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Home , Bendir, Berber music, Music of Morocco, Paul Bowles, Taounate

Recording Laboratory AFS L63 and L64

Music of

From the Archive of Folk

Recorded and Edited by

Library of Congress Washington 1972 Catalog Card Number 72-750123

A vaili1ble from the Library ofCongress Division. Recording Laboratory Washington. D. C. 20540

The most important single element in Morocco's dwellers from the Algerian bord er to the Atlantic. folk culture is its music. [n a land where almost total Because the valleys and coastal plains contained all illiteracy has been the rule, the production of writ­ of the Maghribi-speaking pQPulation, it followed ten literature is practically negligible, but the Moroc­ that any widely appreciated that cans have a magnificent and highly evolved sense of Morocco might develop would be based on the al­ rhythm which manifests itself in the twin arts of ready hybridized idioms of these areas in which the music and the dance . Because Islam does not look Arab influence was greatest. There was an era when with favor upon any sort of dancing, however, the popular music was regionally diversified; several art of the dance, while being the natural mode of immediately recognizable styles existed. A few still expression of the native population, has not been do: the Haouziya, the Ojebala, and the so-called encouraged in Morocco since the arrival of the Arab Chleuh, exceptional as having the only popular conquerors. At the same time, the very illiteracy of repertory whose words are not in Maghribi. The pre­ the people through the centuries has abetted the de­ sent tendency. however, is toward an Egyptian-based velopment of music; the entire history and mythology esthetic. The more nearly a song can approximate, of the people is clothed in song. Instrumentalists and both in conception and performance, a creation of singers have come into being in lieu of chroniclers and Om Kalthoum, Abd el Wahab , or Farid el Atrache, poets, and even during the most recent chapter in the the better it is considered to be. It remains to be country's evolution- the war for independence and seen whether the practice will continue or whether the setting up of the present regime- each phase of the the Moroccan voice will reassert itself. struggle has been celebrated in song. The Anda[uz repertory- a consciously preserved The neolithic have always had their own genre, the unvarying rules of its esthetic long since music, a highly percussive art with complex juxta­ established- is the last living fo lk memory of the positions of rhythms, limited scalar range (often no seven-century Moroccan occupation of Andalusia. It more than three adjacent tones), and a unique is extraordinary that medieval Iberian music, as it manner of vocalizing. Like other Africans, they was heard and transformed by Arab of the developed a music of mass participation, which fre­ era, should have survived into the 20th ce ntury. quently aimed at the psychological effect of hyp­ [ made these recordings during the final five nosis. When the Arabs invaded the land, they months of [959, with the assistance of Christopher brought with them music of a very different sort, Wanklyn and Mohammed Larbi Djilali, using an addressed to the individual, music that existed only Ampex 601 tape recorder. Inasmuch as the equip­ to embellish the word, with the property of inducing ment required a 110-volt power source, complex a state of philosophical speculativeness. were often necessary for transporting On the central plainS and in the foothills of the musicians from their remote villages to places where north the people adopted elements of Arab music, the electric power supply wa s compatible with the while on the edges of the they borrowed recording equipment. The cooperation of local from the Sudanese slaves they had imported, the Moroccan officials was essential- though not always musical result being hybrid in both cases. Only in attainable- in carrying out these arrangements. We the areas remaining generally inaccessible to made four six-week field trips in Morocco, covering non-Berbers- roughly speaking, the mountains them­ the southwest, the northeast, the central south, and selves and the high plateaus between the ranges- was the cities, respectively. Coverage of the southeast left intact, a purely autochthonous art. was hindered by the Franco-Algerian War. The pro­ European colonization spurred the growth of a ject was supported by the nationwide, homogeneous, Maghribi--speaking and the Library of Congress, and the original tapes culture, thus encouraging the emergence of a from which these discs were selected are in the "national" popular musical idiom among town Library's Archive of Folk Song. Highlands-n,e Berbers 3. Aqlal. Sung and played by Moqaddem Moham· L63-A med ben Salem and ensemble, in Zagora.

