 Imzouren

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digital graphic

IAA705899

place

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

Sadik ben Mohammed Laghzaoui Morsan and ensemble 

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Morocco

”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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"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-2  Dance (2 tbola, qsbah changing to rhaita)

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

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22B-2. Rhaita Solo (bendir accompaniment)

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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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"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.)

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

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IAA706354

Recording Location: Einzoren

In 1959, the American writer and composer&nbsp;<a href="http://archnet.org/authorities/2872" target="_blank" style="background-color: rgb(255, 255, 255); font-size: 1em;">Paul Bowles</a>, who by then had already taken up residence in&nbsp;<a href="http://archnet.org/sites/8435" target="_blank" style="background-color: rgb(255, 255, 255); font-size: 1em;">Tangier</a>, Morocco, received a grant from the Rockefeller Foundation to document the musical heritage of Morocco for the&nbsp;<a href="http://www.loc.gov/folklife/archive.html" target="_blank" style="background-color: rgb(255, 255, 255); font-size: 1em;">Archive of Folk Culture</a>&nbsp;of the Library of Congress.&nbsp;Bowles traversed the country in a VW Beetle, with an Ampex reel-to-reel recorder and an assistant, to record "approximately 60 hours of traditional folk, art, and popular music. Bowles collected in 23 villages, towns, and cities along the Mediterranean and Atlantic coasts, from&nbsp;<a href="http://archnet.org/collections/928" rel="noopener noreferrer" target="_blank">Goulimine</a>&nbsp;in the Sahara to&nbsp;<a href="http://archnet.org/collections/935" rel="noopener noreferrer" target="_blank">Segangan</a>&nbsp;in the Rif country, and inland through the Middle and Grand Atlas ranges to&nbsp;<a href="http://archnet.org/collections/946" rel="noopener noreferrer" target="_blank">Zagora</a>&nbsp;in the Anti-Atlas."(1) Additional recordings were made between 1960 and 1962.&nbsp;Only the southeastern part of Morocco was left out of the project due to the ongoing war in Algeria. A selection of the recordings was released commercially on vinyl in 1972.2 An expanded edition of that set, remastered and more extensively documented, was released in 2016.(3) In 2010, the Tangier American Legation Institute for Moroccan Studies (<a href="http://archnet.org/sites/8271" rel="noopener noreferrer" target="_blank">TALIM</a>)&nbsp;commissioned the digitization of the recordings, with the support of funds from the <a href="http://morocco.usembassy.gov/pas.html" rel="noopener noreferrer" target="_blank">Public Affairs Office</a> of the U.S. Embassy in Rabat, the Wilaya&nbsp;of&nbsp;Tangier, and the Moroccan&nbsp;<a href="http://www.minculture.gov.ma/fr/" rel="noopener noreferrer" target="_blank">Ministry of Culture</a>.&nbsp;The&nbsp;<a href="http://libraries.mit.edu/akdc" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center at MIT</a>&nbsp;has agreed to make the recordings and the corresponding documentation available in this&nbsp;collection. Unless otherwise noted, all information presented in the descriptions and in the texts of the videos comes from the information provided by Paul Bowles, or from supplementary materials from the&nbsp;<a href="https://lccn.loc.gov/2004695190" rel="noopener noreferrer" target="_blank">Paul Bowles Moroccan Music Collection</a> of the American Folklife Center. The collection utilizes the names and spellings provided by Bowles for individuals, locations, and styles, but associates them with site and authority records that incorporate contemporary and standardized names.&nbsp; The cataloging of each recording&nbsp;and its supplementary materials takes&nbsp;full advantage of the capabilities of Archnet to situate the music within the context from which it originates or was&nbsp;recorded. Videos and notes are grouped into sub-collections based on the place where they were recorded. Links associated with each video connect each recording to&nbsp;the relevant notes, images, and other material from the archive,&nbsp;as well as additional related material provided courtesy of the&nbsp;<a href="http://www.loc.gov/folklife/index.html" rel="noopener noreferrer" target="_blank">American Folklife Center</a>, the&nbsp;<a href="http://hcl.harvard.edu/libraries/finearts/" rel="noopener noreferrer" target="_blank">Harvard Fine Arts Library</a>,&nbsp;<a href="http://legation.org" rel="noopener noreferrer" target="_blank">TALIM</a>, and&nbsp;<a href="http://libguides.mit.edu/islam-arch" rel="noopener noreferrer" target="_blank">AKDC@MIT</a>.&nbsp; For the sake of internal consistency within the collection, items are cataloged using only the information provided by Paul Bowles in his notes and documentation.&nbsp;The spelling of names, instruments, tribes, and places has not been updated, corrected, or standardized.&nbsp;However, where appropriate, records have been linked to place names and other authorities that follow Archnet's transliteration standards.&nbsp;&nbsp; This is a project that is under development.&nbsp;Items will be added&nbsp;as they are processed and cataloged.&nbsp;We appreciate your patience and welcome your comments or suggestions.&nbsp; --<a href="https://archnet.org/authorities/2691" rel="noopener noreferrer" target="_blank">Michael A. Toler</a>, Archnet Content&nbsp;Manager, AKDC@MITApril 21, 2015 (last updated May 17, 2015) NOTES:1. Michelle Forner, "<a href="http://www.loc.gov/folklife/guides/paulbowles.html" rel="noopener noreferrer" target="_blank">Finding Aid</a>",&nbsp;The Paul Bowles Moroccan Music Collection2.&nbsp;Bowles, Paul.&nbsp;Music of Morocco. [Washington]: Library of Congress, Recording Laboratory, 1972.3.&nbsp;Bowles, Paul, Lee Ranaldo, and Philip Daniel Schuyler.&nbsp;Music of Morocco: from the Library of Congress. 2016.

