Morocco

Alternate

Vernacular

Videos of the music recorded in Taza, along with the notes on the performances.

Recording Location: Taza

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IAA706356

 Agence de photographie de presse

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Taza, au pied de la mosquée, le quartier commerçant

glass plate negative

Taza

The Great Mosque of Taza was founded by the Almohads in 1142/536 AH to mark their presence in the strategically important region between the Rif and Middle Atlas mountains. Taza was later taken by the Marinids, who immediately made major additions and reconstructions to the Great Mosque. Measuring about seventy meters in length and forty meters in width, the great mosque is roughly rectangular in plan and is set slightly off the east-west axis. The main elements of the mosque are a main prayer hall with an interior courtyard (sahn), a large courtyard to the north entered via three doors, an oratory to the west, and a single minaret, situated at the northwest corner of the building. The mosque has nine doors; the main portal is to the east, along the same axis as the mihrab. There are three other street entrances along the western wall. The three doors along the southern wall provide access to the mosque courtyard (sahn al-kabir), while the two doors along the qibla wall lead into the oratory, which is also entered through three doors from Al-Kabir Street to the west. The main prayer hall is nine bays wide and fourteen bays deep. The bays of the axial nave are wider than the others, and each bay terminates at the aisle preceding the mihrab, giving the mosque a characteristic Maghrebi T-plan configuration. An ornate dome precedes the mihrab. Each bay is covered with wooden gables carried on arches and wooden beams, except for the two bays at either end of the qibla aisle, whose original domes were replaced by wooden vaults. While the inner Almohad-era courtyard has been preserved, the oratory has since been rebuilt.The mosque opens onto the large southern courtyard with a ten-bay portico, also used for prayer in the summer. The courtyard, with the exception of its walkways, is unpaved. A domed fountain kiosk sits at its center. The enlargement of the great mosque of Taza was one of the first Marinid building projects. According to inscriptions on the mosque, the sultan Abu Ya'qub Yousef (reg. 1286-1307) nearly doubled the size of the Almohad prayer hall by adding four bays in the direction of the qibla and two bays on the east and west. The Marinid arches are wider than their original Almohad counterparts, and are further distinguished by a rounder horseshoe shape. From the exterior, the Marinid additions are marked by a break in the gabled tiling of the roof. The bay preceding the mihrab is decorated with intricately carved plaster, and is capped by an ornate Marinid dome with an eight-sided drum carried on lambrequin arches and muqarnas squinches. Triangular windows are located between the squinches. The dome itself is formed of thirty-two interlaced ribs that meet at the apex to form a sixteen-sided star. Between the ribs are pierced epigraphic and arabesque carvings that frame a receding muqarnas disc. The prototype for this intricate dome is believed to be the Almohad dome in the Great Mosque of Tlemcen, dated 1136.The intricately carved stucco mihrab is an octagonal niche framed by a horseshoe arch. To the right of the mihrab is a closet housing the delicate wooden minbar, which typically would be rolled out when needed for Friday sermons. The minbar is of typical Almoravid construction with marquetry decoration in rare wood and ivory. In the center of the prayer hall, the three bays that marked the mihrab in the original mosque are covered with pyramidal wooden roofs that are supported by arches with elaborate stucco carvings. A conical bronze chandelier, the largest remaining example of its type in North Africa, hangs from the central bay. Composed of nine circular tiers of diminishing size and with a capacity of 512 glass oil lamps, it is adorned with delicately carved epigraphy and arabesques. Its hollow underside mimics the decorative geometry of the Marinid dome in front of the mihrab. Sources: Blair, Sheila, and Jonathan Max Bloom. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press. 1994. Terrasse, Henri, Georges S. Colin, and A. Luquet. La Grande Mosquée de Taza. Publications de l'Inst. des hautes études marocaines, 39. Paris: Les Éd. d'art et d'histoire. 1948. Morocco. ?. Ministry of Awqaf, Morocco. 2002.

