Moroccan music

The Moroccan music is very diversified and is composed of four large musical genres of a large variety which should not be confused: music Gnawa, of the Spoke, the Chaâbi, the Andalusian , the Berber Music. Each musical group itself consists of under groups, thus the Arab music in Morocco consists of modern Arab music influenced by the contemporary Arab music of the Arab rest of the world (Egypt, Lebanon, Syria etc), the Arab music of the soil (popular) specific to each area of Morocco, generally sung in dialectical Arabic of each area, the music " classique" arabo-Andalusian, it even made up of under groups of Fès, Reduction, Tétouan, Oujda (gharnati) and the music spoke of the area of Oujda.

The music Amazigh (Berber) is it also divided into sub-groups, generally according to the various areas and spoken: Amazigh, Tachelhit, Tarifit, Soussie etc… This music is also divided into " moderne" and " traditionnelle".

The music afro-Morrocan woman, known under the name of Gnaoua is specific to the area of Marrakech, Essaouira as well as the South of Morocco, the words are is in Arabic, amazigh or an afro-Arabic mixture.

The Moroccan song takes its rise with the independence of the country. Two main tendencies are from the start revealed: one adopting the Classical Arabic and the other adopting the Dialectical Arabic , the first tried to remain traditional, respecting a very conventional style whereas the second tendency introduces a lighter repertory, closer to the popular public.

Later, in the Years 1970, the musical appearance of formations such as Nass El Ghiwane, Jil Jilala, Lem Chaheb, the Bouchenak brothers mark a revival in the Moroccan music.

The beginning of the Années 1980 makes known with many people the phenomenon of the emergence of the World music, a music known as ethnic which recovers the Pop music as well Tiers-monde, the European pop music which uses the influences of the third world and the traditional Musique. This new musical phenomenon will make known the Moroccan rates/rhythms and particularly the music gnawa in the occident. Many musicians and Moroccan interpreters then introduce these sonorities gnawas into their musical repertory.

Finally there exists a new generation of young people, which composes a music synthesizing the Moroccan spirit with the influences come from the whole world (Blues, Rock, Métal, Reggae…). One of the most important events of this scene " underground " , is the Boulevard of the Young Musicians which takes place every year with Casablanca and which rejoins Moroccan youth in the same cultural event.

Arabo-Andalusian music

See also: arabo-Andalusian Music

Known as the erudite Music of reference, i.e. a form of classical musics or musics of art, or a codified music which is transmitted of Master to pupil and asking for the respect of a whole of fixed musical rules. It acts in this case of a modal music, i.e. organized on the basis of number of modes of which each one imposes a scale, a hierarchy of notes what the musicologist Henri Lecomte indicates like a together connotations social and emotive , which means that to each mode a feeling or a particular mood corresponds. These musics are the heiresses of the rich person history of Moslem Andalusia. This is why one evokes the term of arabo-Andalusian Musique.

Known formerly under the name of moussiqua Al-âla , it is about a music of court of a civilization very refined played and sung in the big cities of the North of Morocco: Fès, Tétouan, Oujda, and Tangier. It is especially present in these areas because of the origins of their inhabitants (Arab driven out of Andalusia). The orchestra is composed of the several string instruments. The poems are in written Arabic or dialectal. The members all of the orchestra are vêtus of djellabas white. The Moroccan Andalusian music is thus a synthesis of the Arab, Berber and Spanish traditions musical. It is definitely different from the Eastern music: it does not comprise quarters of tons (some exceptions are however to announce); it generally follows the system of the Western moderate range, the range is often carried out like only one melody succession, whereas in Eastern music, it is subdivided in tricordes, tétracordes and pentacordes; its melody line is simple and clear, the modulations are rare there. During centuries, distinct local musical practices developed, by forging an cultural identity particular to each company. There exists thus, in cities of the Maghreb such as Fez, Tétouan, Tlemcen and Tunis, of the versions distinct from the Nouba S, which form integral part of the local musical culture. It is about a musical composition built on a mode of which it takes the name (for example Nouba Mâya). Instrumental and vocal parts are connected there according to a given order and a musical progression energy of not measured with measured. A free prelude, leaving a broad place to the improvisation opens the continuation where various parts follow one another, in particular of the poems whose topics are often the love, nature, wine… The spree ends in a sharper phase, rythmée.

