Oral Transmission Techniques in the Kaba
Zurna Repertoire
of Anatolian Zeybek Music
by Ali
Fuat Aydin [Izmir]
Zeybek melodies, which
come from the western part of Turkey, are significant elements in the Turkish
folk music repertoire of that region. These melodies are mainly played on a
combination of davul (drum) and kaba zurna (shawm) instruments,
especially by musicians in the Aydin-Germencik and Mugla-Milas areas
in that region. In an urban environment, performers of zeybek music recreate an
idealisation of a regional repertoire which was, and still may be, transmitted
orally from master to student or from father to son. But today the medium for
transmission can vary. In this paper, specifically oral transmission
techniques, and their effects on the regional melodic and rhythmic
configurations, tonal systems, pitch deviations and ornamental devices of
zeybek music in zurna playing will be examined.
As known, zeybeks
appears as an interesting identity which academics have offered different
opinions concerning their origins and the etymology of their names and which
has maintained its existence having their own culture. We do know that zeybeks found
an environment for living throughout the West Anatolia due to lack of authority
and other similar reasons in the period when the Ottoman Empire was beginning
to falter in administrative, political, economic and social terms as from the
16th century and especially through the 18th and 19th centuries.
Zeybeks had a
considerable effect on the society in the West Anatolia starting especially in
particular from the 19th century onwards, and established the present of the
music, dance and costume traditions of the Aegean. Having completed its mission
after the foundation of the Republic of Turkey, the zeybek
identity disappeared, but zeybek songs and
dances, the products of a culture survived for hundreds of years, prevail and
are still performed at almost every opportunity. Many of the dances are of
individual and solo[1]
nature; and largely improvised. There are exceptions but the majority are slow and asymmetrical in
rhythmic structure[2].
As in other
traditonal Turkish folk music tunes, makam-based aspects must be taken into
account in the Zeybek melodies. Within zeybek melodies found in West
Anatolia it can be seen that a
pitch range of more than an octave is used and Rast
(G), Dügah (A) and Segah (B) pitches are frequently used as tonic related to their makam structure. The
melodies are usually constructed using adjacent notes. Rhythmical patterns of
3+2+2+2, 2+2+2+3 and 2+2+3+2 constituting an overall 9 beat pattern, are the
norm. In slow zeybeks (ağır zeybek), while the 3 group is
usually found to be at the beginning of the cycle, as the tempo gets faster the
3 group gravitates to the end. In the slow zeybeks the vocal accompaniment is rare, a delayed
(ritardando) performance appears during the dance
accompaniment[3].
In contrast to the slower male zeybek
dances, a quicker, softer style is used in womens zeybek dances
in 3+2+2+2 format[4]. When
lyrics are used for these dances they tend to be compliments to - but regret
for the absence of - the beloved. The melancholic nature of these songs stands
would appear to be in conflict with the jauntiness of the melodies and rhythms used. However, folk music fulfils a recreational function, and
sad lyrics coupled with jolly rhythms is just part of the complexity of the
tradition, and is tied in with general expectations of form[5].
In West Anatolia zeybek dances performed in
public are more often accompanied by musicians playing the zurna (a loud, penetrating relative of the oboe)
and davul, a
double-sided drum (but since the start of the 20th
century instruments such as the clarinet and even the trumpet are beginning to
replace the zurna in
some regions). Elsewhere the bağlama (lute), kaval, kabak kemane and ince çalgı ensembles which consist of
oud (ud),
the Western violin (keman) and hand drum (darbuka) are in evidence.
It is seen that
especially in the Aydın area in Aydın-Germencik,
Aydın-İncirliova-Acarlar,
Aydın-Koçarlı-Şenköy and
Aydın-Umurlu-Kocagür; in
the Muğla area in Muğla-Milas-Selimiye
and Muğla-Milas-Dibekdere kaba zurna bands (teams) make their
livings by music. These musicians play especially in wedding ceremonies (only
in bridegrooms house) and other activities such as folk dances, camel
wrestlings, various celebrations and festivals etc.
