Sufi music in Syria and Morocco by Daniel Daniel

My Bachelor's project investigates the spellbinding Sufi music practices by questioning and comparing its origins and traditions in two culturally significant locations: Syria and Morocco. It is interesting in the various but spiritually connected manner of two prominent Sufi orders—the Qadiri Boutchichi Tarika in Morocco and the Naqshbandi Tarika in Syria. These orders not only serve as spiritual guides but also play a central role in preserving and disseminating the unique art of Sufi music. This artistic research consisted of different steps. I interviewed two Sufi musicians, the first one from Morocco and the second one from Damascus. The questions were focused on the differences and the similarities between the two cultures, instruments, melodies, and rhythm. I studied Sufi music from Arabic sources as well, so I had to translate many important historical facts, taking into account the ethics of the research. I relied on my musical background in this research as part of the Syrian Sufi music and on my tours during Sufi music festivals, where I met Sufi musicians from different countries. Being a seasoned Sufi music practitioner myself, I tried to add a personal touch to this work based on my experience. I found many cultural differences between the two Sufi music styles, but I found many similarities at the same time. Two countries in different places far from each other have wide cultural diversities, but the same rhythm is the key to making the conversation with the divine. Dhikr is a mutual element as well, even though it has some special details related to the geographical region. Keywords: Sufism, Sufi music, Morocco, Damascus, Universal, History

Ethics

Due to the focus of my research on Arabic sources, I did not locate sufficient English-language materials. This reliance on Arabic resources necessitated the transliteration of Arabic names into English, a process that proved challenging. Consequently, you may encounter instances where the same source is cited under two different names.

I based my research on the TENK guidelines and did some things to help keep everything as ethical as possible.

URL: https://tenk.fi/sites/default/files/2023-11/RI_Guidelines_2023.pdf

- Informed Consent and Voluntary Participation:

Before we started, I gave each of the potential participants a full information sheet on the study—what we were trying to do, the methods, possible risks, and benefits. I made it clear that their participation was entirely at their discretion, and they could withdraw at any time without any hassle. I did not go forward until I had their written consent.

- Following the European GDPR Guidelines:

I handled all participants' personal data with extreme care by gathering only the absolutely necessary. I also informed participants about their rights, including how to access, rectify, or delete their data. I anonymized or pseudonymized data wherever possible so that their identities would not be disclosed.

- Protecting the Research Participants:

To keep the data safe from damage, I made sure that only I, who really needed to see the data, was allowed to access the data. Any sensitive personal data was excluded or stored completely separate from the bulk data. I also went the extra mile to ensure that the environment, while collecting the data, was respectful and as secure as it could be.

- Data Storage, Security, and Destruction:

All data was stored safely on encrypted servers and accessed with strong passwords. I was constantly checking these systems to ensure everything was safe. As per the guidelines and our policy, the data will be kept for as long as it's needed to finish the research and present the results and then will be completely and securely destroyed.

Overall, taking these steps helped me protect everyone involved and kept the research ethical and respectful.

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Daniel Daniel - Sufi music in Syria and Morocco - 2025