To help the readers grasp the spirit of Islam and some of its fundamental principles clearly articulated in the article regarding music, entertainment, and other methods of relaxation, I decided, with the approval of the author,  to lay down some excerpts of important opinions of reputable and contemporary scholars  before the article itself (please see below)

 

The opinion of the contemporary Islamic jurist Shaikh al Azhar Mahmud Shaltut, rector of Al Azhar University, the most prestigious academic religious institution and center of excellence of the Muslim World. Mahmud Shaltut has given his consent to music basing his approval on the following arguments.

First, he maintains that listening to music or performing music, like tasting delicious foods, feeling soft cloths, smelling pleasant odors, seeing beautiful sights, or achieving knowledge of unknown, are all instinctive pleasure with which Allah has endowed man. They all have the effect of calming when one is disturbed, of relaxing when one is tired, of refreshment in mental or physical exhaustion and of rekindling the participant with energy. Allah, Mahmud Shaltut argues, has created these instincts in human beings for a good purpose, and, therefore, it may even be impossible for them to perform their duties in this life without the aid of such instincts and, pleasures which will help them reach their goals. He concludes that it is, therefore, impossible that the shariah be against these instincts and pleasures. Instead the shariah provides for disciplining the instincts for pleasure and channeling their use so that they can work constructively together to achieve the higher moral ends.

His second argument is that the shariah, law, as well as the Qur’an on which it is based, seek to prevent exaggeration both on no-use or over-use of music.

 

Prof. Qaradawi, another renowned contemporary scholar  concurs, as follows:  

“Islam does not require of Muslims that their speech should consists entirely of pious utterances, that their silence should be a meditation, that they should listen to nothing except the recitation of the Qur’an, nor that they should spend all their leisure time in the mosque. Rather, it recognizes that Allah has created human beings with needs and desires, so that, as they need to eat and drink, they also need to relax and to enjoy themselves”.

He adds further: “Among the entertainments which may comfort the soul, please the heart, and refresh the ear is singing. Islam permits singing under the condition that it should not to be in any way obscene or harmful to Islamic morals. There is no harm in its being accompanied with music which is not exciting.

“In order to create an atmosphere of joy and happiness, singing is recommended on festive occasions such as the days of Eid, weddings and wedding feasts, births, aqiqat (the celebration of the birth of a baby by the slaughter of  sheep), and on the return of a traveler.

“However, there are some limitations to be observed in the matter of singing:”

“Those who are broadminded and religiously knowledgeable know that singing is not in conflict with the laws or moral code of Islam. The Muslim scholars are not against folk songs which are successful combination of religious, faith and moral code. The spiritual and moral qualities have intermingled in the folk songs.

Taking all factors into consideration we can say that singing to the accompaniment of music is not forbidden. What is important is to strike a balance between entertainment and social-religious obligation.”

 

 Music & Islam  

Shah Abdul Halim

 

Music means the art and science of combining vocal and instrumental sounds or tones so as to form a wide variety of aesthetically and emotionally satisfying expression. It’s a universal language.

The overwhelming majority of the people of Bangladesh are accustomed to listening to music. If we adopt a thoughtful approach, we will realize that the attraction of singing and a sweet singing melodious voice are in conformity with human nature. Mothers in Bangladesh chant songs and rhymes so that the suckling babies fall asleep. Sweet and appeasing rhymes are sung to stop babies from crying. The babies become busy listening to the nursery rhymes and forget about crying. Wet nurses make a habit of singing nursery rhymes to young children. Mothers are also of the habit of singing nursery rhymes while swinging their babies to sleep in their cradles. During the marriage ceremony women have been singing songs since the early days of Islam.

The muazzin makes adhan (call for salah - ritual prayer), five times a day, from the minaret of the mosque in a rhythmic tone. Muslims throughout the world recite the Qur’an in seven different qirah (styles).   Even birds and animals are touched by sweet sounds and rhymes. The Arab Muslims since the early days have been singing songs known as huda to cheer up the camels to run quicker forgetting their heavy burdens and long distance as was done by the camel driver Anjashah of Prophet Muhammad peace and blessings be upon him.

The camels are so influenced by the rhythm of the songs of the caravan leader that even heavy loads seem light to them. In Bangladesh, before the introduction of mechanized farming, the cultivators used to chant hurra hurra so that the bulls run faster. During a country boat race, the boatmen sing and even use musical instruments like dhak, dhol, jhanjhor, kansa and ghanta. Musical instruments are used to enthuse the rowers, increase their strength and inspire them to row in a synchronized manner. The rowers chant heio, aro jore heio. Songs are now exclusively composed and sung on such occasions as the harvesting of the crops. Salesmen sing songs to push their commodities and products.

 

In the Bangladesh villages young boys use palm leaves, coconut leaves, mango shells and bamboo chips for playing music. Recently the Daily Prothom Alo, Dhaka, Bangladesh, quoting AFP, Telegraph and ABC News reported that a European concert group, the Vienna Vegetable Orchestra, is playing music with such vegetable items as carrot, cucumber, pumpkin, tomato, etc. With carrot they are playing guitar and with cucumber they are playing drum and they have been successful in completely enthralling the audience.¹ The drums are being beaten by the soldiers from the early days of Islam.

If we look back at history we find the Muslim society has customarily shown great tolerance for music. Music is not included in the forbidden list and there is no prescribed or specific penalty in the shariah, the Qur’an and the authentic and well-established hadiths (the sayings, actions and the tacit approval of Prophet Muhammad) for playing music or enjoying music.  

The Muslim history also does not mention any incident of penalty under tazir (administrative authority) by the rightly-guided Caliphs for playing or enjoying music. There is also no record in history that the Umayyad, the Abbasid and other Caliphates imposed penalty for playing or enjoying music.          

The scenario being this, why in Bangladesh some ulama (Islamic religious scholars) are of the habit of making harsh comments on those who are associated with music? Why are all these controversies about music? It would have been wise if our ulama are always careful not to make sweeping comments on those associated with music or condemn music as such. Instead of using such words as haram (forbidden or prohibited), our earlier Islamic religious scholars while commenting on the playing and listening of music used such words as makruh (unfavorable, not encouraged) and mubah (allowed).  