Jami' al-Kabir

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 Allal ben Mohammed Kaaoui and Ensemble

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"These people were. loath to take the time out to make a recording for us, because they. were on their way to play at a wedding. The prospect of extra money, however, won them over. There were 12 men in the group, eight of whom, curiously enough, were present for the. sole purpose of firing off rounds of ammunition from their rifles. When I inquired beforehand what the composition of the ensemble was to be, the katib of the Governor informed me that. the groups here consisted of rhaitas, tbola and rifles, so that it can be said that the rifles form an integral part of the band, which would not be considered complete without them. Thus we had: two rhaitas, two tbola and eight rifles. While they were playing the. music recorded here, a spokesman for them informed us that the rifles would not be playing along with. the other instruments; this was a hint that the renumeration. agreed upon earlier should be increased if we desired the entire complement of performers. We did not react to this information, the rifleman performed anyway, three times during the piece. The music is a medley. of popular Moroccan tunes the first of which is Mili Mchiti Sidi, a song composed at the time of the Sultan's returned from exile in Madagascar. (Mohamed Fouitah, composer)"









 



<div style="color: rgb(1, 1, 1); line-height: 16px;">Source:&nbsp;</div><div style="color: rgb(1, 1, 1); line-height: 16px;"> </div><div style="color: rgb(1, 1, 1); line-height: 16px;">Bowles, Paul F. &nbsp;"<a href="https://archnet.org/publications/10111">Taza</a>." in&nbsp;Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div><div> </div>

24B Festival Music of Taza

Taza 

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IAA707943

Marcellin Flandrin

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postcard

Aerial view, Taza

Paul Bowles

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Allal ben Mohammed Kaaoui and Ensemblemble with their instruments and the rifles that are used in the performance

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Allal ben Mohammed Kaaoui and Ensemble

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I had mentioned to the katib of the Governor of the Province of Taza that I should like to have a chanted reading from the Koran. Accordingly, he arranged with the Habous (the organization dealing with all religious property of Islam) to provide me with their best reader. There are various musical traditions for such readings; this one is in the Andaluz tradition,And while it is not expert, it is a good example of the kind of improvised prosody which is common in Morocco. Again in Fez, subsequently, I made the same request for another such reading, and was categorically refused, on the grounds that it was not becoming for the words of the sacred book to be recorded for unbelievers to listen to.”&nbsp;<div> </div><div>Source:&nbsp;</div><div>Bowles, Paul F. &nbsp;"<a href="https://archnet.org/publications/10111">Taza</a>." in Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.</div>

26A Reading fo the Koran

Allal ben Mohammed Kaaoui and Ensemblemble 

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View of the men from the Allal ben Mohammed Kaaoui Ensemblemble with their rifles and a ghaita

Allal ben Mohammed Kaaoui and Ensemblemble

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Welcome to ARCHNET, an open access, interdisciplinary, intellectual resource focused on the built environment of Muslim societies.Focused on the built environment of Islamic civilizations past and present, we seek to:<ul><li>Facilitate excellence in scholarship and professional work by&nbsp;providing reliable information and ready access&nbsp;to vetted, high-quality textual and multimedia resources&nbsp;focused on architecture, urbanism, environmental and landscape design,&nbsp;heritage&nbsp;conservation, economic and environmental sustainability, community development and resilience in the face of rapid change, and related topics.</li><li>Enable teaching and learning in these domains by providing educators with reliable, effective pedagogical material and teaching aids.&nbsp;</li><li>Serve as a platform through which scholars, practitioners, and institutions can bring their work to new global audiences.&nbsp;</li><li>Promote intercultural understanding and dialogue through reliable, high-quality, peer-reviewed material on the diversity of and pluralism within Muslim societies and the interaction between Islamic and other religious, cultural, and philosophical traditions as it relates to architecture and urbanism.</li><li>Enable easy access to a wide variety of resources via a custom-built, web-based, mobile-friendly platform optimized to minimize financial, infrastructural, linguistic, and other barriers to access.&nbsp;&nbsp;</li></ul>Launched in 2002 after several years of development, ARCHNET is a pioneering digital resource that has proven a reliable authority on the built environment of Muslim societies, past and present.&nbsp;ARCHNET is a partnership between the <a href="https://www.archnet.org/collections/1342" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center, MIT Libraries</a> (AKDC@MIT) and the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture</a> (AKTC), with support from the <a href="https://www.archnet.org/collections/50" rel="noopener noreferrer" target="_blank">Aga Khan Program for Islamic Architecture</a> at Harvard and MIT.&nbsp;ARCHNET is developed and maintained by <a href="https://www.performantsoftware.com/" rel="noopener noreferrer" target="_blank">Performant Software Solutions</a>.

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