One of the uses of music among the is to assist in effacing the boundaries between individ· I . Ahmeilou. Played by Maallem Ahmed and en· ual and group consciousness; perhaps with this in semble, recorded in Tafraout. mind the dancer·musicians often arrange to touch one another during perfonnances. In the aqlal, a The ahouache is a formalized sequence of music dance ceremony of the Draa valley in the Pre·SaIlara, and dance peculiar to the Grand Atlas and regions to the device of constant contact among players evolves the south of the range (in the the spec· into an ingenious and intricate choreographed rou· tacle is called an ahidous). Often the opening tine. Each man in the line·up carries a square hand number on the program is an ahmeilou. acircular (deff) shaped like a large sandwich, which, by dance for males accompanied only by percussion. means of a complex gymnastic pattern of alternate Here the polymetric pattern characteristic of much overlaying and interlacing of anns, is being struck by Moroccan Berber music is apparent. Musically the the men on either side of him, while he in tum is ahmeilou is considered a concerto for solo drummer hitting their , one with each hand. Seventeen and percussive ensemble. In Tafraout the soloist men performed here: one tara (large disc·shaped used a gannega. an instrument like a very small side hand drum), two taarij (small conical ceramic hand drum, played with sticks, and the other five drum· drums), nine dfouf (singular deff), and five hand· mers used the , a large disc of goatskin with a clappers. They divided themselves into two groups reverberating wire stretched across its diameter and and sang antiphonally. The absence of rhythmical struck with the hand. Seven other participants in the figures is compensated for by the equivocal nature dance provided the handclapping section. Thus the of the meter with iis passages of simultaneous 5/8 dance circle was composed of 13 men simultane· and 4/8. ously dancing and making music. Constant accelera­ tion of tempo within a given dance is usual; in this case it is noticeable but not marked. 4. Ouakha dial Kheir (women's chorus). Sung and played by Chikh Ayyad ou Haddou and ensem· ble, in Tallala. 2. EI Baz Ouichen (song for male voice). Sung and played by Rais Ahmed ben Bakrim, in Tiznit. The Ait Ouaraine live in the mountains southeast of Fez and until recently were in great demand This ballad is an example of what the French used among the residents of that city as entertainers at to call "Chleuh" music. Chleuh is a synonym of weddings and other household festivals. Here only Tachelhait, the language spoken in a large segment women performed, one of them using a bendir as of southwestern Morocco. The musical idiom is one accompaniment. Before setting up the recording ses­ which has been evolved in the marketplace rather sion I had been told by the governmental katib that than the village ; thus it could justifiably be classified I would be hiring three people to perfonn. When as chaabiya (popular) and not as traditional folk three men and four women arrived, I began to look music. There are numerous regional genres of forward to difficulties at the moment of payment. chaabiya music in Morocco; the present tendency is The leader of the group, however, was scrupulous for them to be replaced by the official (radio and about honoring his agreement. "Three people," he television studio) chaabiya style, in strict imitation said when I came to pay him, and I remembered that of Egyptian film music. women are not people; these four has been brought The song is an invention of the man who sings and along as decorative assistants and did not expect to accompanies it, and its subject is a clever jackal. The be paid. singer holds the rabab erticolly by its neck, its single gut being hit with horizontal strokes by a very short bow. The use of a pentatonic scale relieved by 5. Aili ya (mixed chorus). Sung and played by passages of Sprechstimme is fairly common in the Chikh Ayyad ou Haddou and ensemble, in Tachelhait chaabiya repertory. TaI1a1a.

