Morocco

Alternate transliteration

Formerly known as

Variant

Recording Location: Einzoren

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digital graphic

IAA706354

City Records

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IAA708442

 Imzouren

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“The Maalem Sallem Mouh Taieb, who played the qasbah, was insistent that I recognize the fact that he was of the Beni Bouayache, from Tazourakht, and not from Einzoren. I don't know in what respect the music&nbsp;of Tazourakht differs from that of Einzoren, which is only a few miles distant; my impression is that there is no difference at all. The qasbah the Maalem used was made In sections of reed fitted together like parts of a kif-pipe; it measured twenty-eight and a half inches in length, and every part of its surface was decorated with incised abstract designs.” Source:&nbsp; Bowles, Paul F.&nbsp;"<a href="https://www.archnet.org/publications/10108/" rel="noopener noreferrer" target="_blank">Einzoren</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;

20B 2 El Haous. (2 rhaitas, 2 tbolas.)

 Women of the Beni Bouayache

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“There is variety of sound in Riffian music, but in order to find it one must visit a good many widely separated places. &nbsp;It is often almost as though each kabila had only one song, so that in order to find six recognizably different songs one must visit six separate regions. For this recording session there were 14 women sitting together, but only four sang at a time because each group of four was from a different locality. Each group of four is divided into two groups of two since the music is antiphonal. However, it is quite impossible to know which women are singing, since all are veiled, and there is no movement of the face, head or body to indicate whether any particular one is participating or not. I watched carefully over a period of several hours, and was never able to distinguish a singing woman from one who was simply sitting quietly. There is a good deal of conversation among them during the songs; again one can’t tell who is doing the talking. If one could, one could also know who was singing, since they confer among themselves during the course of the song, as to the subject of the strophes about to be delivered. The music of this particular real was performed in honor Caid &nbsp;of Einzoren, and contained little else save his praises. (Or so he himself informed me when it was over.) The accompaniment is simply one tar. The peculiar sort of voice production, with what the Mexicans call gallos, (an accented falsetto appogiatura) is common from the Rif eastward into Algeria."<div> </div><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://www.archnet.org/publications/10108/" target="_blank">Einzoren</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>

18B Music of the Beni Ouriaghel Tribe. 

Maalem Sallem Mouh Taieb 

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“The Maalem Sallem Mouh Taieb, who played the qasbah, was insistent that I recognize the fact that he was of the Beni Bouayache, from Tazourakht, and not from Einzoren. I don't know in what respect the music&nbsp;of Tazourakht differs from that of Einzoren, which is only a few miles distant; my impression is that there is no difference at all. The qasbah the Maalem used was made In sections of reed fitted together like parts of a kif-pipe; it measured twenty-eight and a half inches in length, and every part of its surface was decorated with incised abstract designs.” Source:&nbsp; Bowles, Paul F.&nbsp;"<a href="https://www.archnet.org/publications/10108/" rel="noopener noreferrer" target="_blank">Einzoren</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;

20B 1 Amali Amali

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"I had a difficult time trying to get number 2, because the Maalem wanted to include words again, as he had in number 1. His reason, 'Who can understand what the qsbah is saying all by itself.' I found the same objections again later in Segangan."&nbsp;&nbsp;&nbsp;Source:&nbsp; Bowles, Paul F.&nbsp;"<a href="https://www.archnet.org/publications/10108/" rel="noopener noreferrer" target="_blank">Einzoren</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;

21B-2  Rhana Tazourakht (qsbah solo with bendir accompaniment.)

