Islamic music

Last updated
A Musical Gathering - Ottoman, 18th century A Musical Gathering - Ottoman, 18th century.jpg
A Musical Gathering – Ottoman, 18th century

Islamic music may refer to religious music, as performed in Islamic public services or private devotions, or more generally to musical traditions of the Muslim world. The heartland of Islam is the Middle East, North Africa, the Horn of Africa, Balkans, and West Africa, Iran, Central Asia, and South Asia. Due to Islam being a multi-ethnic religion, the musical expression of its adherents is vastly diverse. Indigenous traditions of various part have influenced the musical styles popular among Muslims today. The word "music" in Arabic, the language of Islam, (mūsīqāموسيقى) is defined more narrowly than in English or some other languages, and "its concept" was at least originally "reserved for secular art music; separate names and concepts belonged to folk songs and to religious chants". [1]

Contents

At least one scholar (Jacob M. Landau) makes the generalization about Islamic music that it "is characterized by a highly subtle organization of melody and rhythm", that "the vocal component predominates over the instrumental", and that the individual musician "is permitted, and indeed encouraged, to improvise". [1]

Historically, the question of whether music is permitted in Islamic jurisprudence is disputed. [2] Regardless, Islamic art and music flourished during the Islamic Golden Age. [3] [4] [5] Islamic music is also credited with influencing European and Western music; for example, French musicologist Baron Rodolphe d'Erlanger in his assessment of the Abbasid Caliphate in Islamic history credits Abu Nasr Muhammad al-Farabi's Kitabu l'musiqi al-kabir ("The Great Book of Music") with this influence. [4]

Secular and folk musical styles

Classical Islamic music

According to scholar Jacob M. Landau, "a fusion of musical styles" was able to develop between "pre-Islamic Arabian music" and the music of Persians, Byzantines, Egypt, Mesopotamia, Turks, Moors, because of "strong affinities between Arabic music and the music of the nations occupied by the expanding Arabic peoples". [1] The core area where this "new art" of classical Islamic music succeeded stretched "from the Nile valley to Persia". However, many parts of the Muslim world did not adopt the "new art" of classical Islamic music, or adopted it but also kept native music forms which were "alien" to classical Islamic music. [1] In general, the farther from the area between the Nile and Persia one travels, "the less one finds undiluted Islamic music." [1]

Middle East

All of these regions were connected by trade long before the Islamic conquests of the 7th century, and it is likely that musical styles travelled the same routes as trade goods. However, lacking recordings, we can only speculate as to the pre-Islamic music of these areas. Islam must have had a great influence on music, as it united vast areas under the first caliphs, and facilitated trade between distant lands. Certainly, the Sufis, brotherhoods of Muslim mystics, spread their music far and wide.

Khaliji music has roots going back more than 1,000 years, to the Islamic period, under the Umayyads and Abbasids. [6]

North Africa

The Berber and Arabic speaking countries of Central and Western North Africa, such as Morocco, Algeria, Libya and Tunisia, share some musical traditions with Egypt and the Arabic-speaking countries of the Middle East. Popular modern styles of music such as Raï and Chaabi originated in Berber countries. In addition, West African influences can be heard in the popular music of Gnawa.

Horn of Africa

Somali oud player Nuruddin Ali Amaan Oudplyrsomhd3.png
Somali oud player Nuruddin Ali Amaan

Most Somali music is based on the pentatonic scale. That is, the songs only use five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. At first listen, Somali music might be mistaken for the sounds of nearby regions such as Ethiopia, Sudan or Eritrea, but it is ultimately recognizable by its own unique tunes and styles. Somali songs are usually the product of collaboration between lyricists (midho), songwriters (lahan), and singers ('odka or "voice"). [7] Instruments prominently featured in Somali music include the kaban (oud).

West Africa

Islam is the largest and oldest organized religion in this region, although indigenous Sahelian and Saharan styles and genres are more prominent than those influenced by Middle-Eastern theory.

