The Convergence of Judaism and Islam. Religious, Scientific, and Cultural Dimensions

298 r Efrat E. Aviv

25. Edwin Seroussi, “HaMakam HaTurki BeShirat Yehudey Sepharad,” Apiryon 32
    (1994): 43–44; Molcho, “Lekorot Kehilot Israel,” 25.


26. Seroussi, “HaMakam HaTurki.” For Yahalom’s view on Turkish melodies, see Yo-
    sef Yahalom, “Rabbi Yisrael Najara ve Hithadshut HaShira Ha ̔Ivrit BaMizrah Le’achar
    Gerush Sefarad,” Pe ̔amim 13 (1982): 96–124.


27. Pamela J. Dorn Sezgin, “Hakhamim, Dervishes, and the Court Singers: The Rela-
    tionship of Ottoman Jewish Music to Classical Turkish Music,” in The Jews of the Otto-
    man Empire, ed. A. Levy (Princeton: Darwin Press, 1994), 595–96.


28. In Hebrew, sources spelled it Shikiyar, whereas Dorn Sezgin spells it şikar in
    “Hakhamim, Dervishes, and the Court Singers,” 596–97.


29. Moshe D. Gaon, “LaMenazeah Binginot,” Mahberet Vav 1–3, nos. 54–56 (1957):
    20–22.


30. Artistic Turkish music (Türk Sanat Müzig ̆i) is based on the notion of the Maccam.


31. Edwin Seroussi, Mizimrat Qedem: Hayav VeYetzirato HaMusiqalit Shel HaRav
    Yitzhaq Algazi MiTurkia (Jerusalem: Renanot, 1989), 13–14.


32. El Novelista, 10.1.1905, 18, quoted in Seroussi, Mizmirat Qedem.


33. Hazan, siman aleph, daf gimmel, ̔amud aleph.


34. Seroussi, “HaMusika shel HaShir Ha ̔amami,” 11–12.


35. David Tajar, “Zror Shirim Shel Yehudey Turkia,” Yeda ̔Am 31–32 (1967): 8–9.


36. Molcho, “Lekorot Kehilot Israel,” 25.


37. Dorn Sezgin, “Hakhamim, Dervishes, and the Court Singers,” 587–88.


38. Ibid., 596.


39. Eliezer Ben Shem Tov Papo, Damesek Eliezer—Orah Hayyim (Belgrade, 1877), daf
    Resh Het, ̔amud Aleph.


40. Hazan, siman aleph, daf aleph ̔amud Bet, daf bet, ̔mud aleph.


41. Yahalom, Shira ̔Ivrit Mistit, 628.


42. Hazan, siman aleph, daf Dalet, ̔amud Bet.


43. Hayyim Palacci, Lev Hayyim—Orah Hayyim, siman tet, daf yod ̔amud bet.


44. Bora, İzmir Yahudileri Tarihi, 94–95.