Altough it is said that
the name of zurna[6]
comes from the Persian words sur and
nay, there are ideas about that the word comes from Arabic and Turkish
origin. Kaba zurna which has about two octave sound , is 55 cm in
length and it is the longest instrument of zurna family. It has
7-8 mm diametered 8 melody holes, 7 of which are on the
front part and one of them is on the back part. 3 of these front holes are closed with 1st,
2nd and 3rd fingers of right hand and hole on the back is
closed with right thumb, so the 4th finger is not used thus the other 4 holes are closed with 1st,
2nd, 3rd and 4th fingers of left hand, left
thumb is used to hold and balance the zurna. The performers that
use their hands reversely are said to be left-handed.
(Personal
interviews: Sadettin Doğan, Germencik-1997; Basri Eğriboyun,
Germencik-1997; Doğan Zentur, Germencik-1997; Hasan Akay, Milas-1996; Veli
Akay, Dibekdere-1997; Dursun Külahlı, Dibekdere-1997; Dursun Girgin,
Dibekdere-1998; Turgut Boncuk, Ulukonak-1990, Hasan Girgin, Dibekdere-2003).
The part which extends
like funnel shape from where melody holes finish is called as kalpak,
and also there are 5-6 mm diametered 7 holes called as devil holes (cin
deliği) in 3 lines (3 in the upper, 1 in the middle and 3 in the
lower part of the kalpak) which are filled with wax, paper or
similar materials for tuning on kalpak (Dursun
Külahlı, personal interview, Dibekdere-2007).
There is a part called fasla
or başlık which goes through the body and
attaches the body and the reed (kamış) in the part that
zurna blown. The reed is attached to a thin pipe called lüle.
Also for making breath reversing technique easier a round shape piece called ağızlık
is attached over lüle. The sound of the reed comes out from
the vibration of opening and closing of an outer hole which has been formed
into an ellips by crunching a tiny cylinder (Personal
interviews: Basri Eğriboyun, Germencik-2007, Dursun Külahlı,
Dibekdere-2007).
The intonation of kaba
zurna is very difficult. Due to the wideness of the holes; diesises and
flats could easily come out, by blowing technique, sound can be changed in an
interval without changing the finger position depending on the reed.
It is known that kaba
zurna was used in the mehter, karagöz
(shadow theatre) and orta oyunu (comedy plays) and court music in
the Ottoman period (Ötken, Tamer. http://www.angelfire.com/art2/otken/kullanim.htm). Today usually it is
used in Thrace (Edirne-Kırklareli) and mehter, in West
Anatolia (Aydın-Muğla) and Central Anatolia (Kırıkkale-Kırşehir). Performing techniques
in these regions are all different.
Like all zurna
family, in Thrace and mehter generally the tonic is defined in
accordance with the makam of the melody and the sound comes out
in 5-finger position accepted as Dügah (A) pitch; the
tonic generally used in Aydın and Muğla
is 7-finger also called as kaba düzen and the upper fourth
of that is 4-finger. In the region the tonics are defined x is defined
as in x-finger or in x where x is the number of closed holes
in the front part of the body and hence it is the number of used fingers for
closing these holes, for example in 3-finger or in 3. Whatever the tonic of
the makam is, all melodies are performed as transposed to these pitches
(Aydın,
1997:44; 2001a:51; 2005:47; personal interviews: Sadettin Doğan,
Germencik-1997; Basri Eğriboyun, Germencik-1997; Doğan Zentur,
Germencik-1997; Hasan Akay, Milas-1996; Veli Akay, Dibekdere-1997; Dursun
Külahlı, Dibekdere-1997; Dursun Girgin, Dibekdere-1998; Turgut Boncuk,
Ulukonak-1990; Hasan Girgin, Dibekdere-2003).
However some slow zeybek
melodies in local repertoires have their own tonics in the way they have been
performed coming from various reasons. For example, in Aydın, performing
İki Parmak Zeybeği in 2-finger, Kuruoğlu
Zeybeği in 3-finger, Soğukkuyu Zeybeği in
4-finger, Elifoğlu Zeybeği in 6-finger (Personal
interviews: Sadettin Doğan, Germencik-1997; Basri Eğriboyun,
Germencik-1997; Doğan Zentur, Germencik-1997); and in Muğla
performing İki Parmak Zeybeği in 2-finger, Soğukkuyu
Zeybeği in 3-finger, İnce Hava in 4-finger, Eski
Ferayi in 6-finger (Hasan Akay, personal interview,
Milas-1996) have become traditional; however today these tonics have been
started to be left, even present zurna players consider ability
to transpose melodies in any tonic as expertness and the opposite as
insufficiency (Personal interviews: Dursun Külahlı,
Dibekdere-1997; Dursun Girgin, Dibekdere-1998). For some of the
musicians, these traditional tonics should be used (Personal interviews: Hasan Akay, Milas-1996; Veli Akay, Dibekdere-1997,
Turgut Boncuk, Ömerler-1999).