Music of Morocco: The Paul Bowles Moroccan music collection of the American Folklife Center

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Archnet is an Open Access resource, provided to the public to facilitate cultural understanding and excellence in both scholarship and practice. Content from Archnet.org may not be published, displayed, or appropriated for commercial use without the expressed written permission of the copyright holder. Unless otherwise noted, Archnet material is available for instructional, nonprofit use, and personal use on the terms of a <a href="https://creativecommons.org/licenses/by-nc/4.0/" rel="noopener noreferrer" target="_blank">Creative Commons Attribution-NonCommercial 4.0 International</a> (CC BY-NC 4.0) license. Please contact Archnet to request permission to use the Archnet.org website and its contents beyond the scope outlined above. High-resolution images may be available by contacting us using <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>. The content available on Archnet, including but not limited to information, text, graphics, logos, and multimedia related to the the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture’</a>s programmes, such as the <a href="https://www.archnet.org/collections/54" rel="noopener noreferrer" target="_blank">Historic Cities Programme</a>, the <a href="https://www.archnet.org/collections/848" rel="noopener noreferrer" target="_blank">Aga Khan Award for Architecture</a> and the <a href="https://www.archnet.org/collections/132" rel="noopener noreferrer" target="_blank">Aga Khan Music Programme</a>, may be protected by copyright, trademark, or other intellectual property rights and laws, whether owned by the Aga Khan Trust for Culture, its affiliates, or third parties. Unauthorized use, reproduction, distribution, modification, or display of this content is strictly prohibited without the express written permission of the respective copyright or trademark holder. Violation of this prohibition may result in legal penalties.

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<h2>ARCHNET FAQ</h2>1. Will ARCHNET work on my device?Archnet works well on the most recent version of any major browser (Chrome, Firefox, Safari, Edge), either on a mobile device or computer. It may work on older or less common browsers as well. If Archnet fails to work properly on your machine, please let us know about your experience by clicking the blue feedback button at bottom right!2. Will my URLs from earlier versions of Archnet still work?Yes, if they are from the version launched in January 2013. As of October 12, 2021, all URLs from the old Archnet have been redirected to ARCHNET.&nbsp;&nbsp;3. How do I download a/n:&nbsp;<ul><li>image - Select the image you want to download from search results, a site or an authority. The image will open in your browser.&nbsp;Right click to download.&nbsp;For larger, high-resolution copies, see contact us using archnet@mit.edu.&nbsp;</li><li>publication - Open the page for the publication in your browser and click the download button. Reprinting Archnet publications is permissible only for personal use.&nbsp;Please contact us for any other requests.&nbsp;</li><li>site descriptions and metadata - Site descriptions and metadata can be used for any nonprofit or educational organization with appropriate attribution to the authors and Archnet.&nbsp;</li><li>video - Currently video downloads are not possible. If you'd like to use an Archnet video, please contact <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</li></ul>See our <a href="https://www.archnet.org/pages/terms" rel="noopener noreferrer" target="_blank">Terms of Use</a> for information on how you can use Archnnet material.4. Can I contribute material to Archnet?&nbsp;Yes!&nbsp;See our <a href="https://www.archnet.org/pages/contribute" rel="noopener noreferrer" target="_blank">Contribute</a> page for more information.&nbsp;Calls for specific contributions are also also shared in our social media and on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">web site of the Aga Khan Documentation Center at MIT</a>.&nbsp;&nbsp;5. What happened to the Archnet Timeline?&nbsp;Timeline has migrated into the ARCHNET NEXT Collections page&nbsp;<a href="https://www.archnet.org/collections/collection_type/3/1" rel="noopener noreferrer" target="_blank">as a category</a>. These collections provide short introductions for each period, often offering lists of additional resources at the end of the entry. Only the timeline graphic listing the periods along a chronological axis has not migrated.6. My question isn't here.&nbsp;How can I get help?&nbsp;If your issue is with using Archnet, use the blue Feedback button to alert us to your issue. This will allow you to include a screenshot or recording. Please, also, feel free to contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>We are currently developing the help section of ARCHNET NEXT. In the meantime, please use the blue Feedback button in ARCHNET NEXT to send us feedback or other questions. Contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;

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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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