Saif Abd Aljabaar – Ya Rohe. Aydoun—a musicologist, composer and, at the time of these recordings, the head of the music division at the Ministry of Culture—is well-versed in a wide range of Moroccan musics. Phobia Isaac – Smeagol. BANA Abderrahim bana, marrakech, riad, dekka, maroc. RimK – Cactus. Hamza Hard – Paintball. Lil K – Woah.
|Système d’exploitation:||Windows, Mac, Android, iOS|
|Licence:||Usage Personnel Seulement|
Kader Tirigou – Takel 3la Dra3i. Medine Ft Massoud – Papeti. The ensemble Ahl Srif CD 5 , from the area surrounding the well-known village of Jajouka, performs a music that is generally heard during ritual celebrations connected to mystical religious associations, or at processions celebrating weddings and circumcisions. Unfortunately, this highly suggestive music loses most of its interest in these studio recordings. Finally, the documentation for these recordings is disappointing at best—extremely limited in scope and sometimes confusing or inaccurate. Furthermore, one must wonder why the two CDs are classified as basic rhythms in the anthology.
Anthologie de la Musique Marocaine.
Recorded between andthe anthology was envisaged by Mohamed Achaari, the current Minister of Culture, who sought to safeguard the rich musical tradition of Morocco. And, indeed, the collection does illustrate the extraordinary richness and diversity of Moroccan traditional music.
Despite the good intentions of Mr. Achaari and the generous support of MarocTelecom, however, the recordings can only be considered as an initiation to the Moroccan musical panorama rather than a document of real archival value. The reasons for this are numerous. A first but fundamental problem lies in the fact that although the genres presented in the anthology are, with few exceptions, living musical traditions, these recordings were made neither in the field nor during live stage performances.
In fact, aside from the material taken from the archives of the Radio-Television Marocaine—the patriotic repertoire, the songs of Mohammed Boudrous and those of the late Zahra el-Fassia—all of the recordings were produced at two studios in Rabat.
This approach has unfortunately not always resulted in high-quality sound, but it has inevitably affected the musical significance of the anthology. Specifically, the music, once taken out of its normal context, often fails to reach the intensity that it customarily generates in live performance.
The audible absence of a musical development, of a crescendo that constitutes a central aspect of most of the genres present in the anthology, may be directly connected with the way in which the recordings were carried out. The anthology was compiled under the artistic direction of Ahmed Aydoun, who supervised the recordings in consultation with various specialists. Aydoun—a musicologist, composer and, at the time of these recordings, the head of the music division at the Ministry of Culture—is well-versed in a wide range of Moroccan musics.
Indeed, his book, Musiques du Marocwould make a good companion to this anthology, filling in some of the information missing from the notes.
Since, however, the supervision included making decisions concerning the choice of the repertoire, the manner of performance, and even the texts to be sung, it is difficult to imagine how the painstaking efforts of Mr. Aydoun and his collaborators could fail to affect the flow of the music and, in turn, the outcome of the project 1.
Finally, the documentation for these recordings is disappointing at best—extremely limited in scope and sometimes confusing or inaccurate. The bzna that accompany each volume unfortunately provide only a abderrahom description of the music, very little or nothing about the artists, and no information on individual tracks.
In addition to this, there are also discrepancies between the titles listed in the booklets and those on the backs of the CDs, and with the sequence of the CDs themselves for example, Hajib is listed as CD 5 of volume I while it is actually CD 6. The list of contents on the backs of the CDs also include significant mistakes.
The transliterated Arabic titles are often incomplete and may also include typographical errors. In short, a newcomer to Moroccan music may not get a clear picture of the many styles of music represented here, their abderrhim to one another, or, still less, the many musical and social issues that they entail.
At the same time, an experienced listener may feel frustrated by the quality of some of the performances, baa lack of documentation, and the absence of song texts. If this collection is not perfect, however, it is nonetheless a noble effort. Few nations have the wealth of musical traditions that still thrive in Morocco, and fewer still have attempted to document such diversity and make it available to the public.
Baha Moroccan government has now issued more than CDs, but there remain well-established traditions that the Ministry of Culture has yet to anthologize, from the ahwash of the High Atlas to the innovative revivalist music of groups like Nass el Ghiwane.
If listeners are lucky, there will be more collections to come. Perhaps next time the Ministry will draw on the enormous expertise of Moroccan scholars, journalists, performers and bbana to produce abderrahum and analytical notes worthy of the beauty and complexity of the music. One cannot really do justice to the entire anthology in so little space, but here is a summary of the contents.
Chants du Moyen Atlas. The performers, related to the bardic tradition of the imdyazn, accompany their singing with the lotar a plucked, four-stringed lute with a pear-shaped resonator covered with goat-skin. Their repertoire is mostly based on a genre of sung poetry whose subject ranges from social and political commentaries to romantic love izli.
These CDs present some of the varieties of this strophic song style practiced along the Atlantic Plains of Morocco. Kharbousha performed by the Ouled Bouazzaoui. The repertoire of the Jbala musicians, from the northwest of Morocco, is based on two genres: The ensemble Ahl Srif CD 5from the area surrounding the well-known village of Jajouka, performs a music that is generally heard during ritual celebrations connected to mystical religious associations, or at processions celebrating weddings and circumcisions.
