International Review of the Aesthetics and Sociology ...

UDC: 78.01:78.06

VOL 46 NO 1

ZAGREB 2015

ISSN 0351-5796 CODEN IRAMDA

International Review 46/1 of the Aesthetics and Sociology of Music Tobías Pontara (Góteborg, Sweden): Interpretation, Imputation, Plausibility: Towards a Theoretical Model for Musical Hermeneutics

JD *O 'o O 00

Jin-Ah Kim (Berlín, Germany): Cultural Transieras a Branchof Research for Music Sociology and Music Anthropology

43-53

Andrey V. Denisov (Saint Petersburg, Russia): The Parody Principie in Musical Art

55-72

Michael Vaillancourt (Champaign, USA): Brahms and the Histórica! Sublime

73-94

Sigrún Luja Einarsdóttir (Bifróst, lceland):Constructing'MyBach'. Relevance of Histórica! Constructions of Bach for members iu an English Amateur 'Art Music' / Composer-oriented Bach Choir

117-133

Niksa GligO (Zagreb, Croatia): Musical Emblema in Croarían Cell Phones: A Repertoire for Identity Formation?

135-144

46/1 ISSN 0351-5796

145-174

Roberto Cremades - Oswaldo Lorenzo - loana Ruxandra Turcu (Granada, Spain): Raí Music as a Generator of Cultural Identity amongYoung Maghrebies

175-184

Reviews and Information on Publications - Recenzije i obavijesti o izdanjima

185-193

and Sociology of Music

Errata Contributors - Autori U) rt O

95-116

Miklós Dolinszky (Budapest, Hungary): La certítude dupossibZe. L'éthique du non engagement dans l'art de Barnabás Dukay

Ali Ergur - Nilgün Dogrusóz (Istanbul, Turkey): Resistance and Adoption towards Written Music at the Crossroads of Modernity: Gradual Passage to Notation in Turkish Makam Music

International Review of the Aesthetics

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Editor-in-Chief / Glavni i odgovorni urednik Stanislav Tuksar Founding Editor/ Casopis utemeljio Ivan Súplele Editorial Board / Urednistvo Alessandro Arbo, Strasbourg; Philip Bohlman, Chicago; Bojan Bujic, Oxford; James A. Deaville, Hamilton (Ontario); Ludwlg Finscher, Heidelberg; Enrico Fubini, Torino; Niksa Gligo, Zagreb; Edward Creen, New York City; Andreas Haug, Würzburg; Hanns Werner Helster, Hamburg; Koraljka Kos, Zagreb; George H. Lewls, Stockton; Jan Llng, Goteborg; Mwesa I. Mapoma, Lusaka; Andrej Rijavec, Ljubljana; Eva Sedak, Zagreb; Antonio Seravezza, Bologna; Ivan Súplele, Zagreb; Richard Taruskin, Berkeley; Stanislav Tuksar, Zagreb; Martina Viljoen, Bloemfontein; Robert Wangermée, Bruxelies; Harry White, Dublin.

UDC: 78.01:78.06 CODEN: IRAMDA ISSN 0351-5796 IRASM, Vol. 46 No. 1, pp. 1-204 Zagreb, June 2015

I International I Review of the | Aesthetics and ;•/. \]

Sociology

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Music

Editorial Board Secretary / Tajnica urednlstva Monika Juric Publisher/ Izdavaci Department for Music and Musicology of the Croatian Academy of Sciences and Arts, Croatlan Musicological Society, Music Academy of the University of Zagreb / Razred za glazbenu umjetnost i muzikologiju HAZU, Hrvatsko muzikolosko drustvo, Sveuciliste u Zagrebu - Muzicka akademija. Editorial Office / Urednistvo Opaticka 18, HR-10000 Zagreb, Croatia Printed in 700 copies / Naklada 700 primjeraka Computer Settings / Kompjuterski slog Denona, Zagreb Design Petrak-Zaja Studio Printed by / Tisak Denona, Zagreb