Repertory Al-âla of Morocco includes/understands eleven more sprees, each one of them being divided into five movements (mîzân) exploited five basic rates/rhythms. Each spree is very long and it is rare that they are played complete. One is often satisfied to play only one movement. However, the entirety of the Moroccan noubat was recorded by the House of the Cultures of the World in Paris, in collaboration with the Ministry for the Culture of Morocco. That is to say a compact total of septante-trois disks divided into twelve boxes presenting each one a spree or mîzâns (one total duration of more than seventy hours of music). Each continuation includes/understands sung poems. The orchestra of music Al-âla often includes/understands violin, Rebab, Oud, violoncello, viola and percussions (instruments with bow being often present in several specimens) and one or more singers.

Samaâ

The Samaâ, " hearing in arabe" of polyphonic songs is an art has cappella crowned, anthems dedicated to the worship of Prophète Mohamed and Allah. Also indicate the musical meetings of the brotherhoods Soufi are. Philosophy soufi, indeed, much more than to tolerate the music, made use of it to seek the union with God. This musical mystic goes, gradually, ritualiser and to become meeting or crowned ceremony including of other rites. The Dhikr, for example, can be a culminating point of the sama in the majority of the brotherhoods, culminating point which, according to the places and the beliefs, is called sometimes also Hadra (assistance), will imara (plenitude) or halqa (circle).

The Melhoun

The origin of the Malhoune or Melhoun or Malhun in Arabic الملحون (literally: put in music ) is a erudite musical form relatively modern which goes back to XIIe century, and borrows its modes from the arabo-Andalusian Musique by simplifying its modes and develops under a literary form not respecting the traditional grammatical structure (the Qasideh). Town, it develops mainly inside the artisanal corporations. It is about a poetry sung in dialectical Arabic, on quite religious subject which profane, characterized by a sophisticated language and a melody in style déclamatoire. The poem written in Zajal is enriched by popular melodies, this creation will give rise to Melhoun.

The Arab popular song in Morocco borrows its modes from the Andalusian music, by simplifying them. Qassida however preserved the division of the text in stanzas as in the Andalusian song: the verse (ghson: connect or branch) can include/understand from eight to sixteen worms, a short refrain (harba: launch) offers an alternation which makes it possible to break the monotony of the musical speech of the Melhoun song. Many confuses the melhoun and the Algerian Wahrani which however differ by its musical smoothness from the warahni.

Aïssaoua (الطريقةالعيساوية)

Founded in XVIe century by Sidi Mohamed Ben Aïssa, this religious brotherhood is attached to the Sufism. Its spiritual center (zaouia) principal is in Meknès where its founder is buried. They are a brotherhood and are mainly in the area of Fès and Meknès.

Two fundamental practices are specific to this brotherhood:

  • the Hadra, it is a collective practice of fright. It is carried out during the great festivals aissawas. The great festival or moussem takes place with Meknès close to the sanctuary of sheik Al Kamel, at the time of the celebration of the birth of the prophet. Will hadra belongs to a ritual that one calls also Lila, because it lasts all during the night. The lila of Aissawas starts with songs then is followed by will hadra.

  • curled it, it is a practice suitable for Aissawas and consists in devouring an live animal.

In the Hadra, the name of God, prayers are called upon inlassablement until taking the body then the spirit, from this state rises fright. The rate/rhythm: there are three rates/rhythms: to two times, five times and 6/8 ternary.

The Berber Music

The music amazigh (Berber) is it also divided into under groups, generally according to the various areas and spoken: amazigh, tachelhit, tarifit, soussy etc This music is also divided into " moderne" and " traditionnelle". It is " inspired by the seizing beauty of the Moroccan rural landscape and the resonance of the Bendir " , which governs rhythmic songs, songs and festive dances, the evening around a large wood fire. The men and women members of musical groups are always vêtus traditional clothes. The major expression of the Berber heart resides by the songs and the music which are transmitted from generation to generation. The rhythmic one constitutes the fundamental base of this music. The dance always accompanies the songs. Thus, the three styles of dance and Berber songs correspond to various linguistic zones.

Tsanguif or Tasnguift

Concept of origin Berber which means: has cappella. Generally, it is a style dominated by the feminine voices during the occasions of the marriages, and where the women sing the pain of separation between the girl and her mother.

