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Recording Laboratory AFS L63 and L 64

Music of MoroccoFrom the Archive of Folk Song

Recorded and Edited by Paul Bowles

Library of Congress Washington 1972


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Library o fCongress Catalog Card Number 72-750123

A vaili1ble from the Library o fCongressMusic Division. Recording Laboratory

Washington. D. C. 20540


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MUSIC OF MOROCCO

The most important single element in Morocco'sfolk culture is its music. [n a land where almost totalilliteracy has been the rule, the production of writ-ten literature is practically negligible, but the Moroc-cans have a magnificent and highly evolved sense ofrhythm which manifests itself in the twin arts ofmusic and the dance . Because Islam does not lookwith favor upon any sort of dancing, however, theart of the dance, while being the natural mode ofexpression of the native population, has not beenencouraged in Morocco since the arrival of the Arabconquerors. At the same time, the very illiteracy ofthe people through the centuries has abetted the de-velopment of music; the entire history and mythologyof the people is clothed in song. Instrumentalists andsingers have come into being in lieu of chroniclers andpoets, and even during the most recent chapter in thecountry's evolution- the war for independence andthe setting up of the present regime - each phase of thestruggle has been celebrated in song.The neolithic Berbers have always had their ownmusic, a highly percussive art with complex juxta-positions of rhythms, limited scalar range (often nomore than three adjacent tones), and a uniquemanner of vocalizing. Like other Africans, theydeveloped a music of mass participation, which fre-quently aimed at the psychological effect of hyp-nosis. When the Arabs invaded the land, theybrought with them music of a very different sort,addressed to the individual, music that existed onlyto embellish the word, with the property of inducinga state of philosophical speculativeness.On the central plainS and in the foothills of thenorth the people adopted elements of Arab music,while on the edges of the Sahara they borrowedfrom the Sudanese slaves they had imported, themusical result being hybrid in both cases. Only inthe areas remaining generally inaccessible tonon-Berbers- roughly speaking, the mountains them-selves and the high plateaus between the ranges- wasBerber music left intact, a purely autochthonous art.European colonization spurred the growth of anationwide, homogeneous, Maghribi-Arabic-speakingculture, thus encouraging the emergence of a"national" popular musical idiom among town

dwellers from the Algerian bord er to the Atlantic.Because the valleys and coastal plains contained allof the Maghribi-speaking pQPulation, it followedthat any widely appreciated popular mu sic thatMorocco might develop would be based on the al-ready hybridized idioms of these areas in which theArab influence was greatest. There wa s an era whenpopular music was regionally diversified; severalimmediately recognizable styles existed. A few stilldo: the Haouziya, the Ojebala, and the so-calledChleuh, exceptional as having the only popularrepertory whose words are not in Maghribi. The pre-sent tendency. however , is toward an Egyptian-basedesthetic. The more nearly a song can ap proximate,both in conception and performance, a creation ofOm Kalthoum, Abd el Wahab , or Farid el Atrache,the better it is considered to be. It remains to beseen whether the practice will continue or whetherthe Moroccan voice will reassert itself.The Anda[uz repertory- a consciously preservedgenre, the unvarying rules of its esthetic long sinceestablished- is the last living fo lk memory of theseven-century Moroccan occupation of Andalusia. Itis extraordinary that medieval Iberian music, as itwas heard and transformed by Arab musicians of theera, should have survived into the 20th century.[ made these recordings during the final fivemonths of [959, with the assistance of ChristopherWanklyn and Mohammed Larbi Djilali, using anAmpex 601 tape recorder. Inasmuch as the equip-ment required a 110-volt power source, complexarrangements were often necessary for transportingmusicians from their remote villages to places wherethe electric power supply wa s compa tible with therecording equipment. The cooperation of localMoroccan officials wa s essential- though not alwaysattainable- in carrying out these arrangements. Wemade four six-week field trips in Morocco, coveringthe southwest, the northeast, the central south, andthe cities, respectively. Coverage of the southeastwas hindered by the Franco-Algerian War. The pro-ject wa s supported by the Rockefeller Foundationand the Library of Congress, and the original tapesfrom which these discs were se lected are in theLibrary's Archive of Folk Song.


