675:
example of this: there are some maqams of obvious persian origin, not only in name, but also in melody type. Deshti, Bengigah, Awshar/afshari and Nawa/nava all fall into this category. There are others with melodies shared by the turkish system--amir (el-saffar) and i observed that an improvisation by tanburi cemil bey in makam evic resembles Iraqi Maqam Awj melodically. A number of the Iraqi Maqams are also clearly of
Kurdish origin, and still others seem to borrow more heavily from the other arab traditions--such as Maqam "Sharqi Rast" which differs from Rast--it sounds very syrian. Iraq, being geographically central to the whole region, typifies this sharing and borrowing to a great extent, but the same is true of all traditions. Think of some of the Sekah melodies, which appear virtually unchanged in melodic content from egypt through azerbaijan, even though the intonation of the sekah note may be drastically different. Melodies have been passed back and forth by traders, warriors, and preachers for over a milennium, over this whole region. So that even when there are distinct regional differences, differences most particularly in intonation and in ornamental style, a lot of the root melodies are more similar than different.
882:
only for the analysis of Arabic maqams. In
Turkish classical music, the exact frequencies of each "koma" dividing a full interval in nine parts are very well documented and the notational tools are richer. The constitutive parts of the makams are never tricord, but always tetracord and pentacord and they bear names different than mentioned on this page. I think we could teach each other many things by creating a joint project starting by the creation of a generic page which shall not do injustice to makams (and I am sure that Iranians would think the same about their dastgahs) and only later leading on to maqam, makam and dastgah, without priority given to any of the three. I think it would be more proper to create an article linking to maqam, makam and dastgah for further information, which would avoid any x-centrism. By the way, the maqam article is really well-done. Chapeau. This is what I wrote on the discussion page of
679:
we would then have as different maqam traditions: 1. North african (west of egypt) 2. Egyptian 3. Syrian 5. Iraqi 6. Gulf Arab 7. Turkish 8. Iranian (which probably also deserves to be divided up... but i'm not an expert on Iran) 9. Azeri 10. Uzbeki Shash-Maqam 11. Other central asian maqam varieties 12. Uighur 13. Greek (some of the rebetika and smyrnaika traditions are clearly part of the maqam family, and they even use some of the same names for some of the same melodic types: Rast, Sekah, Huzam, and Saba, for example) (see my podcast comparing Greek, Turkish and Arabic Maqams at shumays.libsyn.com)
483:
465:
331:
313:
204:
409:
399:
381:
253:
235:
598:
that have roots in the same ancient languages (such as
English and German , for example), are considered different languages to be discussed separately except in comparative discussions. Similarly the cruise ship and the speedboat both have evolved from wood-log rafts, but are rarely discussed as one concept.
790:
Ottoman/Turkish counterpart. Also neither of these are entirely or even primarily improvisation techniques, they are music theoretic concepts relating to modal phenomena at large. Someone specialist in Arab music comment on this please?. Finally I replaced the opening paragraph. If someone can offer
674:
regarding point one, i have mixed feelings about this. as i see it, all of these different varieties of maqam, turkish, azeri, persian, uzbeki, etc., all belong to one family. there are many melody types which have been passed back and forth among the various regions, and Iraqi Maqam is a very good
616:
My first suggestion is to make it clear this article is about the Arabic Maqam not a general and comprehensive article about all related maqam traditions. That would be too ambitious of a task, plus there's already so much to write about the Arabic maqam by itself, so I think it's important to devote
755:
I strongly disagree with the opening paragraph of the current (6/21/2005) version of "maqam", because (a) maqam is not uniquely arab, the same term being employed in ottoman/turkish music (makam), as the article itself explains. The article fails to substantiate the claim that the maqam is uniquely
712:
1- Arabic maqams are different from
Turkish makams, which are different from Assyrian etc.. They are different in intonation, melodic progression and even tonal content. They are also different in practice and in implied modulations. I therefore think that Turkish makams, assyrian makams and all the
849:
I believe more sources are needed. There are many excellent references in Arabic, but not so many in
English. I would like to addd one source in English, it's the excellent Ph.D. dissertation by Prof. Scott Marcus (now teaching at UCLA) from 1989, called "Arab music theory in the modern period". He
780:
I have to admit, I agree with your disagreement about the makam system (whatever name it may go under) being "unique to
Arabian art music". When I started adding information about the Turkish makam system, I chose to leave that claim there simply because it was quoted from a book; however, thinking
678:
yet those differences are significant enough to warrant discussion, but in that sense, the egyptian and iraqi traditions are as different from each other as each one is from the turkish or the persian. so if we want to divide up into different regions, the "arab" region should also be divided up.
