¹ From “Program Notes” prepared by Ribot and Zorn to accompany performances at the Art Projekt ’92 Festival, September 1992 (transcribed by Tamar Barzel, no page numbers, personal collection).

² Bohlman, Philip V., Jewish Music and Modernity (New York: Oxford University Press, 2008), 241.CrossRefGoogle Scholar

³ Adam Shatz, “Crossing Music's Borders in Search of Identity: Downtown, a Reach for Ethnicity,” New York Times, October 3, 1999, AR1. Responding to Shatz's article, see the letters by journalists Bill Milkowski and Larry Blumenfeld, and trumpeter Dave Douglas (a member of Zorn's Masada quartet) in New York Times, October 17, 1999, AR4. On Shatz's critique, see Scott Cuthbert, Michael, “Free Improvisation and the Construction of Jewish Identity Through Music,” in Studies in Jewish Musical Traditions, ed. Kaufman Shelemay, Kay (Cambridge: Harvard College Library, 2001), 1–31Google Scholar. See especially 17 ff.

⁴ For an overview of this controversy, see Hisama, Ellie, “John Zorn and the Postmodern Condition,” in Locating East Asia in Western Art Music, ed. Uno Everett, Yayoi and Lau, Frederick (Middletown, CT: Wesleyan University Press, 2004), 72–84Google Scholar.