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Highlands-n ,e BerbersL63-A

I . Ahmeilou. Played by Maallem Ahmed and ensemble, recorded in Tafraout.

The ahouache is a formalized sequence of musicand dance peculiar to the Grand Atlas and regions tothe south of the range (in the Middle Atlas the spectacle is called an ahidous). Often the openingnumber on the program is an ahmeilou. acirculardance for males accompanied only by percussion.Here the polymetric pattern characteristic of muchMoroccan Berber music is apparent. Musically theahmeilou is considered a concerto for solo drummerand percussive ensemble. In Tafraout the soloistused a gannega. an instrument like a very small sidedrum, played with sticks, and the other five drummers used the bendir, a large disc of goatskin with areverberating wire stretched across its diameter andstruck with the hand. Seven other participants in thedance provided the handclapping section. Thus thedance circle wa s composed of 13 men simultaneously dancing and making music. Constant accelera-tion of tempo within a given dance is usual; in thiscase it is noticeable but not marked.

2. EI Baz Ouichen (song for male voice). Sung andplayed by Rais Ahmed ben Bakrim, in Tiznit.

This ballad is an example of what the French usedto call "Chleuh" music. Chleuh is a synonym ofTachelhait, the language spoken in a large segmentof southwestern Morocco. The musical idiom is onewhich has been evolved in the marketplace ratherthan the village ; thus it could justifiably be classifiedas chaabiya (popular) and not as traditional folkmusic. There are numerous regional genres ofchaabiya music in Morocco; the present tendency isfor them to be replaced by the official (radio andtelevision studio) chaabiya style, in strict imitationof Egyptian film music.The song is an invention of the man who sings andaccompanies it, and its subject is a clever jackal. Thesinger holds the rabab erticolly by its neck, itssingle gut being hit with horizontal strokes by a veryshort bow. The use of a pentatonic scale relieved bypassages of Sprechstimme is fairly common in theTachelhait chaabiya repertory.

3. Aqlal. Sung and played by Moqaddem Mohammed ben Salem and ensemble, in Zagora.One of the uses of music among the Moroccans isto assist in effacing the boundaries between individ

ual and group consciousness; perhaps with this inmind the dancermusicians often arrange to touchone another during perfonnances. In the aqlal, adance ceremony of the Draa valley in the PreSaIlara,the device of constant contact among players evolvesinto an ingenious and intricate choreographed routine. Each man in the lineup carries a square handdrum (deff) shaped like a large sandwich, which, bymeans of a complex gymnastic pattern of alternateoverlaying and interlacing of anns, is being struck bythe men on either side of him, while he in tum ishitting their drums, one with each hand. Seventeenmen performed here: one tara (large discshapedhand drum), two taarij (small conical ceramic handdrums), nine dfouf (singular deff), and five handclappers. They divided themselves into two groupsand sang antiphonally. The absence of rhythmicalfigures is compensated for by the equivocal natureof the meter with iis passages of simultaneous 5/8and 4/8.

4. Ouakha dial Kheir (women's chorus). Sung andplayed by Chikh Ayyad ou Haddou and ensemble, in Tallala.The Ait Ouaraine live in the mountains southeastof Fez and until recently were in great demand

among the residents of that city as entertainers atweddings and other household festivals. Here onlywomen performed, one of them using a bendir asaccompaniment. Before setting up the recording ses-sion I had been told by the governmental katib thatI would be hiring three people to perfonn. Whenthree men and four women arrived, I began to lookforward to difficulties at the moment of payment.The leader of the group, however, was scrupulousabout honoring his agreement. "Three people," hesaid when I came to pay him, and I remembered thatwomen are not people; these four has been broughtalong as decorative assistants and did not expect tobe paid.

5. Aili ya Mali (mixed chorus). Sung and played byChikh Ayyad ou Haddou and ensemble, inTaI1a1a.

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The music of the Ait Ouaraine puts unusualemphasis on vocaJization, almost to the exclusion ofmelody; the line tends to be monotonal, punctuatedby minute and complex fiorilUTe. The voices of themen are pitched so high that it is impossible to dis-tinguish them from the women's. Here the singerswere three men and four women. The percussiveaccompaniment consisted of a large brass tea traystruck with two teaspoons (sometimes two teaglasses are used for striking the tray).