2 The music of the Ait Ouaraine puts unusual 2_ Chorus and Dance_ Sung and played by Rais emphasis on vocaJization, almost to the exclusion of Maharnad ben Mohammed and ensemble, in melody; the line tends to be monotonal, punctuated Tamanar. by minute and complex fiorilUTe. The voices of the men are pitched so high that it is impossible to dis­ The personnel consists of 16 men, with three tinguish them from the women's. Here the singers aouadas (small cane recorders with a piccolo-like were three men and four women. The percussive register) and one drum (bendir). Rhythmical intri­ accompaniment consisted of a large brass tea tray cacy is supplied by the dancers' hands and bare feet. struck with two teaspoons (sometimes two tea A charge repeatedly levelled at Berber music by glasses are used for striking the tray). urban Moroccans is that it is monotonous. There is no doubt that it is repetitive with an insistence not common to all folk music. But a distinction should be made between static repetition and organic (or 6. Ahouache (men's chorus). Sung and played by deceptive) repetition, in which the reiterated Maallem Ahmed and ensemble, in Tafraout. rhythmical or melodic motif is merely a device for capturing the aUention, the music's ultimate aim The repeated strophe, divided and sung antipho­ being that of imposing itself totally upon the consci­ nally, is characteristic of those sections of the ousness of the listener. The effect is not monoto­ ahouache involving group singing. This sequence was nous but hypnotic, and it becomes clear that the recorded later during the sarae ahouache as the apparent repetitions contain variety and direction. ahmeilou (side A, 1) and represents the sarae 13 performers plus another 15 who in the meantime had joined their ranks, some playing the bendir and 3. Reh dial Beni Bouhiya (qsbah solo). Played by some clapping their hands. The dance was strenuous, Chikh Hamed bel Hadj Hamadi ben AlJaI and and although it was 10 o'clock in the evening, the ensemble, in Segangan. temperature in the compound still stood at 108 degrees. By the time the men fmished they were The instrument here is called a qsbah. This name is streaming with sweat. used in the part of the where the Beni Bouifrour Performers were brought from villages higher up in live ; variant terms are aouada and chebaba, but the the Anti-Atlas. There were no professional aouada of the Rif is by no means the sarae as that of musicians-merely farmers living in inaccessible val­ the Grand Atlas. It is a transverse made from a leys where everyone still koew how to make good section of reed about 18 inches long. The qsbah is music. found in the extreme east of Morocco and in the western part of the Algerian Sahara, where four decades ago it was the favorite instrument of the ~B camel drivers. Considering its low register, it has an extraordinary carrying power when played in silen t surroundings. Melodically, the body of the piece is constructed 1. Aouada Trio. Played by Rais Mahamad ben with four principal tones (G, B-flat, C-flat, D-flat) Mohammed and ensemble, in Tarnanar. and one incidental tone (A-natural). In the coda, however, D-natural is added, and with telling effect. During the Middle Ages groups of musicians and acrobats from southwestern Morocco often toured the British Isles, performing what was called Moorish 4. Albazaoua (women's chorus). Sung and played dancing. Subsequently the term was corrupted into by MaaJlem Ahmed Gacha and ensemble, in Ait Morris dancing. Whether t1tis Haha music bears any Ourir. resemblance to what was used at that time is a mat­ ter for conjecture . What is certain is that the meter is The personnel of t1tis group consisted of 25 female 6/8 and the melodic line invariably is built on a singers and 19 male percussionists. As usual the five-tone scale. Passages such as this one for three singers were divided into two sections to facilitate small recorders (aouada) are in the nature of pre­ antiphony_ The women were fractious throughout ludes to the dances which eventually follow them. the session, constantly demanding to be placed in a

3 different position with regard to the percussionists metal flute about 10 inches long, which the Ail Bou and arguing vehemently among themselves between Guemmaz caU the taaouadit. The group was made numbers about where they ought to be standing. up of professional musicians who for a part of the There were 15 men playing bendir, three playing year become itinerant, going on tour from village to tbel, and one pounding the naqous, a resonating village in the manner of troubadours. strip of steel. Payment for the recording was arranged two days beforehand with the caid, who stipulated that there would be 32 performers and Lowlands- Influent Strains that each one should receive a sugar loaf weighing L64- A four and a half pounds. Accordingly, I arrived in the village with 32 loaves of sugar, only to find that the personnel had been augmented and that there were I. Ounalou Biha Rajao (male solo with women 's 44 people to be paid. The caid solved the problem chorus). Sung and played by EI Ferqa dial by taking all the sugar ltimself; presumably he distri­ Guedra (Bechara), in Goulimine. buted it later as he saw fit. This is locally known as guedra music, from the 5. Mouwal. Sung by Chikha Fatoma bent Kaddour, name of the large drum which constitutes the only in Ain Diab. accompaniment to its vocal linc. The inSLmment used here measured 28 in ches in diameter. It was The mouwal is the section in a song where the placed on the floor, and the women sat around it, as singer is free to give voice to a series of wordless at a table, beating on it. A young man acted as solo­ calls. Thus it is the part most eagerly awaited by ist, and it is he who sings the opening phrases. The listeners: it is where he expresses his personality and scale is Mauretanian (E, F-sharp, G, B, C), the lan­ exhibits certain technical abilities that possibly guage Arabic, and the dance itself totally unlike any would not show in the song itself. The three stro­ other found in Morocco. The dance is done in a phes here were recorded in a tent at an amara in Ain kneeling position, and the torso, arms, and neck are Diab on the Atlantic coast. The singer was a chikha the mobile parts. Until the end of the colonial of the Beni Mguild tribe , from the region of Ain regime in 1956 the girls traditionally perfurmed Leuh in the Middle Atlas. Chikhar in Morocco are unclothed to the waist; now government agents are analogous to geishas in Japan: they serve tea, engage present to forestall such procedure, and the dance is in repartee, and ·sing and dance for their customers, done with fully covered torso. Bechara and her girls either in their own quarters or at the homes of those have performed in Europe and the United States. who hire them. There is great demand for them as entertainers at rural weddings. 2. Rhaitas and Tbola. Played by Sadiq ben Moham­ med Laghzaoui Morsan and ensemble , in 6. Idihan dial Bou Guemmaz (men's chorus). Sung Einzoren. and played by Mohammed bel Hassan and ensemble, in Ait Mohammed. The rhaita, a form of which can still be found in parts of rural Spain under the name of The Ait Bou Guemmaz live 9,000 feet up in the gaita, is the ideal outdoor instrument for a country Grand Atlas. Their music is the only Moroccan genre like Morocco, where music is meant to be heard I have found in which each piece consists of three across great distances. It is used in wedding and cir­ distinct "movements." The sections differ in their cumcision processions, as an accompaniment to choice of thematic material, in meter, and in tempo, ecstatic dancing by the Aissaoua brotherhood , and very much as in a European composition using during the nights of the month of Ramadan, as an sonata form_ This section includes the fmale of a adjunct to the voice of the muezzin in the minarets first umovement," with a few strophes of the section of the mosques. In the last instance the rhaita serves immediately preceding it. At one point the male as a solo instrument, but for aU other purposes it is voices cease being used melodically and become, as played to the accompaniment of side drums beaten it were, instruments of percussion. The wind instru· with sticks (tbola). Here there are two men playing ment accompanying the song and dance is a small rhairas and two playing tbola.

