An Orient of One’s Own: Music and Islamic Modernism in the Late Ottoman Empire

Abstract During the late nineteenth and early twentieth centuries, Muslim intellectuals sought to articulate new forms of Islamic thought and practice that would be suitable for the modern world. Islamic modernist movements drew on concepts of civilization, progress and science that were integral to European imperialism while also constituting a critical response to the latter. In this essay, I examine the views of prominent Ottoman Muslim reformists concerning music, and situate them within a transnational debate about Islam and modernity. While the views of earlier reformers were shaped by Eurocentric notions of musical progress, an oppositional discourse emerged at the end of the nineteenth century. This discourse, associated especially with Rauf Yekta (1871–1935), appropriated the idea of ‘the Orient’ in order to establish a pan-Islamic narrative of music history, which also emphasized the scientific aspects of Islamicate music theory. In the final part of the essay, I discuss how debates about musical reform were related to the political dynamics of the late Ottoman Empire, particularly in terms of religious and ethnic identity. In conclusion, I argue that the discursive categories of the late nineteenth century continue to underly music historiographies both in the West and in other places, precisely as a consequence of the global connections that emerged during this period. In order to write more ‘global’ histories of music, it is therefore necessary to move beyond the analysis of Western colonialist representations by engaging more closely with non-European sources and discourses, which reveal more entangled and ambivalent stories about music, empire and modernity.