Mustafa Demirci

Ilahiler (singular: ilahi) are Turkish Sufi hymns—devotional songs in the Turkish language that praise God, the Prophet Muhammad, saints, and express mystical yearning and ethical counsel. They are a core strand of Ottoman/Turkish religious and tekke (dervish lodge) music, typically set in the makam (modal) system and performed with simple, singable melodies and memorable refrains. While ilahiler can be sung a cappella, they are often accompanied by instruments associated with Ottoman and Sufi music—ney (end-blown reed flute), ud, tanbur, kanun, and small devotional drums such as bendir and kudüm. Texts commonly draw on the poetry of Yunus Emre, Niyazi-i Mısri, and other Sufi poets. Musically, ilahiler balance accessibility and spiritual depth: they favor clear melodic contours, limited ambitus, and steady usul (rhythmic cycles) like Sofyan (4/4), Düyek (8/8), Aksak (9/8), or Semai (6/8), with occasional free-rhythm passages. They are performed in mosques and dervish lodges, in religious gatherings (zikr/sohbet), and in domestic devotional settings, and today also exist in concert, recording, and media contexts.

Sufi is a devotional musical tradition rooted in Islamic mysticism that seeks to induce remembrance of the Divine (dhikr) and transport performers and listeners toward spiritual ecstasy (wajd). It is not a single uniform style, but a family of practices that vary across regions—most notably Persian/Iranian, Anatolian/Turkish (Mevlevi), Arab, and South Asian (qawwali, kafi). Musically, Sufi repertoire tends to revolve around repetitive, mantra-like refrains, call-and-response between lead and chorus, and gradual intensification over cyclical rhythms. Melodic language draws from regional modal systems such as the Persian dastgāh, Ottoman/Turkish makam, and South Asian raga, and is often supported by drones. Texts are central: poetry by mystic masters like Rumi, Hafez, Bullhe Shah, and Amir Khusrau is sung in Persian, Urdu, Punjabi, Arabic, Turkish, and other languages. Instrumentation varies by locale—harmonium, tabla/dholak, tanpura, and clapping in South Asia; ney, kudüm, bendir, and tanbur in Turkey; oud and frame drums across the Arab world—yet the unifying aim is spiritual uplift and inner transformation.