In Thrace and mehter
the reed attached to the body horizontally and it is positioned between the
lips during performance. In Aydın and Muğla
the reed is used vertically and put into mouth till middle part of lüle
and played in the space become in mouth. In this playing technique ağızlık
is attached on lüle (Ötken, Tamer. http://www.angelfire.com/art2/otken/uflemeteknigi.htm).
Although in Aydın
and Muğla one or more drone zurnas (dem
zurna) are used (homophony); in Thrace and mehter usually drone
feature is used in taksims and in all other melodies other zurnas
company to soloist zurna or all zurnas play the melody all together (heterophony). In West Anatolia, in some regions except from Aydın
and Muğla, for example in İzmir a similar heterophonic
technique is used.
(Personal
interviews: Ramazan Onur, İzmir-1999; Yılmaz Okyay, İzmir-1999;
Mehmet Ündev, Ulukent-1999; Nebi Kayan, İzmir-1999).
On the other hand vibration
which is used often and a very significant technique in the performance of kaba
zurna (it should not be confused with tremolo done with fingers) is
done by beating tongue to the reed in the mouth space in Aydın
and Muğla, in Thrace and mehter it is obtained
with shaking the reed upside down which is positioned between the lips with the
help of the lips and the chin.
About performing
techniques of kaba zurna in Thrace and Muğla,
Dursun Girgin, Dursun Külahlı and Veli Akay, kaba zurna
musicians from Dibekdere, said Trachians plays zurna like
clarinet, we play zurna like zurna. Playing our zurnas requires very strong
breath and lung (Personal interview,
Muğla-Milas-Dibekdere-1998).
Davul
(drum) is used for rhythm in Aydın and Muğla. However, the davuls in
Aydın and Muğla have smaller diameters from the other davuls.
Their diameter is approximately 60cm. Calf skin is stretched on both sides of a
circular frame made of walnut tree. It is hanged over the shoulder of the
player with a strap and it is played by beating the skin on the right side with
a thick stick (tokmak) made of walnut tree and the skin on the
left with a thin stick (çubuk) generally made of willow tree.
(Personal
interviews: Sadettin Doğan, Germencik-1997; Basri Eğriboyun,
Germencik-1997; Doğan Zentur, Germencik-1997; Hasan Akay, Milas-1996; Veli
Akay, Dibekdere-1997; Dursun Külahlı, Dibekdere-1997; Dursun Girgin,
Dibekdere-1998).
In a kaba zurna
band (team) in Aydın and Muğla, while soloist zurna
plays the melody, dem zurnas usually blows in the
tonic and the davuls handles the rhythm function. Although kaba
zurna bands could be consisted of at least 3 people (1 soloist zurna,
1 dem zurna and 1 davul) most band are consisted of
5 people; 1 soloist zurna, 2 dem zurnas and 2 davuls.
According to the activity, one can meet more crowded bands (1 soloist zurna,
3 dem zurnas, 4 davuls etc) or more than one band.
Thus, they can perform in the activities of having long duration (3-4 days)
such as local wedding ceremonies, they can rest between the performances or
more than one band can perform at the same time.
Today it is seen that
the number of people who make their livings by playing kaba zurna
is decreasing significantly due to bad economical conditions. In local wedding
ceremonies as an alternative to kaba zurna bands, in bridegroom
house or in bride house, ince çalgı bands called also as bando
which could make music and in last years keyboard performers make music;
wedding ceremony owners who do not want music because of mostly their religious
ideas make their weddings with Islamic ceremonies. The development of CD
technology and media tools have negative function on local musicians.
Although musicians have
difficulties in finding jobs since the wedding owner can not afford the money
for the musicians or can afford less than expected, the main reason of that is
increase in the cost of the wedding with the consumption of alcoholic drinks.
Also the wedding owners may not call musicians because they do not want alcohol
in the wedding due to religious reasons and some wedding owners do not choose
kaba zurna bands because they do not consider traditional weddings modern.
