Ottoman Turkish Music — Books

  • Handbook: Mavo le-Musiqah ha-Turkit Ottomanit (“Introduction to Ottoman Turkish Music,” vol. 8 of Ha-Musiqah ha-‘Aravit be-Mizrah ha-Tikhon (“Arabic Music in the Middle East”.     Edited by Naftali Venger and Amatzia Bar-Yosef. Tel-Aviv: The Open University, 2015.
  • Ottoman Turkish Music Anthology. Istanbul Metropolitan Municipality (2001).
  • Music of the Ottoman Court: Makam, Composition and the Early Ottoman Instrumental Repertoire. Berlin: Verlag für Wissenschaft und Bildung (1996).
  • Co-editor of Feldman, Guettat: Music in the Mediterranean: Modal and Classical Traditions. Volume I: History, Volume II: Theory and Practice. Thessaloniki: EnChordais (2005, unpublished).

Ottoman Music — Articles, Liner Notes, Reviews

  • “Itri’s ‘Nühüft Sakil’ in the Context of Ottoman Peşrevs of the Seventeenth Century”. For Stokes, M. and Harris, R. (eds.), Tuning the past: essays in honour of Owen Wright. London: Ashgate, 2018: 73-82.
  • “The Art of Melodic Extension Within and Beyond the Usul,” in Rhythmic Cycles and Structures in the Art Music of the Middle East, edited by Zeynep Helvacı, Jacob Olley and Ralf Martin Jaeger.Würzburg: Ergon Verlag, 2017: 154-176.
  • “The Musical ‘Renaissance’ of Late Seventeenth Century Ottoman Turkey: Reflections on the Musical Materials of Ali Ufki Bey (ca. 1610-1675), Hafiz Post (d. 1694), and the ‘Maraghi’ Repertoire,” in Greve, M. (eds.), Writing the History of Ottoman Music, Würzburg: Ergon Verlag, 2015: 87-138.
  • “Forward” to Pennanen, Poulos and Theodosiou (eds.), Ottoman Intimacies, Balkan Musical Realities. (Helsinki: Finnish Institute at Athens, 2013), i-ii.
  • Review of Maureen Jackson, Mixing Musics: Turkish Jewry and the Urban Landscape of a Sacred Song, Stanford University Press, 2013, in IJMES, vol, 46/03, (2014), 611-613.
  • “Çalgılar ve Çalgı Icraları” (translation of “Instruments and Instrumentalists” from Feldman, 1996, Part I, Chapter 2), Porte Akademik: Müzik ve Dans Araştırmaları Dergisi, Yıl 3, Sayı 2: “Organoloji & Organology.”  Istanbul: ITU, 2012, 162-215.
  • “17. Yüzyılın müzikal formları: Ali Ufki, Evliya Çelebi ve Kantemiroğlu arasında Itri,” (“Seventeenth Century Musical Forms: Itri Between Ali Ufki, Evliya Çelebi and Cantemir”), in E.Ayvaz, I. Baliç (eds.), Itri ve Dönemine Disiplinlararası Bakışlar. Istanbul: OMAR, 2012, 87-94.
  • “Mysticism, Memory and History in the Mevlevi Ayin”,  International Mevlana Symposium Papers. Istanbul: Motto Press, 2010: 1209-1222.