601:
This is not to diminish the valuable points that
Abushumays makes. Only to voice concern that the all-inclusive approach might prove a burden since we will have to give every one of the traditions he mentions its due discussion. I recommend we stick to Arabic maqams and have the other traditions in
593:
Lots of good stuff. I suggest we do it one section at a time and try to keep the material accessible especially in the earlier sections. This entry should provide the kind of material a person who doesn't know anything about maqams, and possibly very little about music as well as researchers with a
881:
As you all know, there is a link on your page to
Turkish makams. The article is in poor shape, so please help us improve it. Moreover, we should not start with a generic page on "Arabic maqams", which of course you do not seem to intend to do, but the information you give about microtones is valid
597:
I do not know enough about all the traditions that
Abushumays mentions but it seems to me that the reasoning behind the all inclusive approach is somewhat flawed. The fact that things have some common history doesn't mean that they should always be discussed together. For example, modern languages
920:
Knowledge in
English is intended for international use. In this article, the relationship of the Turkish makam with the Arabic maqam, the Persian dastgah, Pythagorean Greek modes and Central Asian pentatonic music should be given. Many maqams and dastgah bear the same name as in Turkish or have a
868:
I am sure many of the maqam names are originally Turkish but the examples used in the text are in fact all Persian. Suz means pain, with Suznak meaning painful and Suzidil meaning the pain of the heart in Persian. Farahafza means that which increases happiness and Nikriz mean that which spreads
690:
I think that the regional differences should be emphasized, but in such a way as to make clear that they are dialects of the maqam language. their differences should be discussed, but it should be clear what those differences are: intonation, ornamental style, language used, and some particular
930:
I propose a joint project with Maqam and Dastgah discussion pages where specialists of Turkish classical music may meet those of Arabic and Persian music for a start and that they take the responsibility of improving each other's makam/maqam/dastgah pages by inserting links and furnishing brief
682:
the question is, what is the point of division? Theoretically speaking, there is an underlying modal similarity underlying all of these traditions, a similar treatment and development of melodic material--some of which similarity is surely the result of a relationship to Qur'anic chant and its
691:
maqams & melodies unique to each region. my preference, therefore, is to give all of them different sections within the Maqam entry, rather than different entries altogether. a discussion of "maqam" as such should make clear the diversity within what we know as one shared system.
872:
Also, the modal music of the Near East are based to a large extent on the Modal system of Barbat, who lived in the fourth century and named many of the maqams (much more than the theoretical concerns of Greek mathematicians). Is the omission deliberate on some nationalistic ground?
913:
All pictures are scanned from the same book (Türk Musikisi Nazariyatı ve Usulleri - Kudüm velveleleri), with captions in Turkish! I do not believe that this meets Knowledge standards. Tables should be recreated with English notes when necessary. This information is INACCESSIBLE to
648:
9 - Introduce the concept of a "jins" (pl. ajnas), a fragment of the maqam scale, usually made up of 4 notes (called tetrachord). Ajnas are meaningful melodic sets of notes by themselves, and usually occur in more than one maqam. They are in effect the building blocks of maqamat.
655:
11 - Modulation is where one maqam transforms into another maqam, according to a tradition that defines what's aesthetically pleasing and what's not. A musical piece usually has a starting maqam, then modulates into many more maqams in the course of its melodic development.
972:
Regarding the idea of the joint project: I appreciate the sentiment but it doesn't make sense from a musicological point of view. These topics are quite different and the Arabic experts will have little useful things to say about dastgah, for example, and vise versa.
686:
theoretically speaking, i believe all of these traditions should be treated together. And i agree with the earlier comment that describing it as "uniquely arab" is misguided. The historical orgins are also mixed, none of these traditions developed in isolation.
903:
The article has a very poor organization. I added in the beginning an interior link to a list of makams and am intending to give information about each of them with lists of compositions and remarkable improvisations. Please bear it mind while reorganizing it.
