Andalusian Music of Morocco by Jozef M.

Pacholczyk
Review by: Leo Plenckers
Ethnomusicology, Vol. 22, No. 1 (Jan., 1978), pp. 216-217
Published by: University of Illinois Press on behalf of Society for Ethnomusicology
Stable URL: http://www.jstor.org/stable/851386 .
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216

ETHNOMUSICOLOGY, JANUARY 1978

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1972 Turkishvillage music. NonesuchH-72050.

Andalusian Music of Morocco. Mizan Quddam from Nawba Rasd. Recordings

by Jozef M. Pacholczyk. One cassette recording. 1976. Ethnodisc ER
45154. Descriptive booklet inside cover, 8 pp.
This recording is a useful addition to the small amount of available
documents concerning the Nawba, the most distinguished musical repertory of
the Maghrib. It was made "during an informal session and was not intended
for publication." It therefore includes such sounds as the tinkling of teacups
and the soft, continuous murmuring of people chatting in the background.
Such recording techniques make live recording, often undertaken in difficult
circumstances, very attractive.
Some shortcomings may be mentioned, however. The first of these may
be due to unfavorable microphone placement(s); a lack of balance between
the vocal and instrumental components of the performance is prevalent,
especially in the first half of the tape where the instrumental accompaniment
overshadows the voice. My second objection concerns the performance itself.
In Moroccan tradition one of the singers bring the melody, or fragments of it,
into prominence by singing one octave higher than the chorus, and by adding
embellishments. The resultant heterophony is completely lacking in this

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RECORD REVIEWS

217

recording; the performance thus gives rather a dull and colorless impression
to the listener. Perhaps the soloist (who often plays the tar) was missing in
the ensemble, or did not take the trouble to sing louder.
In any event Pacholczyk's main concern was not to record typical
examples of the Nawba repertory; he was far more interested in the musical
occasion as a whole. He emphasizes in the brief but informative notes that
"this recording is important because it represents the atmosphere of a
gathering at which this kind of music is performed." By "atmosphere"
Pacholczyk is referring to something he finds of essential importance
concerning live performance. "Most of the commercially available recordings
of Andalusian music or the recordings used for broadcasting were made in a
studio situation, an environment unusual for the performance of this kind of
music. As a rule they are well rehearsed and do not present the same
atmosphere as a real performance." One must note that performances outside
the studio are often well rehearsed. This sort of rehearsal ambiance, on the
other hand, is more or less what Pacholczyk is describing in regard to this
specific situation. It often has the appearance of a social gathering: it may
take place daily, is very informal, is open to visitors and is frequently more
amusing than the "official" concerts. One may join the musicians, drink tea
or, if one happens to be Muslim, play backgammon. Whatever the nature of
the musical gathering attended by Pacholczyk on this occasion, one must
question his evaluation of "the atmosphere."
More acceptable is his statement about the value of this recording. This
is the only available document of a performance by one of the leading
musicians of Morocco, Sidi Mohammed Ben Omar Jaidi. I hope that this will
be the first of a continued series documenting a fine musician who represents
a long and valued tradition.
University of Amsterdam
Amsterdam, The Netherlands

Leo Plenckers

Music from Yemen Arabia: Sanaani, Laheji, Adeni. One 12" 33-1/3 rpm disc.
1976. Lyrichord LLST 7283. Jacket notes by Ragnar Johnson.
Music from Yemen Arabia: Samar. One 12" 33-1/3 rpm disc. 1976. Lyrichord
LLST 7284. Jacket notes by Ragnar Johnson.
These two discs present urban music from Yemen, played and sung by
two groups of musicians. The major part of the recordings was realized in
Sana by the three Kawkabani brothers playing the 'ud, sometimes the qanun,
the duff, or a small pair of drums apparently of the naqqara kind which
according to the information given in the notes, is called der dooga (i.e.
darabuka). Four songs are performed by an 'ud-player from Ta'izz,
accompanied by his brother on the above-mentioned pair of drums. They
illustrate examples of the southern styles of the country i.e., the Adeni and
Laheji styles.
The Sana music is capably performed, but it is the southern items which
are the most interesting for the ethnomusicologist. The Ta'izz musician has a

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