17A

ecorded y ll o les.

riet an, 0 rocco.

pt. 4, 195 . c fe usic of Tetuan.

rformers: ucicians of the dja1. Director, ac ir

bel Iadj Iassan acali.

p oole ·n ident· in and rec• din roccan ca ~ usic i

t _aci o A~C se~ ct·o i its rope_ subcat ~ory. O.e ~no s

of any ven terial as o e records it that it is ca 'e u ic, but

hat ·as it be ore bein a pte to caf pu poses? Ofte. ·t is im-

o~~ible to et a e

t e pro rieto of the

o~ ation. aciji bel Iadj las an acali,

1 1 Tad ·ah, 1 s ori_inally a ara e

c ·nic ho loved music. ne a~, so Pt o ye rs decided

to de ote him l~ ~nol 1 y to m Gic. " r· s t ro-sto ·ey c ... n the edina

of Tetuan is rather lie a muse1m of usable instruments; they hang

all over the mlls, and he .. · self has att ined a rema -able pro fie-

iency in playin ost of them. Ti e most m sicians in or cco ho

are ~ntrained but ho ha e an 1 rban bac gro n, he favo s innovation;

this generally implies or a in mf t e elodic and rhythmic ma-

terials of 0 r cco for those of J ypt, nd in ce~tain instances,

cali's om comp s i..tion Ya en Ta("<~ \ha f, 18A, no. 3, and ax el -- --tlas, 'his arr an ement of a po_ ular son by b elqader roc1:ied_:_,

17B, no. 2') the material is hybrid. 1t the fact that it ·as pos-

sible to get such sel ctions from him and his roup as the Djavaliy

6 this reel, for example, is testimony to his basic sympathy with

traditional oroccan music.

Djavalia (banjo, karenja, oud, da bouka nd tar.) ( .b njo is r cc-n-made)

~ate: It should be added that the folk material from which the music

of l?A, l?B, and 18A springs is that of the Djebala, hose ·usicsl

c pital is neither ~tuan nor Arcila, but a fair_y inaccess'ble

place about half ay bet een them called Beni Aroz.

rJ I J\

7B ec ded oy Paul o~les .

t Tetuan , orocco .

·ust 4 , 195 .

C fe usic of etuan .

1 . 1 a ab-:iya (banjo, carnen ·a , oud , darbouka c~nd tar . )

2 . R x e 1 tlas ( " II , ·-II II

composed by Abdelqader A rochedi

(oud solo y oha·med ben h med er

II

azzaz)

Perfo.tme r s : sicians of t ie d ' l radjah . ac ,ir el I dj

Hassan Bacali , di ector . )

Durin the time I spent round the ao h d ' l adj h I learned

that the Rax el tlas is~ eat favo ite ·i h the ' bit es of the - - --cafio I rhoul say its uncon cio1~ m cical so rce is Andaluz music ,

although R cal· and the oth r u icians atu lly deny this . For them

a son is its words; here the mel dy comes from and at t eatment

is accorded it re matters of slight inter st to t~em . ~ el Atlas

is a opular song in the contenpor y oroccan idiom co osed by

Arrochedi, nd this is a li ' ~ arran ement of it .

Note: It should be understood that the mus·c esignated by the term

andaluz is only an extreme y distant cousin of the music of present-1

day Andalucia , here the genre was indeed f'shioned and developed,

but at the time of the Khalifat of Cordoba . It is the only art-mu ic

o occo possesses ; it too, ho ever , (and fortunately , to my ay of

thinking , ) relies heavily on improvisation , but within a strict art

form . I should qu·lify my statement that the Rax el Atlas uses anda­

luz music as its source by explaining that I meant the melodic line

in eneral , and c r~ain specific cadences .

Th fir t ten minutes of he reel are d voted to c f~ conver-

sation and t ning of tre 'nstruments .

.,

18 ecorded by r ul o les.

t Tetuan, or cco.

cie t.4, 1959.

c f ~ ~ 1 ic o.f:' Tetuan ..

1. Djavali bla Kamenja

2. aramiya.