756:
arab, or the claim that in arab music it plays the role of a "technique for improvised music" as distinct from a basic concept for modal melodic phenomena in all music within the genre. (b) maqam is not only, or not even primarily a fundamental concept for
567:
Maqam (: maqam spelled in Arabic, pl. maqamat or maqams) is the system of used in classical (traditional?) . The word maqam in Arabic means place, location or position. The number of maqamat used today in Arabic music is about 30 to 40.
574:
Each maqam is built on a . Maqam scales are usually made of 7 and repeat at the . Traditional Arabic music is mainly . In addition to a scale, each maqam carries a tradition that dictates its habitual phrases and melodic development.
629:
3 - The Arabic Maqam as a general concept is a musical tradition inseparable from the Arabic repertoire itself. The tradition comprises many individual maqams. The number of maqams used in Arabic music today is about 30-40.
772:. All composed music as well as all improvised music in these musical cultures is classified as belonging to a certain maqam. I will check more references and sources before editing the opening paragraph of this article.
791:
a more differentiated discussion of maqam as concept, please do so, but to say that maqam is a unique arab technique of improvisation is onesided. Look at any description of maqam accessed by a Google search.
166:
721:
3- Because theory and practice have evolved over the years, some historic time line should be included. Some eras are better documented than others, so there may have to be "holes" in the time line.
735:
6- Provide more accurate definition and use citations where appropriate (while the the current entry relies heavily on pages 38-55 of Touma it appears to have information that is not in the Touma).
1090:
694:
or, if they each have different entries, the entry under just "maqam" should discuss all of them together, and then allow the different entries to talk about the unique regional characteristics.
500:
1095:
639:
6 - Introduce the quarter tone, which is a convenient approximation used mainly for notation. Discuss how, more accurately, intervals are microtonal (a lot more granular than a quarter tone).
921:
different name but the same structure. I propose a joint project with help of specialists in Balkan, Persian and Arabic music to give an accurate picture of where Turkish makams stand.
633:
4 - An individual maqam is made up of a scale, in most cases a set of 7 notes. Occasionally small variations are allowed, such that some maqams have 2 or more alternative scales.
642:
7 - Intonation cannot be accurately notated and must be learned by ear. Regional variations allow for slightly different intonations (they act as a local accent in a language).
652:
10 - Some notes in a maqam scale play important roles. Each maqam has one or more "hinges" where two ajnas join. These notes are often used as a starting point for modulation.
781:
about it again, it's a quote that really did/does not need to be used. It would be good, in fact, to change it (or simply remove the quote), as you seem to be planning to do.
645:
8 - Maqam scales are traversed according to habitual patterns, or mini-melodies, defined mostly by tradition. Learning and performing a maqam as a static scale is not enough.
917:
This is NOT the proper place to give information about the Turkish sound system. A separate article should be created, here only suggesting the existence of such a system.
717:
2- More references are needed. The Touma book is OK as a general reference or as a survey of Arabic music, but it is hardly the definitive study in Arabic music theory.
495:
470:
935:
I created for Turkish classical music. I'd be happy to see there links to maqams and dastgahs bearing the same name. In the now-empty links to individual makams on the
623:
1 - Introduce the various spellings (maqam, makam, sometimes maqaam). Plural is maqamat, maqamaat, or maqams. The most prevalent spelling is "maqam" (pl. maqamat).
504:
636:
5 - The tuning of a maqam's notes may or may not fall on semitones in a Western even-tempered scale. We can discuss the usage of perfect fifths (harmonic thirds).
160:
725:
4- It might be a good idea to also include a section (or perhaps a separate entry) on metric modes (iqaat). There is no such Knowledge entry at the moment.
1060:
626:
2 - Origin of the word is "maqam" in Arabic, which means a place or a position. We can elaborate a little more on how it made it to musical terminology.
1065:
92:
1055:
279:
708:
I think that the following changes should be made to this entry (and of course I am working on them and hope to collaborate with other specialists):
1070:
803:
1075:
347:
98:
1080:
275:
260:
240:
713:
rest deserve either separate entries or at the very least separate sections within the maqam entry. I favor separate entries altogether.
594:
more solid technical background. The more in depth technical discussions should be clearly labeled and should come later in the article.
1085:
749:
_____________________________________________________________________________________________________________________________________
729:
5- It might also be useful to have a section defining modulation within compositions in the maqam system and discussing its use.
338:
318:
431:
112:
43:
869:
goodness again in Persian. I won't change it so that it remains there as a reminder for someone to find relevant examples.
