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Mixing MusicsTurkish Jewry and the Urban Landscape of a Sacred Song$

Maureen Jackson

Print publication date: 2013

Print ISBN-13: 9780804780155

Published to Stanford Scholarship Online: September 2013

DOI: 10.11126/stanford/9780804780155.001.0001

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(p.viii) (p.ix) Acknowledgments

(p.viii) (p.ix) Acknowledgments

Source:
Mixing Musics
Publisher:
Stanford University Press

Countless individuals and institutions supported the completion of this book. Ethnographic and archival materials gleaned from interviews, conversations, participant observation, and personal collections on both sides of the Atlantic form the foundation of the study. In Seattle, I am indebted to Judith Amiel and Isaac Azose, who generously offered their memories, knowledge, and encouragement throughout the course of the project. Thanks are also due Lilly De Jaen, Al and Isaac Maimon, and Rabbi Solomon Maimon. In Istanbul, musicians, scholars, and others made crucial contributions during the research, especially Cem Behar, Mehmet Güntekin, and David Sevi, together with Hayim and Victoria Abravanel, Rav Leon Yeuda Adoni, Nevzat Atlığ, Yusuf Altıntaş, Rıfat Bali, İzzet Bana, David Behar, Viki and Janti Behar, Victor Beruhiel, Rıfat Dana, Menahem Eskenazi, Jak Esim, Father Gaspar, Karen Gerson Şarhon, Moşe Grossman, Ahmet Gürsel, Selin Maçoro, Oral Onur, A. Nevzat Tırışkan, Necdet Yaşar, Alaeddin Yavaşça, and Yavuz Yekta. Credit also goes to the Maftirim singers at Şişli synagogue and in the Sinagog Maftirim Korosu.

The Fulbright Foundation supported research in Istanbul in 2005–2006 through a Fulbright-Hays International Dissertation Research Fellowship. At the University of Washington, fellowships from the Walter Chapin Simpson Center for the Humanities, the Textual Studies program, and the Samuel and Althea Stroum Jewish Studies program contributed to additional research, writing, and analysis. An ACLS Mellon New Faculty Fellowship in 2010–2012 supported completion of the book manuscript. Subventions from the AMS 75 PAYS Endowment of the American Musicological Association and the (p.x) Lucius N. Littauer Foundation have enriched the illustrative material of the final publication.

Academic mentorship and training at the University of Washington prepared me for my work. Sarah Abrevaya Stein is unmatched for cultivating an intellectually rigorous and empowering relationship, interwoven with kindness. Raimonda Modiano offered early and unconditional support for the project, and a theoretical home in her innovative Textual Studies program. Reşat Kasaba encourages the highest standards of scholarship and humanity, and Münir Beken exemplifies how an artist and scholar can thrive within the same human being. I also thank Kathie Friedman, Martin Jaffee, Paul Remley, and Philip Schuyler for their early encouragement; Biff and Jane Keyes for their loyal friendship; and the interdisciplinary Turkish Studies Research Group, led by Reşat Kasaba, for its companionship and commentary, especially Senem Aslan, Arda İbikoğlu, Ali İğmen, Turan Kayaoğlu, Sevim Kebeli, Selim Kuru, and Tuna Kuyucu. For reading and commenting on book chapters and incorporated articles, I am grateful to Cem Behar, Walter Feldman, Ian Jackson, Amy Mills, and Sarah Abrevaya Stein, and the anonymous readers of the original manuscript. I am indebted to Edwin Seroussi for his foundational research and generosity.

My research in Istanbul depended upon many acts of kindness and logistical support. I particularly thank Işık and Ferruh of Pan Yayıncılık; Lina Filiba, former Executive Vice President of the Hahambaşlığı offices, and her staff; Karen Gerson Şarhon, Coordinator of the Ottoman-Turkish Sephardic Culture Research Center; Gila Erbes of Gözlem Press; and Bensi Elmas, coordinator of the Sinagog Maftirim Korosu. The American Research Institute in Turkey (ARIT) not only provided library and living space, but also friendships and resources through its staff, Tony Greenwood, Gülden Güneri, and Semrin Korkmaz with Sündüz Gürses and Gazel Kayhan, and co-residents in 2005–2006, especially, Gábor Ágoston, Jane Hathaway, Başak Kuş, and Davidson MacLaren. For ongoing musical learning I am grateful to the teachers at Üsküdar Musıki Cemiyeti, conductor Atilla Gündüz and the Kasdav Korosu, and Robert Reigle, ethnomusicologist at Istanbul Technical University. I appreciate the translation assistance of Kai Herklotz, Shira Jaret, Hila Lenz, and Arzu Sekirden.

(p.xi) At numerous conferences and symposia I received valuable feedback on diverse aspects of this study. I especially thank the participants in the “Sacred Spaces, Sacred Sounds” conference in the Sawyer Seminar series, Diversity and Conformity in Muslim Societies: Historical Coexistence and Contemporary Struggles (University of North Carolina, at Chapel Hill, April 2010); “Creative Expressions of the Sephardic Experience” symposium (Indiana University, March 2009); “Integrating Sephardi and Mizrachi Studies: Research and Practice” conference (UCLA, November 2008); and “Entangled Lives: Social Encounters in the Mediterranean and Beyond” (Stanford University, Sephardi Studies Project and Mediterranean Studies Forum, May 2008). Invitations to speak at Yale University, the Hrank Dink Foundation, and the American Research Institute in Turkey, together with presentations at conferences of the Middle East Studies Association, the Society for Ethnomusicology, the Association for Jewish Studies, and the Society for Textual Scholarship have brought my work into fruitful and ongoing dialogue with a wide range of interdisciplinary scholars too numerous to thank individually.

Those working with me at Stanford University Press gracefully facilitated all aspects of the book’s publication. I especially thank Aron Rodrigue, Norris Pope, Mariana Raykov, Emma Harper, Richard Gunde, Rob Ehle, and David Stein. Credit is also due to independent cartographer Bill Nelson.

I am grateful for the constancy and encouragement of my family—my parents, Barbara and David Jackson; my sister, Nan, and brothers Mark and Ian; and my sister-in-law Ann and brother-in-law Vern. Beth Harris, Alix Huff, and Rie Nakamura offered the sweetness of aged-in-wood friendships, and Lynda Misher and Keith Snodgrass a second family as well. Finally, I owe a tribute to my late friend Hüseyin Özbek, with whom I first encountered Turkey and without whom this project might never have been conceived.

Portions of this study have been published previously as journal articles and are reproduced by permission of Duke University Press and Indiana University Press: “Crossing Musical Worlds: Ottoman Jewry, Music Making and the Rise of the Nation,” in Comparative Studies of South Asia, Africa and the Middle East, vol. 31, issue 3, pp. 569–587 (©Duke University Press, 2011), and “The Girl in the Tree: Gender, (p.xii) Istanbul Soundscapes, and Synagogue Song,” in Jewish Social Studies: History, Culture, Society, vol. 17, no. 1, pp. 31–66 (© Indiana University Press, 2010).