In addition, for
musicians the main income is tips they taken from the audience and the money
given to ones dancing called orta parası (arena money)
rather than the payment taken from wedding owners. So, it is rumoured that
musicians were used to pay to wedding owners for playing and taking arena money
in weddings previously (Abdurrahim Karademir, personal interview,
Aydın-2001).
If the zeybek
samples collected in West Anatolia examined, one can mention about the
existance of a regional repertorie. The repertoire used by local musicians
transmitted through generations orally in chain (silsile) consist
in master-student relationship (meşk)[7]. This the
reason of why soloist zurna is called as usta (master),
and dem zurna as çırak (apprentice) in a kaba
zurna band. However for davul performers, a similar
nomenclature is not mentioned.
As one master should
have more than one student, a student could learn traditional repertoire from
more than one master. During the transmission the first step is recording the
melodic and the rhytmic patterns into memory, and the second step is performing
these patterns. At this point üslup (style), which could
be described as the performance in one's own style within tradition, comes to
the scene.
The products in the
regional repertoire is orally transmitted and that's why the performers did not
need to use a music notation technique since their music has not evolved in a
way similar to polyphonic music.
In an environment that
repertoire is orally transmitted and any music notation is not used, it is
obvious that the transmitted products may differ less or more, the variants of
the products may occur, even at the same time the different versions could
exist. Due to the concept of the originality of the traditional products could
not make so much sense, it is not possible to determine which version is the
original one.
The different versions
of a performed product depends on the willing or mood of the performer, social
status or demands of audience in moments.this situation is indication of
dynamism in terms of tradition. Thus, less or more different new versions of
product could be produced in each performing. So all versions which are
produced in such a tradition are equally valid. These produced variants and
versions certainly have something in common. In each period these have to suit
to the musical taste of the period. Cem Behar (1998:81)
It should not be
forgotten that some products could not be transmitted through generations since
any music notation is not used, however, it means choice, elimination and
novation of the products at the same time.
For a musician; it is a
significant advantage to have a well-known master. Usually they start to make
music at the ages of 7-8. Although zurna or davul
is chosen according to present needs and personel choices, usually they start
with dem zurna. At that point, the children want to play the
instrument that is played in their families and generally it is the instrument
that their fathers play. On the other hand, it should not be ignored that a
master can only teach the playing of a instrument that he can play (Dursun
Külahlı, personal interview, Dibekdere Köyü-2007).
Due to the need of very
strong and continuous breath for playing zurna, the technique
called circular breathing is learnt by making students blow into a water
filled glass with a pipe. Afterwards, the same technique is applied on dem
zurna, some melodies are tried and pass through zurna.
However, one can be a master and starts to perform in wedding ceremonies after
he completed his military service in other words at the age of 21-22 (Dursun
Külahlı, personal interview, Dibekdere Köyü-2007). Another point is that
in the region the majority of the musicians are relatives and the age of
marriage is below the average that is 17-18.
During the circular
breathing, while the performer blows the instrument, takes breath using his
nose at the same time so the circulation is provided. Since the tonics are
blown by dem zurnas continuously, circular breathing is very
significant for the continuous performance of the music. To be able to do this
process continuously, the reed used should be soft. Since the reeds used for
soloist zurnas are harder than the ones used for dem zurnas,
it is not possible to do circular breathing continuously. That's why in the
performance of a soloist zurna there could be rests because of
the melody structure.
An good zurna performer
should have good hearing besides strong breath and fast fingers. So zurna student
learn local repertoire from the performances of his master. Also via CDs he has
chance to listen the performances other masters that he can not listen lively.
In davul
performance, a good sense of rhythm beside a good hearing is needed. In the
learning step, the melodic and rhytmic patterns in the local repertoire are
learnt, in other words, he learns which rhytmic pattern is used in which part
of the melody. The more davul player learns, he starts to play
the rhytmic patterns with more velveles (rhytmic ornaments);
the more zurna performer learns he starts to use melodic
ornaments in melodies; in other words, they start to show their individual
talents and styles.
Davul performer should know
melodies as much as zurna performer does, follow the melody on zurna
performance, and especially in slow zeybek perfomances he also follows the
dancer. For that reason, slow zeybeks are shown as the most difficult melodies
to be performed. In slow zeybeks the relation among zurna
performer, performer and the dancer
provides us a melodic and rhytmic flexibility.
