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The book's overall structure and analyses are informed by Deleuze and Guattari's idea of the rhizome ([1980] 1987) as an alternative to more familiar treelike metaphors for social or conceptual relationships. In an insightful twist, however, Gill argues that this narrative of loss-and the melancholy that its reiterations so often produce-is what defines the genre of Turkish classical music, an otherwise messy aggregate of musical practices that historically emerged in diverse contexts among diverse communities. In Makamsız: Individualization of Traditional Music on the Eve of Kemalist Turkey, Martin Greve leverages his longtime immersion in Istanbul's musical and musicological life to offer an ambitious, wide-ranging survey of Turkey's music scene over the past twenty years and to probe music history as it "search[es] for precursors of the present" (13). Makamsız represents a kind of stock taking by someone who has read extensively in the scholarship on the music of Turkey and, after years of listening to and observing the output of the Turkish music industry, tries to make sense of some broad trends that might elude the attention of any scholar who delineates a more focused genre or phenomenon as a topic of research.