6. Ahouache (men's chorus). Sung and played byMaallem Ahmed and ensemble, in Tafraout.The repeated strophe, divided and sung antipho-nally, is characteristic of those sections of theahouache involving group singing. This sequence was

recorded later during the sarae ahouache as theahmeilou (side A, band 1) and represents the sarae13 performers plus another 15 who in the meantimehad joined their ranks, some playing the bendir andsome clapping their hands. The dance was strenuous,and although it was 10 o'clock in the evening, thetemperature in the compound still stood at 108degrees. By the time the men fmished they werestreaming with sweat.Performers were brought from villages higher up inth e Anti-Atlas. There were no professionalmusicians-merely farmers living in inaccessible val-leys where everyone still koew how to make goodmusic.

1. Aouada Trio. Played by Rais Mahamad benMohammed and ensemble, in Tarnanar.During the Middle Age s groups of musicians and

acrobats from southwestern Morocco often touredthe British Isles, performing what was called Moorishdancing. Subsequently the term was corrupted intoMorris dancing. Whether t1tis Haha music bears anyresemblance to what was used at that time is a mat-ter for conjecture . What is ce rtain is that the meter is6/8 and the melodic line invariably is built on afive-tone scale. Passages such as this one for threesmall recorders (aouada) are in the nature of pre-ludes to the dances which eventually follow them.

2_ Chorus and Dance_ Sung and played by RaisMaharnad ben Mohammed and ensemble, inTamanar.The personnel consists of 16 men, with threeaouadas (small cane recorders with a piccolo-like

register) and one drum (bendir). Rhythmical intri-cacy is supplied by the dancers' hands and bare feet.A charge repeatedly levelled at Berber music byurban Moroccans is that it is monotonous. There isno doubt that it is repetitive with an insistence notcommon to all folk music. But a distinction shouldbe made between static repetition and organic (ordeceptive) repetition, in which the reiteratedrhythmical or melodic motif is merely a device forcapturing the aUention, the music's ultimate aimbeing that of imposing itself totally upon the consci-ousness of the listener. The effect is not monoto-nous but hypnotic, and it becomes clear that theapparent repetitions contain variety and direction.

3. Reh dial Beni Bouhiya (qsbah solo). Played byChikh Hamed bel Hadj Hamadi ben AlJaI andensemble, in Segangan.The instrument here is called a qsbah. This name isused in the part of the Rif where the Beni Bouifrourlive ; variant terms are aouada and chebaba, but theaouada of the Rif s by no means the sarae as that ofthe Grand Atlas. I t is a transverse flute made from asection of reed about 18 inches long. The qsbah is

found in the extreme east of Morocco and in thewestern part of the Algerian Sahara, where fourdecades ago it was the favorite instrument of thecamel drivers. Considering its low register, it has anextraordinary carrying power when played in silen tsurroundings.Melodically, the body of the piece is constructedwith four principal tones (G, B-flat, C-flat, D-flat)and one incidental tone (A-natural). In the coda,however, D-natural is added, and with telling effect.

4. Albazaoua (women's chorus). Sung and playedby MaaJlem Ahmed Gacha and ensemble, in AitOurir.

The personnel of t1tis group consisted of 25 femalesingers and 19 male percussionists. As usual thesingers were divided into two sections to facilitateantiphony_ The women were fractious throughoutthe session, constantly demanding to be placed in a3


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different position with regard to the percussionistsand arguing vehemently among themselves betweennumbers about where they ought to be standing.There were 15 men playing bendir, three playingtbel, and one pounding the naqous, a resonatingstrip of steel. Payment for the recording wasarranged two days beforehand with the caid, whostipulated that there would be 32 performers andthat each one should receive a sugar loaf weighingfour and a half pounds. Accordingly, I arrived in thevillage with 32 loaves of sugar, only to find that thepersonnel had been augmented and that there were44 people to be paid. The caid solved the problemby taking all the sugar ltimself; presumably he distri-buted it later as he saw fit.

