Addenda to "The Cümbüs as Instrument of 'the Other' in Modern Turkey"
a master's thesis by Eric Ederer

p. 29 In discussing possible historical precursor instruments to the cümbüs I should have included the instrument called seshane, 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 seshane 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 cümbüs ukulele also exists (though I don't know when the company began making them -- thanks Karl Catteeuw)

p. 45 Regarding variants of the cümbüs, 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
type is very limited." Also see p. 13 for a drawing of a (differently named)
lute with "a metal box.")

pp. 96 (fn. 96), 110, 111, 169 The name of the band Los Pasaros Sefaradis is misspelt. (Çok özür dilerim, arkadaslarim... no sé cómo se me escapó... ¡prometo corregirlo en futuras publicaciones!)

p. 97-8 Çeribasi Mehmet Ali's last name is Körüklü.

p. 115 Note that the Spanish group Radio Tarifa also uses cümbüs (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 Sahin Baloglu and Bilen Isiktas (...özer dilerim, arkadaslar!)