© 2015 HMD / Croatian Musicological Society Printed in Croatia

Contents - Sadrzaj Research Papers - Izvorni znanstveni clanci Tobías Pontara (Goteborg, Sweden): Interpretation, Imputation, Plausibility: Towards a Theoretical Model for Musical Hermeneutics Sazetak: Interpretad]a, pripisivanje, plauzibilnost: prema teorijskom modelu glazbene hermeneutike Jin-Ah Kim (Berlín, Germany): Cultural Transfer as a Branch of Research for Music Sociology and Music Anthropology Sazetak: Kulturni transfer kao istrazivacko podrucje sociologije glazbe i glazbene antropologije

3-41 41

43-53 53

Andrey V. Denisov (Saint Petersburg, Russia): The Parody Principie in Musical Art Sazetak: Nácelo parodije u umjetnosti glazbe

55-72 72

Michael Vaillancourt (Champaign, USA): Brahms and the Historical Sublime Sazetak: Brahms i povijesno siiblimno

73-94 94

Sigrún Lilja Einarsdóttir (Bifróst, Iceland): Constructing 'My Bach'. Relevance of Historical Constructions of Bach for members in an English Amateur Art Music' / Composer-oriented Bach Choir Sazetak: Konstruirajuci 'mojeg Bacha'. Relevantnost povijesnih konstrukdja Hacha za clanove jednog engleskog amaterskog 'glazbeno-wnjetnickog' Bachova zbora orijentiranog na skladatelja

95-116

116

T. Pontara: Interpretaron, Imputation, Plausibility: Towards a Theoretical Model for Musical Hermeneutics

Miklós Dolinszky (Budapest, Hungary): La certitude du possible. L'éthique du non engagement dans l'art de Barnabás Dukay Summary: The Certainty ofthe Possible. The Ethics of Uncommittedness in the Art of Barnabás Dukay Sazetak: Izvjesnost mogucega. Etika neangaziranosti u umjetnosti Barnabása Dukaya Niksa Gligo (Zagreb, Croatia): Musical Emblems in Croatian Cell Phones: A Repertoire for Identity Formation? Sazetak Glazbeni amblemí u hrvatskim mobitdima: reperioar stvaranja identiteta 1

117-133 132

132-133

135-144 144

Ali Ergur - Nilgün Dogrusóz (Istanbul, Turkey): Resistance and Adoption towards Written Music at the Crossroads of Modernity: Gradual Passage to Notation in Turkish Makam Music Sazetak: Otpor i prihvacanje pisarte glazbe na raskrizjima moderniteta: postupni príjelaz na notadju u turskoj maqam glazbi

145-174

Roberto Cremades - Oswaldo Lorenzo - loana Ruxandra Turcu (Granada, Spain): Ra'i Music as a Generator of Cultural Identity among Young Maghrebies Sazetak Raíglazba kao proizvodac kulturnog identiteta mladih stanovnika Magreba

175-184

Reviews and Information on Publications - Recenzije i obavijesti o izdanjima Pawel GANCARCZYK: Tomasz JEZ, Kultum muzyczna jezuitóiu na Slqsku i ziemi ktodzkiej (1581-1776) [The Musical Culture of the Jesuits in Silesia and in the County of Klodzko (1581-1776)] (2013) Jelka VUKOBRATOVIC: Dalibor MISINA, Shake, Rattle and Roll. Yugoslav Rock Music and the Poetics of Social Critique (2013) Nicoló PALAZZETTI: Alessandro ARBO - Marcello RUTA (eds.), Ontologie musicale - Perspectives et débats (2014)

Errata Contributors - Autori

Contents fixed: April 7, 2015 Redakcija zakljucena: 7. travnja 2015.