5. Mouwal. Sung by Chikha Fatoma bent Kaddour,in Ain Diab.

The mouwal is the section in a song where thesinger is free to give voice to a series of wordlesscalls. Thus it is the part most eagerly awaited bylisteners: it is where he expresses his personality andexhibits certain technical abilities that possiblywou ld not show in the song itself. The three stro-phes here were recorded in a tent at an amara in AinDiab on the Atlantic coast. The singer was a chikhaof the Beni Mguild tribe , from the region of AinLeuh in the Middle Atlas. Chikhar in Morocco areanalogous to geishas in Japan: they serve tea, engagein repartee, and sing and dance for their customers,either in their own quarters or at the homes of thosewho hire them. There is great demand for them asentertainers at rural weddings.

6. Idihan dial Bou Guemmaz (men' s chorus). Sungand played by Mohammed bel Hassan andensemble, in Ait Mohammed.The Ait Bou Guemmaz live 9,000 feet up in theGrand Atlas. Their music is the only Moroccan genreI have found in which each piece consists of threedistinct "movements ." The sections differ in their

choice of thematic material, in meter, and in tempo,very much as in a European composition usingsonata form_ This section includes the fmale of afirst umovement," with a few strophes of the sectionimmediately preceding it. At one point the malevoices cease being used melodically and become, asit were, instruments of percussion. The wind instrument accompanying the song and dance is a small

metal flute about 10 inches long, which the Ail BouGuemmaz caU the taaouadit. The group was madeup of professional musicians who for a part of theyear become itinerant, going on tour from village tovillage in the manner of troubadours.

Lowlands- Influent StrainsL64 - A

I. Ounalou Biha Rajao (male solo with women schorus). Sung and played by EI Ferqa dialGuedra (Bechara), in Goulimine.This is locally known as guedra music, from thename of the large drum which constitutes the onlyaccompaniment to its vocal linc. The inSLmment

used here measured 28 in ches in diameter. It wasplaced on the floor, and the women sat around it, asat a table, beating on it. A young man acted as solo-ist, and it is he who sings the opening phrases. Thescale is Mauretanian (E, F-sharp, G, B, C), the lan-guage Arabic, and the dance itself totally unlike anyother found in Morocco. The dance is done in akneeling position, and the torso, arms, and neck arethe mobile parts. Until the end of the colonialregime in 1956 the girls traditionally perfurmedunclothed to the waist; now government agents arepresent to forestall such procedure, and the dance isdone with fully covered torso. Bechara and her girlshave performed in Europe and the United States.

2. Rhaitas and Tbola. Played by Sadiq ben Moham-med Laghzaoui Morsan and ensemble , inEinzoren.

The rhaita, a form of oboe which can still befound in parts of rural Spain under the name ofgaita, is the ideal outdoor instrument for a countrylike Morocco, where music is meant to be heardacross great distances. It is used in wedding and cir-cumcision processions, as an accompaniment toecstatic dancing by the Aissaoua brotherhood , andduring the nights of the month of Ramadan, as anadjunct to the voice of the muezzin in the minaretsof the mosques. In the last instance the rhaita servesas a solo instrument, but for aU other purposes it isplayed to the accompaniment of side drums beatenwith sticks (tbola). Here there are two men playingrhairas and two playing tbola.

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3. MeUaliya (song for male voice). Sung and playedby Embarek ben Mohammed, in Marrakech.An example of the sort of hybridization which

occurs among the Larobia- the inhabitants of thewider river valleys and the AtJanUc coastalplain- this could be called a kind of choabiya. Theperformer , whom I found singing seated on theground in 3 Marrakech street, was a specialist inqsidas on religious subjects. The guinbri, which heuses to accompany himself, is a rustic lute with asounding box generally made of wood on thebottom and skin on top. Sometimes in place ofwood a large tortoise shell is used.

