Addenda to "The Cümbüş
as Instrument of 'the Other' in Modern Turkey"
p. 29 In discussing possible historical precursor instruments to the cümbüş I should have included the instrument called şeşhane, which is mentioned in Feldman (op. cit., pp. 134-6); it is described as having six strings (courses of strings?) and a skin head. According to Evliya Çelebi despite being difficult to play, all makams could be performed on the şeşhane and it was popular at the Ottoman court until the late 17th century (ibid.). But as with the other instruments listed in this section, there is no reason to suppose Zeynel Abidin had ever seen one. The same may be said for the skin-faced medieval Arab mizhar (see Farmer 1930: 241).
p. 30 A cümbüş ukulele also exists (though I don't know when the company began making them - thanks Karl Catteeuw)
p. 45 Regarding variants of the cümbüş, there appears to be an
instrument played in Mosul, Iraq called the "djunbush," though I think it is safe to assume that
it appeared there long after Zeynel Abidin's invention
(see: Hassam, Scheherazade Qassim. 1982. "The Long-Necked Lute in Iraq" in Asian Music,
Vol. 13, No. 2., pp. 1-18. Especially p. 2: "Djunbush is used only in Mosul. It [the name]
is applied to a long-necked lute with a soundbox covered with animal skin. The use of this
pp. 96 (fn. 96), 110, 111, 169 The name of the band Los Paşaros Sefaradis is misspelt. (Çok özür dilerim, arkadaşlar... no sé cómo se me escapó... ¡prometo corregirlo en futuras publicaciones!)
p. 97-8 Çeribaşι Mehmet Ali's last name is Körüklü.
p. 115 Note that the Spanish group Radio Tarifa also uses cümbüş (thanks Raúl Santos)
p. 171 Here I mixed up the first and last names of two informants: both the "Interviews" section and the "Personal Communications" sections should acknowledge Bekir Şahin Baloğlu and Bilen Işιktaş (...özer dilerim, arkadaşlar!)