Although they are
connected to all kinds of cultures; the regional repertoires of Aydın
and Muğla are very different from each other except from a
few common products and we see how local musicians are keen to protect and keep
on their own traitions due to developed media tools. Inevitably, daily-popular
melodies take their place in the repertoire parallel to demands of audience.
In further part, an
attempt to analyze samples transmitted via master- student relationship in
terms of melody and rhythm and comment about the differentiation process will
be done.
1.
Aydın Soğukkuyu Zeybeği. Hüseyin
Doğan. Çokran Plak.
Bursa-197?.
2. Aydın
Soğukkuyu Zeybeği. Sadettin Doğan. Ege
Video. İzmir-1987. MC B3.
3. Aydın
Soğukkuyu Zeybeği. Tibet Var. Servet
Yapım. Denizli-200?. CD Track 9.
If
these examples are analyzed, it is seen that the performers in a chain
(silsile) have been performing the same melody by using traditional melodic and
rhythmic patterns in their own styles. Furthermore it can be said that the
tempo has become slower and the traditional tonic has not been used in recent
performances (Table-1).
No |
Form |
Tonic |
9 (s) |
=3 (s) |
+2 (s) |
+2 (s) |
+2 (s) |
Tempo |
1 |
2A+2A1 |
4 |
15 |
4'50 |
3'50 |
3'50 |
3'50 |
36 |
2 |
1A+2A1 |
4 |
18 |
6'00 |
4'00 |
4'00 |
4'00 |
30 |
3 |
2A+2A1 |
7 |
26 |
9'00 |
5'50 |
5'50 |
6'00 |
21 |
Table 1 The parameters related to three different
performances of Aydın Soğukkuyu Zeybeği.
REFERENCES
1.
Akdoğu, Onur. Bir Başkaldırı
ÖyküsüZeybekler Tarihi-Ezgileri-Dansları. İzmir-2004
2. Aydın, Ali Fuat. Kuruoğlu Zeybeği. Halkbilimi
/ Sayı 3, s.44 / Orta Doğu Teknik Üniversitesi Türk Halk Bilimi
Topluluğu / Ankara-1997
3. Aydın, Ali Fuat. Muğla Yöresinden Bir Derleme Problemi:
İnce Hava-İnceoğlu İkilemi. Halkbilimi / Sayı
14, s.51 / Orta Doğu Teknik Üniversitesi Türk Halk Bilimi Topluluğu /
Ankara-2001
4. Aydın, Ali Fuat. Milas Zeybeği-Rodos Ada Zeybeği.
Halkbilimi / Sayı 15, s.94 / Orta Doğu Teknik Üniversitesi Türk Halk
Bilimi Topluluğu / Ankara-2001
5. Aydın, Ali Fuat. Geleneksel Türk Müziğinde
Usta-Çırak İlişkisinin Gerekliliği Üzerine Çeşitli
Görüşler. Halkbilimi / Sayı 16, s.34 / Orta Doğu Teknik
Üniversitesi Türk Halk Bilimi Topluluğu / Ankara-2002
6. Aydın, Ali Fuat. Aydın Kadıoğlu Zeybeği.
Halkbilimi / Sayı 17, s.52 / Orta Doğu Teknik Üniversitesi Türk Halk
Bilimi Topluluğu / Ankara-2002
7. Aydın, Ali Fuat. TRT THM Repertuarında Bulunan Üç Ayrı
Aydın Zeybeği Üzerine. Halkbilimi / Sayı 18, s.55 /
Orta Doğu Teknik Üniversitesi Türk Halk Bilimi Topluluğu /
Ankara-2003
8. Aydın, Ali Fuat. Aydın Çine ve Karpuzlu Yörelerine Ait Üç
Farklı İki Parmak Zeybeği Üzerine. Halkbilimi /
Sayı 19, s.46 / Orta Doğu Teknik Üniversitesi Türk Halk Bilimi
Topluluğu / Ankara-2005
9.
Hoşsu, Mustafa. Geleneksel Türk Halk
Müziği Nazariyatı. İzmir-1997
10.
Karademir, Abdurrahim. Zeybek Dansları.
Halkbilimi Araştırmaları 1.Kitap. İstanbul-2003
11.