IRASM 46 (2015) 1:3-41

Tobías Pontara

Interpretaron, Imputation, Plausibility: Towards a Theoretical Model for Musical Hermeneutics

University of Gothenburg Department of Cultural Sciences Box 200 40530 GÓTEBORG Sweden E-mail: [email protected] UDC: 78.01

Original Scientific Paper izvorni znanstveni rad Received: April 11, 2014 Primljeno: 11. travnja 2014. Accepted: March 10, 2015 Prihvaceno: 10. ozujka 2015.

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185-187 188-190 190-193 195

197-204

Introduction To critically interpret music is at a very minimum to put forward a verbalized or in principie verbalizable account of it.1 Critical interpretation is what the music critic, not the performer of music, engages in. It is constiruted, as the standard view has it, by a mixture of descriptive, mearúng-ascribing, and evaluative discourse.2 Critical interpretation is also traditionally distinguished from musical analysis, famously so by Joseph Kerman who described analysis as »a kind of formalistic criticism« inadequate for dealing with »the problems that must be faced if music is to be studied in its integrity« (Kerman 1985, 115). For Kerman, analysis should not be practiced for its own sake, but rather should be complemented by a historicaily oriented criticism that could advance a richer and more resonant understanding

1 I would like to thank Erkki Huovinen who has read and given invaluable comments on several earlier versions of this article. 2 See, for example, Sibley 1959 and Beardsley 1981, 9-10.

Abstract - Resume This article presents a theoretical model that accounts for the nature and methodology of critical interpretation as it ¡s practiced in modern musical hermeneutics. The model consists of four central claims: (1) when we critically interpret music we impute meaning to ¡t; (2) the aim of such interpretive imputation is plausibility rather thantruth; (3) plausible interpretations must be compatible with what is consensually taken to be adequate descriptions of the music; and (4) plausible interpretations are constrained by requirements of historico-contextual relevance. Keywords: Musical hermeneutics • interpretation • Joseph Margolis • plausibility • imputation • description • cultural myth

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A' Er 9 ur ~ N' D°9rusoz: Resistance and Adoption mílen Music at the Crossroads of Modernity:

towards

R. Cremades - O. Lorenzo - I.R. Turcu: Raí' Music as a Generator of Cultural Identity among Young Maghrebies

IRASM 46 (2015) 1: 175-184

Gradual Passage to Notation in Turkish Makam Music Sazetak

Roberto Cremades1* - Oswaldo Lorenzo2 - loana Ruxandra

Otpor i prihvacanje pisane glazbe na raskrizjima moderniteta: postupni prijelaz na notaciju u turskoj maqatn glazbi Cini se da glazba nudi razne znakove promjene mentaliteta i vrijednosti na putu razvoja prema koncepciji modernoga svijeta. To je bio slucaj turske maqam glazbe koji se dogodio u zapadnoj Europi tijekom uspona kapitalizma i moderniteta. lako su rijetki prvi pokusaji primijeceni u sedamnaestom stoljecu, glazbena notacija nije bila dominantna karakteristika maqam glazbe koja se bitno temelji na usmenoj predaji melodije i njezinu poznavanju. Tijekom procesa modernizacije Turske od osamnaestog stoljeca nadalje glazbenici su razvijali razlicite sustave glazbene notacije. Unatoc tomu sto se radilo o teorijskim pokusajirha s ogranicenom uporabom, veo je sama pojava ¡deje zapisane glazbe i registriranja bastine njome bila znak modernog svjetonazora. Ustvari, tek su noviji pokusaji privukli sin interés glazbenih krugova, i to upravo onda kada je drustveni zivot postajao ubrzaniji, orijentiran na trgovinu, dakle moderan u socioloskom smislu. U ovom radu autori nastoje izloziti oblike otpora i usvajanje sustava glazbene notacije kao pokazatelja promjena u zivotu osmanskog/turskog drustva na osi modernizacije, od zapadne notacije Alija Ufkija do sadasnjih praksi notiranja, s posebnim naglaskom na povijesne uloge Abdüibakija Násira Dedea i Hampartzuma Limonciyana, kao i vaznost drugog rukopisnog i objavljenog rnaterijala, kao sto su primjerice recenzije stihova (güfte mecmualari).

