Morocco

<p>Records for the performers on the Music of Morocco recordings as noted by Paul Bowles in the field notes. </p>

Music of Morocco: Performers

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Performance of the Guidmioua Tribe

 Rais Mohammed El Khemissi and Ensemble 

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“There is some confusion in the nomenclature of Moroccan instruments. What is called the liara &nbsp;in the towns is called the aouada by the Raha, and what is called the aouada in most parts of Morocco is called t he chebaba in Fez and eastern Morocco. In the Rif the names are still different. (The chebaba is about two feet long, whereas the liara measures from eight to ten inches. Both are</p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;">fashioned of a single reed of cane, but whereas the liara has a mouthpiece and is played like a recorder, the chebaba is open at both ends and is played like a flute.)</p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;"><br></p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;">I think the general inferiority of Reel 19 &nbsp;is a result of inexpert musicianship, particularly on the part of the drummers. However, it is always necessary to take into consideration the psychological component: these were musicians from the country playing in a closed room with no audience. It is possible that the same men performing in their accustomed environment would produce much better music.<br></p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;"><br></p><div><div>The resonator of Heuzoumri's guinbri was the shell of a turtle about six inches long by four inches wide. Like the greater part of music elaborated in the cities (Nifdik ya Rhzali is native to Tetuan itself) no. 3 is of Arab inspiration melodically. Occasionally the rhythm automatically discloses its Berber antecedents.</div><div><br></div><div>It is difficult to consider no. 4 as two separate numbers, considering the almost identical melody which both songs use. In the very beginning the scale sounds like the first five notes of the major scale, but it quickly becomes clear that the lowest note is sharpened almost a half tone.”</div></div><div><br></div><div style="color: rgb(1, 1, 1); line-height: 16px;">Source:&nbsp;</div><div style="color: rgb(1, 1, 1); line-height: 16px;"><br></div><div style="color: rgb(1, 1, 1); line-height: 16px;">Bowles, Paul F. &nbsp;"<a href="http://archnet.org/publications/10107" target="_blank">Tetouan</a>." in&nbsp;<span style="font-style: italic;">Folk, Popular, and Art Music of Morocco</span>. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div><div><br></div>

El Mouwel aala Sigane

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Labanda Ladowa & Allah Ihanik ya Habibi 

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Nifidik ya Rhzali

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“This group of musicians, comprising five men, was from a small village in the foothills of the Rif, called El Khemiss Tifraoun. The proprietor of the Qahoua d’l Nadjah, Bachir eI Hadj Hassan Bacali,<br></p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;">gathered them together for me and provided us with a private sala in his café where we made the recordings. I had demurred at first, thinking that it would be better to pass through the region of the Rhmara and get the music in situ, but changed my mind when I was told that there would be no electricity there.</p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;"><br></p><p style="margin-top: 0pt; margin-bottom: 0pt; margin-left: 0in; direction: ltr; unicode-bidi: embed; word-break: normal;">The Rhmara are a small tribe of Berber-speaking people surrounded on all sides by Arabized Berbers.</p><div><br></div><div style="color: rgb(1, 1, 1); line-height: 16px;">Source:&nbsp;</div><div style="color: rgb(1, 1, 1); line-height: 16px;"><br></div><div style="color: rgb(1, 1, 1); line-height: 16px;">Bowles, Paul F. &nbsp;"<a href="http://archnet.org/publications/10107" target="_blank">Tetouan</a>." in&nbsp;<span style="font-style: italic;">Folk, Popular, and Art Music of Morocco</span>. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div><div><br></div>

Missalya

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Rais Mohammed El Khemissi and Ensemble
Morocco

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