West African musical genres are more varied, and tend to incorporate both native and Berber influences, rather than those of Arab origin. A long history of court griot music based on historical accounts and praise-singing exists in the region. Wind and string instruments, such as the Kora harp, xalam lute, or Tambin flute (similar to the ney) are generally preferred to percussion, although percussion instruments such as the talking drum and djembe are also widely played among Muslim populations

Central Asia

Many of the countries in Central Asia such as Uzbekistan, Tajikistan and Turkmenistan have been heavily influenced by Turkic and Persian culture. Bowed instruments are common, as is bardic singing.

South Asia

Qawwali in India Qawwal Qutbi Brothers.jpg
Qawwali in India

The music of the Muslim countries of South Asia (Afghanistan, Bangladesh, Maldives and Pakistan) as well as countries with sizeable Muslim minorities (India, Nepal and Sri Lanka) merged Middle Eastern genres with indigenous classical musical modes, and is generally distinct in style and orchestration, yet due to the strong links encountered between the Middle-East, Central Asia, and South Asia, it is closer to Middle-Eastern styles than those of the periphery of the Islamic world, which tend to be purely indigenous.

Southeast Asia

"Al-Ushyaaq" Arab-Indonesian Gambus musical ensemble in Jakarta, 1949 Al-Usysyaaq Gambus Orchestra, Jakarta.jpg
"Al-Ushyaaq" Arab-Indonesian Gambus musical ensemble in Jakarta, 1949

Muslim-majority Indonesia has been significantly less influenced by Middle Eastern traditions than South Asia. As a result, many local musical styles predate the coming of Islam, although exceptions include Malay Zapin and Joget, and the Indonesian Gambus (derived from Qanbus), all of which show strong Middle Eastern influence.

There are also local music genres in Muslim-majority regions in Southeast Asia that are influenced by Arabian traditions, such as the tagonian of the Sundanese people and glipang of the people of Probolinggo

The music of South East Asia's Muslim-majority regions is more closely related to the musical genres of South East and East Asia. Gong chime ensembles such as Gamelan and Kulintang existed in the region before the arrival of Islam, and musical theory and method owe more to heavy Chinese influence, as well as HinduBuddhist principles, than to Arabic musical philosophy. Variations of one of two main scales prevail in the region among different ensembles: slendro and pelog (both of which originated in Java).

In Java, use of the gamelan for Islamic devotional music was encouraged by the Muslim saint Sunan Kalijogo.

Types of Muslim devotional recitation and music

Nasheed

Nasheeds are moral, religious recitations recited in various melodies by some Muslims of today without any musical instruments. However, some nasheed groups use percussion instruments, such as the daff. Singing moral songs of this type without instrumentation is considered permissible (halal) by many Muslims.

Sufi worship services are often called dhikr or zikr. See that article for further elaboration.

The dhikr of South Asian Muslims is "quietist". The Sufi services best known in the West are the chanting and rhythmic dancing of the whirling dervishes or Mevlevi Sufis of Turkey.

However, Sufis may also perform devotional songs in public, for the enjoyment and edification of listeners. The mood is religious, but the gathering is not a worship service.

In Turkey, once the seat of the Ottoman Empire and the Caliphate, concerts of sacred song are called "Mehfil-e-Sama' " (or "gathering of Sama'"). Song forms include ilahi and nefe.

In South Asia, especially Bangladesh, Pakistan and India, a widely known style of Sufi music is qawwali. A traditional qawwali programme would include:

Shi'a qawwali performances typically follow the naat with a manqabat in praise of Ali, and sometimes a marsiya, a lamentation over the death of much of Ali's family at the Battle of Karbala.

The most well-known qawwali singer in modern times is Nusrat Fateh Ali Khan.

Another traditional South Asian genre of Sufi music is the Kafi, which is more meditative and involves solo singing as opposed to the ensemble form seen in qawwali. The most widely known exponent of the Kafi is the Pakistani singer Abida Parveen.

Sufi music has developed with the times. A Pakistani Sufi rock band, Junoon, was formed in the 1990s to bring a modern twist to suit the new younger generation. The band achieved wide popularity, in Pakistan as well as in the West.