Turcu2

Raí Music as a Generator of Cultural Identity among Young Maghrebies

UDC: 78.01 Original Scientific Paper Izvorni znanstveni rad Received: April 9, 2014 Primljeno: 9. travnja 2014. Accepted: March 18, 2015 Prihvaceno: 18. ozujka 2015.

Music and Society in Maghreb Before delving into the contents developed in this text, we note that the States that have traditionally been recognized as the Maghreb (in Arabian, »a place where the sun sets«), are Algeria, Tunisia and Morocco, countries on the north coast of África, which share common features focused on the influence of religión in the social and political context of these nations (Filali-Ansary, 2010). Thus, the development of their societies has been marked by both religious and political decisions that Correspondence concerning this article should be addressed to Dr. Roberto Cremades. Faculty of Education (Complutense University of Madrid). Department of Music Education. C/Rector Royo Villanova, s/n, 28040 Madrid (Spain). E-mail: [email protected] 1 The present work has been sponsored by the research project Stimulus of Scientific Producirán on Research Line in Music Education Rdated to the Musical Education: A Multídisciplinary Perspective Master's Degree, project granted for 2012-2014 by the Vice-Rector's Office for Sdentific Policy and Research of the University of Granada (Spain).

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'Department of Music Education, Complutense University of Madrid (Spain) 2Department of Music Education, University of Granada GRANADA, Spain E-mail: [email protected]

Abstract - Resume This paper examines the influence of Raí music among young North Africans. Its main objective consists of deepening the role of this musical style ¡n the socio-cultural context in which it opérales. The importance of Raí music is clear since it has become a hallmark with which several generations of young migrants who have settled in difieren! parts of the world are identified. To conclude, it can be said that Raí music has kept intact its message to give voice to marginalization and social injustice, a musical form in which the cultural sensitivity of a society that seeks to adapt to modernity and progress converge, consistent with the ideáis of equality present in the current global scenario. Kew words: Ral music • youth • cultural ¡dentity

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led, among others, to a chase after the Raí music performers who had to migrate to other countries in order to continué spreading their music. This fact, together with the increase in migratory movements of many North Africans seeking a better future, has facilitated the global spread of their culture and music (Virolle, 1989). In this sense, the influence of Ra'i from a sociological point of view, was so important that in France in the 1980s, with a high rate of Algerian immigrants and Moroccans and Tunisians, the first radio station dedicated to spread this musical style was created, an initiative that became a means of expression for a minority of foreigners, who aimed towards not losing their cultural identity while aspiring to join a new social context (Bariki, 1984). However, this function of music as a means of remembering the traditions was transformed and became for young North Africans an opposition to a form of social and ethical codes established in their country of origin and in their adopted countries. Thus, Ra'i became a symbol of resistance and rebellion, clearly divergent, leading away from the collective ideal and the dominant power, to defend individuality, tolerance and freedom of human beings. A positioning clearly contrary to the system, born of tradition to raise volees against marginalization and social inequality, created the circumstances that led to this musical movement being threatened and persecuted (Putx, 2001). This is an art form that has exceeded its temporal and geographical boundaries and has adapted to new musical trends. Concerning the importance of Raí music Scarnecchia (1998) says: It's the latest musical phenomenon of urbanization and globalization which occurred in the Mediterranean área. Its originality stems from the fact that it is not a Mediterranean fashionable »melange«, but a ctiltural phenomenon born of reworking of internal cultural dynamics (p. 105).