4. Taqtoqa Jabaliya . Sung and played by MaallemMohammed Rhiata and ensemble, from theregion of Taounate; recorded in Fez.The Djebala are Arabicspeaking Berbers. The

me-iodic hoe of their music is generally recognizableas bemg of Arab origin. Tradition, however , hasstyHzed the performance in such a way as to give aBerbet navor to it, much as a Spanish melody istransfonned by Mexican Indians.In the winter of 1947-48 I used to go each Fridayevening to Dar el Batha in Fez to listen to this parti-cular group of mu sicians. By 19S9. when theyrecorded this selection for me , they were all between6S and 70 years old. When I inquired if any youngmen were being trained in the tradition, they repliedin the negative. There were 10 performers, eight ofwhom played three fomlS of guinbri: the hoioui, the/rakh, and the souissane. The remaining two menplayed the tchnatchn (finger cymbals) and the dar-boukll (ceramic hand drum). A taqtoqa consists of asong for chorus followed by an instrumental dance,the players improvising for a given number of meas-ures over an organ point on each successive tone ofthe scale used by' the song. Only the chorus is givenhere.

5. Gnaoua Chorus. Sung and played by an unidentified ensemble, in Essaouira.

The Gnaoua fonn one of the several powerful reli-gious confraternities in Morocco, others being theAissaoua, the Jilala, the Hamatcha, the Derqoua andthe now-forbidden Haddaoua. The cult owes itsname, its music, and many of its practices to Islam-

ized blacks who brought it to Morocco from WestAfrica. Although a Gnaoui is etymologically a manfrom Guinea, there is no evidence of the cult'shaving originated any further south than the regionof the Niger River in southwestern Mali. Its adeptsare considered to be experts in the treatment ofscorpion stings and psychic disorders. Therapy forthe latter can include ecstatic dancing and the inges-tion of large quantities of raw nesh and fresh blood.The Gnaoua are also hired to perfonn purificationceremonies in new or renovated houses. For theirdancing they use very large stick-beaten side drumsand qarqaba, double hand cymbals of sheet iron likegigantic metal castanets. For their seated music thevoices are accompanied only by the gogo (a Suda-nese plectrum instrument akin to the guinbri), theqarqaba, and hand clapping.

6. Gnaoui Solo Song. Sung and played by SiMohanuned Bel Hassan Soudani, in Marrakech.This is Gnaoua seated music; the only accompani-ment is the gogo, which looks rather like a shoeboxmade of hide, with a lank handle attached to oneend . The single gut runs the length of the neck andresonating chanlber. Two further features distinguishit from other plectrum instruments found in Mo-rocco. There is a vibrator in the form of a steelfeather (soursa/) which fits over the end of the neckand adds a loud rattle to each note as it is plucked;

and the resonating chamber is so constructed as togive a sharp percussive sound when hit by the knuck-les . The latter pecularity caused no trouble, but thesoursa/ made each recording sound defective. Al-though it was detachable, the perfonner, being usedto its tintinnabulation, was loath to remove it. Thisis one of the two songs he recorded with the soursaltaken off and lying on the floor beside him. Thelanguage is Bambara.

7. Soula el Couida (mixed chorus). Sung andplayed by Maallem Taieb ben Mbarek andchikhats, in Marrakech.

This genre is called haouziya, from the plain EIHaouz, in which the city of Marrakech is situated.There are five men and three women; the instrumen-tation consisted of two kIlmenjas (violins played inthe manner of the viola da gamba), two tariias (smallceramic hand drums), and one mqahs (a pair of

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leatherworkels shears with the points truncated}.In addluon , twO of the women held very small handdrums and one a set of three tiny brass fingercymbals. The women se rved primarily as vocalists,while one man deSIgnated by the mOil/lpm as havingthe best singing vOIce because it was indisHnguish.able from a woman's- sang along with them. AnIdIOsyncrasy of the performance is that no drum isstruck twice in succession. The pattern is broken insuch a way that its notes can be played in rotationby whatever number of drummers the ensemblehappens to have.

L64-B

I. Ya Souki Hakim (secular sephardic song). Sungby Hazan Isaac Ouanounou and members of theHevrat Gezekel, in Meknes.

This is a secular song on a religious subject, sungby members of the Hevrat Gezekel at the SynagogueBenamara in Meknes. As the hazan, or cantor, of thecongregation explained, such songs have nothing todo with the religious services, being sung purely forthe pleasure of singing them. Since no musical instruments of any kind are allowed in the synagogue,the singers often imitate the sound of bowed andplectrum instruments behind the voices carrying themelody. Lacking a melodic repertory of their own,the Jews take their music "a little bi t from everywhere," as Hazan Isaac Ouanounou put it."Everywhere" turns out to be Egyptian film musicon occasion; most of the melodies, however, arefrom the Andaluz repertory of the MoroccanMoslems, as is this song. The text here is in Hebrew ,although the men did not hesitate to sing selectionsin Maghribi Arabic. It is noteworthy that the hazanwas only 20 years old; several others in the groupwere even younger.

