With the advancement of means of communication especially in the
modern era, we have become more aware of the scope where nations
constitute an ineluctable part system of the world at large. In
fact, what is nowadays called individual societies and considered
as independent entities do not exist any more for their local
distinctive standard can be recognized only within the global
framework. Hence, besieged and governed by mass media, the world at
large has been transformed into what McLuhan cogently termed
"Global Village", paving the way for the expansion of foreign
powers over the poor societies. In order to gain insight into an
individual society, we would consider it as an integrated part of
the global whole together with the external, say Western, factors
that forcibly influence its fundamental principles. The scope of
the impact is so wide and its nature is so various that it
encompasses all nations together with their institutions. This
paper is an attempt to investigate the way the cultural framework
of Moroccan society is "Westernized", drawing on the popular music
and the changes that have shaped both its content and form. In the
same vein, scholars of different interest and aim, chiefly Moroccan
ones, underline the process of transformation that has been
incessantly happening in popular music, pointing especially to the
integration and assimilation of Western characteristics. Such a
situation leads to a crucial question why Moroccan popular music
has made room for external influences while sloughing off its
originality and its essence. As a case study, the focus will
concern a comparative analysis of traditional popular singers and
what is termed "modern" popular singers.