117:
33:
87:
57:
499:, an attempt at building a resource on the music of all the peoples and places of the world. Please visit the project's
939:
page, I intend to give historical indications about each, where maqam and dastgah contributions would be very valuable.
215:
78:
181:
422:
386:
827:
This is truly a first-rate article. Many musical topics are stubs, lacking music theory content. Fantastic work!
148:
1025:
1016:
997:
508:
265:
122:
203:
605:
Should we start by agreeing on a definition. I hope that we can keep it accessible to the general public.
221:
662:
what else ? I hope we can keep this thread focused on the first section for now, until we finalize it.
142:
851:
697:
665:
581:
782:
659:
12 - we should talk about harmony (or lack thereof). The Arabic Maqam is a very melodic tradition.
174:
68:
741:
608:
430:
on Knowledge. If you would like to participate, please visit the project page, where you can join
346:
on Knowledge. If you would like to participate, please visit the project page, where you can join
138:
83:
943:
482:
464:
64:
188:
831:
564:
Here's a proposed definition (I will use to mean hyperlink to another wikipedia article):
1037:
956:
I propose making the Maqam page an index page which has links to new Knowledge entries:
330:
312:
936:
932:
887:
1049:
1021:
1001:
835:
807:
154:
764:
music within the said near eastern musical cultures. It is rougly equivalent to
414:
1033:
404:
343:
969:
We will copy the entries of the current Maqam page to the Arabic Maqam page.
850:
also has many papers on intonation, modulation, etc, that I may quote later.
788:
OK I am going ahead with the change. I'll try to maintain a NPoV maqam -: -->
773:
620:
Now to the definition. I suggest that the following points should be made:
398:
380:
1011:
993:
886:. Please take your time to read it. And consider taking a look at the
252:
234:
883:
765:
489:
37:
769:
427:
571:
Is that enough ? optionally we can add another few sentences:
540:
197:
28:
15:
1040:
946:
854:
838:
810:
744:
700:
668:
611:
584:
890:
I entered. Here is the text in the Makam discussion page:
1014:
only mentions maqam as having been influenced by dastgah,
342:, a collaborative effort to improve the coverage of the
270:
278:, where you can join the project or contribute to the
173:
1024:
makes no mention of maqam (BTW thereby contradicting
426:, a collaborative effort to improve the coverage of
1091:
Disambig-Class Regional and national music articles
822:
Salute to the author(s)/ when were the maqams made?
1096:NA-importance Regional and national music articles
517:Knowledge:WikiProject Regional and national music
268:pages on Knowledge. If you wish to help, you can
520:Template:WikiProject Regional and national music
420:This disambiguation page is within the scope of
336:This disambiguation page is within the scope of
258:This disambiguation page is within the scope of
46:for general discussion of the article's subject.
187:
8:
1019:simply says that radif is their maqam, and
264:, an attempt to structure and organize all
201:
459:
375:
307:
229:
507:and to help us improve the article as we
274:attached to this talk page, or visit the
214:does not require a rating on Knowledge's
877:Joint Project Proposition, Please read!
804:Knowledge:Sign your posts on talk pages
683:influence on the meter of maqam music.
496:WikiProject Regional and national music
461:
377:
309:
231:
7:
952:Proposal For Eliminating Controversy
760:music, but a fundamental concept of
523:Regional and national music articles
288:Knowledge:WikiProject Disambiguation
931:comparisons. The same goes for the
556:Proposed changes to the maqam entry
291:Template:WikiProject Disambiguation
220:It is of interest to the following
36:for discussing improvements to the
1061:Disambig-Class Arab world articles
14:
1066:NA-importance Arab world articles
1056:WikiProject Disambiguation pages
785:14:18, 25 June 2005 (GMT+02:00)
481:
463:
407:
397:
379:
356:Knowledge:WikiProject Arab world
329:
311:
251:
233:
202:
58:Click here to start a new topic.
1071:WikiProject Arab world articles
359:Template:WikiProject Arab world
1:
1041:06:08, 3 September 2010 (UTC)
434:and see a list of open tasks.
350:and see a list of open tasks.
55:Put new text under old text.