Imam Ibn Taymiyyah classified singing as muharam (forbidden), makruh (unfavored), mubah (indifferent), wajib (recommended) and mustahabb (commendable).²

Unfortunately, the people of our time, without due consideration of the pros and cons of any matter and despite their lack of adequate knowledge of the subject under discussion, have been issuing verdicts. Considering the present state of mind of the ulama, an in-depth study on music is necessary to educate the ulama as well as the general public so that a balanced approach may be made concerning music. In this book the same issue has been repeated again and again for greater clarity quoting views of different scholars so that the findings in the book become more acceptable to the readers.

History records that Islam and Muslims put restrictions only on the use of certain types of music, and supported and promoted other forms. There is, therefore, no question of outright rejection of music. The qirah or the recitation of the Qur’an is being performed for fourteen centuries. In this backdrop, it needs to be identified what is music and what is not music in Muslim culture and what sorts of music are not permitted by Islam. This will be clear from the following:

Category A

First, the qirah (the recitation of the Qur’an) is performed in seven distinct rhythmic styles. There have been no oppositions to such recitations, for, the Qur’an states: … and recite the Qur’an in slow, measured rhythmic tones (Qur’an 73:4). Prophet Muhammad said: Adore the Qur’an by reciting it with your nice voice.³ Therefore, the pitched-sound rendition of the Qur’an is allowed.

Second, the adhan, (the call for ritual prayer) is made from the minaret of every mosque five times a day with its distinct rhythmic style like qirah. Prophet Muhammad asked his Companion Abdullah ibn Abd Rabbih when he narrated his dream as to how to call the people to salah (ritual prayer) the Prophet said that his dream is true and advised him to go to Bilal and ask him to make a call for prayer as the latter had the best voice among the Companions.⁴

Third, the talbiyah or the chanting by the hajis during the annual pilgrimage.

Fourth, the eulogy chanting like hamd (poems eulogizing Allah) and naat (poems eulogizing Prophet Muhammad).  

Fifth, the sher or the chanting of such poems which have noble themes; singing in rhythm at midnight during the month of Ramadan to awaken the people from sleep to take sahri.

All the above five types (under Category A) fall within such music that is acceptable in Islam. However, the qirah, the adhan, the talbiyah, the hamd, the naat and the sher are not   considered music as such. The Muslim culture refused to identify these as music.  

Category B

Sixth, music during family celebrations like wedding, aqiqat (the celebration of the birth of a baby by slaughtering sheep), birthday, circumcision of the child, welcome reception, festival on recovery from illness, reception for the hajis and return or arrival of the beloved ones like the arrival of Prophet Muhammad in Madinah when ansar children sang with daff, tambourine –  á¹­ala‘a 'l-badru ‘alaynā min thaniyyāti 'l-wadā‘ wajaba 'l-shukru ‘alaynā mā da‘ā li-l-lāhi dā‘ - the full moon has risen over us from the valley of Wada‘.

Seventh, occupational music like caravan chants, shepherds’ tuning, workers’ songs, chorus in unison like singing during the casting of roof of a building or the lifting of heavy materials, singing on the occasion of the harvesting of new crops, etc. Labors who work in the construction of a building and carry heavy materials sing songs charged with enthusiasm to encourage themselves to exert their utmost efforts. During the Battle of Khandaq Prophet Muhammad along with his Companions sang while digging trenches around Madinah.⁵

Eighth, military band played by the soldiers during war and public celebrations.

These three types of music (six-seven-eight under Category B) are included among the halal (legitimate) group of the sound art expression.

But the Muslims do not regard these three as equal to the first five types of music (under Category A) namely the qirah, the adhan, the talbiyah, the hamd-naat and the sher.

All the above eight types (under Category A and Category B) are considered approved form of music.

The adhan, the talbiyah, the hamd-naat, music during family celebrations, wedding celebrations, occupational music and the brass and percussion music of the military bands have been supported by examples from the life of the Prophet Muhammad and his Companions.     

 Category C

Ninth, the rhythmic vocal and instrumental improvisation, favored by a large percentage of the population, though not universally approved as in Category A and Category B.

Tenth, the serious metered songs which is enjoyed and considered harmless by a sizeable percentage of society.

The above two types of music (nine-ten under Category C) are leveled controversial but have no doubt been popular among the Muslims in various parts of the world. Some people consider music under Category C as halal (legitimate), some others consider it mubah (legally indifferent or which is not prohibited and considered as allowed), and some other people consider it as makruh (not favored or disliked).

However, in no circumstances the performance and enjoyment of music (nine-ten) under Category C is equal with music under Category A and under Category B. 

Category D  

Eleventh, sensuous music which is performed at the taverns, bars and such other places in association with condemned activities or which might incite such prohibited practices as consumption of drugs and alcohol, sex beyond marital bond, etc. to which Muslims have always been unwilling to accord their approval. Such kinds of music have all the time been considered to be outside the pale of approval by Muslims because of its associations with illegitimate practices and non-conformance with Islamic aesthetic and ethical norms.

The type of music at the level of sensuous music (eleven under Category D) that incite lust and abandonment of social and religious duties is at all times regarded with suspicion and disapproval by the protagonists as well as by the antagonists. 

In addition to what has been discussed above (Category A, Category B, Category C and Category D) as to the legality and illegality of music, the Muslims throughout the world observe the following principles pertaining to music:  

* The more a certain type of musical expression draws for its musical and poetic   inspiration from the Qur’an, the more it has been appreciated and legitimized. The more it drifts away from that model, the more vulnerable it is and likely to be exposed to pitfall. For example, the adhan, the talbiyah, the hamd, the naat and the poem’s eulogizing Allah and Prophet Muhammad and the chanting of such poems as have noble themes and eulogy chants have almost identical musical characteristics as those of the Qur’anic chanting. Much of the family and celebration music and occupational music are governed by similar characteristics. Even the solo vocal and instrumental improvisations as mentioned in Category C above have shown clear resemblance to the chanting of the Qur’an and won a considerable ratio of approval and acceptance.   

* The conformity of the characteristics of poetic and musical content and form become progressively weaker in each successive category as mentioned above (A then B then C and then D).

* Category A (the qirah, the adhan, the talbiyah, the hamd, the naat and the sher that are not really considered music) has enjoyed the universal acceptance as well as respect of the Muslims. Category B (music during family celebration, occupational music and military band played by the soldiers during war and public celebrations) has also been accepted by most Muslims.  As we descend from Category A (followed by Category B, then Category C and then Category D) the number of people who consider involvement with music completely acceptable decreases. Only a small minority accords approval to the sensuous music as mentioned in Category D above and all consider its performance or enjoyment in some degree problematic.