Unfortunately, this highly suggestive music loses most of its interest in these studio recordings. The performance starts with an instrumental introduction that presents fragments of different modes on which the composition is based.
Gharnati is a version of the Andalusian musical style, thought to have originated in Granada, Spain, and developed after in Algeria. Unlike the more typical Moroccan style of Andalusian music, gharnati uses a small ensemble and emphasizes solo singing. The style, specific to the cities of Rabat and Oujda, was brought to Morocco by Algerians from Tlemcen and Algiers, fleeing French colonial rule. The repertoire of gharnati is organized in suite form, a series of vocal and instrumental pieces that follow one another according to a specific order nûba.
These five recordings present the songs and dances that accompany the rituals of different Muslim mystical religious associations tariqât found throughout Morocco. Their ceremony hadra begins with the recitation of a litany dhikr and the singing of poems in honor of Allah, the Prophet and the saints.
Later on the instruments come in to accompany the dance that may lead to possession by a saint or spirit. The tbel and the ghaita are the principal instruments that accompany the songs and dances of the Aissaoua.
To this ensemble the Hmadcha add the harrâzî large single-skin clay goblet-drum held on one shoulderwhile the Jilala accompany their ceremonies with the bendîr and the qasba a long end-blown flute Schuyler Daqqa is particularly associated with the cities of Marrakech and Taroudant. The Gnawa —whose ancestors came from Sub-Saharan Africa to Morocco as merchants, mercenaries, or, principally, slaves—traditionally perform in all-night ceremonies lila in order to secure peace of mind and heal their followers.
Their ritual is structured on a series of dance suites dedicated to seven families of saints and spirits, each characterized by specific colors, odors, flavors, feelings, actions, and sounds Schuyler The music of the gnawa —characterized by the low percussive sound of the guinbri or hajhûi large three-stringed plucked lute with a rectangular-shape resonator and the qaraqeb —has evident connections with Sub-Sahara Africa, most notably in the call-and-response pattern of singing, pentatonic melodies and interlocking rhythmic patterns, and the sliding leather tuning rings and metal sound modifier of the guinbri.
Although always enjoyable, the recordings of Abdelkader Amlil CD 7 and Ahmed Boussou CD 8 present the gnawa repertoire as a compilation of songs rather than as a part of a lila or of a dance suite. Furthermore, one must wonder why the two CDs are classified as basic rhythms in the anthology.
Marrekech Express Abderrahim Bana Da9a mrrakchia fokahaَ – video dailymotion
Although the Gnawa belief system is heavily influenced by Sub-Saharan religious practice, the musicians and devotees are all practicing Muslims and their songs contain many invocations to recognized Muslim saints.
Aâbidat Rma CD 1. The term aâbidat rma slaves of the archers refers to all-male ensembles who accompany their singing xbderrahim acrobatic dances with an array of percussion that includes a large pair of scissors beaten with a short stick mqas. Traditionally utilized to entertain the archers during their hunting trips, the music of the aâbidat rma is characteristic of Central Morocco Khouribga, Oued Zem and Ourdigha where it is performed during life-cycle ceremonies.
Chants du Rif CD 2 and 3. Mohamed Boudrous CD 2 and Sellam Mounes Abderrhaim 3 respectively represent the old and the new music traditions of the Rif, a mountain region in the north of Morocco that is largely populated by the Tarifit-speaking Berbers.
The repertoire of the Northeast region of Morocco, represented in this recording by Chikh Younsi and Chikh Liou, is largely based on songs performed by a male vocalist accompanied by a group of men playing qasba and agwal. The songs, which usually accompany an all-male dance enacting the preparation for war with guns or sticks, have a rather austere character Aydoun Chants des Juifs CD 5. Born in Fez in to a Jewish family of modest means, el Abderranim was already popular in the s and the leader of her own orchestra in the s.
After emigrating to Israel inel Fassia continued to perform for the mostly Moroccan Jewish community until her death in Ya warda mp3 file performed by el Fassia. From Fieldwork to World Music. Tableau de la musique marocaine. Homo-LechnerAbderrahhim and Christian Rault. Rabat, March agderrahim th Parce que si on ne le faisait pas on risquerait donc de baana toute aabderrahim journée, même toute la semaine, à chercher un compromis que ne vient pas ….
Ahmed Aydoun Rabat Moul zaouia Abdedrahim des Jbala. Daqqa mp3 file The Gnawa —whose ancestors came from Sub-Saharan Africa to Morocco as merchants, mercenaries, or, principally, slaves—traditionally perform in all-night ceremonies lila in order to secure peace of mind and heal their followers. Ya warda mp3 file performed by el Fassia Chants patriotiques CD 6. The latter provides an early example of musiqa asria modern musica genre that, after years of banna in the Egyptian style s — early seventually took on its own Moroccan identity.
For example, for the song of the Middle Atlas or for the song of the Sahara, we are faced sometimes with people that were never before inside a studio.
And thus all of a sudden they start to get into problems; there are problems with the tuning of the instruments, the tuning of the voice and thus we decide to change …. We tell them to sing other things, to give us other examples and then we make the choice. Banat Aichata et Abba Ould Badou [ Ahl Touat Rachid Touati [ Aissaoua Mohamed Bouyahaoui [ Gnawa Ahmed Boussou [ Chants du Rif Banx Boudrous [ Chants du Rif Sellam Mounes [