Music for public religious celebrations

Modes

According to scholar Jacob M. Landau, in Islamic music, "melodies are organized in terms of maqāmāt (singular maqām), or "modes," characteristic melodic patterns with prescribed scales, preferential notes, typical melodic and rhythmic formulas, variety of intonations, and other conventional devices." [1]

rhythmic modes are known as īqāʿāt (singular īqāʿ), and they have a "cyclical patterns of strong and weak beats". [1]

Instruments

Although there are a wide variety of opinions on the permissibility of musical instruments, those who produce Islamic music with instruments often feature the following instruments:

Traditional:

Differences of opinion over prohibition

Strictly speaking, the words 'Islamic religious music' present a contradiction in terms. The practice of orthodox Sunni and Shi'a Islam does not involve any activity recognized within Muslim cultures as 'music'. The melodious recitation of the Holy Qur'an and the call to prayer are central to Islam, but generic terms for music have never been applied to them. Instead, specialist designations have been used. However, a wide variety of religious and spiritual genres that use musical instruments exists, usually performed at various public and private assemblies outside the orthodox sphere.

Eckhard Neubauer, Veronica Doubleday, Islamic religious music, New Grove Dictionary of Music online [8]

The question of permissibility of music in Islamic jurisprudence is historically disputed, [2] and with the advent of a whole new generation of Muslim musicians who try to blend their work and faith, the issue "has taken on extra significance". [9]

Islamic art and music flourished during the Islamic Golden Age. [3] [4] [5]

Contemporary Islamic music

Notable nasheed artists include:

Notable Sufi singers include:

Noted composers:

See also

Related Research Articles

<span class="mw-page-title-main">Sufism</span> Body of mystical practice within Islam

Sufism is a mystic body of religious practice found within Islam which is characterized by a focus on Islamic purification, spirituality, ritualism, and asceticism.

<span class="mw-page-title-main">Religious music</span> Music intended for religious purpose

Religious music is a type of music that is performed or composed for religious use or through religious influence. It may overlap with ritual music, which is music, sacred or not, performed or composed for or as ritual. Religious songs have been described as a source of strength, as well as a means of easing pain, improving one's mood, and assisting in the discovery of meaning in one's suffering. While style and genre vary broadly across traditions, religious groups still share a variety of musical practices and techniques.

<span class="mw-page-title-main">Chishti Order</span> Sufi mystic order in Islam

The Chishti order is a Sufi order of Sunni Islam named after the town of Chisht, Afghanistan where it was initiated by Abu Ishaq Shami. The order was brought to Herat and later spread across South Asia by Mu'in al-Din Chishti in the city of Ajmer.

<span class="mw-page-title-main">Music of Pakistan</span>

The Music of Pakistan is a fusion of Turko-Persian, Arab, Hindustani, and contemporary Western influences, creating a distinct musical tradition often referred to as "Pakistani Music." The genre has adapted and evolved over time in response to shifting cultural norms and global influences. It has also been deeply shaped by Pakistan's tumultuous political and geopolitical landscape. The Islamization policies of the 1980s, which sought to align Pakistani culture with conservative ideals of Wahhabism, imposed strict censorship on music and musical expression. This period of repression was further fueled by the ongoing Soviet occupation of Afghanistan, during which Wahhabism was aggressively promoted with backing from the United States and Saudi Arabia as part of efforts to counter Soviet influence.

<span class="mw-page-title-main">Daf</span> Frame drum originating in Central Asia and the Middle East

Daf, also known as dâyere and riq, is a Middle Eastern frame drum musical instrument, used in popular and classical music in South and Central Asia. It is also used in Afghanistan, Azerbaijan, Tajikistan, Iran, Uzbekistan, many regions of Georgia, Armenia, Pakistan as well as in parts of India and Russian polar regions. It is also popular among Balkans, Caucasians, Bukharan Jews, Kurds, and Macedonians.

<span class="mw-page-title-main">Qawwali</span> Sufi devotional music from South Asia

Qawwali is a form of Sufi Islamic devotional singing originating in Hindustan. Originally performed at Sufi shrines or dargahs throughout Hindustan, it is famous throughout Pakistan, India, Bangladesh and Afghanistan and has also gained mainstream popularity and an international audience as of the late 20th century.