 * Category A and Category B have been regarded as capable of directing the hearers’ mind and soul to Allah and to Allah commanded duties, whereas the examples in the Category C and then Category D are successively less capable of producing that desired effect. At the bottom (Category D) is the sensuous music, which is associated with drugs, alcohol, sexual promiscuity leading to immoral life, and so it is widely rejected for its corruptive influence on the individual and the society.    

Musicians

The Muslim society is not univocal in its support for the musicians. Those who perform the qirah, the adhan and other forms of pitched-sound art as mentioned in Category A and Category B have been accorded unquestioned acceptance. Amateurs who perform at the controversial level as mentioned in Category C are also immune from social criticism and discrimination. Those who are professional performers and involved with the disapproved sensual music as mentioned in Category D have no doubt been regarded with suspicion and disdain. This is not because of the actual act of musical performance but because of moral laxity involved with the commercial pursuit of that profession. The professionals have always been the object of suspicion or even disdain in the Muslim society, whereas the non-professionals have been tolerated or even admired for their ability. 

Attitudes towards the musicians vary according to a number of circumstances. Imam al Ghazzali identified these factors as zaman, makan and ikhwan i.e. time, place and associates of the musical activity. ⁶  

 Zaman is an important factor for the obvious reason that if the performance or enjoyment of music interferes with the time for actualizing a higher Islamic goal – prayer or care for the family – it is certainly detrimental and need to be avoided. Life is a serious matter which allows little time for frivolous and playful entertainment. Imam al Ghazzali, therefore, argued that if a musician or listener devotes too much time to music, these activities become detrimental rather than making a positive contribution to life.  

 Makan refers to another often expressed Muslim belief that the musicians are judged by the specific context of the performance, the surrounding situation and circumstance. The acceptability of the place and the occasion for musical performance has been of equal importance in judging the performing artistes as well as anyone who listens to them. 

 Ikhwan, the associates, the companions of the musical activity, if performing or listening to otherwise acceptable musical expression, puts one in the company of just and honorable companions, it is not to be considered a harmful activity. On the other, if performance or enjoyment of music caused the participant to interact with those who might lead one to the  neglect of religious and social responsibilities or to moral degradation, it is a disapproved activity, regardless of the musical products involved.

The Muslim society used the above three factors (time, place and associates) as measurements to determine the approval or rejection of the activity, the art product, the performer, and even the participating listeners. In Muslim culture, these factors played a more important role in determining the approval or not of any performance than the characteristics of the music itself. Some scholars condemn the performance of a type of music in one context or under certain circumstances, while approving the same in another situation. The playing of daff, tambourine was regarded as halal by the early jurists  when done by women in the wedding or other joyous celebrations, but condemned if used by men in some other contexts like mingling with homosexuals and getting involved with the associated crimes. The beating of drum or tambourine is acceptable for military music or the march but is often rejected in other contexts. 

Earlier scholars have made a clear distinction between those persons who are involved in music under permitted circumstances which have been outlined in Category A, Category B and Category C, and those who participate under religiously and socially disapproved circumstances as outlined in Category D. The musician becomes suspect not because he performs music but because he performs music in religiously-socially-culturally disapproved circumstances.   

Instruments and Instrumental Music

The general tendency among the Muslims is that instruments and instrumental music are somewhat less appreciated than the singing voice and vocal music. The playing of musical instrumental are avoided in areas mentioned in Category A namely, qirah, adhan, talbiyah, hamd, naat and sher; though they are generally approved for use in such areas as mentioned in Category B namely, music during family celebrations like wedding celebrations, occupational music like caravan chants, shepherds’ tunes, workers’ songs like singing during the casting of roof of the building, etc. and military band played by the soldiers during war or other formal practices and public celebrations. However, zaman, makan and ikhwan factors are the guiding principles of approval and rejection of instruments and instrumental music.  

Imam al Ghazzali is of the opinion that those instruments which have nice sounds should not be forbidden but those instruments of music that are associated with wine, homosexuality and other prohibited things, their use must not be permitted. In other words, it is well-established that certain instruments are considered to be suitable for certain circumstances, while disapproved for others. We shall critically examine and discuss in the later part of the book whether or not any musical instrument is really prohibited at all.

The sayings of Prophet Muhammad (There will be people in my nation who will consider adultery, silk, intoxicant and al-maazef lawful) had created great misunderstanding among a section of earlier scholars as to the permissibility and impermissibility of music as one of the meanings of al-maazef is musical instruments. Later scholars, however, raised a very pertinent question as to whether aforementioned saying of Prophet Muhammad forbids al-maazef, even if we take it as a musical instrument, per se or forbids music as such or in association with adultery, silk and intoxicant.⁷

Now let us look at the practice of instruments and instrumental music during the time of Prophet Muhammad and immediately afterwards by his Companions. Prophet Muhammad allowed Ibn Omar to listen music played on the pipe. The Companions of Prophet Muhammad even listened singing and music played on the tambourine when a caravan arrived while Prophet Muhammad was making a speech in the mosque leaving him standing. Imam al Ashokani considered singing to be permitted even if accompanied by lute and reed instruments. Others, namely Ibn Omar found nothing wrong with the lute, Abdullah Ibn Azzobayer was found sitting with the lute by his side, Ibn Jaar had a lute, Hassan Ibn Thabet heard poems sung on the lute, Malek Ibn Anas of Maleki School of Thought allowed singing with musical instruments and particularly permitted playing the lute, Assamaa Abu al Fadl Ibn Taher thought there was agreement among the people of Madinah that lute is allowed, Ibn Annahawi thought that there was a broad consensus of opinion in Madinah on allowing lute, Ibrahim Ibn Saad played lute, Shafi School of Thought allowed playing lute and Al Adfwi stressed the fact that playing lute is allowed.⁸ It was the consensus of the above-mentioned scholars that it is lawful to listen to music played with conventional musical instruments, Prof. Dr. Yusuf al-Qaradawi pointed out.⁹ Imam al Ghazzali thought that musical instruments like al duff, tambourine with jingling rings had been allowed.¹⁰

Imam al Ghazzali considered strings, wood wind instruments and koba drums (musical instrument that look like kettledrum) forbidden as it is used by alcoholics. These instruments are subject to the same law of forbidding intoxicants for three reasons: these instruments invite people to drinking, remind people of the illegal pleasure gathering and lastly people who gather around these instruments are sinful, Imam al Ghazzali opined.¹¹