4 3. MeUaliya (song for male voice). Sung and played ized blacks who brought it to Morocco from West by Embarek ben Mohammed, in Marrakech. Africa. Although a Gnaoui is etymologically a man from Guinea, there is no evidence of the cult's An example of the sort of hybridization which having originated any further south than the region occurs among the Larobia- the inhabitants of the of the River in southwestern Mali. Its adepts wider river valleys and the AtJanUc coastal are considered to be experts in the treatment of plain- this could be called a kind of choabiya. The scorpion stings and psychic disorders. Therapy for performer , whom I found singing seated on the the latter can include ecstatic dancing and the inges­ ground in 3 Marrakech street, was a specialist in tion of large quantities of raw nesh and fresh blood. qsidas on religious subjects. The guinbri, which he The Gnaoua are also hired to perfonn purification uses to accompany himself, is a rustic with a ceremonies in new or renovated houses. For their sounding box generally made of wood on the dancing they use very large stick-beaten side drums bottom and skin on top. Sometimes in place of and qarqaba, double hand cymbals of sheet iron like wood a large tortoise shell is used. gigantic metal . For their seated music the voices are accompanied only by the gogo (a Suda­ nese plectrum instrument akin to the guinbri), the 4. Taqtoqa Jabaliya. Sung and played by Maallem qarqaba, and hand clapping. Mohammed Rhiata and ensemble, from the region of Taounate; recorded in Fez.

The Djebala are Arabic·speaking Berbers. The 6. Gnaoui Solo Song. Sung and played by Si me-iodic hoe of their music is generally recognizable Mohanuned Bel Hassan Soudani, in Marrakech. as bemg of Arab origin. Tradition, however, has styHzed the performance in such a way as to give a This is Gnaoua seated music; the only accompani­ Berbet navor to it, much as a Spanish melody is ment is the gogo, which looks rather like a shoebox transfonned by Mexican Indians. made of hide, with a lank handle attached to one In the winter of 1947-48 I used to go each Friday end . The single gut runs the length of the neck and evening to Dar el Batha in Fez to listen to this parti­ resonating chanlber. Two further features distinguish cular group of musicians. By 19 S9. when they it from other plectrum instruments found in Mo­ recorded this selection for me , they were all between rocco. There is a vibrator in the form of a steel 6S and 70 years old. When I inquired if any young feather (soursa/) which fits over the end of the neck men were being trained in the tradition, they replied and adds a loud rattle to each note as it is plucked; in the negative. There were 10 performers, eight of and the resonating chamber is so constructed as to whom played three fomlS ofguinbri: the hoioui, the give a sharp percussive sound when hit by the knuck­ /rakh, and the souissane. The remaining two men les. The latter pecularity caused no trouble, but the played the tchnatchn (finger cymbals) and the dar­ soursa/ made each recording sound defective. Al­ boukll (ceramic hand drum). A taqtoqa consists of a though it was detachable, the perfonner, being used song for chorus followed by an instrumental dance, to its tintinnabulation, was loath to remove it. This the players improvising for a given number of meas­ is one of the two he recorded with the soursal ures over an organ point on each successive tone of taken off and lying on the floor beside him. The the scale used by' the song. Only the chorus is given language is Bambara. here.