<span class="mw-page-title-main">Sufi whirling</span> Sufi meditation, practiced by Dervish orders, involving spinning in circles to music

Sufi whirling is a form of physically active meditation which originated among certain Sufi groups, and which is still practiced by the Sufi Dervishes of the Mevlevi order and other orders such as the Rifa'i-Marufi. It is a customary meditation practice performed within the sema, or worship ceremony, through which dervishes aim to reach greater connection with Allah. This is sought through abandoning one's nafs, ego or personal desires, by listening to the music, focusing on God, and spinning one's body in repetitive circles, which has been seen as a symbolic imitation of planets in the Solar System orbiting the Sun.

Allah Hoo (Allāhu) is a traditional Sufi chant (dhikr) consisting of the word for God run together three times, followed by Truth (haqq): Allāhu Allāhu Allāhu Haqq, itself repeated three times over. According to Sufi tradition, this formula was introduced by Abu Bakr as he initiated the Naqshbandi tradition. Other Dhikrs consist of simple Allāhu Allāhu run together 400 or 600 times.

<span class="mw-page-title-main">Sufi shrine</span> Grave shrine

A dargah is a shrine or tomb built over the grave of a revered religious figure, often a Sufi saint or dervish. Sufis often visit the shrine for ziyarat, a term associated with religious visitation and pilgrimages. Dargahs are often associated with Sufi eating and meeting rooms and hostels, called khanqah or hospices. They usually include a mosque, meeting rooms, Islamic religious schools (madrassas), residences for a teacher or caretaker, hospitals, and other buildings for community purposes.

<span class="mw-page-title-main">Islamic culture</span> Cultural practices common among various peoples of the Muslim world

Islamic cultures or Muslim cultures refers to the historic cultural practices that developed among the various peoples living in the Muslim world. These practices, while not always religious in nature, are generally influenced by aspects of Islam, particularly due to the religion serving as an effective conduit for the inter-mingling of people from different ethnic/national backgrounds in a way that enabled their cultures to come together on the basis of a common Muslim identity. The earliest forms of Muslim culture, from the Rashidun Caliphate to the Umayyad Caliphate and the early Abbasid Caliphate, was predominantly based on the existing cultural practices of the Arabs, the Byzantines, and the Persians. However, as the Islamic empires expanded rapidly, Muslim culture was further influenced and assimilated much from the Iranic, South Asian, Caucasian, Turkic, Malay, Somali, Berber, and Indonesian cultures.

<span class="mw-page-title-main">Qalandariyya</span> Unorthodox Sufi mystical order

The Qalandariyya, Qalandaris or Kalandaris are wandering Sufi dervishes. The writings of Qalandaris are not merely celebrations of libertinism, but affirmations of antinomial beliefs.

<span class="mw-page-title-main">Kafi</span> Classical Sufi music originating from the Punjab and Sindh

Kafi is a classical form of Sufi music in the Punjabi and Sindhi languages that originated from the Punjab and Sindh regions of South Asia. Some well-known Kafi poets are Baba Farid, Bulleh Shah, Shah Hussain, Shah Abdul Latif Bhittai, Sachal Sarmast and Khwaja Ghulam Farid. This poetry style has also lent itself to the Kafi genre of singing, popular throughout South Asia, especially Pakistan, Bangladesh and India. Over the years, both Kafi poetry and its rendition have experienced rapid growth phases as various poets and vocalists added their own influences to the form, creating a rich and varied poetic form, yet through it all it remained centered on the dialogue between the Soul and the Creator, symbolized by the murid (disciple) and his Murshid (Master), and often by lover and his Beloved.

A nasheed is a work of vocal music, partially coincident with hymns, that is either sung a cappella or with instruments, according to a particular style or tradition within Sunni Islam.

<span class="mw-page-title-main">Sufi music</span> Devotional music of the Sufis

Sufi music refers to the devotional music of the Sufis, inspired by the works of Sufi poets like Rumi, Hafiz, Bulleh Shah, Amir Khusrow, and Khwaja Ghulam Farid.