Even now Nashad Groups in Malaysia use percussion instruments like kompang, gongs, rebana (single-headed drum) and drums, and they stay away from string and serunai instruments such as flutes, trumpets, saxophones, guitars and violins.¹² The notable members of such groups are Raihan, Rabbani, Hijjaz, Brothers, Saujana, Jauhari, Diwani In-Team, Nowseeheart, The Zikir, Suara Firdaus, Usrah al Soff, Al Anwar Group, Solehah and Qatrunnada.¹³

Prof. Dr. Yusuf al Qaradawi, however, refutes the claim made by Imam al Ghazali and stressed that there is not a single authentic and clear-cut revealed Text which forbids those instruments as claimed by Imam al Ghazali. ¹⁴   

If we look at the practice now in the Muslim World we find that during Ramadan in many Muslim countries a man walks in the streets tapping on a small drum to wake up people to eat sahri, the last meal before the sunrise. In Egypt, Mesaharati does the same job. In Egypt, the Mawal folklore is often sung to the accompaniment of reed pipe. Mawawil were also sung to the accompaniment of such musical instruments as organ. The Mawawils sang lyrics depicting the bravery of national heroes, words against injustice of the people and other issues as love, passion, longing and desertion. People used to gather to hear songs sung on Arrababa tune (Rebab is an Arab musical instrument with one or three strings) to the accompaniment of musical instruments.  

Murad Hofmann commented: While sexually arousing rhythmically hypnotizing music is condemned, morally elating ‘classical’ music, both Arabic and Western, is recognized as valuable. Moving Qur’anic recitation (tartil and tajwid) and highly aesthetic call to prayer (al adhan) are sounds – not music – of a spiritual nature, like melodious Sufi contemplation (as sama)”.¹⁵

Music and the sound art are the manifestation of the deepest convictions of people. Music is a universal language. It is a cultural phenomenon that can play an important role in the life of the Muslims. In fact, there is no Qur’anic passage that condemns the practice of this aesthetic pleasure directly. “There is no Qur’anic passage that condemns the sound arts generally or even those genres properly labeled as musiqa”.¹⁶    

Singing

Music opens the inner eye which sees the secret of nature. It creates a wonderful feeling in mind. Some sounds give pleasure, some pain, some bring sleep, some excite passions, some move the organs of the body. Mind becomes such as if the rings of songs sound in the innermost recess of the heart. Song is the food of the soul of a spiritual man. 

Songs are not as such unlawful for musical sounds but for other reasons. The reason of songs being unlawful is that they were connected with wine which made them unlawful. Nobody says that the sweet sounds of birds are unlawful. If sama is held unlawful, then to hear the sound of nightingale is also unlawful. If to hear the sound of nightingale is lawful, then will it not be lawful to hear the sweet and melodious sounds which have got wisdom and good meanings? When recitation of poetry without sound and rhythm is lawful, then to recite them with sound and rhythm are lawful. These are rational reasoning.

Imam al Ghazzali opined that songs sometimes become lawful and sometimes unlawful according to the circumstances of each case. Sometimes it becomes undesirable. It is unlawful for those youths whose sexual passions are strong as it increases their hidden vices in their minds. It is not illegal for those who enjoy good moral songs and it is commendable for those religious persons who are engrossed in Divine Love.¹⁷

Imam Ayatollah Khomeini remarked: One should decide which music is haram, prohibited for her or him by the way it affects her or him. Likewise (the permissibility and impermissibility of) using musical instruments depends on how these are used and by whom.¹⁸ Khomeini allowed the playing of classical music on the Iranian radio and television.¹⁹

Erudite Islamic scholar Abul Kalam Azad observed: I can always remain happy without the necessities of life, but I cannot live without music. A sweet voice is the support and prop of my life, a healing for my mental labors. Sweet music is the cure for all the ills and aliments of my body and heart.²⁰

Prof. Dr. Yusuf al Qaradawi commented: Art is a source of emotional fulfillment. It refers to the creative and imaginative forms which can elevate the mind and emotions of man to new heights. Obscene, erotic and evil singing is unlawful, hence forbidden. Songs which include forbidden words are altogether unlawful, particularly when rhyme, rhythm and side effects work together to make the evil meanings attractive. Songs which do not arouse sexual feelings are lawful. A thing is not forbidden unless there is a clear Text of the Qur’an or the sunnah forbidding that. 

Singing makes one kind-hearted. Singing is simply one of the good and pure things which appeals to man. Man takes great pleasure in listening to songs. He finds spiritual and intellectual fulfillment with the tunes. Just as tasty food gives pleasure to the mouth, creative music gives pleasure to the ears. Similarly, picturesque settings give pleasure to the eyes and sweet smell gives pleasure to the nose. All good things in which man finds spiritual, physical, emotional or intellectual fulfillment are lawful. 

Not all forms of singing are allowed. Such rhymes as: The world is nothing without a glass of wine, obviously violates the teachings of Islam which deem all kinds of alcoholic drinks as abomination.  

Songs that describe the physical appearance of women are unlawful. It is also forbidden to sing words which describe the features and outward appearance of a particular woman describing her temple and cheeks before male audience for Allah has asked believing men to lower their gaze when fall on the opposite sex (Qur'an 24: 30-31).    

Artistes and performers must be properly dressed. The personality, dress, glamorous style of living and negative behavior of the artistes also contributes to the shaping of the perception of music. There is no value in entertainment if its performers have no morals, if the dress is near to nudity.   

It also so happens that the text of a song is lawful but it may become unlawful if it is transmitted in an unbecoming style. The words presentation, performance, costume, light, location, zoom-in and out, the cast and the singer all together may be used to convey a message which may be otherwise offensive and undesirable, provoke human passion  and tempt individuals in doing things not worthy. The singer, while on the stage, should not act as if, he or she, is drinking, he or she should not expose or display his or her body and beauty or propagate shamelessness. Listening to song while baijis (songstress-professional singing girls) sing and dance with a glass of wine in hand before the zamindars, landlords as in the sub-continent or in the cabaret and bar in the Western countries are also forbidden.  

