Promoting Traditional Moroccan Music Case study: Fusion music

Promoting Traditional Moroccan Music Case study: Fusion music

By Laila Promoting Traditional Moroccan Case study:

Fusion m Music Outline 1) 2) 3) 4)

5) 6) 7) 8) Theories and concepts Methodology Evolution of Caribbean music Traditional Moroccan Music

Fusion Music Suggestions Problems encountered Short videos of Numydia rehearsals What is Fusion? Theories and concepts

Three Different social systems (3 stages): Traditional stage Modern stage Globalization Modernization

Emergence of new technologies Globalization The compression of the world and the intensification of consciousness of the world as a whole" (Robertson, 1992) Glocalization: Local Global

Method ology Primary sources Interviews Participant observation

Interviews: Music bands Numydia Dar Dmana Darga Nass Al Ghiwane Interviews: Associations

Association Envol Mr. Jaafar Hamza, President Interviews: Media Telquel Magazine:

Mr. Benchamsi, General Director (cancelled). Miss Chadwane Salmiya, Journalist (cancelled) Interviews: Producers Platinum Universal Music (canceled) Interviews:

Makers Decision Ministry of Culture (cancelled) Participant Observation Concerts and rehearsals

Secondary sources Books: Musiques du Maroc (1992) - A. Aydoune Culture and Mass Communication in the

Caribbean (2001) - A. R. Humphrey Globalization, Social Theory and Global Culture (1992) - R. Robertson The Rough Guide for Cuban Music (2001) - P. Sweeney

Evoluti on of Caribbean M Cuban Music Danzon and Danzonette derived

from the military music bands Rumba, Mambo, Chachach Afro-Cuban Jazz The Porto-Rican influence gave birth to Salsa

Reggae Music Calypso

Soca Ska (Bluebeat) Steady Rock Reggae Dub Reggae Music Instruments: Acoustic instruments like horns, shakers,

bells and hand drums Emphasis on the downbeat (beat 1 and 3) Lyrics and the Rastafarian believes Anti-colonialism, racial harmony, resistance to oppression, environmental awareness and spiritualityetc. Bob Marley shot the sheriff

Traditio nal Moroccan Mu Rhythm & Scale Rhythm:

Tbal wal ghayta Jahjka Daqqa lmarrakchia Al-Hawzi Scale: Arab and Moroccan scale: Western: Hindi: 1/8 to 1/16

Instruments Classes Instruments I.Idiophones Mqac, naqs, handqa, qarqaba I.Membranophones Darbka, tr, bender, tra, tbla, tarija, tirja,

Gwl, tbl, daff mrabba, tr lkbir, bujnjn, tabl al gadra II.Chordophones d, d rbai, kamanja sghra, kamanja kbra; rbb, soussi, genbri, swsd, hajhj, qann, d er rbb, ardl, tindint III.Aerophones

nay, lra, gasba khmassiya, gasba wastiya, gasba ushariya, aghnm, arbb, zmmr, ghayta, awwad, nfr, anzd. Problems Western influence and the global media: demand of the audience Transcription of music: oral teaching Documentation: no listing Traditional instruments: Old and

unpractical Fusion In Morocco Music The Moroccan touch..

Do you play Fusion? Essaouira Festival of Gnaoua: They made us like it!!! Need for cultural identification Common Forms of Fusion Music a) Fusing two or more different musical styles (use

of specific rhythms and scales) with traditional Moroccan music using either western instruments or Moroccan traditional ones or both. b) Use of modern instruments in expressing traditional Moroccan melodies. c) Use of music instruments that are specific to a culture such as the sitar (India), the corn (West Africa) or the Cajon (Peru).

Problems - The government non-contribution, - Americanization of Audio-visual media - Western clips evoque mainly Consumerist lifestyle and romance all what youth dream of today, - Production and music infradistructer, - Individual-ociations, - Moroccan musicologists and journalists

- And others call themselves fusion bands Authenticity Tarik ibnou Ziad and Andalusia Fusion of cultures, fusion of music! Creation of new forms of music:

tarab al-la tarab al-gharnti in Rabat and Oujda pitim and the trq exerted by Moroccan Jews Modernization New Fusion: Essaouira Gnaoua music, Timitar, Mawazineetc.

What to Do? Suggestions Government subsidy infrastructure improvement Apply quotas for Media broadcasting Cooperation

Musicians responsibility for: Moroccan Music Authenticity Follow up the work of elders Make use of Internet: Easy, cheap and an efficient promotion tool Perseverance Research related

problems Lack of sources Time Covering all aspects of the subject Traveling Unavailability of some interviewees And the famous train

Conclu sion Dont be afraid of the change Make the best of it! Acknowledgme nts

My professors: Prof. Prof. Prof.

Prof. Bouziane Ibahrine Wyatt Dahmen My Friends and Family: Capstone friends, student activities, friends at the

cafeteria, Tarik, Nizar, Mr. Ouazzani, Saber, Nadia, Yasmina, Mimane, Siham , Douae, Zineb, Amine, Lamiae, Abdellah, Sarah, Amnir, Nabil, Jihad, Mehdi, Saad, Jalil, Mouna, Sebban, Fatem Zohra, Brahim, Simoand many others. Dedication I dedicate my work to my mom Sabah Elmrini, my dad

Mustapha Lebbar, my sisters Maha and Rim, my baby brother Omar And to my very special one,

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