This article offers a descriptive analysis of a specific form (
uṣūl) of prophetic eulogy (
ṣalawāt) as vocally performed within Sufi orders such as the
Rifāʿiyya,
Qādiriyya, and
Jarrahiyya of today’s Türkiye. It combines a music–theoretical and music–sociological
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This article offers a descriptive analysis of a specific form (
uṣūl) of prophetic eulogy (
ṣalawāt) as vocally performed within Sufi orders such as the
Rifāʿiyya,
Qādiriyya, and
Jarrahiyya of today’s Türkiye. It combines a music–theoretical and music–sociological as well as ritual–theoretical perspective to examine how the structured performance of these chants functions both as a spiritual practice and as a means of social formation. Drawing on this dual perspective, the article analyses the underlying musical structures and elements of the
ṣalawāt chant, such as melody, rhythm, harmony, modal frameworks, and dynamics. By examining how these formal aspects shape the aesthetic experience, emotional resonance, and theological significance of the eulogy, the study aims to highlight its performative and affective potential within Sufi devotional practice. Within the ritual framework of Sufi orders (
ṭarīqa), this rhythmic and collective performance acts as a practice of
tazkiya an-nafs (self-purification), cultivating attentiveness, moral refinement, and communal belonging through synchronized voice, breath, and bodily presence. The repeated invocation of the Prophet Muḥammad, venerated as the perfect human (
al-insān al-kāmil), thus becomes a means of fostering inner transformation and spiritual proximity. In this way,
ṣalawāt chanting mediates religious meaning not only through text but through embodied experience and performative devotion.
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