 

Prof. Dr. Yusuf al Qaradawi observed that the art of singing has a fundamental role in the religious and worldly life of the Muslims. People respond to it readily and instinctively. Those who are broadminded and religiously knowledgeable know that singing is not in conflict with the laws or moral code of Islam. The Muslim scholars are not against folk songs which are successful combination of religious, faith and moral code. The spiritual and moral qualities have intermingled in the folk songs.

Taking all factors into consideration we can say that singing to the accompaniment of music is not forbidden. What is important is to strike a balance between entertainment and social-religious obligation. The way of Islam is siratul mustaqim, straight path (Qur’an 1:6) and we must maintain equilibrium in our activities, mundane or divine. Muslims are ummatan wasata, balanced community (Qur’an 2:143) and everything must be accomplished in due proportion as Islam even forbids excessiveness in worship.  

Prophet Muhammad recommended enjoying lawful pleasures. The Muslim mind or the sense of hearing seems inclined towards sweet sounds. Rhythm and rhyme satisfy a basic need of man. There is music in the impressive tunes of religious supplications sung by sweet angelic voices.

Islam is definitely not at war with human instincts. It does not aim at neutralizing its influence on man. Instead, it aims at refining and elevating man to a new height of perfection. The hearts get bored just as the bodies do; therefore, it is necessary to always provide the hearts with novel and useful pearls of wisdom.   Amusement revives the heart and rids it of its burden. If the heart is overloaded it may be simply blinded. Diversions fuel it with enough energy and motivation. In fact, diversion is the antidote to ailment and monotony.  

Idle Tales. Vain Talks  

Some scholars are of the view that music and singing are not allowed in Islam. They quote the Qur’anic verse: Those who purchase idle tales, without knowledge to mislead men from the path of Allah and throw ridicule on the path (Qur’an 31:6). They also quote: And when they hear vain talk, they turn away there from (Qur’an 28:55). According to these scholars, lahwal hadith (idle tales) is, by extension, a reference to singing. The distinguished Islamic scholar of our time Prof. Dr. Tariq Ramadan, in this connection, pointed out: The interpretation of lahwa as singing is an abuse of interpretation (the word means useless and vain talk and by extension everything that is useless and without importance), and even if one accepts this meaning, one should understand that lahwa is to be avoided but it is not illicit (haram).²¹

Moreover, there is no logic in interpreting “vain talks” (Qur’an 31:6 - And there are among people some who buy vain talks to lead men astray from Allah’s Way without knowledge, and to make mockery of it. For such there is humiliating chastisement) as singing as Prophet Muhammad and his Companions listened singing. Prophet Muhammad heard two slave girls singing and he did not scold them on the basis of its being forbidden. He even asked Abu Bakr may Allah be pleased with him to let them continue.²² There is also no scope for taking vain talks as singing as the words of the aforesaid verse humiliating chastisement waits only for them who make mockery. In fact, Allah intends to punish only the violators who are sinners i.e. who make mockery. He never criticized whoever buys vain talks for diversion and entertainment.

Scholars who are opposed to music also quote verse 28:55 of the Qur’an (And when they hear people speaking nonsense (vain talks or uttering useless talks) they avoid it) to justify that music is prohibited. Prof. Dr. Yusuf al Qaradawi refuting such logic viewed that even if for argument’s sake we accept that music is idle talk and is to be avoided, such avoidance is merely explicit announcement. That abstaining from it is preferred, even praised, and there is no direct forbiddance of singing.²³ It is, therefore, evident that listening to useless songs per se is not forbidden provided that the time appointed for that purpose does not encroach upon the time appointed for carrying out a duty or a religious obligation. And the Qur’an states: Allah will not call you to account for thoughtlessness in your oaths but for the intention in your hearts (Qur’an 2:225 and Qur’an 5:89). Prof. Dr. Yusuf al Qaradawi opined that singing always does not come under the purview of speaking nonsense or uttering useless talks. Its usefulness and uselessness depends on the intention of the singer.²⁴ One may listen to songs with innocent intention and refreshment so that one can be charged with the spiritual strength necessary for obedience to Allah. If one has neither intention of obedience or disobedience at heart while participating or listening to music, it comes within the category of nonsense or uttering useless talks which Allah forgives.

Prophet Muhammad said: What Allah has made permissible in His Book is permissible and what He has forbidden is unlawful and what He deliberately did not mention is forgiven.²⁵ The Qur’an states: And your Lord is never forgetful (Qur’an 19:64). From this we can conclude that since singing and music are not in the forbidden list, these are lawful.

 

 

Opinion of Shaikh al Azhar Mahmud Shaltut

So far various aspects of music and the use of musical instruments have been discussed. Now it would be appropriate to summarize the lessons of what has been discussed above before examining other aspects of the subject. For this purpose, we would quote the opinion of the contemporary Islamic jurist Shaikh al Azhar Mahmud Shaltut, rector of Al Azhar University, the most prestigious academic religious institution and center of excellence of the Muslim World. Mahmud Shaltut has given his consent to music basing his approval on the following arguments.

First, he maintains that listening to music or performing music, like tasting delicious foods, feeling soft cloths, smelling pleasant odors, seeing beautiful sights, or achieving knowledge of unknown, are all instinctive pleasure with which Allah has endowed man. They all have the effect of calming when one is disturbed, of relaxing when one is tired, of refreshment in mental or physical exhaustion and of rekindling the participant with energy. Allah, Mahmud Shaltut argues, has created these instincts in human beings for a good purpose, and, therefore, it may even be impossible for them to perform their duties in this life without the aid of such instincts and, pleasures which will help them reach their goals. He concludes that it is, therefore, impossible that the shariah be against these instincts and pleasures. Instead the shariah provides for disciplining the instincts for pleasure and channeling their use so that they can work constructively together to achieve the higher moral ends.

His second argument is that the shariah, law, as well as the Qur’an on which it is based, seek to prevent exaggeration both on no-use or over-use of music.

Thirdly, like earlier Islamic scholars, Mahmud Shaltut is of the opinion that music is permitted whenever it has a suitable context, as it does when used as an accompaniment for war, weddings and Eid celebrations and, music is prohibited when attached to drinking of alcohol or indulgence in such practices as adultery. The prohibition is based on the context and associations, and is not a reaction against the music itself. Prophet Muhammad and his Companions had indeed listened to music and attended sessions of innocent performances. Mahmud Shaltut, therefore, concludes, as did many of the early scholars, that the prohibition does not result from condemnation of the music as such, but from its use under the wrong circumstances or with morally debilitating associations.