Music, Youth and Cultural Identity Music is present consciously or unconsciously in the everyday environment of young people. According to Stálhammar (2003), the valué that has a sound experience in youth derives from the music - individual relation in a way that the young people identify themselves with the music for what it brings to their lives, and for the freedom they encounter in the places where they can share the preferred musical styles. In other words, the valué of music, its social function and the spaces where it spreads are elements that make up an important part of the youth identity (North & Hargreaves, 2008). This is a time of self-assertion of personality and finding a sense of self, which frequently leads to problems, conflicts, inappropriate behaviour, etc., due to the constant concern of individuáis in their self-acceptance. 176


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The results of these and other researches on the significance of youth point out in various papers that certain problem behaviours add risks related to this period of life, such as smoking, the consumption of drugs and alcohol, violent and aggressive behaviour, violence acts, vandalism, delinquency, risky sexual behaviour, etc., are closely related to the complex interaction between the individual's personality and the environment in which he/she lives (Cowie, 2000; DíazAguado, 2003; Femenia & Muñoz, 2003). To these behaviours one must add the fear of social rejection from the group of friends and colleagues, the fear of failure and the pressure of the family in different facets of life (Urra, 2003). Tyson [2002] confirms the previous arguments by pointing out that the young people need a period of adaptation to adulthood. This is the moment when the feeling of belonging to a group enhances, at the same time, the young person's placing a high valué on friendship, since young people feel the need to bond with their peers in order to share and talk about belief in the same ideáis and valúes, regardless the differences in geographic origin, education or social status (Bowker, 2004). Meanwhile, Bennet (2000) States that in general, the image of youth style in terms of looks, music preferences, language and gesture is associated with a form of resistance of the young people against the dominant culture. Being young is synonymous with rebellion, vitality, activity, etc., and amounts to being supportive and sharing anything that makes them feel that they belong and are accepted by a particular group. This positioning against the system is otherwise associated with the youthful ideal of the disappearance of social, political, economic, religious, and other inequalities, a symbol that defines what should be a modern and free society (Muñoz, 2008). Against this position, the influence of the media is to be valued as it points out the dominant cultural trends promoting youth consumption, which converts into a form of Identification of collective identity of the individuáis (Lorenzo, Herrera & Cremades, 2011). At this point, the collective ideal of the disappearance of social differences is lost, and a new form of inequality enters as a result of the constant misleading advertising campaigns aimed at encouraging consumption among young people, thus influencing the development of their identity (Rubio & San Martin, 2012). However, it should be added that at present the identity of the young is not formed in isolation; it is necessary to consider the interconnections and mergers that occur from different socio-cultural contexts, the effect of migration and the constant exchange between cultures that share experiences, stories and events in the different places in which they coexist (Santelli, 2012). Moreover, these movements of people, along with the strong emergence of virtual culture, are increasing the relationship between music and identity, so that the cultural mix produced between local authorities and foreign power has turned globalized culture into a symbol of positive freedom and modernity (Gilroy, 1997). 177

