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