Among the main characteristics of this music are its spiritual and divine content, as well as dhikr and supplication. It employs distinctive rhythmic patterns and meditative qualities that can create profound emotional and spiritual effects. Mystical music is one of the most important shared cultural bonds among the ECO member states and can contribute to strengthening a common cultural identity and shared mystical traditions across these countries. The works of Rumi, Hafez, Saʿdi, Ahmad Yasavi, and Jami have a strong presence in the musical traditions of these regions.
Mystical music transcends linguistic and ethnic boundaries and provides a platform for cultural dialogue and regional convergence, as seen in rituals such as the Mevlevi samāʿ in Turkey or Sufi dhikr practices in Central Asia. In many ECO countries, mystical music has been transmitted orally and is considered part of intangible cultural heritage, playing a crucial role in preserving ancient regional traditions. The central message of mystical music in the ECO region is the promotion of peace, spirituality, divine love, tolerance, and peaceful coexistence; for this reason, it is regarded as an effective instrument for strengthening a culture of peace in the region.
Prominent examples in ECO countries include samāʿ, na‘t recitation, devotional chanting, and khānaqāh dhikr practices in Iran, as well as Mevlevi music, the samāʿ of Konya, and A traditional maqam-based composition accompanied by the Ney flute in Turkey, performed during religious ceremonies, meditation, and dhikr rituals.
In the Republic of Azerbaijan, mystical music manifests in the form of mystical mugham, which incorporates Persian and Turkic mystical poetry and expresses inner and spiritual states; it is, in essence, a fusion of modal music and mysticism.
Iranian mystical music is closely intertwined with Sufism and the ideas of mystics such as Rumi, ʿAttar, Sanaʾi, and Hafez. In khānaqāhs, music functions as a tool for dhikr, samāʿ, and attaining a state of ecstasy; an experience of rapture and self-transcendence in which the seeker feels closeness to Absolute Truth. In this tradition, poetry plays a central role. The poems are rich in symbolism, the beloved, the journey, annihilation (fanāʾ), and subsistence or survival. (baqāʾ).
While these concepts appear worldly on the surface, they actually refer to spiritual and divine experiences. Therefore, understanding the poetry is essential to comprehending mystical music. Emphasis on improvisation, both instrumental and vocal, is another key feature of Iranian mystical music.
Mystical music in Turkey represents a deep and highly systematized tradition and can be considered one of the most coherent spiritual musical traditions in the Islamic world. It is directly connected to Sufi rituals, especially the Mevlevi order. The core of Turkish mystical music traces back to the ideas of Jalal al-Din Rumi. After him, his followers in Konya developed the Mevlevi samāʿ ritual, in which music, movement, poetry, and silence are all employed together to attain “divine love.” Samāʿ is not merely music but a complete ritual that begins with the recitation of the Qur’an and continues with specific musical compositions and whirling movements. The white garments symbolize the shroud, and the tall hat symbolizes the tombstone of the ego; every movement and every sound carry meaning. Whirling around the heart signifies the rotation of the cosmos and annihilation in the Divine. This music thus serves as a bridge between mysticism, art, and Ottoman historical identity.
In Afghanistan, mystical music is influenced by Iranian and Indian traditions and includes na‘t recitation, dhikr, and Sufi chants performed in religious ceremonies and khānaqāhs, often characterized by a supplicatory and prayer-like quality.
In Tajikistan, mystical music represents the continuation of the Persian mystical tradition. Its forms include the Shesh Maqam repertoire with mystical content, drawing on texts by Rudaki, Jami, and Rumi.
Pakistan is one of the most important centers of mystical music in the Islamic world. Its primary form is qawwali, with poetry praising the Prophet of Islam (peace be upon him) and Sufi saints. This music induces states of ecstasy and collective cohesion; its defining features include fast rhythms, repetition, and communal participation.
Mystical music in Uzbekistan is connected to Central Asian Sufism and includes Shesh Maqam traditions and the Sufi dhikr associated with Ahmad Yasavi, a Turkic Sufi, poet, and founder of the Yasavi order.
Mystical music in Turkmenistan is mainly expressed through spiritual narratives, including the songs of bakhshis, who recount mystical and ethical stories aimed at transmitting spiritual values through simple narratives.
Mystical music in Kazakhstan is closely linked to oral traditions and is expressed through ritual chants and dhikr, fostering a connection between spirituality and ethnic identity. One of its key characteristics is the integration of Islamic mysticism with indigenous cultural elements.
In Kyrgyzstan, mystical music is less frequently performed in formal contexts but remains deeply rooted in popular culture. It includes ritual and epic songs with mystical themes.
In essence, despite linguistic and performance differences, mystical music in the ECO member states shares common roots in Islamic Sufism and, as a language of spirituality, plays a vital role in cultural connection, shared identity, and transnational dialogue.