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Focused on music as a cultural identity trainer, Fouce (2005) states that the approach to music on different levéis is a complex scenario in which the influence of its composition or of the arrangement of its basic elements (rhythm, melody, harmony...) is not as strong as the expression and meaning for its listeners. According to Hargreaves, Miell & Macdonald (2002), young people attribute different functions to the music that they are more related to, the social aspects that serve to identify and differentiate according to their musical tastes, represented lifestyles, fashions, habits, while it is used as a form of expression of protest and opposition to the culture of everyday life. Related to the above, it should be noted that the association of lifestyle and aesthetic preferences are considered important indicators of the forms of interaction between individuáis in society, as evidenced Knobloch, Vorderer & Zillmann (2000), who stated that relationships between young people are enhanced when they show the same musical preferences. In this regard, several studies have focused on discovering the relationship between musical preferences and youth groups of similar young people and the meaning of the music within the social context, since musical taste encourages grouping individuáis around a particular ideology that is transmitted through the approach to certain musical styles (Cremades, Herrera & Lorenzo, 2010; Herrera, Cremades & Lorenzo, 2010; Makelá, 2007, Rentfrow, 2005). A sign of the same interest is the work of Weisskirch & Murphy (2004), who point out how the preferences of the group of friends, in the case of musical styles closer to Hard Rock, are associated with particular patterns of behaviour of young people, such as uncontrolled use of drugs, alcohol, school behaviour problems, social rejection, etc., seeing their effect increased along with the aforementioned problems of youth conduct themselves. This situation is not new, as the youth-popular music dúo began their relationship over the mid-twentieth century with the advent of Rock and Pop music; in fact, the affinity of listeners to these musical styles is synonymous with youth, rebellion and freedom, a form of cultural expression of this stage's social status itself (D'anjou, 2001). Also known as the culture of excess (Cripps, 2001), to be young, to dress fashionably and Rock music became the dominant cultural model in the early 1960s in North America, a mass phenomenon that quickly spread to the rest of the world and whose influences continué today (Boomkens, 2004). Ra'i Music among the Young Maghrebies Ra'i is an Arable word meaning opinión, point of view. Originally, the Ra'i music was a genre of folk music that emerged in the early twentieth century in the western part of Algeria, when rural migrants were seeking new opportunities in emerging cities like Oran, a coastal city bathed by the Mediterranean Sea populated by North African, French, Spanish and Italian people. From oral tradition, 178


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Ra'i goes back to the times when the sheikh (teacher) and poet Melhoun, taught his doctrine in the form of poems sung in the local language (Embassy of the Kingdom of Morocco, 2010). However, from the 1930s, the Ra'i left their rural melodies and began a phase of evolution that would forever change their original form. Taverns, brothels and cabarets were the stages where musicians and dancers every night began the transformation path, leaving the oíd message of Melhoud tradition to sing about the adversities and pleasures of life. Ra'i singers used the lyrics of their songs to give voice to the problems of society in general (love, social marginalization, migration, consumption of alcohol, conflict for national liberation of Algeria...), but above all, to bring a message of freedom and hope for a better life to young people. Its expansión was so evident that moralist Islamists quickly censored and banned it, because they saw it as a threat to the system of beliefs and valúes established in Algerian society of that time (Virolle, 1995). Thus, the Ra'i public spaces disappeared, almost going into hiding until 1979, when moralistic restrictions were eased and a new fully renovated style mixed with Pop carne to life, a style that resorted to the use of modern recording techniques and electronic musical instruments. In addition, in order to promote them among young people, the songs of Ra'i singers were recorded on tape format (Gross, Mcmurray & Swedenburg, 1994). The Ra'i music began to expand to other áreas bordering Algeria, such as the city of Oujda in eastern Morocco and nearby towns like Nador, Berkane, Alhoucima, Kebdana, a fact which was favoured by geographical proximity, their sociocultural similarities with Oran and its ongoing human and trade exchanges (Embassy of the Kingdom of Morocco, 2010). Years later, the social importance that the Algerian Ra'i acquired led the government to recognize it as original country music by celebrating the first Ra'i Oran festival in 1985. This caused a movement of persecution for most famous Ra'i singers by Islamic fundamentalists, these singers having to leave the country as they constantly received death threats, some of them even being killed. Their new scenario moved to Paris where Ra'i artists earned International recognition, even becoming present in the list of American musical hits (Daoudi, 2000). A good example would be the modern Ra'i singer Cheb Khaled, the repertoire and instrumentation of his songs having been adapted to every age and every audience, so that young people from different generations and in different places have been fully identified with his music. In fact, the Ra'i genre is more often followed by Maghrebi immigrants in France (Gross, Mcmurray & Swedenburg, 1997). The study by Cremades, Herrera & Lorenzo (2010) on preferences of musical styles among secondary school students in the city of Melilla, with a significant percentage of people of Berber origin, shows that Ra'i music was in tenth 173