7. Soula el Couida (mixed chorus). Sung and 5. Gnaoua Chorus. Sung and played by an unidenti· played by Maallem Taieb ben Mbarek and fied ensemble, in . chikhats, in Marrakech.

This genre is called haouziya, from the plain EI The Gnaoua fonn one of the several powerful reli­ Haouz, in which the city of Marrakech is situated. gious confraternities in Morocco, others being the There are five men and three women; the instrumen­ Aissaoua, the Jilala, the Hamatcha, the Derqoua and tation consisted of two kIlmenjas (violins played in the now-forbidden Haddaoua. The cult owes its the manner of the viola da gamba), two tariias (small name, its music, and many of its practices to Islam­ ceramic hand drums), and one mqahs (a pair of

5 leather·workel·s shears with the points truncated}. well-educated city dwellers. The general public In addluon, twO of the women held very small hand invented its own Andaluz in the form of the qsida, drums and one a set of three tiny brass finger simpler in form and with texts in a vulgar dialect cymbals. The women se rved primarily as vocalists, called Melhoun which was intelligible to everyone. while one man deSIgnated by the mOil/lpm as having Whereas the Andaluz repertory is fIXed , the reper· the best singing vOIce because it was indisHnguish. tory in Melh oun has received constant additions over able from a woman's- sang along with them. An the centuries since the expulsion of the Moroccans IdIOsyncrasy of the performance is that no drum is from Spain. Each year on the occasion of the Festi· struck twice in succession. The pattern is broken in val of the Throne new qsidas are composed in honor such a way that its notes can be played in rotation of the King. by whatever number of drummers the ensemble The qsida whose first section is given here is an happens to have. unusually clear example of hybridization. The instrumental prelude is Arab music; then the rhythmical accompaniment begins, with its Berber L64-B insistence on continual drum beats. The purely diatonic vocal line is neither Arab nor Berher, draw­ ing its inspiration instead from medieval European I. Ya Souki Hakim (secular sephardic song). Sung folk music. The ensemble consisted of two by Hazan Isaac Ouanounou and members of the kamen;as, two (), guinbri, tenibar (a Hevrat Gezekel, in . ·like plectrum instrument), tarija, and (). The vocal soloist was the tenibar player; he announced that the qsida was in honor of This is a secular song on a religious subject, sung the Prophet Mohammed, and that the were by by members of the Hevrat Gezekel at the Synagogue Sidi ben Ali. Benamara in Meknes. As the hazan, or cantor, of the congregation explained, such songs have nothing to do with the religious services, being sung purely for 3. EI Hgaz el Mcharqi (Andaluz chorus). Played by the pleasure of singing them. Since no musical in· Abdelkrim Rais and ensemble, in Fez. struments of any kind are allowed in the synagogue, the singers often imitate the sound of bowed and Andaluz musical literature consists of II fJoubas, plectrum instruments behind the voices carrying the nearly all of which were in existence long before the melody. Lacking a melodic repertory of their own, Moroccans were ejected from Spain at the end of the the Jews take their music "a little bit from every· 15th century. Each nouba is supposed to correspond where," as Hazan Isaac Ouanounou put it. to a particular bodily humor and is composed in a "Everywhere" turns out to be Egyptian film music mode deemed suitable to a specific time of day. The on occasion; most of the melodies, however, are Moslem preoccupation with the number five is from the Andaluz repertory of the Moroccan exemplified in the arbitrary division of each nouba Moslems, as is this song. The text here is in Hebrew , into five misanes. The misane is subdivided into an although the men did not hesitate to sing selections indetermina te number of parts, each of which is a in Maghribi Arabic. It is noteworthy that the hazan complete piece in itself. There is , however, a sense of was only 20 years old; several others in the group continuity and progression in the pieces if they are were even younger. performed in sequence. Since the duration of one nouba is 10 or I I hours, nothing longer than a misane is ever played, and nowadays even that is 2. Qsida Midh. Sung and played by Maallem el considered too much. Only once have I heard an Hacein and ensemble, in Meknes. entire misane performed, 40 years ago in Fez. The composition of the ensemble was four Andaluz, the so·called of Morocco, kamen;as, two ouds, , darbouka, and tar. is a vast corpus of musical settings of medieval Arranging the recording was an extremely compli· Arabic poetry. The genre originated in southern cated procedure. There were long conversations by Spain during the seven centuries of Moroccan occu· telephone with governmental advisers in , who p,tion. Because the texts were in classical Arabic, on principle were opposed to allowing an American the art was appreciated principally by the relatively to record any of the Andaluz repertory. Eventually a

6 special adviser was sent from the capital. It was he Abdelkrim Rais, was mentioned in print, the follow­ who set the prices, the hours, the place, and the ing words must be added: "Through the courtesy of conditions for taping. He also specified that each the Services des Monuments Historiques, des Arts et time the name of the director of the group, du Folklore, Conservatoire de Fes."