Fourthly, Mahmud Shaltut repeats the argument used by the earlier Islamic scholars. He has cautioned against the reckless forbidding of what Allah did not forbid (Qur’an 7: 32-33). He condemns as slander and falsehood such false attributions to Allah. Mahmud Shaltut thus concludes that the general rule is that music is permissible; its prohibition is the accident or exception caused by improper usage.²⁶  

 

 

Opinion of Prof. Dr. Yusuf al Qaradawi

Prof. Dr. Yusuf al Qaradawi, Dean of the Faculty of Shariah and Islamic Studies, Qatar University, writing on singing and music, commented: “Islam does not require of Muslims that their speech should consists entirely of pious utterances, that their silence should be a meditation, that they should listen to nothing except the recitation of the Qur’an, nor that they should spend all their leisure time in the mosque. Rather, it recognizes that Allah has created human beings with needs and desires, so that, as they need to eat and drink, they also need to relax and to enjoy themselves”.²⁷

He adds further: “Among the entertainments which may comfort the soul, please the heart, and refresh the ear is singing. Islam permits singing under the condition that it should not to be in any way obscene or harmful to Islamic morals. There is no harm in its being accompanied with music which is not exciting.

“In order to create an atmosphere of joy and happiness, singing is recommended on festive occasions such as the days of Eid, weddings and wedding feasts, births, aqiqat (the celebration of the birth of a baby by the slaughter of  sheep), and on the return of a traveler.

“However, there are some limitations to be observed in the matter of singing:

“1. The subject matter of songs should not be against the teachings of Islam. For example, if the song is in praise of wine, and it invites people to drink, singing or listening, it is haram, prohibited.

“2. Although the subject matter itself may not be against the Islamic teachings, the manner of singing may render it haram, forbidden; this would be the case, for example, if the singing is accompanied with suggestive sexual movement.

“3. Islam fights against excess and extravagance in anything, even in worship; how, then, can it tolerate excessive involvement with entertainment? Too much time should not be wasted in such activities; after all, what is time but life itself? One cannot dispute the fact that spending time in permissible activities consumes time which ought to be reserved for carrying out religious obligations and doing good deeds. It is aptly said, there is no excess except at the expense of a neglected duty.

“4. Each individual is the best judge of himself. If a certain type of singing arouses one’s passions, leads one towards sin, excites the animal instincts and dulls spirituality, he must avoid it, thus closing the door of temptation.

“5. There is a unanimous agreement that if singing is done in conjunction with haram, forbidden activities – for example, a drinking party, or if it is mixed with obscenity and sin – it is haram, forbidden”.²⁸ Otherwise singing is lawful and within the purview of allowed recreational activities.

Neglecting Music

However, the practice of music is neglected in the Muslim society. The presentation of musical knowledge is never included in the agenda of any Islamic seminar. But this cannot be a positive outlook keeping in view the cultural changes taking place in the contemporary world and the unprecedented cultural interactions and alien influences on our life and culture. Unfortunately, the alien aesthetic influences today are much more pervasive than they were in earlier times. Contemporary technological advancement has a sound art invasion based on other ideologies into the most remote corner of the Muslim world. In fact, music is a significant defense against cultural alienation or annihilation and can protect Muslim cultural identity from erosion and obliteration. The rejection of certain types of sound art, therefore, should not be viewed as a cultural and religious prohibition of all types of music. We should be prepared to accept and appreciate those forms of music that are compatible with the ideology and ethos of Islam and in harmony with its customs and traditions. But the Muslims have generally been unable to understand the importance of singing and music. Instrumental music has now become an important tool to approach those who are reluctant to read important Islamic materials and also to hear a speech of a renowned Islamic scholar. Indeed it is one of the best mediums in educating young Muslims today as they can affect soul, stir emotion and instill fear and hope in the people.²⁹  

Indeed, singing and music can be a tool for constructive entertainment and educating people and in conveying Islamic message. In Bangladesh, Nazrul sangit is popular among the people more than its lyric because of its melody, humming, jingling, sweet tremor and the magical power of its music to enthrall the listeners and make people forget their pain and sorrow.

Prof. Dr. Lois Lamya al Faruqi, a distinguished academician, commenting on the reasons of neglecting music or the sound art, observed: “Some Muslims have attempted, therefore, to erect an “iron curtain” around them, to isolate their families and children from those forms of sound art that might be instruments of de-Islamization. With the prevalence of modern communication technology in every town and village, such attempted isolation is rarely, if ever, successful. Others meet the challenge by trying to prohibit all the sound arts, regardless of their characteristics.  In such cases, the resulting artistic vacuum is inevitably filled by non-Islamic forms of music, which invade the minds of the less thoroughly Islamized members of the community - its youth”.³⁰

Moreover, in the past listeners of music were compelled to go to the venue of the function and such listeners had no option but to observe everything, the singers and  even the girl singers, the chorus that include both male and female singers and the musicians. Nowadays, a listener can just push a button and listen to music without requiring mixing with the chorus. Listeners can now avoid obscene channels, too. Therefore, positive songs with music cannot be considered to be forbidden.  

Artistes and Islamic Preaching

This being so, the natural question arises: Can artistes be involved in the diffusion of da’wah, the propagation of Islam by using this medium? If yes, how Islamic precepts are going to be applied to entertainment and arts. No doubt, it is possible and artistes can affect the soul, stir the emotion and instill fear and hope in the people. The lyrics of the songs must be pure and innocent and must keep within the moral bounds set up by Islamic teachings. No erotic or licentious lyric is allowed. It must be based on the Qur’anic principles so that it can ignite the imagination of the people.  That da’wah or the preaching of Islam can be further advanced by using this medium will be clear from the six examples mentioned below:

Tala'al Badru

 

á¹­ala‘a 'l-badru ‘alaynā

min thaniyyāti 'l-wadā‘

wajaba 'l-shukru ‘alaynā

mā da‘ā Li-l-lāhi dā‘

’ayyuha 'l-mab‘Å«thu fÄ«nā

ji’ta bi-l-’amri 'l-muṭā‘

ji’ta sharrafta 'l-madÄ«nah

                                                        marḥaban yā khayra dā‘.³¹     

 

This poem has been rendered into English:

The Bright Moon 

 

The full moon rose over us

From the valley of Wada
And it is incumbent upon us to show gratitude

For as long as anyone in existence calls out to Allah

Oh our Messenger amongst us

Who comes with the exhortations to be heeded
You have brought to this city nobility

Welcome you who call us to a good way.³²

 

Khama Koro Hajrat

 

tomar banire korine grohon khama koro Hajrat.

mora bhulia giachhi toba adarsha, tomari dekhano path.

bilash-bivob dolias pai dhuli samo tumi, Provu,

tumi chaho nai amora hoibo badsha-nabab kavu.

ai dhoronir dhonsambhar -  shakoleri tahe samo odhiker,

tumi bolechhile dhoronite sobe saman putra bat.