Gharnati

Gharnati is current which comes from the inheritance Andalou/Mauresque. Namely that this word wants to say Granadien (rear RTL غرناطى) in Arabic and Spanish granada)). Maurétanie is not Mauritania but it was old Morocco Actuel. To the fall of the Andalou world almost all the files philosophical, theological, scientific and so cultural were transferred in Maurétanie of which Andalusian music (hymn). Today one can distinguish 3 currents: The Andalusian (gasoline of this music) and two other currents: Aïssaoui which was invented with Meknès and Fès spiritual and intellectual city of the Morocco, and Gharnati which was " transféré" with Oujda city of the Eastern Morrocan who takes as a starting point the two preceding currents. The principal instrument of Gharnati it is the Oud (Andalouse guitar) but there is also famous the derboukas and to bendir. Although this inheritance is regarded mainly as Moroccan inheritance, this music has affected all the country of the world arabo-Moslem and initially the Algérie with the area of Tlemcen and Oran considered as the twin area of Oujda (because before this area of Algeria belonged to current Maurétanie Morocco, for this reason the Spoke is inspired much the châabï Marocain).

Melhoun

See also: Melhoun

The Arab popular song with the Morocco borrows its modes from the Andalusian music, by simplifying them. Qassida however preserved the division of the text in stanzas as in the Andalusian song: the verse (ghson: connect or branch) can include/understand from eight to sixteen worms, a short refrain (harba: launch) offers an alternation which makes it possible to break the monotony of the musical speech of the Melhoun song.

Aïssaoua

Founded at the 16th century by Sidi Mohamed Ben Aïssa, this religious brotherhood is attached to the Soufisme. Its spiritual center (zaouia) principal is with Meknès where its founder is buried.

Samaa

The " Samaa ", " the écoute" is an art of polyphonic songs crowned, anthems with the Prophet Mohammed (P.S.) and in Allah.

Berber music

See also: Berber Music

Inspired by the seizing beauty of the rural landscape Moroccan and the resonance of the Bendir, which governs rhythmic songs, the songs and dances Berbères is an attractive spectacle, rich in poetry and colors. The dances take place during the festivities, the evening around a large wood fire. The men and women members of musical groups are always vêtus traditional clothes. The expression of the Berber heart passes incontestably by the songs and the music which are transmitted thus from generation to generation. The rhythmic one is the fundamental base of this music. The dance always accompanies the Berber songs. Thus, the three styles of dance and Berber songs correspond to the linguistic zones.

Tsanguif or Tasnguift

Concept of origin Berber which means: has cappella. Generally, it is a style dominated by the feminine voices during the occasions of the Mariages, and where the women sing the pain of separation between the girl and her mother.

Chaâbi music

See also: Chaâbi

The Moroccan chaâbi is a music which one frequently finds in the marriages. This style of popular music is associated with the festival and especially developed in the Moroccan cities. The use of the popular speech and the creation of new rates/rhythms made of this style an essential complement of the dance. Many tendencies appeared. Thus of news chikhates, of the small groups of district and other singers and singers of charm could proliferate in all the cities.

Gnawa music

See also: Gnaoua

They are generally the descendants of former slaves resulting from populations originating in Black Africa (of Guinea mainly from where they draw their name). They were then métissés with the local population and were formed as a brotherhood to create an original worship mixing of the African and arabo-Berber contributions. The dance and the song gnawa have an aspect mystico-monk. The dancers are sometimes able to carry out very beautiful acrobatics. With their Crakeb (metal crotales), the singers and dancers can put themselves in Transe sometimes. The style is envoûtant, folk and superb. The cradle of the Gnawa music is specific to the Area of Essaouira in Morocco and does not have PS of equivalent in any country of Maghreb.De many international musical groups (of which the group Gnawa diffusion) took as a starting point cete typically Moroccan musical tradition to enrich their musical works.

The Karyaniste culture

The word Karyane thus comes from the word carrierres old carierres from put or will settle shantytowns has lépoque and this word is pronounced in Arabic karyane the Karyaniste culture born in 1960 in the districts underprivileged of Casablanca. reflection of a youth post-colonial disinherited by a monarchy strong that of hassan II Following riots Of people are done arrété of which Batma an artist who is slackening a few week after it will never oublira them they are even determining for the continuation Batma hates the policy in Place and sings concealed head goulouli goulouli davant a tablau of Hassan II In short Karyan an urban culture but not a culture ghettos as the hip hop because people is in their country it is not a question wogs