  •  “Necdet Yaşar,” in Gonca Tokuz (ed.), Tanburi Necdet Yaşar: Anılar, Dostlar. Istanbul 2009, pp. 210-216.
  • In Feldman, Guettat (eds.), vol. I: History: (in press) “The Social Conditions for the Emergence of Ottoman Music”; “Creation of the Formal and Genre System of Ottoman Music”; “Music of the Mevlevi  Dervish Ceremony: The First Selam of the Saba Ayin of Ismail Dede Efendi (1823)”, “Postscript to the Volume of History.”
  •  In volume II: Theory and Practice (in press)
  • “Ottoman Music of the Modern Era (1839-1923)”;“The Functioning Repertoire; Organization, Elements of Form: Ottoman Turkey”
  • “An Appraisal of the Works of Tanburi Isak Fresko-Romano (1745-1814)” in Tanburi Isak, EnChordais CD (2005)
  • “Ottoman Music,” The New Grove Dictionary of Music and Musicians. London: Macmillan, vol. 18 (2001): 809-815.
  • In The Garland Encyclopedia of World Music, New York and London: Routledge, vol. 6, (2002): “Ottoman Turkish Music: Genre and Form,” 113-128; “Music in Performance: Who Are the Whirling Dervishes?” 107-112; “Manifestations of the Word: Poetry and Song in Turkish Sufism” 189-197.
  • “Structure and Evolution of the Mevlevi Ayin: the Case of the Third Selam” in Hammarlund, Olson and Özdalga (ed.), Sufism, Music and Society in Turkey and the Middle East. Istanbul: Swedish Research Institute, (2001): 49-65.
  • “Hala Gizemini Koruyan bir Besteci Itri” (“Itri, a Composer Who Still Keeps His Secrets”), Sanat Dünyamız. Istanbul: Yapı Kredi, no. 73 (1999), 250-54.
  • Essay for "Bosphorus 1997: Ottoman Instrumental Music." Yapi ve Kredi Bank, Istanbul.
  • “Ottoman Sources on the Development of the Taksim,” Yearbook for Traditional Music, vol. XXV, (1993):1-28.
  • “Musical Genres and Zikir of the Sunni Tarikats of Istanbul," in R. Lifchez (ed.),  The Dervish Lodge: Art, Architecture, and Sufism in Ottoman Turkey, University of California Press, (1992): 187-202.
  • Notes for "The Necdet Yasar Ensemble: Music of Turkey." Music of the World CD, (1992).
  • "Jewish Liturgical Music in Turkey," Turkish Music Quarterly, vol.3, no. 1, (1990):10-13.
  • “Cultural Authority and Authenticity in the Turkish Repertoire.” Asian Music 22 (1), (1990/91): 73-112.
  • “Mehter,” The Encyclopedia of Islam, VI/113-114, Leiden, E.J. Brill, (1990): 73-112.
  • “Ottoman Turkish Music,” Maqam: Music of the Islamic World and its Influences. New York: Alternative Museum (1984), 21-24.