<span class="mw-page-title-main">Haḍra</span> Collective supererogatory ritual performed by Sufi orders

Hadra is a collective supererogatory ritual performed by Sufi orders. It is often held on Thursday evenings after the night prayer, on Fridays after jumu'ah prayer or on Sunday evenings, and can also be celebrated on special Islamic festivals and at rites of passage. It may be held at home or in a mosque. The underlying term in Arabic literally means "Divine Presence" and the human experience of it is known as "Hudur".

<i>Mehfil</i> Formal venue for indoor recreational activities in South Asia

Mehfil or mahfil (Urdu:محفل), alternatively known as Bazm (Urdu:بزم) is a formal venue where indoor recreational activities such as poetry (mushaira), singing, music, and dance are entertained in parts of the Indian subcontinent. It is part of Ganga-Jamuni tehzeeb culture.

Ahmad Hussain is a British Nasheed singer-songwriter, executive, producer of Pakistani descent. He is the founder and managing director of IQRA Promotions. He is also a humanitarian who is widely known for utilising his musical talent to support charitable projects the world over.

<span class="mw-page-title-main">Maizbhandari</span> Bangladeshi Sufi order of Sunni Islam

The Maizbhandari, or sometimes Maijbhandari, order or tariqa of Sufism within Sunni Islam was founded in the late 19th century by the Bengali Sufi saint Ahmad Ullah Maizbhandari from Chittagong. It is the only Sufi order to have originated from within the Bengal region, and, as an indigenous movement, it has continued to enjoy significant popularity through to the 21st century.

The relationship between Islam and music has long been a complex and controversial matter. Some Muslims believe that the Qur'an and Sunnah prohibit music ; however, other Muslims disagree and believe that some forms of music are permitted. Despite this controversy, music has been popular and flourished at various times and places in the Islamic world, often in palaces and private homes to avoid censorship.

<span class="mw-page-title-main">Music of South Asia</span>

South Asian music comprises a range of prominent musical genres and styles that are unique to the countries in and around the Indian subcontinent. This subregion of Asia includes countries such as Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka, with each region one possessing its own distinct musical traditions. South Asian styles of music reflect a diverse range of local customs, regional languages and historical traditions, that have shaped the musical practices which are still seen today. Throughout history, South Asian musicians have emulated religious and spiritual beliefs into their compositions, resulting in the creation of musical styles such as Qawwali, Ghazal and Hindustani classical music. The development of forms of mass media in the 1980s and 1990s contributed to a new type of South Asian musical culture, as the rise of cinema and television resulted in the popularity of genres such as Bollywood and Lollywood. As a result of social media and modern streaming networks, folk and ritual music styles are still widely appreciated today, with many modern artists taking inspiration from the classical traditions that defined the history of South Asian music.

References

  1. 1 2 3 4 5 6 7 Landau, Jacob M. "Islamic Arts. Music". Britannica. Retrieved 4 January 2022.
  2. 1 2 Al-Shawkani, Muhammed. Nayl Al-Awtaar. Vol. 8.
  3. 1 2 Bhattacharyya, Prasanta; Ghosh, Tapan Kumar (December 14, 2016). Mapping out the Rushdie Republic: Some Recent Surveys. Cambridge Scholars Publishing. ISBN   978-1-4438-5562-4 via Google Books.
  4. 1 2 3 Bohlman, Philip V.; Werkman, Mary (June 7, 2013). Revival and Reconciliation: Sacred Music in the Making of European Modernity. Scarecrow Press, Chicago. ISBN   978-0-8108-8269-0 via Google Books.
  5. 1 2 LIFE Aladdin. Time Home Entertainment. May 24, 2019. ISBN   978-1-5478-4903-1 via Google Books.
  6. "Afropop Worldwide | Feature: Africans in the Arabian (Persian) Gulf".
  7. Abdullahi, pp.170–171
  8. Neubauer, Eckhard; Doubleday, Veronica (2001). "Islamic religious music". Grove Music Online. doi:10.1093/gmo/9781561592630.article.52787. ISBN   978-1-56159-263-0 . Retrieved 2021-04-12.
  9. "Scholars and musicians hotly debate whether music is permissible or not". Irish Times. 21 July 2006. Retrieved 27 August 2021.

Further reading