. . . every performance [of a Hikâye] is a unique social event; no aşık can expect the same performance context twice. The text of a performance can be written down or recorded. But a recording, no matter what the means used, cannot represent a three-dimensional performance that includes verbal expression, poetry, music, physical movement, and of course, the audience. Dismantling a live, complex storytelling event — a social occasion — reduces this event to a printed record, a lifeless, flat existence on paper that misrepresents the genre and can misguide folklorists.
(From Hikâye: Turkish Folk Romance as Performance Art, by Ilhan Boşgöz)