Publications and Documentary Recordings Relating to the Music of Morocco

The following reference list of books, articles, and phonodiscs does not pretend to completeness, but it can serve to guide the interested listener to further materials on Moroccan music. Special thanks go to Lois Ann Anderson, University of Wisconsin, for supplying many of these references.

Adam, lain. Rifi: sounds of Morocco. [Phonodisc] - - - - - Airs populaires recueillls a Fes (airs pro­ RIFI 100. 1971. 2 s. 12 in. 331/3 rpm. fanes). Hesperis, v. 4,1924: 225-238. Recorded in Morocco and edited by lain Adam, assisted by Juliette Kando. --- - - Bsat. Revue de musicologie, v. 15, May 1934: 65-78. Anderson, Lois Ann. The interrelation of African and Arab ; some preliminary considera· - - --- Chants et danses berberes. Revue de musi­ tions. 1n Wachsmann, Klaus, compo Essays cologie, v. 17, May 1936: 65-69. on music and history in Africa. Evanston, -- --- Chants et danses berberes au Maroc. Mene· Northwestern University Press, 1971. p. 143­ strel, v. 95, Sept. 8, 1933: 359. 169...... Les genres dans la musique marocaine. La Basset, Henri. Essai sur la litterature des Berberes. revue musicale du Maroc, Apr.-Dec. 1930. Alger, J. Carbonel, 1920.446 p...... Instruments, musique et danse chleuhs. Biarnay, S. Notes sur les chants populaires du Rif. Zeitschrift fUr vergleichende Musikwissenschaft, Archives berberes, v. I, 1915: 22-39. v. I, no. 1, 1933: 11-15. Bowles, Paul. Their heads are green and their hands ----- La musique marocaine (vue d'ensemble). are blue. New York, (1963] Outre-Mer, v. I, 1929: 32-42. 206 p. - - - - - Note sur Ie "Nfir" (trompetle du Ramagan), Bratter, C. A. Marokkanische Musik. Signale fUr die Hesperis, v. 7,1927: 376-380. musikalische Welt, v. 66, Sept. 30, 1908: 1221-1225. · - .. - Panegyriques et musiques religieuses popu­ presents the Pipes of Pan at Joujouka. laires dans la religion musuhnane. In Porte , [Phonodisc. Rolling Stones Records] CDC Jacques, ed. Encyclopedie des musiques sacrees. v. I. , Editions Lagergerie, 1968. p. 409­ 49100. '[1971] 2 s. 12 in. 33 1/3 rpm. stereo­ phonie. 421. Recorded in the village of Joujouka. · ... - La pratique du chant chez les musiciens Castells, F. Notes sur la fete de Achoura aRabat. marocains. Zeitschrift fUr vergleichende Musik­ Archives berberes, v. I, 1915: 230-244. wissenschaft, v. I, no. I, 1933: 52-55. Chants et danses du Maroc. [Phonodisc] Chant du _. - _. Tableau de la musique marocaine. Paris, P. Monde LDY 4148. 2 s. 12 in. 331/3 rpm. Guethner [1939] 223 p. Bibliography: p. [213]­ 215. Discography: p. 215-216. Chattin, Alexis. Airs populaires marocains, recueillis a Fes. Menestrel, v. 94, Aug. 26-Sept. 9, 1932: .. _. - "Les visages" de la musique marocaine. 351-353,359-360,367-368. Menestrel, v. 93, May IS , 1931: 217-219. . --- - Airs populaires recueillis a Fes. Hesperis, v. 3, · - - _. Visages de la musique marocaine. In 1923: 275-285. L'Encyc!opedie coloniale et maritime. v. 3.