Batma creates with the right in the middle of the Sixties the group Nass el GHIWANE inspired by the Gnawa music the folklores local and that they mix a style has rather latino roots reggae put at the tuning fork of the rock'n'roll they go creates a new kind of pop music or for once of the songs Arab are stressed and not sung in solo STYLE GHIWANE THUS a CULTURE KARYANE WITH a MUSIC which emerges the music ghiwane (which can make think of the hip hop with the rap) although one should not speak to emerge because the group at that time does not have to find its marks yet following the example nass el ghiwane it ya jil jilala which is born a similar group and by after Lemchaheb has dimension several groups which make their appearance like larsad or jil el ghiwane mlouk etc a style apparentiere will be born Let us note that the two leaders groups are carried out by brothers BATMA Family BATMA a FAMILY which one cannot been unaware of in Morocco as the link which boulversé the Moroccan culture today after 40 years of existence the GHIWANE starts has to take its rise and east regards as music of the world after 40 years because this kind remained enough underground with the international level contrary to the hip-hop or to the reggae we have groups German as dissidenten which have to collaborate with lemchaheb…. Today this culture unfortunately die with a blow of old man and an Hip Hop With L4IMAGE Of internationalized AMERICA Karyane an URBAN CULTURE but much more… one history of family. BATMAs. MoRo

Rap

Thorough article Moroccan Rap.

The Spoke

See also: Spoke

The SPOKE term exists in the Moroccan dialectical Arabic (Darija) where it siginfie: speech, words, matter. This music was born with Oran in its primitive form; it comes from a mixture of music arabo-Moslem woman and a Western modern orchestration (synthetizers, electric guitars .). This music, after having undergone the many ones and various transformations into France mainly will quickly cross the borders which separated it from Morocco. One can say that the town of Oujda, capital of Eastern, is the cradle of the Moroccan Spoke where the first groups appeared. This new music required one phrased more flexible and modern from where the employment of the dialectical Arabic mixed with French or English words. Supported in Occident by the young immigrants of various Maghrebian origin in search for a music resembling to them, this music primarily continued in France (then in Europe and the whole world) before reconquering the young people of Algeria where its beginnings were been sulky by the adult population which did not see it good eye at the beginning. This music born in Oran in a simple form thus found its noble letters in Occident (where it considerably improved, enriched, diversified and internationalized) before regaining the heart of the young inhabitants of the countries arabo-Moslems. Let us quote like examples, the collaboration of the French type-setter JJ Goldman with the singer Cheb Khalid who will write to him one of these the larger tubes world " AICHA" or the collaboration of Cheb Mami with the international singer Sting and of the groups of French Celtic music. The singer Rachid Taha of the " group; chart of séjour" is more to classify in the Rock category even if this more former Maghrebian artist on the French scene sometimes interpreted songs SPOKE or RnB. These attempts of modernization or occidentalization of the Arab music started in the Seventies in Egyptian music studios (Egypt having been a long time country more at a peak of the world arabo-Moslem in the musical and cinematographic fields). However, these Egyptian attempts avant-gardists did not find positive feedbacks near the population Arabic-speaking person of the time, surely by lack of the phrased good related to the Egyptian linguistic history and of a receptive public in these years there. But, from these Egyptian attempts at modernization the singer Egypto-Belgian Natacha Atlas will be born a few years later (whom one classifies in Occident in the SPOKE category) which will receive in France a victory of the music and a recognition which will exceed the borders of the community arabo-Moslem woman of Europe. Let us recall that the singer Lebanese FAÏROUZ was one of the pionnières in the occidentalization of the classical Arabic music in some of her songs. Also let us quote the album " Arabesque" of the Franco-British singer Jane Birkin (in partnership with Maghrebian artists of Europe modernistic contemporaries) which accepted an excellent echo in the whole world. Notons that this occidentalization of the Eastern music also occurred in Germany with young German of Turkish origin (as one classifies in the SPOKE category because of resemblance of sonorities and the technique used). Aujoud' today of the artists arabo-Moslems adapted the SPOKE and these alternatives born in Europe and transformed it according to the cultural and musical identities of their country, as that occurs for all the musical genres (example of the Spoke-RnB of the singer Free-Morrocan Amine or the combination Indian Spoke-Music of its colleague, the French singer Leslie)

See too

Sources

August 1st

External bonds

  • Moroccan Music
  • Video Moroccan Clip

Random links:Sadok Bey | Gylfi | Trbušnica (Lazarevac) | Institute of higher learning of the businesses | The Eighth Art and manner | Schlaraffia