The epilogue follows Samuel Benaroya, one of the Ottoman-born Jewish musicians discussed in Chapter One, as he emigrates from Turkey to Seattle, Washington. his life story of a single Maftirim master in a North American context provides an opportunity to recap the main arguments of the book and reflect on musical change and continuity in a new social environment and among new generations of Turkish Jewish immigrants. Through his daughter and his own teaching methods, we witness ongoing Ottoman modes of transmission and gender-related connections with Turkish society. Concurrently, musical attenuation occurs through less acculturated younger generations in diaspora and his own non-performance of Maftirim music. Both a recent CD of Benaroya and the Maftirim project reconstruct the music for future listeners, learners, and scholars. The book has called us to listen to and understand Maftirim music through the intercommunal social history resonant between its lines.
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