Provu tomar dhorme obishshashire tumi ghrina naho kore

aponi tader koriachho sheba thai diey nij ghora .

vin dharmir puja-mandir, vangite adesh dawni, hey bir,

Provu amora ajike shajya korite parineko  poro-math .

tumi chaho nai dhormer name glanikor hanahani,

toloer tumi dau nai hate, diachho omor bani .

mora bhule gia toba udarata

sar koriachhi dmarmandata,

behest hote jhore nako ar tai taba rohmat.³³   

This poem of Kazi Nazrul Islam has been rendered into English by Mohammad Omar Farooq:

 

 Forgive Us O Prophet

We haven't embraced your message,
Please forgive us, O Prophet!
We have forgotten your ideals
And the path for us that you did set.
Please forgive us, O Prophet!

You trampled like dust
Luxury and wealth, O Master!
You never dreamed that
We will be kings or lords of disaster!

In this world's resource and treasure
Everyone has right of due measure;
You proclaimed, on this earth,
Equal son's treatment all will get.
Please forgive us, O Prophet!

In your religion, toward the unbelievers
You did not direct any hate;
You served them as your fellows,
For all of them was open your hospitable gate.

To demolish temples of others anywhere on land,
O valiant, you did not ever command;
Now even difference in opinion from others
We can't bear or tolerate.
Please forgive us, O Prophet!

You did not seek in the name of faith
Meaningless and shameful killing or fight;
You did not place sword in our hand,
Rather gave us guidance, so noble and upright.

Ignoring your tolerance and magnanimity
We have elevated fanaticism to a new nobility;
Is that why, from the heavenly fountain,
Does not flow that Mercy, so Divine and Great?
Please forgive us, O Prophet!

We haven't embraced your message
Please forgive us, O Prophet!
We have forgotten your ideals
And the path for us that you did set.
Please forgive us, O Prophet!³⁴

 

Bajichhe  Damama Badhre Amama

 

bajichhe damama, badhre amama

shir uchu kori Musalman.

dawt asechhe naya jamanar

bhanga killlai ore nishan ..

 

mokheta Kalma hate toloer

buke Islami josh durber,

ridoey loiya ashk Allar

cholo agey cholo baje bishan .

voi nai tor golai tabij

badha je re tor Pak Koran.

 

nahi mor jiban vog-bilasher

shahadat chhilo kammo moder,

vikharir saje Kholifa jader

shashan korilo adha-jahan-

tara aj pore ghumai behush,

bahire bohichhe jhar tufan .

 

ghumaiya kaja korechhe Fazar,

tokhono jagani jakhon Zohor,

hela o khelai katechhe Asar,

Mogreber aj shuni ajan .

jamat-shamil hou re Asheta

akhno jamate achhe sthan ..

 

shukno rutire sambal kore

je iman er je praner jore

ferechhi jagat monthan kore

 shay shakti aj fireya ann .

Allahu Akbar robe puno

kapuk bishsha dur biman.³⁵

 

This poem of Kazi Nazrul Islam has been rendered into English by Prof. Kabir Chowdhury: 
  The Resurgence
There sounds the drum!
There on the ruined tower, dark and blank,
Flutters the once-mighty flag.
Raise your head, Mussalmans,
Gird your loins and advance
The call of the New Age has come.

With the Kalma on your lips
And the sabre swinging against your hips,
With the fiery enthusiasm of Islam in your heart
Shake off your lethargy and start.
With the love of Allah in your soul
Answer the call and take up your role.

There is nothing for you to dread.
You have that glorious amulet,
The Holy Qur’an, tied round your neck.
A pity that you overslept
And missed the Fazr prayer.
Neither did you awaken
When the Zohr did beckon.
And the Asr prayer you whiled away
In idleness and play.
The call for the Mughrib has also sounded.
You must hurry now to the Esha prayer.
Some room is still available there.

We are not really
Creatures of pomp and luxury.
Our Calipha once ruled over half the universe
Dressed in clothes no better than beggars.

Once we only desired death
In the cause of our faith,

But now such a people as our's
Are numbed in a drunken stupor
While outside there rages a violent storm.

We had nothing but a dry piece of bread,
But we had a mighty faith and none did we dread,
A noble spirit of sacrifice we possessed.
And we moved from place to place without sleep or rest,
Always as victors great.

Let us bring back to our life
That faith and spirit of sacrifice,
Let the cry of Allah-o-Akbar
Resound in the lips of all.
Let the world tremble again
At the sound of that clarion call.³⁶

 

Ramjaner Oi Rojar Sheshe Elo Khushir Eid

 

o mon ramjaner oi rojar sheshe,

elo khushir Eid.

tui apnake aj biliye de

shon asmani tagid.

 

tor shonadana balakhana,

shob rahe Lillah

de Zakat murda Muslimer aaj

bhangaite nid.

 

tui porbi Eider namaj re mon,

shei she Eidgahe

je moidane shob gaji Muslim

hoyechhe saheed.

 

aaj bhule gia dost-dushman,

hath milau hate,

tor prem diye kor bissho nikhil,

Islame murid.

 

jara jibon bhore rakchhe roja,

nitt-upobashi

shei gorib atim miskine de,

ja kichhu mofid.

 

dhal ridaer tor tostorite

shirni Tauheeder

tor dawt kabul korben Hajrat,

hoy mone umid.

 

tore marlo chhure jiban jure

eit pathor jara

shei pathor die tol re gore

premeri masjid..³⁷

 

This poem of Kazi Nazrul Islam has been rendered into English by Prof. Kabir Chowdhury:

 

O Heart There Comes the Happy Eid

 

O Heart, there comes the happy Eid

at the end of the fast of Ramadan

Come, listen to the Divine Call

and give yourself away to the last fill measure.

