeks to address how Konuk’s work reinforced Ottoman classical music in the face of the Western musical ascendancy, as well as how his dedication to maḳām (i.e., modal) theory aligned with contemporary intellectual currents that sought to uphold Ottoman cultural identity amid growing European influence. Examining Konuk’s oeuvre provides a lens into strategies adopted by late Ottoman musicians and intellectuals to uphold their cultural legacy, positioning Ottoman Turkish classical music not as a mere artifact but as a dynamic, living tradition. Following a discussion of Konuk’s historical context, this article examines his life and literary legacy, with a close examination of his major theoretical writings, most notably the Hānende and Konuk’s magnum opus, the Fihrist-i Maḳāmāt (The Index of Modes). This article concludes by examining Konuk’s compositional legacy and contributions to classical Ottoman Turkish music, examining his rhythmic, modal, and ceremonial ( āyin ) compositions.