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

 Cheikha Haddouj bent Fatma Rahou Ensemble

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<p>Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble</p><p>Recorded by Paul Bowles</p><p>At Knehifra, Morocco</p><p>October 20, 1959</p><p><br></p><p><strong>Source:&nbsp;</strong></p><p>Bowles, Paul F.&nbsp;"<a href="http://archnet.org/publications/10115" rel="noopener noreferrer" target="_blank">Khenifra</a>" in&nbsp;<a href="http://archnet.org/publications/10093" rel="noopener noreferrer" target="_blank">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</p>

video

35A: "Arhacha Atsoudaoua" (Music of the Zaiane Tribe)

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<p>Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble&nbsp;</p><p>&nbsp;Recorded by Paul Bowles At Khenifra, Morocco. October 20, 1959</p><p><br></p><p>The singers were not pleased with the prominence I gave the guinbri in the recordings.· Th􀂨ir feelin􀂱 was that the YOicee 􀀆nd benaliir should predomin_ate, and that the guinbri should proYide an added rhythmiQ variety. The guinbri player, MuBtapha ben Mohammed, had however strung his 􀄹􀄺􀄻􀄼ri, (which is not an Arabic instrument) with lute atrings, which deprived the instrument of its customary brilliant and somewhat br-ittle tone• and gave it the volume and pitch depth of a lute, if not the resonance or the actval sound; his ai■ was clearly to provide M : \􀇶 melodi􀇽 varieti to the utterly repe­titive strophes of the 􀈢in ers. The truth .is, of course, tja.t the thing is impossible.&nbsp;</p><p><br></p><p><strong>Source:&nbsp;</strong></p><p>Bowles, Paul F.&nbsp;"<a href="http://archnet.org/publications/10115" rel="noopener noreferrer" target="_blank">Khenifra</a>" in&nbsp;<a href="http://archnet.org/publications/10093" rel="noopener noreferrer" target="_blank">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</p>

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="font-size: 14px;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble</span></div><div><span style="font-size: 14px;">Guinbri by Mustapha ben Mohammed</span></div><div><span style="font-size: 14px;">Recorded by Paul Bowles</span></div><div><span style="font-size: 14px;">At Khenifra, Morocco</span></div><div><span style="font-size: 14px;">October 20, 1959</span></div><div><br></div><div>"There were six girls, divided into two groups of three each. One group had one&nbsp;<span style="font-style: italic;">bendir</span>; the other had two. The singing was antiphonal. There was also a man playing a&nbsp;<span style="font-style: italic;">guinbri</span>&nbsp;strung with lute gut. The presence of the&nbsp;<span style="font-style: italic;">guinbri</span>&nbsp;is unusual, and is obviously a relatively recent innovation; it is not found in the music of the other tribes of the region t the Beni Mtir, and the Beni Mguild. (See tapes&nbsp;<a href="http://archnet.org/media_contents/99233">1A</a>,&nbsp;<a href="http://archnet.org/media_contents/99321">2A,</a>&nbsp;<a href="https://archnet.org/media_contents/99742">3A</a>,&nbsp;<a href="https://archnet.org/media_contents/100854">4A</a>,&nbsp;<a href="https://archnet.org/media_contents/103442">5A</a>,&nbsp;<a href="https://archnet.org/media_contents/103443">5B</a>,&nbsp;<a href="https://archnet.org/media_contents/103763">6A</a>,&nbsp;<a href="https://archnet.org/media_contents/103762">6B</a>.)</div></div><div><div><br></div><div>Source:&nbsp;</div><div>Bowles, Paul F. &nbsp;"<a href="http://archnet.org/publications/10115">Khenifra</a>." in&nbsp;<span style="font-style: italic;">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</span>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