::; . Ya en ~Tass ha f. (Co

Per ormers: sicians of t

(banjo, oud, rbouka an tar. Chorus)

" II

oser, Ba chi bel Had~ ra acali)

a c a d'l adjah,

In no. 3 of tnis tap , we have

rnlAS c. b cause Bacn.li, who composed t 1e song, s a roponent of the 11mo ern"

sc ol, which neceRsa ily e ns as~imilating any ele ents of ,gy t­

i. n music. g pt· an po ular music U i lm n usic, to be x ct has

be n the favor·te m~Lic oft e o~occ n blic or the past t ee

decades.) ... n t r ·c e plorations, Ya n J s ---could be corsidere rogre sive jazz. ·I e s

also the sa e elative un ur ness o rformance nich c aracterizes

- so iUC pro r s ive jazz, hereas in the t aditional pieces the e

is no int oft equ·vocal. beis t10 and tree emp1oy these

vices of a boy dru er ~horn I ha he rd pr·or to the recor ings

and whdm Baca1· was loath to allow to perform. It took a good deal

of ~ork to et hin into t e ensemble, b t the prec·sion nd liveliness

of h~s d um ing made it o t w ·1e.

19A

Recorded by Paul Bowles .

At f""le tuan , 1orocco .

Sept . 5 , 1959 . Musi c of the Rhmara!';-4 · ,e ~

Perrorme r s : Rais ohammed el Khemissi and ~nsemble .

1 . hateni Berdak . (2 chebabas , 2 tbola , voices . )

2 . Abaoualek Alaouiyil . (Liara solo by Mokhtar el Heuzoumri)

3 . Missalya . (2 chebaba , tbel and liara . )

This group of musi c ians , comprising five me n , as from a

small village in the foothills of the Rif , called El Khemiss Tifraoun .

The proprietor of the Qaho d 1 1 Nadjah , Bachir bel Hadj Jassan Ba­

cali , gathered the~ together for me and provided us ith a private

sala in his caf where we made the recordin s . I had demurred at

first , thinking that it would be better to pass thr ough the region

of the "Rhmara and get the music in situ , but changed my mind when

I as told that there would be no electricity there .

The Rhmara are a smal l tribe of Berber-speaking people s u r­

rounded on all sides by Arabized Berbers.

19B

ecorded by )aul Bo les

At Tetuan, 1orocco.

Se ... t. 5, 1959.

1u ic of the Rhmara. Tj, e n;$"h ~ ell!n3 of fr, b f h lh\e.

Performers: ~ais Aohammed el Khemissi and ~nsemble.

1. Taouzi (2 lior, tbel, voice.)

G. fh ,_

2. :1 Mouwel aala Sigane. 1~nbri solo and song by :okhtar

el Ieuzoumri)

3. ifdik ya Rhzali~ uinbri, darbouka and chorus)

4 (a) Labanda Ladouwa

(b) Allah Ihanik ya Habibi (2 chebabas and 2 tbola) ®Tiese -twc b>re Mo-roccah f. f«-l~t'" soV\ss; ti~ a, e !ULt f -1-k R~m rd..

rhere is some confusion in the nomenclature of oroccan in-

struments. hat is called the liara in the towns is called the

ouada by the Haha, and what is called the ~ouada in most parts

of qorocco is called the chebaba in Fez and eastern '1orocco . In the

Rif the names are still different . (The chebaba is about t o feet

long , whereas the liara measures from eight to ten inches.~oth are

fashioned of a single reed of cane, but rihereas the 1iara has a

mouthpiece and is played like a recorder, the chebaba is open at

bot~ ends and is played liKe a flute . )

I think the general inferiority of Reel 19 is a result of tn~

expert mnsicianship, particularly on the pa t of the dr mmers ·" Ho -

ever , it is al ays necessary to take into con. ideration the psychol-

ogical component: these ~ere musicians from the country playing

in a closed room ith no audience . It is possible that the same men

performing in their accustomed environment would produce much better

music .

The resonator of Heuzoumri ' s guinbr · 11as t~e shell of a turtle

about six inches long by four ~ ches wide . Like the greater part of

music elaborated in the cities (Nifdik ya Rhzali is native to Tetuan

itself) no . 3 is of Arab i spiration melodically. Occasionally the

rhytnm automatically discloses "t Berber antecedents.

It is difficult to consider no. 4 as two separate numbers, con­

sidering the almost identical melody which both songs use. In the very

· th scale sound~ l~ke the first five notes of the major beginn1.ng e - ~ lcwe.~t:-scale, but it q ickly becomes clear that the note is sharped

almost a half tmne.