Abstract
‘Dealing with ambiguity’ has become a pressing concern in many spheres of contemporary life, often presented as a ‘survival skill’ in an uncertain world. Working with ambiguity also plays a crucial role in the musical pedagogy of Ottoman-Turkish ney (the Sufi reed-flute) playing that I discuss in this article. Rather than a constraint or deficiency to be resolved, in the context of ney apprenticeship, ambiguity emerges as a desired pedagogical force not only valued but also deliberately amplified. My aim is to show how ambiguity is embraced here as a productive condition that maximizes possibilities for artistic exploration, freedom of discernment, and aesthetic pleasures.
| Original language | English |
|---|---|
| Pages (from-to) | 632-650 |
| Number of pages | 19 |
| Journal | Journal of the Royal Anthropological Institute |
| Volume | 28 |
| Issue number | 2 |
| Early online date | 11 Apr 2022 |
| DOIs | |
| Publication status | Published - Jun 2022 |
Bibliographical note
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