32B Qim Rhori

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble 
Recorded by Paul Bowles 
At Knehifra, Morocco
October 20, 1959</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div>"The singers were not pleased with the prominence I gave the
guinbri in the recordings. Their feeling was that the voices and
benadir should predominate, and that the guinbri should provide an
added rhythmic variety. The guinbri player, Mustapha ben Mohammed,
had however strung his guinbri, (which is not an Arabic instrument)
with lute strings, which deprived the instrument of its customary
brilliant and somewhat brittle tone, and gave it the volume and pitch
depth of a lute, if not the resonance or the actual sound; his aim
was clearly to provide melodic variety to the utterly repetitive strophes of the in singers. The truth is, of course, that the thing is impossible, an the music sounds decadent from the moment
any plectrum instrument is added, whether it is clearly heard or not."<span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><div><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10115">Khenifra</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble 
Recorded by Paul Bowles 
At Knehifra, Morocco
October 20, 1959</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"After having tried various microphone placements and various seating arrangements of the singers and drummers, I put the microphone out in the courtyard for this number, I put the microphone out in courtyard for this number. I don't think the music gained very much by this, but the singers were happier. My impression was that they intuitively felt something was wrong with the </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap; font-style: italic;">guinbri, </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">but since it is part of the local tradition, it never occurred to them that their music would profit enormously  by its total suppression. </span></div><div><br></div><div>When I came to pay them, they were not satisfied with the sum they agreed in front of the caid, saying <span style="font-style: italic;">Hnaya rhaline.</span> (We are expensive.) It is true that they all wore expensive jewelry and European shoes with high heels, although their clothing was otherwise traditional."</div><div><div><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10115">Khenifra</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

35B: "Labess Akhouianou Labess" (Music of the Zaiane Tribe)

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble 
Recorded by Paul Bowles 
At Knehifra, Morocco
October 20, 1959</span></div><div><div><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10115">Khenifra</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

34B: "Ida ou Smoun Iammamanou" (Music of the Zaiane Tribe)

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble
Mustapha ben Mohammed, quinbri  
Recorded by Paul Bowles
At Khenifra, Morocco
October 20, 1959</span><br></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"</span><span style="font-size: 14px;">This music is an object-lesson in hybridism, in this case the&nbsp;</span>Arabic musical culture absorbing that of the Berbers. I should call it schizophrenic music, an ethnical monstrosity. It presents two cultures, each making different music in two unrelated scales. The <span style="font-style: italic;">guinbri</span> is playing Arabic figures using an Arabic mode. The singing is in the Berber language, and the intervals employed are those of Berber music. Personally I found the combination highly displeasing, but this may be because I 'was aware of the music's basic degeneracy."<span style="font-size: 14px;"><br></span></div><div><div><br></div><div>Source:&nbsp;</div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

34A: Chaorhastiyikh Oustmoun. Music of the Zaiane Tribe

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Recorded by Paul Bowles 
At Khenifra, Morocco
October 20, 1959</span></div><div><br></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"Toward the end of the session, to vary things a bit, I suggested that Mustapha ben Mohammed sing something of his own choosing. As if to bear out my private contention, his choice was a song from the Larobi repertory.  (The Larobia are country people of Arab stock, in contradistinction to the vast majority of rural Moroccans, who are Berbers. Since the inhabitants of Khenifra are not all of the Zaiane tribe, although it is the  center of the region populated by the tribe, there is necessarily a good deal of admixture of Arabic culture there. Mustapha ben Mohammed was of Khenifra; the girls from the country.)</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">During the instrumental interlude, two girls performed fairly lewd dances facing on another in the center of the room."</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10115">Khenifra</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

36A: "Dada Hbibti" (Music of the Zaiane Tribe)

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Cheikha Haddouj bent Fatma Rohou and Ensemble 
Recorded by Paul Bowles 
At Khenifra, Morocco
October 20, 1959</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"As the final piece, I requested a song using the </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap; font-style: italic;">sineya, </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">having discovered that it was a common practice in the Middle Atlas. (See tapes nos. </span><a href="https://archnet.org/media_contents/102938">4A</a><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"> and </span><a href="http://archnet.org/media_contents/133410">25B</a><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">.) The </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap; font-style: italic;">sineya</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"> is a brass or copper tray about three feet in diameter. On this occasion it was struck with two tea glasses, (by Cheikha Haddouj) while Mustapha ben Mohammed struck a much smaller tray. There were six 'female' voices and two male. the second man joining in from the courtyard. This music, totally uninhibited by considerations of tradition, is an excellent example of the Berber musical subconscious, and is much the best recording I got in Khenifra."</span><br></div><div><div><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "Ouarzazat" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

36B: "Ayay Rzikh Anou Yaali Aoua" (Music of the Zaiane Tribe)

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Cheikha Haddouj bent Fatma Rahou Ensemble
Morocco

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