Abstract
Abstract‘Dealing with ambiguity’ has become a pressing concern in many spheres of contemporary life, often presented as a ‘survival skill’ in an uncertain world. Working with ambiguity also plays a crucial role in the musical pedagogy of the Ottoman‐Turkish ney (Sufi reed flute), the playing of which I discuss in this article. Rather than a constraint or deficiency to be resolved, in the context of ney apprenticeship, ambiguity emerges as a desired pedagogical force not only valued but also deliberately amplified. My aim is to show how ambiguity is embraced here as a productive condition that maximizes possibilities for artistic exploration, freedom of discernment, and aesthetic pleasures.
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