Morocco’s Musical
Traditions

Origin

Sub-Saharan Africa via trans-Saharan slave trade

Era

16th century onward

Region

Essaouira, Marrakech, Casablanca, Rabat, Tangier

Rooted in the experience of enslaved West Africans (many Bambara-speaking, from present-day Mali) brought to Morocco from the 16th century. The Gnawa claim Bilal ibn Rabah — the first muezzin and the Prophet's freed companion — as their patron saint. A Sufi brotherhood fusing African, Arab-Muslim, and Amazigh practices. Once marginalized, now celebrated globally. The Essaouira Gnaoua Festival (founded 1998) draws hundreds of thousands annually. Western collaborators include Brian Jones (1968), Randy Weston, Bill Laswell, Robert Plant, Jimmy Page, Pat Metheny, and Jacob Collier. Nass El Ghiwane drew heavily on Gnawa rhythms in the 1970s.

Key Artists

Instruments

Origin

Al-Andalus (Islamic Iberia), carried to Morocco after Reconquista

Era

9th century origins, 13th–15th century migration

Region

Fez, Tetouan, Tangier, Rabat, Meknes, Chefchaouen, Oujda

Morocco's courtly classical tradition. Attributed to Ziryab (Abu Hassan Ali Ben Nafi), the Iraqi musician who fled Baghdad for Cordoba in the 9th century and invented the nuba suite system. After the fall of Granada (1492), Muslim and Jewish refugees carried the repertoire to Fez, Tetouan, Rabat. Morocco preserves 11 of the original 24 nubat. Each nuba uses one tab' (mode) and contains 5 mizan (rhythmic sections): basit, qayim wa-nisf, btayhi, darj, quddam. A complete nuba lasts 6–7 hours — rarely performed in full. The Kunnash al-Haik (~1788, Tetouan) is the canonical songbook. Jewish musicians were central to preservation. Andalusi music profoundly shaped flamenco through shared modal structures and rhythmic patterns.

Key Artists

Instruments

Origin

Indigenous — pre-dates Arab arrival (7th century)

Era

Thousands of years

Region

High Atlas, Middle Atlas, Anti-Atlas, Souss, Rif, Sahara

The oldest musical tradition in Morocco. Three main forms: Ahwash — collective village music of southern Morocco (Ouarzazate, Draa, Souss), men and women in rows or circles, call-and-response over bendir drums. Ahidous — collective dance-song of Middle/Eastern High Atlas, facing lines moving in sync. Rrways (Raïs) — travelling professional poet-musicians of the Souss/Chleuh tradition, up to 12 musicians. 9-segment performance: astara (rebab prelude), amarg (sung poetry), tamssust (transition), aberdag (dance), tabbayt (accelerating finale). Guedra — Saharan trance music of the Tuareg. Each village develops its own variant. The rrways historically served as intermediaries between isolated communities, sharing news through poetry.

Key Artists

Instruments

Origin

Moroccan folk + Andalusi influence + Gnawa grooves

Era

Modern form mid-20th century; roots in centuries-old al-Aita

Region

All urban centres — Casablanca, Marrakech, Fez, Rif

Morocco's popular music — the soundtrack of weddings, markets, and celebrations. "Chaabi" literally means "of the people." Its oldest ancestor is al-Aita, rural songs in Darija from the Atlantic plains. Modern chaabi blends Andalusi melody, Malhun poetry, Amazigh rhythms, and Gnawa grooves into danceable 6/8 and 2/4 beats. Nass El Ghiwane (formed Casablanca, 1970s) revolutionised chaabi by mixing Gnawa rhythms with protest themes and Western instruments. Member Abderrahman Paco was a Gnawa master from Essaouira. The "Nayda" movement continues to fuse chaabi with rock, reggae, hip-hop, and electronic music.

Key Artists

Instruments

Origin

Algeria (Oran), adopted in eastern Morocco

Era

1920s origins; entered Morocco mid-20th century

Region

Oujda, Nador, eastern Morocco (Oriental region)

Born in Oran, Algeria in the 1920s as expression of social frustration and taboo subjects — alcohol, love, sex, politics. "Raï" means "opinion" or "point of view." Crossed into eastern Morocco through Oujda (14 km from the Algerian border). Known for code-switching between French and Arabic, adding rhetorical effect while expanding audience reach. Addressed subjects other Moroccan genres avoided. The synthesizer-driven "pop raï" of the 1980s–90s became the region's first transnational popular music, with Cheb Khaled's "Didi" (1992) a global hit.

Key Artists

Instruments