1076:Disambig-Class Iraq articles
855:17:02, 31 January 2007 (UTC)
745:23:09, 16 January 2007 (UTC)
701:06:39, 2 February 2007 (UTC)
669:20:39, 2 February 2007 (UTC)
612:13:21, 4 February 2007 (UTC)
602:their own separate entries.
585:23:34, 4 February 2007 (UTC)
1081:NA-importance Iraq articles
841:03:07, 2 August 2006 (UTC)
514:Regional and national music
493:is within the scope of the
471:Regional and national music
63:New to Knowledge? Welcome!
1112:
839:03:12, 2 August 2006 (UTC)
617:an article only for that.
440:Knowledge:WikiProject Iraq
261:WikiProject Disambiguation
1086:WikiProject Iraq articles
1026:Persian traditional music
1017:Persian traditional music
998:Persian traditional music
988:*For Kurdish and Persian
811:01:49, 13 July 2005 (UTC)
776:17:59, 21 Jun 2005 (UTC)
547:Skip to table of contents
476:
443:Template:WikiProject Iraq
392:
324:
246:
228:
93:Be welcoming to newcomers
22:Skip to table of contents
947:09:09, 21 May 2007 (UTC)
546:
21:
984:I eliminated entirely
294:Disambiguation articles
732:But most importantly:
339:WikiProject Arab world
88:avoid personal attacks
113:Neutral point of view
990:Awaaz or Maqamî Dêng
789:Arabic, makam -: -->
505:article's assessment
118:No original research
362:Arab world articles
212:disambiguation page
976:Jattawi. 10/14/07
578:comments please ?
216:content assessment
99:dispute resolution
60:
965:-Persian Dastgah
914:English-speakers.
552:
551:
539:
538:
535:
534:
531:
530:
458:
457:
454:
453:
374:
373:
370:
369:
306:
305:
302:
301:
196:
195:
79:Assume good faith
56:
27:
26:
1103:
738:Other thoughts?
541:
525:
524:
521:
518:
515:
485:
478:
477:
467:
460:
448:
447:
444:
441:
438:
423:WikiProject Iraq
417:
412:
411:
410:
401:
394:
393:
383:
376:
364:
363:
360:
357:
354:
333:
326:
325:
315:
308:
296:
295:
292:
289:
286:
273:
255:
248:
247:
237:
230:
207:
206:
198:
192:
191:
177:
108:Article policies
29:
16:
1111:
1110:
1106:
1105:
1104:
1102:
1101:
1100:
1046:
1045:
982:
962:-Turkish Makam
954:
928:
910:
901:
896:
879:
866:
847:
825:
559:
522:
519:
516:
513:
512:
445:
442:
439:
436:
435:
413:
408:
406:
361:
358:
355:
352:
351:
293:
290:
287:
284:
283:
269:
134:
129:
128:
127:
104:
74:
12:
11:
5:
1109:
1107:
1099:
1098:
1093:
1088:
1083:
1078:
1073:
1068:
1063:
1058:
1048:
1047:
1043:
1030:
1029:
1020:
1015:
1005:
1004:
981:
978:
968:
959:-Arabic Maqam
953:
950:
937:List of Makams
933:List of Makams
927:
924:
923:
922:
918:
915:
909:
906:
900:
897:
895:
892:
888:List of Makams
878:
875:
865:
862:
860:
846:
843:
824:
819:
818:
817:
816:
815:
814:
813:
795:
794:
793:
792:
752:
728:
724:
720:
716:
711:
705:
673:
589:
558:
553:
550:
549:
544:
537:
536:
533:
532:
529:
528:
526:
486:
474:
473:
468:
456:
455:
452:
451:
449:
432:the discussion
419:
418:
402:
390:
389:
384:
372:
371:
368:
367:
365:
348:the discussion
334:
322:
321:
316:
304:
303:
300:
299:
297:
285:Disambiguation
266:disambiguation
256:
244:
243:
241:Disambiguation
238:
226:
225:
219:
208:
194:
193:
131:
130:
126:
125:
120:
115:
106:
105:
103:
102:
95:
90:
81:
75:
73:
72:
61:
52:
51:
48:
47:
41:
25:
24:
19:
13:
10:
9:
6:
4:
3:
2:
1108:
1097:
1094:
1092:
1089:
