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Technology in Modern Moroccan Musical Practices

Published online by Cambridge University Press:  12 October 2012

Brian Karl
Brian Karl*
Affiliation:
Independent scholar; e-mail: [email protected]
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Extract

The proliferation of technologies in use for popular music in Morocco points to cultural interactions beyond the most local or national influences that inform musical practices there. Examining the integration of technologies from outside Morocco—including musical instruments, recording media, and distribution systems—sheds light on negotiations of novelty and difference in contemporary Moroccan social and political life and thus on multiple facets of how late modernity has played out there. Among other broad areas of significance that musical practices help illuminate are the social and economic effects of colonial and postcolonial interactions, including the development of cash economies, globalized exchange, and cultural tourism; nationalist initiatives to define culture; and large-scale migration to Europe and elsewhere in recent decades, following a longer population shift in 20th-century Morocco from primarily rural locales to burgeoning urban centers.

Type
Roundtable
Information
International Journal of Middle East Studies , Volume 44 , Issue 4: Maghribi Histories in the Modern Era , November 2012 , pp. 790 - 793
Copyright
Copyright © Cambridge University Press 2012

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References

NOTES

1 See Alessandra Ciucci, “Poems of Honor, Voices of Shame: The ʿAiṭa and the Moroccan Shikhat” (PhD diss., The Graduate Center, City University of New York, 2008); Schuyler, Philip D., “‘Giving Soul to Globalization’: The Fes Festival of World Sacred Music,” in Tradition and Change in Religious Music, ed. Tsai, Tsung-Teet al. (Taipei: National Taiwan University of the Arts, 2004)Google Scholar; and Kapchan, Deborah, Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace (Middletown Conn.: Wesleyan University Press, 2007)Google Scholar.

2 Emilio Spadola, “The Mass Sacred in Morocco” (PhD diss., Columbia University, 2007).

3 Philip D. Schuyler, “A Repertory of Ideas: The Music of the Western ‘Rwais,’ Berber Professional Musicians from Southwestern Morocco” (PhD diss., University of Washington, 1979).

4 Gronow, Pekka, “The Record Industry Comes to the Orient,” in Ethnomusicology 25 (1981): 251–84CrossRefGoogle Scholar. See also Hachlaf, Ahmed and Hachlaf, Mohamed Elhabib, Anthologie de la musique arabe, 1906–1960 (Paris: Publisud, 1993)Google Scholar.

5 Bargach, Jamila, “Liberatory, Nationalising, and Moralising by Ellipsis: Reading and Listening to Lhussein Slaoui's Song Lmirikan,” in Journal of North African Studies 4 (1999): 61–88CrossRefGoogle Scholar; Brian Karl, “Across a Divide: Mediations of Contemporary Popular Music in Morocco and Spain” (PhD diss., Columbia University, 2012).

6 See Khalid Amine, “Crossing Borders: Al-Halqa Performance in Morocco from the Open Space to the Theater Building,” http://depot.vti.be:80/dspace/handle/2147/321 (2004); and Schuyler, Philip D., “Entertainment in the Marketplace,” in Everyday Life in the Muslim Middle East, ed. Bowen, Donna Lee and Early, Evelyn A. (Bloomington, Ind.: Indiana University, 1993)Google Scholar.

7 Davila, Carl, “Al-Musiqa Al-Andalusiyya in Fez: The Preservation of a Mixed-Oral Tradition” (PhD diss., Yale University, 2006)Google Scholar.

8 Ciucci, “Poems of Honor,” 245, 249.

9 Brian Karl, “Across a Divide.”