Karademir, Abdurrahim. Dünden Bugüne Zeybekler ve
Oyunları. Efeler. Haz. Ersal YAVİ. Aydın-1991
12.
Mirzaoğlu, F.Gülay. Güdüşlü'nün
Çeşmesi: Bir Türkünün Yaratılış Hikayesi Bağlamında
Tema, İcra ve Müzikal Yapı. Türkbilig 2003/5:86-93.
Ankara-2003
13.
Ötken, Tamer. http://www.angelfire.com/art2/otken/giris.htm
14.
Öztürk, Okan Murat. Zeybek Kültürü ve Müziği.
İstanbul-2006
PERSONAL INTERVIEWS
1.
Abdurrahim Karademir, İzmir-1996
2.
Basri Eğriboyun, Germencik-1997
3.
Bekir Nalbantoğlu, Fethiye-1998
4.
Doğan Zentur, Germencik-1997
5.
Dursun Girgin, Dibekdere-1998
6.
Dursun Külahlı, Dibekdere-1997
7.
Emin Tenekeci, Aydın-1995
8.
Hamdi Özbay, Fethiye-1998
9.
Hasan Akay, Milas-1996
10.
Hasan Girgin, Dibekdere-2003
11.
Hasan Serdar, Muğla-1999
12.
Hüseyin Ünal, Ankara-1994
13.
İsmet Kanavuzlar, Muğla-1999
14.
Lütfi Nalbantoğlu, Fethiye-1998
15.
Mehmet Ali Eren, Muğla-1999
16.
Memiş Günüç, Muğla-1996
17.
Sadettin Doğan, Germencik-1997
18.
Seyhan Çalgıcı, Gölcük-1999
19.
Turgut Boncuk, Ulukonak-1990
20. Veli Akay,
Dibekdere-1997
[1] The zeybek dance is strictly defined as a solo dance, but group dance displays are sometimes encountered as well.
[2] For further information on this topic see: KARADEMİR, Abdurrahim. Zeybek Dansları. Halkbilimi Araştırmaları 1.Kitap. İstanbul-2003; KARADEMİR, Abdurrahim. Dünden Bugüne Zeybekler ve Oyunları. Efeler. Haz. Ersal YAVİ. Aydın-1991; AVCI, Ali Haydar. Zeybeklik ve Zeybekler Tarihi. İstanbul-2004; AVCI, Ali Haydar. Zeybeklik ve Zeybekler-Bir Başkaldırı Geleneğinin Toplumsal ve Kültürel Boyutları. Hückelhoven-2001; YETKİN, Sabri. Ege'de Eşkıyalar. İstanbul-1996; ÖZTÜRK, Okan Murat. Zeybek Kültürü ve Müziği. İstanbul-2006; AKDOĞU, Onur. Bir Başkaldırı Öyküsü Zeybekler Tarihi-Ezgileri-Dansları. İzmir-2004; KELEŞ, Tuncay. Anadolu Kültüründe Zeybekler. Gaziantep-1998; YAVUZ, Behiç Galip. Zeybekler Tarihçeleri, Özellikleri, Türküleri ve Ödemiş Zeybekleri. İzmir-2006; YAVİ, Ersal. Efeler Kökenleri-Eylemleri-Töreleri-Dansları-Giysileri. Aydın-1991.
[3] For further information on this topic see ÖZTÜRK, Okan Murat. Zeybek Kültürü ve Müziği. İstanbul-2006.
[4] For further information on this topic see AKDOĞU, Onur. Bir Başkaldırı
Öyküsü Zeybekler Tarihi-Ezgileri-Dansları. İzmir-2004.
[5] For further information on this topic see MİRZAOĞLU, F.Gülay. Güdüşlü'nün Çeşmesi: Bir Türkünün Yaratılış Hikayesi Bağlamında Tema, İcra ve Müzikal Yapı. Türkbilig 2003/5:86-93. Ankara-2003
[6] For general information on zurna see : Ötken, Tamer. http://www.angelfire.com/art2/otken/giris.htm
[7] For further information on meşk
see: BEŞİROĞLU, Şehvar. Türk Musikisinde Üslup ve Tavır
Açısından Meşk. IV. İstanbul Türk Müziği
Günleri Türk Müziğinde Eğitim Sempozyumu. Ankara-1998.
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