7 Maroc. Paris, Editions de l'Empire fran,ais, Grame, Theodore C. Music in the Jm. aI·Fna of 1947. p. 479-496. (1948 ed., p. 543-560) Marrakesb. Musical quarterly, v. 56, Jan. 1970: Cooley , John K. Drums in (Berber music 74·87. in Morocco). Musical courier, v. 152, July Hambourg, Mark. Music and Morocco. Etude, v. 44, 1955: 8-9. Aug. 1926: 563·564. EI Alami, Mohamed. La musique et les danses.In his Harries , Jeanette , and Mohamed Raamouch. Berber Le protocole et le s usages au Maroc; des origines popular songs of the Middle Atlas. In African a nos jours. Casablanca, Dar el Kitab, 1971. language studies. v. 12; 1971. London, School p.71-81. of Oriental and African Studies, University of EI Fasi, Mohammed. La musique marocaine dite London. p. 52·70. Umusique andalouse." Hesperis-Tarnuda, v. 3, Hornbostel, Erich M. von, and Robert Lachmann. fasc. I, 1962: 79-106. Asiatische Parallelen zur Berberrnusik. Zeit· Essyad, A. La musique berbere au Maroc. In Niki­ schrift fUr vergleichende MusikwissenschaJt, prowetzky , Tolia, ed. La musique dans la vie. v. I, no. I, 1933: 4·11. Paris, Office de Cooperation Radiophoruque, Horricks, Raymond , compo The music of Morocco. 1967. p. 243-260. Collected and adapted by Ray Horricks. Etienne, Robert. Heuces musica1es au Maroc . Le [phonodisc] London International SW 99485. monde musical, v. 37, July 31, 1926: 269-272. [1968] 2 s. 12 in . 33 1/3 rpm. microgroove. stereophonic. Farmer, Henry G. Berber music. In Grove, Sir Sung and played by native musicians. Program George. Dictionary of music and musicians. 5th notes by compiler on slipcase. ed. v. 1. London, Macmillan, 1954. p. 632-634. Justinard, L. Notes d'histoire et de litterature The feast of Achoura. [Phonodisc] Request Re· berberes. Hesperis, v. 5, 1925: 227·238. cords SRLP 8162. Si Kamil Hussein Aissou. Musique et mystique au Recorded in the Rif mountains. Maroc. In Porte, Jacques, ed. Encyclopedie des Garcia 8arriusD, Patrocinio. La musica hispano. musiques sacrees. v. 1. Paris, Editions Lager. musulmana en Marruecos. Madrid, Instituto de gerie, 1968. p. 464-466. Estudios Africanos, 1950. 56 p. Karpati, Janos. Melodie, vers et structure strophique . - -- - La musica marroqui. Mauritania ; revista dans la musique berbere (irnazighen) du Maroc mensual ilustrada, v. 7, Jan.·Aug. 1934: 9·11, central. Studia musicologica, v. I, no. 3/4, 49·51, 103·106, 135·137, 169·170, 236·242, 1961: 451-473. 263·266,364.369; v. 8, Jan., Apr., May, Sept., ..... Quelques notes sur la musique traditionnelle Oct. 1935: 16·18, 109·112,144-147,269.272, et folklorique dans differentes regions du 296·298; v. 9, Jan., Aug., Sept., Oct., Dec. Maroc. In Archer, William K., ed. The preserva· 1936: 20·25, 240·243, 277·280, 298·300, tion of traditional forms of the learned and 364·368; v. 10, Jan./Feb.·May, Sept., Oct., Dec. popular music of the Orient and the Occident. 1937: 15·18,60·61,90.91,123·128,251.254, 279.282,363.367. Urbana, Center for Comparative Psycho· linguistics, Institute of Communications Re­ Gerson·Kiwi, Edith. Migrating patterns of melody search, University of 1llinois [foreward 1964] among the Berbers and Jews of the Atlas Moun· p.163·170. tains. In International Folk Music Council. Laoust, Emile. Cours de berbere marocain ; dialecte Journal. v. 19 ; 1967. Cambridge, Eng. p. 16·23. du Maroc central. 3d ed. Paris, Librairie Gilbert, Will G. Berbermuziek. In Algernene Orientaliste P. Geuthner, 1939. p. 271 ·272, muziekencyclopedie. v. 1. Antwerpen, Zuid· 274-281. Nederlandse Uitg., 1957. p. 436-437. .. - .. Cours de berbere marocain; grarnrnaire , ----- Marokkaanse muziek. In Algemene mu­ vocabulaire, textes. Dialectes du Sous, du Haut ziekencyclopedie. v. 4. Antwerpen, Zuid· et de l'Anti·Atlas. Paris, A. Challamel, 1921. Nederlandse Uitg., 1960. p. 469-471. p.234.