1087:
1084:
1082:
1079:
1077:
1074:
1072:
1069:
1067:
1064:
1062:
1059:
1057:
1054:
1053:
1051:
1044:
1042:
1039:
1035:
1027:
1023:
1022:Musical radif
1018:
1013:
1010:
1009:
1008:
1003:
1002:Musical radif
999:
995:
991:
987:
986:
985:
979:
977:
974:
970:
966:
963:
960:
957:
951:
949:
948:
945:
940:
938:
934:
925:
919:
916:
912:
911:
907:
905:
898:
893:
891:
889:
885:
876:
874:
870:
863:
861:
858:
856:
853:
844:
842:
840:
837:
833:
828:
823:
820:
812:
809:
805:
801:
800:
799:
798:
797:
796:
787:
786:
784:
779:
778:
777:
775:
771:
767:
763:
759:
753:
750:
747:
746:
743:
739:
736:
733:
730:
726:
722:
718:
714:
709:
706:
703:
702:
699:
695:
692:
688:
684:
680:
676:
671:
670:
667:
663:
660:
657:
653:
650:
646:
643:
640:
637:
634:
631:
627:
624:
621:
618:
614:
613:
610:
606:
603:
599:
595:
591:
587:
586:
583:
579:
576:
572:
569:
565:
562:
557:
554:
548:
545:
543:
542:
527:
510:
506:
502:
498:
497:
492:
491:
487:
484:
480:
479:
475:
472:
469:
466:
462:
450:
446:Iraq articles
433:
429:
425:
424:
416:
405:
403:
400:
396:
395:
391:
388:
385:
382:
378:
366:
349:
345:
341:
340:
335:
332:
328:
327:
323:
320:
317:
314:
310:
298:
281:
277:
272:
271:edit the page
267:
263:
262:
257:
254:
250:
249:
245:
242:
239:
236:
232:
227:
223:
217:
213:
209:
205:
200:
199:
190:
186:
183:
180:
176:
172:
168:
165:
162:
159:
156:
153:
150:
147:
144:
140:
137:
136:Find sources:
133:
132:
124:
123:Verifiability
121:
119:
116:
114:
111:
110:
109:
100:
96:
94:
91:
89:
85:
82:
80:
77:
76:
70:
66:
65:Learn to edit
62:
59:
54:
53:
50:
49:
45:
39:
35:
31:
30:
23:
20:
18:
17:
1031:
1006:
989:
983:
975:
971:
967:
964:
961:
958:
955:
944:Ekindedeoglu
941:
929:
902:
899:Organization
880:
871:
867:
859:
848:
829:
826:
821:
761:
757:
754:
751:
748:
740:
737:
734:
731:
727:
723:
719:
715:
710:
707:
704:
696:
693:
689:
685:
681:
677:
672:
664:
661:
658:
654:
651:
647:
644:
641:
638:
635:
632:
628:
625:
622:
619:
615:
607:
604:
600:
596:
592:
588:
580:
577:
573:
570:
566:
563:
560:
555:
494:
488:
421:
337:
276:project page
259:
222:WikiProjects
211:
184:
178:
170:
163:
157:
151:
145:
135:
107:
32:This is the
942:Thank you.
857:Johnny F99
590:Gentlemen,
561:Gentlemen,
509:push to 1.0
503:to see the
415:Iraq portal
161:free images
44:not a forum
1050:Categories
926:Conclusion
864:quick note
852:Johnny F99
834:created?
830:When were
806:. Thanks.
758:improvised
698:Abushumays
666:Johnny F99
582:Johnny F99
353:Arab world
344:Arab world
319:Arab world
280:discussion
101:if needed
84:Be polite
34:talk page
894:Problems
836:Dogru144
808:Hyacinth
783:Saposcat
69:get help
42:This is
1012:Dastgah
994:Dastgah
980:Persian
908:Content
845:Sources
802:Please
742:Jattawi
609:Jattawi
501:listing
167:WP refs
155:scholar
992:, see
832:maqams
218:scale.
139:Google
1034:Jerzy
1007:bcz
884:Makam
766:echos
490:Maqam
210:This
182:JSTOR
143:books
97:Seek
40:page.
38:Maqam
1000:and
774:Iani
770:raga
768:and
437:Iraq
428:Iraq
387:Iraq
175:FENS
149:news
86:and
762:all
189:TWL
1052::
1032:--
1028:).
996:,
169:)
67:;
1038:t
1036:•
511:.
282:.
224::
185:·
179:·
171:·
164:·
158:·
152:·
146:·
141:(
71:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
