The objective is to examine the roles of *tekkes* (dervish lodges) in the production, education, performance, and transmission of music within their historical and cultural contexts; to enable students to evaluate—based on primary sources—the relationships between music, *erkân* (ritual protocols), *dhikr* (remembrance/liturgy), *samâ* (ceremonial listening/whirling), and physical space across various Sufi order traditions; and to develop research skills for investigating the interactions between *tekke* circles and other musical environments, as well as their transformations over time.

This study explores the role, historical development, and functions of music within the culture of *tekkes* (Sufi lodges) and *tasavvuf* (Sufism), as well as the approaches toward *semâ* (ceremonial whirling), *zikir* (remembrance/invocation), and music within Sufi thought. It examines the relationship between *erkân* (ritual protocols), ceremonial order, and music across various Sufi orders (*tarikats*), drawing on selected examples from the Mevlevî, Halvetî, Celvetî, Kadirî, and Rifâî traditions. Musical forms—such as *ilahi*, *durak*, *na‘t*, *kaside*, and the *Mevlevî âyini*—are evaluated in the context of their performance. The study highlights the role of *tekkes* in *meşk* (traditional apprenticeship-based musical training), composition, performance, and the transmission of repertoire, while also analyzing the interplay between music and elements such as poetry, lyrics, instrumentation, physical space, and bodily movement. Furthermore, it offers a comparative discussion—based on written and aural sources—regarding the interactions between *tekke* circles and the musical traditions of mosques, the imperial court, and the broader urban environment, as well as the evolution of the settings in which this musical heritage was historically transmitted.