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This chapter examines the condition of Napoleon Bonaparte during the days shortly after the Battle of Waterloo. It suggests that during this time Napoleon had given up on rebuilding his army or keeping his empire and that he was planning on a journey to the U.S. His rule ended on July 8, 1815, and on July 15 he was granted political asylum on HMS Bellerophon. Marshal Ney, Napoleon's trusted commander, was executed by firing squad on December 7, 1815.

The large village of Er-Reyremoo'n, which is situated a little above the site of Antinoe, on the opposite side of the Nile, may be called the port of the town of Mel'low'ee. A little further away, there is a site of Hermopolis Magna. Within the mounds, towards the south, is the large village of Ash'moo'ney'n, or Oosh'moo'ney'n, which was once a flourishing city; as its ruined mosque and some of the older houses seem to testify. Furthermore, this chapter describes Mel'low'ee, which is a moderately large and populous town, containing numerous shops and mosques; but situated at an inconvenient distance from the river. Adjacent to the village of Et-Tell is the site of a very large ancient town; of which there are considerable remains. Finally, this chapter talks about the town of Menfeloo't, which is situated on the western bank of the Nile.

This chapter introduces the reader to the ethnographic setting in Istanbul and to the core themes of the book. It addresses the ambiguous public life of the ney under the Turkish Republic, presenting it as a nexus point of interactions between individuals, national, and extra-national actors. It explores the ney’s contemporary material, artistic, symbolic, and pedagogical practices and meanings. In laying out the process of apprentice-style methodology undertaken to research the ney, the chapter also reflects upon the dual roles and demands of being both apprentice and researcher, as well as the consequences each entails for ethnographic writing.

This is the first of three chapters that sketches out the core perceptual and sensorial transformations that learners go through as they attend to new ways of hearing, listening, and playing. The starting point is the first and ultimately most esteemed action in ney playing: crafting a beautiful sound. To which particular sonic qualities must novices pay attention in their sound-work? What new aural perceptions are at work here? The discussion in this chapter shows that to gain competence in ‘sound-ing well’ also means to enter into the material world of the ‘willful’ reed and to skillfully engage with it.

Chapter Five explores social and cultural practices that challenged traditional conventions of gender and sexuality in Brazilian society. In the late 1970s, emergent feminist and gay movements succeeded in expanding the range of leftist political debates to include discussions around gender roles, sexual desire, corporal pleasure, and other issues previously regarded as personal or private and therefore outside the realm of the political. These activists sought to link political repression to diverse forms of sexual repression such as the maintenance of male dominated gender relations, the policing of female sexuality, or the violent suppression of homosexuality. Here the author draws on the alternative press, especially the largest gay journal Lampião da Esquina. He examines here the influential work by performers who subverted gender norms, like former tropicalists Caetano Veloso and Gilberto Gil, the gender-bending troupe Dzi Croquettes, and gay icon Ney Matogrosso. The author also discusses left-wing intellectuals, including former guerillas such as Fernando Gabeira, who sought to redefine notions of masculinity during the final phase of military rule.

This chapter traces the journey of the German Theater's founder, Ludwig Ney, from Europe to Paraguay and, ultimately, Argentina. Shifting to Jewish actors, the chapter then reconstructs three Jewish thespian refugees' flights to South America and explores how their work onstage both exposed them to Nazi persecution and facilitated their escapes to an unlikely reunion in Argentina. This discussion emphasizes the interdependency between actors and audiences at theaters in times of crisis, casting dramatic performances as a laboratory for testing survival strategies amid the rise of European fascism. Another focus is the evolution of theater management during the 1930s. Bereft of state subventions, stages were compelled to upend the tradition of cultural theater, adopting instead a market-based approach to repertoire and advertising similar to popular entertainment venues, like the cinema. This controversial model became the blueprint for the Free German Stage in Buenos Aires.

Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as small as a single sound.

The conclusion offers important departure points for scholars to push ahead with the study of music, emotion, feeling, sound, and affective practices. Identifying and interrogating one affective particular—“melancholy”—in Turkish classical musicians’ historicizing, narrative, sonic, artistic, performative, and transmission processes, the conclusion argues that melancholies must be understood as affective practice. The ending compares normative U.S. and Turkish assumptions about melancholy, and interrogates the author’s own performances of melancholy and a trip to the rhizomatic reed beds of southeastern Turkey, where ney-s, the end-blown flutes of Turkish classical music, are first created. Finally, pain, suffering, and loss emerge as essential elements that Turkish classical musicians believe they must endure in life, for dialogue between musicians making music