2. Qsida Midh. Sung and played by Maallem elHacein and ensemble, in Meknes.Andaluz, the socalled classical music of Morocco,is a vast corpus of musical settings of medievalArabic poetry. The genre originated in southernSpain during the seven centuries of Moroccan occu

p,tion. Because the texts were in classical Arabic,the art was appreciated principally by the relatively

well-educated city dwellers. The general publicinvented its own Andaluz in the form of the qsida,simpler in form and with texts in a vulgar dialectcalled Melhoun which was intelligible to everyone.Whereas the Andaluz repertory is fIXed , the repertory in Melh oun has received constant additions overthe centuries since the expulsion of the Moro cca nsfrom Spain. Each year on the occasion of the Festival of the Throne new qsidas are composed in honorof the King.The qsida whose first section is given here is anunusually clear example of hybridization. Theinstrumental prelude is Arab music; then therhythmical accompaniment begins, with its Berberinsistence on continual drum beats. The purelydiatonic vocal line is neither Arab nor Berher , draw-ing its inspiration instead from medieval Europeanfolk music. The ensemble consisted of twokamen;as, two lutes (ouds) , guinbri, tenibar (abanjolike plectrum instrument), tarija, and tar(tambourine). The vocal soloist was the tenibarplayer; he announced that the qsida was in ho nor ofthe Prophet Mohammed, and that the lyrics were bySidi ben Ali.

3. EI Hgaz el Mcharqi (Andaluz chorus). Played byAbdelkrim Rais and ensemble, in Fez.Andaluz musical literature consists of II fJoubas,nearly all of which were in existence long before the

Moroccans were ejected from Spain at the end of the15th century. Each nouba is supposed to correspondto a particular bodily humor and is composed in amode deemed suitable to a specific time of day. TheMoslem preoccupation with the number five isexemplified in the arbitrary division of each noubainto five misanes. The misane is subdivided into anindetermina te number of parts, each of which is acomplete piece in itself. There is , however, a sense ofcontinuity and progression in the pieces if they areperformed in sequence. Since the duration of onenouba is 10 or I I hours , nothing longer than amisane is ever played, and nowaday s even that isconsidered too much. Only once have I heard anentire misane performed, 40 years ago in Fez.The composition of the ensemble was fourkamen;as, two ouds, rebab, darbouka, and tar.Arranging the recording was an extremely complicated procedure. There were long conversations bytelephone with governmental advisers in Rabat, whoon principle were opposed to allowing an Americanto record any of the Andaluz repertory. Eventually a

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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 ofconditions for taping. He also specified that each the Services des Monuments Historiques, des Arts ettime the name of the director of the group, du Folklore, Conservatoire de Fes."

Publications and Documentary RecordingsRelating to the Music of MoroccoThe 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. Specialthanks 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, - - - - - Bsat. Revue de musicologie, v. 15, Mayassisted by Juliette Kando. 1934: 65-78.Anderson, Lois Ann. The interrelation of African - - - - - Chants et danses berberes. Revue de musi-and Arab musics; some preliminary considera cologie, v. 17, May 1936: 65-69.tions. 1n Wachsmann , Klaus, compo Essayson music and history in Africa. Evanston, - - - - - Chants et danses berberes au Maroc. MeneNorthwestern University Press , 1971. p. 143- strel, v. 95, Sept. 8, 1933: 359.169. . . . . . Les genres dans la musique marocaine. LaBasset, 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, Random House (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-laires dans la religion musuhnane. In Porte ,Brian Jones presents the Pipes of Pan at Joujouka. Jacques, ed. Encyclopedie des musiques sacrees.[Phonodisc. Rolling Stones Records] CDC v. I. Paris, Editions Lagergerie, 1968. p. 409-49100. '[1971] 2 s. 12 in. 33 1/3 rpm. stereo- 421.phonie.Recorded in the village of Joujouka. . . . - La pratique du chant chez les musiciensa marocains. Zeitschrift fUr vergleichende Musik-Castells, F. Notes sur la fete de Achoura Rabat. wissenschaft, v. I, no. I, 1933: 52-55.Archives berberes, v. I, 1915: 230-244.