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place in listening frequency. In addition, the results indicated that this type of music was listened to by the students of Berber origin. For young North Africans, the Ra'i is perceived as an expression of individuality through which they can escape the moral ethics of society and religión. The human being feels free with Ra'i since it has freedom of speech to defend ideas, beliefs... and choose the way of life. Thus, the poetic and musical framework found in the lyrics of the songs exerts a clear influence on the ideology and psychology of the individual. This fact is based on the fusión of traditional sung poetry of ancient Ra'i with synthesized sounds and urban music genres such as Pop, Rock, Funk or Rap, highlighting the ambivalent duality of North African youth identity (Skilbeck, 1995). Beck (1992) following the exposed storyline, says that the ideology of Ra'i music comes from the image of seeing popular culture as a form of challenging dominant power structures, so that young people unite around the symbolic valúes representing music that gives them a collective identity. In this sense, Oriol (2000) states that Ra'i music is a clear example of the mobilization of collective identity and culture to resist the homogenization of society and to distance young people from the rules laid down officially. The Ra'i originating in marginal and stigmatized environments is a symbol that is not only musical, but also of resistance to religious and political domination. It is a genus with a century of history in overcoming territorial and social barriers, which has come to be known by everyone.


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BENNET, A., Popular Music and Youth Culture: Music, Identity and Placa, Basingstoke, Mcmillan, 2000. BECK, U., Risk Society: Toward a New Moderníty, London, Sage Publications Ltd, 1992. BOOMKENS, R., Uncanny Identíties. High and Low and Global and Local in the Music of Elvis Costello, European Journal of Cultural Studies, Vol. 7, n° 1, 2004, 59-74. BOWKER, A., Predicting Friendship Stability During Early Adolescence, The Journal of Early Adolescence, Vol. 24, nQ 2, 2004, 85-112. COWIE, H., By Standing or Standing by: Gender Issues in Coping with Bullying in Schools, Aggressive Behavior, Vol. 26, 2000, 85-97. CREMADES, R., HERRERA, L., & LORENZO, O., Musical Tastes of Secondary School Students' with Different Cultural Backgrounds: A Study in the Spanish North African City of Melilla, Musicae Scientiae, Vol. 14, n° 1, 2010,121-141. CRIPPS, C, La música popular en el siglo XX, Madrid, Akal, 2001. D'ANJOU, L., Rock-'n-roll. De sociale constructie van een muziekstijl, Sociologische Gids, Vol. 48, n° 2, 2001,122-137. DAOUDI, B., Le Raí, París, Librio Musique, 2000.

Conclusión The Ra'i music is a musical phenomenon that has spread all over the world in which generations of Maghrebi have settled. Thanks to its merger with contemporary rhythms and musical elements in other cultures, it has managed to blend the traditional with the modern, rural and urban styles, constantly evolving, never giving up its essence. Its message has remained intact and has served to unite young North Africans, finding in their music a hallmark •with which they identify. The cultural sensitivity of a society that seeks to follow a more modern and progressive converges in Ra'i; it is a socio-cultural model in line with the ideáis of equality present on the world stage today.

DÍAZ-AGUADO, M. J., Diez condiciones básicas para prevenir la violencia desde la adolescencia, Revista de Estudios de Juventud, n° 62, 2003, 21-36. EMBAJADA DEL REINO DE MARRUECOS, Aspectos de cultura marroquí moderna: música y colores, Chile, Embajada del Reino de Marruecos, Centro Mohamed VI para el Diálogo de Civilizaciones, 2010, Retreived December 24, 2013, from http://www.uai.cl/images/ sitio/investigacion/centros_investigacion/catedra_al_andalus_magreb/publicaciones/ Musica_Marroqui.pdf. FEMENIA, A. M. & MUÑOZ, M. T., Violencia y familia, Revista de Estudios de Juventud, Vol. 62, 2003, 51-58.

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