8 ----- Le marriage chez les Berberes du Maroc. -- - - - Danses etranges. In his Enigmes du Maroc. Archives berberes, v. I, 1915: 40-76. Paris, Editions Robert Laffont, 1971. p.225-239. - -- - - Noms et ceremonies des feux de joie chez les Berberes du Haut et de l'Anti-Atlas. Hesperis, -- --- Maroc. [Phonodisc] Philips 844.926 BY. 2 s. v. I, 1921: 3-66,253-316,387-420. 12 in. 33 1/3 rpm. Larrea, Arcadio de. Canciones juglarescas de Ifni. Morocco. Service des arts indigenes. Corpus de Madrid, I.D.E.A. [1956] 233 p. (Cancionero musique marocaine. Paris, Heugel [1931-33] del Africa Occidental Espafiola, I) 2 pts. Bibliography: p. [42]. Music of Morocco. [Phonodisc] Folkways Records - --- - ,camp. Canciones populares de Ifni. Madrid, FE 4339. [1966] 2 s. 12 in. 331/3 rpm. micro­ I.D.E.A. [1957] 176 p. (Cancionero del Africa groove. (Ethnic folkways library) Occidental Espafiola, 2) Sung and played by native musicians. Recorded in Morocco, 1961-62, by Christopher Wanklyn . . . - - - Canciones rituales hispano-judias. Madrid, Program notes by Wanklyn (3 p.) inserted in I.D.E.A., 1954. (His Cancionero judio del norte slipcase. de Marruecos, 3) Rorem, Ned. The real musics of Morocco. Musical - - --- Romances de Tetwln. [Madrid, I.D.E.A., America,v. 70, Jan. IS , 1950: 8,48. 1952] 2 v. (His Cancionero judio del norte de Roux, Arsene. Un chant d'amdyaz l'aMe berbere du Marruecos, 1-2) groupe linguistique beraber. In Memorial Henri Lens, Therese de. Ce que nous savons de la musique Basset. 1. 2. Paris, Librairie orientaliste P. et des instruments de musique du Maroc . In Geuthner, 1928. (Rabat, Morocco. Institut des Rabat, Morocco. L'Institut des hautes etudes hautes etudes marocaines. Publications, 1. 18) marocaines. Bulletin, v. I , 1920: 137-152. p. [237]-242.

---- - Sur Ie chant des moueddin et sur les chants --- -- Les " imdyazen" ou aedes berberes du groupe chez les femmes a Meknes. Revue de musi­ Iinguistique beraber. Hesperis, v. 8, 1928: cologie, v. 5, Nov. 1924: 152-163. 231-251. Schneider, Marius. Nochmals asiatische Parallelen Levi-Provenryal, Evariste. Un chant populaire zur Berbermusik. In Gesellschaft fUr Volker­ religieux du Djebel Marocain. Revue africaine, kunde, Cologne. Volkerkundliche Forschungen. v. 59, 2d quarter 1918: 215-248. Koln, E. J. Brill, 1960. (Ethnologica, n.F., Bd. Lhote, Henri. Les Touaregs du Hoggar. 2. ed., rev. et 2) p. [433]-438. augm. Paris, Payot, 1955. p. 183. Schuyler, Philip. Moroccan Folk Music. Marangue, Meny de. La musique marocaine. Cour­ [Phonodisc] Lyrichord LLST 7229. 2 s. 12 in. rier musical & theatral, v. 26, Dec. 1-15 ,1924: 33 1/3 rpm. 563-564,594-596. Thornton, Philip. The voice of Atlas; in search of Martens , Frederick H. The musical observations of a music in Morocco. London, A. Maclehose. Moroccan ambassador (1690-1691). Musical 1936.225 p. quarterly, v. IS, Oct. 1929: 574-582. Tiersot, Julien. Musique marocaine. Menestrel, Mazel, Jean. Anthologie de la musique populaire v. 96, Aug. 17/24, 1934: 293-294. marocaine, no. I: Rhythmes du moyen Atlas. Wanklyn, Christopher. See Music of Morocco. [Phonodisc] Boite it Musique EX 249. 2 s. 7 in. 33 1/3 rpm. Westermarck, Edward. Ritual and belief in Morocco. New Hyde Park, N. Y., University Books ----- Anthologie de la musique populaire maro­ [1968] 2 v. caine, no. 2: Folklore du pays Chleu. Reprint of 1926 ed. with a foreword originally [Phonodisc] Boite it Musique EX 248. 2 s. 7 in. published in Nature, Dec . 1927. Bibliographical 33 1/3 rpm. footnotes.

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