_. - _. Tableau de la musique marocaine. Paris, P.Chants et danses du Maroc. [Phonodisc] Chant duMonde 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, recueillisa 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. In1923: 275-285. L'Encyc!opedie coloniale et maritime. v. 3.

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Maroc. Paris, Editions de l'Empire fran,ais,1947. p. 479-496. (1948 ed., p. 543-560)Cooley , John K. Drums in Marrakesh (Berber musicin Morocco). Musical courier, v. 152, July1955: 8-9.EI Alami, Mohamed. La musique et les danses.Inhis

Le protocole et les usages au Maroc; des originesa nos jours. Casablanca, Dar el Kitab, 1971.p.7 1-81.

EI Fasi, Mohammed. La musique marocaine diteUmusique andalouse." Hesperis-Tarnuda, v. 3,fasc. I, 1962: 79-106.Essyad, A. La musique berbere au Maroc. In Niki-prowetzky , Tolia, ed. La musique dans la vie.Paris, Office de Cooperation Radiophoruque,1967. p. 243-260.Etienne, Robert. Heuces musica1es au Maroc . Lemonde musical, v. 37, July 31, 1926: 269-272.Farmer, Henry G. Berber music. In Grove, SirGeorge. Dictionary of music and musicians. 5thed. v. 1. London, Macmillan, 1954. p. 632-634.The feast of Achoura. [Phonodisc] Request Records SRLP 8162.Recorded in the Rif mountains.Garcia 8arriusD , Patrocinio. La musica hispano.musulmana en Marruecos . Madrid, Instituto deEstudios Africanos, 1950. 56 p.. - - - - La musica marroqui. Mauritania ; revistamensual ilustrada, v. 7, Jan.Aug. 1934: 911,4951, 103106, 135137, 169170, 236242,263266,364.369; v. 8, Jan., Apr., May, Sept.,Oct. 1935: 1618, 109112,144-147 ,269.272 ,296298; v. 9, Jan., Aug., Sept., Oct., Dec.1936: 2025, 240243, 277280, 298300,364368; v. 10, Jan./Feb.May, Sept., Oct., Dec.1937: 1518,6061,90.91,123128,251.254,279.282,363.367.GersonKiwi, Edith. Migrating patterns of melodyamong the Berbers and Jews of the Atlas Mountains. In International Folk Music Council.

Journal. v. 19 ; 1967. Cambridge, Eng. p. 1623.Gilbert, Will G. Berbermuziek. In Algernenemuziekencyclopedie. v. 1. Antwerpen, ZuidNederlandse Uitg., 1957. p. 436-437.- - - - - Marokkaanse muziek. In Algemene mu-ziekencyclopedie. v. 4. Antwerpen, ZuidNederlandse Uitg., 1960. p. 469-471.

Grame, Theodore C. Music in the Jm . aIFna ofMarrakesb. Musical quarterly, v. 56, Jan. 1970:7487.Hambourg, Mark. Music and Morocco. Etude, v. 44,Aug. 1926: 563564.Harries , Jeanette, and Mohamed Raamouch. Berberpopular songs of the Middle Atlas. In Africanlanguage studies. v. 12; 1971. London, School