Sadik ben Mohammed Laghzaoui Morsan and ensemble 

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21B-3  Aaita Djebeliya (2 lior, 2 tbel, 3 voices)

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"Lalla Bouya is not a title, but the designation of a genre. Often this is the case in Moroccan music. Titles are supplied because they are asked for at the time of recording, but the music is not generally conceived of by the musicians as having formal titles. The ones they supply my request are always subject to change, since they often invented on the spot, more for identification purposes than anything else. At one point during the dance the Caid sent a messenger across to tell the Maalem Sallem to let the rhaita take over; the rhaita is generally thought more highly than the qsbah or liara. I suspect that the esteem which Moroccans have for it is partially due to their overpowering sound."&nbsp;&nbsp;&nbsp;Source:&nbsp; Bowles, Paul F.&nbsp;"<a href="https://www.archnet.org/publications/10108/" rel="noopener noreferrer" target="_blank">Einzoren</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;

22A 1. Lalla Bouya (four women’s voices.)

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I was not warned beforehand that the women of Einzoren and the surrounding region would go on singing until they were stopped, and so, in 18B, although the music was of an unusual degree of repetitiousness, I let it continue through the entire reel, thinking that surely at some point it would come to a natural conclusion. Having been proven wrong on that occasion, I thereafter took the liberty of turning them off after a reasonable length of time. When I asked the Caid about it, he said: ’Of course they will sing all night unless someone stops them.’ I did not try to test the accuracy of his statement. At one point during the evening I went with the Caid to have some food. During our absence the whole town got involved in a very lively party, which was still in progress when we returned. Out of discretion, I did not attempt to record this, although, as was to be expected, it provided the best music of the evening. My delicacy in this respect proved to have been quite unnecessary. When it was already too late, the Caid suggested I try to record the sound of the merriment and uproar which was going on. By the time I had got the machine prepared for recording, two of the three rhaita-players were tired and had ceased to play, so that what I recorded was the rather sober tail-end of the party, with one rhaita playing and only five girls dancing. One, however, kept rushing from one end of the crowd to the other, beating the tar and then pounding it on the ground; this is audible.”&nbsp;&nbsp;&nbsp;Source:&nbsp; Bowles, Paul F.&nbsp;"<a href="https://www.archnet.org/publications/10108/" rel="noopener noreferrer" target="_blank">Einzoren</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;

21A-1 Song. Music of the Music of the Beni Ouriaghel Tribe

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IAA705899

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“The greater part of Riffian
music is sung by women. It is difficult for me to find a musical reason for the
public’s choice, since to my years the man in their singing provide a more
satisfactory musical sound. It is barely possible that I was not fortunate
enough to find any professional women-singers, but I am told that the
government has forbidden the use of them. The men, particularly the qsbah and rhaita
players, are usually professional musicians, and this fact provided a contrast
which emphasized the effect the women gave me of lacking musical technique. 








The women use the uncommon device of
gradually raising the pitch of the song from the key established at the
beginning, throughout the piece, until by the end the key may be as much as a
minor third above the original one; the tempo, however, remains the same. Izrane was composed in honor of&nbsp; the Sultan of Morocco, whether previously to
the evening or in the smaller of the moment (like the <a href="http://archnet.org/media_contents/112696" target="_blank">Lalla
Bouya</a>
of
18B,) I was not told.”



 <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://www.archnet.org/publications/10108/" target="_blank">Einzoren</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>

20A 2 Music for Two Rhaitas and Two Tbola

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”The rhaita music was recorded in the square of Einzoren, with 150 or 200 admirably silent men and boys gathered around the musicians and microphone. It was necessary to drive a mile or so down the road to fetch the players, who were practising in a small café outside the village. When they saw the car drive up, they rose as one man, (there were two rhaita players and two tbel players) left the café, got into the car, drove into the village and got out again, all without ceasing to play. The only music in the Rif which sounds more or less like that of the rest of Morocco is the rhaita and tbel music. (Compare the second half of 20B or number one of this present side with 14A.) In the Djebala country the musicians often play on horseback for hours as they ride across the countryside on their way to perform at weddings and feasts where they earn their living.” &nbsp;&nbsp;&nbsp;Source:&nbsp; Bowles, Paul F.&nbsp;"<a href="https://www.archnet.org/publications/10108/" rel="noopener noreferrer" target="_blank">Einzoren</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;

22B-1. El Aalaoui dial Tazourakht (Dance) 

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