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understand how a mutation of this type operates, the best thing may be to take a look at modem history. The period we live in can help us to grasp the different stages of this many-faceted evolution, which does not of course imply that the changes took place in exactly the same way at all times and in all places. The assumption is that the passage from music for non-specialists, shared by a large number of individuals, to music for a body of specialists, who furthermore are remunerated, obeys a certain logic. To illustrate this, I shall analyze the case of the Berbers of the High Atlas in Morocco and more precisely the Infdwak tribe.l The music of the High Atlas is fundamentally collective. This does not mean that individual music is excluded, but, since the collective takes precedence over the personal in the course of everyday life, collective music automatically holds a pre-eminent position over personal music in the conception and performance of music. In the High Atlas, most of the summer tasks are collective. Whether it is a matter of harvesting, collecting nuts or almonds, building houses, or transporting timber or manure, everyone has to join in. The same applies to the management of communal interests (opening and closing summer pastures, distributing water, repairing irrigation canals, and so on). And weddings and circumcisions, though only concerning a few families, are always amplified by a collective celebration during the big summer festivals involving the whole community.
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