of Oriental and African Studies, University ofLondon. p. 5270.Hornbostel, Erich M. von, and Robert Lachmann.Asiatische Parallelen zur Berberrnusik. Zeitschrift fUr vergleichende MusikwissenschaJt,v. I, no. I, 1933: 411.Horricks , Raymond , compo The music of Morocco.Collected and adapted by Ray Horricks.[phonodisc] London International SW 99485.[1968] 2 s. 12 in . 33 1/3 rpm. microgroove.stereophonic.Sung and played by native musicians. Programnotes by compiler on slipcase.Justinard, L. Notes d'histoire et de litteratureberberes. Hesperis, v. 5, 1925: 227238.Si Kamil Hussein Aissou. Musique et mystique auMaroc. In Porte, Jacques, ed. Encyclopedie desmusiques sacrees. v. 1. Paris, Editions Lager.gerie, 1968. p. 464-466.Karpati, Jano s. Melodie, vers et structure strophiquedans la mu sique berbere (irnazighen) du Maroccentral. Studia musicologica, v. I, no. 3/4,1961: 451-473.. . . . . Quelques notes sur la musique traditionnelleet folklorique dans differentes regions duMaroc. In Archer, William K., ed. The preservation of traditional forms of the learned andpopular music of the Orient and the Occident.Urbana, Center for Comparative Psycholinguistics, Institute of Communications Re-search, University of 1llinois [foreward 1964]p.163170.Laoust, Emile. Cours de berbere marocain ; diale cte

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- - - - - Le marriage chez les Berberes du Maroc.Archives berberes, v. I, 1915: 40-76.- - - - - Noms et ceremonies des feux de joie chez lesBerberes du Haut et de l'Anti-Atlas. Hesperis,

v. I, 1921: 3-66,253-316,387-420.Larrea, Arcadio de. Canciones juglarescas de Ifni.Madrid, I.D.E.A. [1956] 233 p. (Cancionerodel Africa Occidental Espafiola, I)Bibliography: p. [42].- - - - - ,camp. Canciones populares de Ifni. Madrid,I.D.E.A. [1957] 176 p. (Cancionero del AfricaOccidental Espafiola, 2). . - - - Canciones rituales hispano-judias. Madrid,I.D.E.A., 1954. (His Cancionero judio del nortede Marruecos, 3)- - - - - Romances de Tetwln. [Madrid, I.D.E.A.,

1952] 2 v. (His Cancionero judio del norte deMarruecos, 1-2)Lens, Therese de. Ce que nous savons de la musiqueet des instruments de musique du Maroc . InRabat, Morocco. L'Institut des hautes etudesmarocaines. Bulletin, v. I , 1920: 137-152.- - - - - Sur Ie chant des moueddin et sur les chantschez les femmes a Meknes. Revue de musi-cologie, v. 5, Nov. 1924: 152-163.Levi-Provenryal, Evariste. Un chant populaire

religieux du Djebel Marocain. Revue africaine,v. 59, 2d quarter 1918: 215-248.Lhote, Henri. Les Touaregs du Hoggar. 2. ed., rev. etaugm. Paris, Payot, 1955. p. 183.Marangue, Meny de. La musique marocaine. Cour-rier musical & theatral, v. 26, Dec. 1-15 ,1924:563-564,594-596.Martens, Frederick H. The musical observations of aMoroccan ambassador (1690-1691). Musicalquarterly, v. IS, Oct. 1929: 574-582.Mazel, Jean. Anthologie de la musique populaire

marocaine, no. I: Rhythmes du moyen Atlas.[Phonodisc] Boite it Musique EX 249. 2 s. 7 in.33 1/3 rpm.- - - - - Anthologie de la musique populaire maro-caine, no. 2: Folklore du pays Chleu.[Phonodisc] Boite it Musique EX 248. 2 s. 7 in.33 1/3 rpm.

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slipcase.Rorem, Ned. The real musics of Morocco. MusicalAmerica,v. 70, Jan. IS , 1950: 8,48.Roux, Arsene. Un chant d'amdyaz l'aMe berbere du

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kunde, Cologne. Volkerkundliche Forschungen.Koln, E. J. Brill, 1960. (Ethnologica, n.F., Bd.2) p. [433]-438.Schuyler, Philip. Moroccan Folk Music.[Phonodisc] Lyrichord LLST 7229. 2 s. 12 in.33 1/3 rpm.Thornton, Philip. The voice of Atlas; in search of

music in Morocco. London, A. Maclehose.1936.225 p.Tiersot, Julien. Musique marocaine. Menestrel,v. 96, Aug. 17/24, 1934: 293-294.Wanklyn, Christopher. See Music of Morocco.Westermarck, Edward. Ritual and belief in Morocco.New Hyde Park, N. Y., University Books[1968] 2 v.Reprint of 1926 ed. with a foreword originallypublished in Nature, Dec . 1927. Bibliographicalfootnotes.

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