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This book traces the mixing of musical forms and practices in Istanbul to illuminate multiethnic music-making and its transformations across the twentieth and twenty-first centuries. It focuses on the Jewish religious repertoire known as the Maftirim, which developed in parallel with "secular" Ottoman court music. Through memoirs, personal interviews, and new archival sources, the book explores areas often left out of those histories of the region that focus primarily on Jewish communities in isolation, political events and actors, or nationalizing narratives. Maureen Jackson foregrounds artistic interactivity, detailing the life-stories of musicians and their musical activities. Her book amply demonstrates the integration of Jewish musicians into a larger art world and traces continuities and ruptures in a nation-building era. Among its richly researched themes, the book explores the synagogue as a multifunctional venue within broader urban space; girls, women, and gender issues in an all-male performance practice; new technologies and oral transmission; and Ottoman musical reconstructions within Jewish life and cultural politics in Turkey today.
- Sales Rank: #979434 in eBooks
- Published on: 2013-07-24
- Released on: 2013-07-24
- Format: Kindle eBook
Review
"This remarkable book provides a 'thick description' of the social relations that produced this music . . . Jackson's eminently clear and graceful writing style will help to make the topic available to a wider readership in ethnomusicology as well as Middle Eastern and Judaic studies . . . [T]his book is both a remarkable snapshot of the situation of maftirim in the middle of the first decade of the 21st century as well as a retrospective view of conditions during the transition from Empire to Republic . . . We are grateful to Maureen Jackson for providing us with multiple insights on these topics."—Walter Feldman, International Journal of Middle East Studies
"Jackson gracefully weaves together history, politics, ethnography, and her own reflections, so that the audience ultimately feels quite at home in a textually portrayed world that most readers will not know first-hand, or, in the case of those who are familiar, will likely gain new insights and perspectives . . . [T]his is an engrossing, informative, and thought-provoking volume that I enjoyed, learned from, and recommend."—Dr. Judith R. Cohen, Sephardic Horizons
"This study of Maftirim, a paraliturgical musical suite sung by men in Istanbul synagogues on Saturday afternoons, is a valuable addition to a growing literature on the cultural life of minorities in Ottoman Turkey and the modern Turkish Republic . . . This book is elegantly written, deeply researched, and beautifully illustrated. It achieves a great deal in its five short chapters."—Martin Stokes, American Historical Review
"By treating the private, discrete narratives of individual figures, this innovative book brings to life the nuances of daily existence and social accommodation in the musical culture of modern Turkish Jews. This refreshing approach provides new insights on topics that have been left unsaid by more conventional narratives about this subject."—Edwin Seroussi, Hebrew University of Jerusalem
About the Author
Dr. Maureen Jackson is a research scholar of Jewish and Ottoman-Turkish Studies based in Seattle, Washington.
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1 of 1 people found the following review helpful.
An Endangered Music
By Dr. Debra Jan Bibel
Besides the liturgical Hebraic chants of the Torah and Haftarah, which like Qu'ran chants are of Semitic origin, and the Ladino ballads and romances whose origin is Sefarad Spain, Jewish music of the Ottoman and Turkish republic includes the mystical poetic choral hymns, the miftirim, which arose under the influence of classical art music of the court and Mevlevi Sufi music. This excellent, award-winning book explores this endangered music from a historical, sociological, and political perspective. Its descriptions, biographical sketches, and onsite perspectives afford insight into a once major center of Jewry.
Small clusters of Jews existed in Byzantium before the Oghuz Turk conquest, but the population increased substantially when the Sultan of the Ottoman Empire offered refuge to the Jews of Spain after their forced exile in 1492. Already familiar with Arabic maqams (modal scales) and their taksim improvisations, Jewish musicians were able to shift to the similar Persian-Turkish modes; and just as Jews, Muslim Arabs and Berbers, and Christian Europeans shared each other's music in Spain, the Sufi lodges welcomed Jews and Armenians to hear and learn their own hymns and musical forms. In turn, Sufis visited synagogues. The relationship was so cordial that when the Sufi lodges and practices were banned in the early days of the Republic, Mevlevis held their sema musical rites 'under the radar' within synagogues.
Author Maureen Jackson presents four Jewish musicians as examples of specialization and adaptation: Chief Rabbi Hayim Mose Becerano [1846-1931] and cantor Samuel Benaroya [1908-2003], who engaged in liturgy and miftirim; Nesim Sevilya [1856-1949], who performed popular songs and miftirim; and Misirili Ibrahim Efendi [1878-1948], who played the ud and sang and recorded art and popular songs. [As part of the nationalization and homogenization edicts of Turkey in 1934, Jewish and Armenian names were turned into Turkish equivalents. Korean residents in Japan also have to convert their names, and around this time immigrants to the United States also were obliged to find English or shortened forms.] Musical training followed the oral route, as until recently, there were no suitable notation to cover complex vocal ornamentation nor recordings. Other than hearing music in neighborhood homes, churches, and synagogues, gazino entertainment centers presented art songs, and later radio and musical societies offered other outlets for popular music. As part of Kemel Ataürk's modernization processes, European music and musical styles were introduced and emphasized over ethnic forms, and in the 1930s German Jews fleeing the Nazis to come to Istanbul and Ankara to instruct how to adapt Turkish folk melodies into Western format. Paul Hindemith, whose father-in-law was Jewish, developed a conservatory for Turkish opera; ballet, and concerti.
The book also discusses gender issues. In the synagogue, women were separated, sitting upstairs. They were not allowed to sing, and thus did not participate in miftirm and certainly were not among the clergy, nor were they permitted to record. At home, they kept Ladino folk tunes alive and did learn informally and privately the religious songs and classical art music. Their musicmaking was limited to weddings and similar family occasions as well as Sabbath and passover rites and tunes.
After the establishment of modern Israel, nearly half the Turkish population emigrated and fewer than 20,000 remain, mainly in Istanbul. The restrictive minority laws was another factor for leaving. Facing changes in musical taste with simpler and faster popular music, classical art music became a scholarly, eclectic study and maftirim is now performed by only two groups, one for public performances in national, multi-religious commemorative concerts. Oral transmission continues but computer-developed arrangements, song collections, and particularly recordings bring futher risk to the musical form. For future generations, CDs will create a standardized vocal styling, choral sound, and interpretation, when teacher-induced variation was the hallmark. While Europe now has created Jewish museums and organized old Jewish districts to welcome Jewish tourists, Turkey still is engaged in Islamic dominance and minority suppression; the remaining synagogues have strong security measures, and Sufis are still largely quiet and hidden despite the Rumi museum in Konya and programs of dervish dancers for tourists. This book, Mixing Musics, is not about fusion but does explain the processes of musical exchange and development. It is an important and fascinating addition to Jewish history and ethnomusicology.
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