 

Klezmer Music — Books & Works in Progress

  • Klezmer: Music, History and Memory (Oxford University Press, 2016).
  • Untold Stories: Klezmer Music of Bessarabia and Historical Moldova, a Transnational Journey Through Istanbul to America. (In progress).
  • With Michael Lukin, “East European Jewish Folkmusic”, for Oxford Online Bibliographies in Jewish Studies, edited by Naomi Seidman (2017).

Klezmer Music & Ashkenazic Dance — Articles

  • “The Rise and Evolution of the Klezmer Profession from the Sixteenth to the Eighteenth Century in Bohemia and the Polish Commonwealth,” in Jewish Musical Cultures in Europe, 1500-1750, edited by Diana Matut. Leiden: Brill Press (2017, in press).
  • “Khasene: the East European Wedding and its Music”, in Jascha Nemtsov (ed.), Jüdische Musik als Dialog der Kulturn/Jewish Music as a Dialogue of Cultures, , Wiesbaden: Otto Harrasowtiz 2013: 15-42.
  • “The Klezmer Tsimbl (Cimbal)”, Porte Akademik: Müzik ve Dans Araştırmaları Dergisi, Yıl 3, Sayı 2: “Organoloji & Organology.”  Istanbul: ITU, 2012: 216-219.
  • "What is Jewish Dance?”, Jewish Ideas Daily (online, May 9, 2012).
  • “Traditional Instrumental Music;” “Dance: an Overview;” “Traditional Dance;” “Tsimbl,” The YIVO Encyclopedia of Jews in Eastern Europe . New Haven: Yale University Press, (2008).
  • “Remembrance of Things Past: Klezmer Musicians of Galicia, 1870-1940,” Polin: Studies in Polish Jewry, Volume Sixteen, Oxford: Littman Library of Jewish Civilization (2003): 29-57.
  • "Klezmer," section IV of the article “Jewish Music” in New Grove Dictionary of Music and Musicians, London: Macmillan (2001), vol. 13: 88-90.
  • “Klezmer Revived: Dave Tarras Plays Again” in Ilana Abramovitch and Sean Galvin (eds.), Jews of Brooklyn. Brandeis University Press (2000): 186-189.
  • “Music of the European Klezmer,” in Khevrisa: European Klezmer Music. Smithsonian-Folkways, Washington D.C., (2000): 2-29.
  • "Fidl: Klezmer Violin," Essay for Traditional Crossroads, CD by Alicia Svigals. (1996), 1-15.
  • “Bulgareasca, Bulgarish, Bulgar: the Transformation of a Klezmer Dance Genre,” Ethnomusicology, vol. 38: I, Winter (1994): 1-36. Revised version in Mark Slobin (ed.), American Klezmer: Its Roots and Offshoots. Berkeley: University of California Press (2002): 84-124.
  • “Klezmer-Muzik, Recordings from the YIVO Archives,” notes for LP produced by Henry Sapoznik (the first reissue of klezmer recordings, Folkways, 1981) 

Ottoman, Turkish, & Central Asian Literatures

  • The ‘Indian Style’ in Seventeenth Century Ottoman Poetry: Imitation and Interpretation (Book Manuscript)

  •  “The Indian Style in the Ottoman Literary Canon,” in S.R. Faruqi and A. Korangy (eds.), Sabk: Essays on Form, Manner and Stylistics of Metaphor in Persian and Indo-Persian Literatures (in press)

  • “Turkish Literature;” “Central Asian Literature;” “Chaghatay Literature:” “Turkmen Literature;” “Kazakh Literature,” Encyclopedia Britannica, (2011).
  • “Dough of the Body, Mirror of the Heart: a Comparison of Two Nazire Gazels of 17th Century Turkey.” Festschrift for Walter Andrews, edited by Mehmet Kalpaklı, Journal of Turkish Studies 34, summer 2010, pp. 253-270.
  • "Genre and Narrative Strategy in the Seven Planets of Mir Ali Shir Nava'i," Edebiyat vol. 10, (1999): 243-278.
  • "Time, Memory and Autobiography in The Clock Setting Institute of Ahmed Hamdi Tanpınar," Edebiyat vol. 8 (Spring 1998), 37-61.
  • "Imitatio in Ottoman Poetry: Three Ghazals of the Mid-Seventeenth Century," The Turkish Studies Association Bulletin, vol. 21, no. 2 (Fall 1997), 41-58.
  • “Two Performances of the Return of Alpamish”, Oral Tradition, 12/2 (1997), 337-365.
  • Translations of Ahmet Hamdi Tanpınar, Refik Halit Karay and Yahya Kemal Beyatlı for Kemal Sılay (ed.), An Anthology of Turkish Literature.  Bloomington: Indiana University Press (1996): 299-308, 384-390.
  • "The Celestial Sphere, the Wheel of Fortune and Fate in the Gazels of Nâ'ilî and Bâkî", The International Journal of Middle East Studies, 28/2 (May 1996), 193-215. 
  • "Mysticism, Didacticism and Authority in the Liturgical Poetry of the Halvetî Dervishes of Istanbul," Edebiyat, N.S. vol. II, no. 1 (1993), 243-265.
  • "Interpreting the Poetry of Makhtumquli,"  in Jo Ann Gross (ed.),  Muslims in Central Asia: Expressions of Identity and Change, Duke University Press (1992): pp. 167-189.
  • “A Musical Model for the Structure of the Ottoman Gazel,” Edebiyat, N.S. vol. 1, no. 1, (1987), pp. 71-89.
  • “The Motif-Line in the Uzbek Oral Epic,” Ural-Altaische Jahrbücher 55 (1983), 1-15.