Taza 

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digital graphic

IAA707943

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

 Allal ben Mohammed Kaaoui and Ensemble

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Morocco

"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

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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

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IAA706356

Paul Bowles

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

black-and-white photograph

Allal ben Mohammed Kaaoui and Ensemble

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

 Agence de photographie de presse

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glass plate negative

Taza

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Taza, au pied de la mosquée, le quartier commerçant

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

Marcellin Flandrin

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postcard

Aerial view, Taza

Recording Location: Taza

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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IAA706331

Archnet is a community-powered resource that provides ready access to visual and textual material to facilitate teaching, scholarship, and professional work of high quality.&nbsp;This unparalleled resource continues to grow with both the addition of historic archives and documentation on contemporary trends shaping the built environment today.&nbsp;To better serve you, our user, in the study of art and architecture of Muslim societies, we continue to build our vast collection of sites, publications, images, and videos. To ensure a high level of scholarly content and accuracy in the information provided, we appreciate your expert feedback and, more importantly, your contributions..&nbsp;&nbsp;<ul><li>Please send comments, corrections, commendations, and other feedback to <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;</li><li>If you find sites on Archnet to which you can contribute in compelling and meaningful ways, your generosity is most welcome. If you would be interested in contributing research, publications or other media to Archnet, please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite contributions of relevant, previously published, Open Access or copyrighted material for which you are able to grant Archnet a non-exclusive license. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite the contribution of syllabi, lesson plans, recorded lectures, or other material for our pedagogy project. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We welcome the donation of select archives based on our current editorial policies and priorities.&nbsp;If you have a collection you would like to bring to the attention of Archnet's editors, please send an email to: <a href="http://mailto: archnet-submission@mit.edu/" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.</li><li>Occasionally, Archnet editors issue calls for contributions on specific themes or of particular types of material. Follow those on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">website of AKDC@MIT </a>or <a href="https://mailchi.mp/17fc345bbd94/archnetakdc-updates" rel="noopener noreferrer" target="_blank">subscribe to our mailing list</a>.</li></ul> The breadth, depth, and quality of Archnet is oachieved through the generosity of numerous institutions and individuals listed on the respective pages throughout the site.&nbsp;We thank you for your generosity!

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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>.

Recording Location: Taza

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Recording Location: Taza

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