 

Spend all your wealth today

 for the sake of the Lord,

give generous Zakat to the dying Muslims,

awaken him from his tragic sleep.

 

Come, O heart, say your Eid prayer

in the sacred plain,

where valiant Muslims sacrificed their lives

and became deathless martyrs.

 

Forget today who is a friend and who is a foe

come, joyously embrace everyone.

Convert with your love the whole world

to the noble creed of Islam.

 

Think today of the orphans, the poor and the destitutes,

think of those who fast all their lives.

Think of them and give generously

all that you would desire for your dear ownself; 

 

Pour into the bowl of your heart the sherbet of Tauheed.

I think the Prophet will accept your invitation

and gladly come to your feast.

 

O heart, with the very stones

that people flung at you all your life

build many splendored mosque of love.³⁸

 

This poem of Kazi Nazrul Islam has also been rendered into English by Mohammad Omar Farooq:

O Heart Ramadan has Come to an End
 

O heart, Ramadan has come to an end,
and the happyEid knocks at the door for all, 
Come, today give yourself away wholeheartedly,
heed the Divine Call.

 
Offer all your wealth and treasure 
for the sake of your Benevolent Lord, 
PayZakat to awaken the dying Muslims, 
from the slumber that they can't afford. 

Come, O heart, offer yourEid prayer 
in that sacred plain, 
where valiant Muslims sacrificed their lives 
and became martyrs, not in vain. 

Let's forget today who is friend or foe, 
and hold each other in caring embrace. 
Let your love be the magnet
to bring the humanity to Allah's grace. 

Remember those in perennial fast, 
constantly in hunger and deprivation,
Share with the poor, orphans and the destitutes,
to make inclusive your celebration.

Pour into the bowl of your heart
the ambrosia ofTauheed. 
The Prophet himself might accept the invitation,
and come to join your feast, indeed. 

O heart, with the very stones or bricks 
that some people hurled at you all along, 
build a wonderful mosque of love
with foundation,solid and strong. ³⁹

This poem of Kazi Nazrul Islam has also been translated into English by Mizanur Rahman:

 

At the End of Ramajan Fast, O My Mind

 

At the end of Ramajan Fast, O My Mind!

The Eid of pleasure has arrived!

Give thyself away this day

And hearken to the heavenly command!

 

All your wealth and gold,

All your palaces are for Allah alone!

Pay off the poor-rates this day

To rouse the lifeless Muslim anyway!

 

Thou art to say the prayer

On that field of Eid.

Where the Muslim Crusaders gave their lives

And became Shaheed

 

Forget who are friends and who are foes this day,

And grasp the hands of all.

By dint of love make the entire world

Respond to Islam’s call!

 

Those who have fasted all their life

Without break and pause.

Give to those poor ones this day

Whatever will serve their cause!

 

Pour out unto the goblet of your mind

The shirni of Tauheed!

The Prophet will be pleased, it seems.

To accept your gift!

 

They pelted you with stones

All your life.

Build now a mosque of love

With those missiles!⁴⁰

 

Prarthana

amader valo kora, hey Vogoban

sokoler valo kora hey Vogoban ..

amader sob loke basibe valo

amrao sokolera basib valo ,

robena hingsa des, deha o moner klash

matir prithibi hobey sargo saman – hey Vogonan ..

geyner alok dao, hey Vogonan .

bipul shakti dao, hey Vogoban .

Tomari deoya geyne chinibo Tomai

Tomer shakti hobey karmo sahay ,

dharmo jadi sathi hoi, robenako dukkho-voi

bipode porile Tumi koro jeno tran – hey Vogoban ⁴¹

 

This poem of Kazi Nazrul Islam has been rendered into English by Abu Rushd:

Bless Us Oh Lord

Bless us Oh Lord, bless us all.
Let others love us and let us love others.
Let there be no hatred or malice or physical pain

or mental agony.
Let the earth be another paradise Oh Lord.
Give us the light of knowledge, give us Herculean

strength Oh Lord.
We will explore You in the light of knowledge You have
given, Your strength will aid our work.
If righteousness be our companion, all fear and sorrow

will end.
But if we fail in any danger save us from it Oh Lord. ⁴²

 

Bachche Ki Dua

 

lab pe aati hai dua ban ke tamanna meri
zindagi shamma ki surat ho Khudaya meri

 

door dunya ka mere dam se andhera ho jaye
har jagha mere chamakne se ujala ho jaye

ho mere dam se yunhi mere watan ki zeenat
jis tarha phool se hoti hai chaman ki zeenat

zindagi ho meri parwane ki surat ya Rab
ilm ki shamma se ho mujh ko mohabbat ya Rab!

ho mera kaam gharibon ki himayat karna
dardmando se zaifon se mohabbat karna

mere Allah burai se bachana mujhko
nek jo rah ho, usi rehpe chalana mujhko ⁴³
 

This poem of Dr. Muhammad Iqbal has been rendered into English:

The Child's Invocation

My longing comes to my lips as supplication of mine
O Allah! May like the candle the life of mine

 

May the world’s darkness disappear through the life of

mine!
May every place light up with the sparkling light of mine!

 

May my homeland through me attain elegance
As the garden through flowers attains elegance

 

May my life like that of the moth be O Lord
May I love the lamp of knowledge O Lord!

  
May supportive of the poor my life's way be
May loving the old, the suffering my way be

 

O Allah! Protect me from the evil ways
Show me the pathleading to the good way ⁴⁴

 

In many Muslim countries entertainment is being used in conveying Islamic messages. This will be clear from the following English rendering:  

 

Thank You Allah

The sky is clear

The air is clean

The land is green

Thank You Allah

 

The path we walk

The lines we talk

The things we see

Thank You Allah

Thank You Allah

 

Say Thank You Allah

Thank You Allah

When I sleep

When I eat

When I breathe

Thank You Allah

Thank You Allah

 

Say Thank You Allah

Thank You Allah

 

In the night or in the day

Every morning after prayer

I’ll never forget to say Thank You

 

There are times when I’m alone

Feel alright or not so strong

I’ll pray to You and say

Thank You Allah

Thank You Allah

 

So friends every time remember

Allah the Most Merciful

Say Thank You Allah

Thank You Allah⁴⁵

Give Thanks To Allah

Give Thanks to Allah,
for the moon and the stars
praise Him all day for
what is and what was.
Take hold of your iman
don’t give it to shaytaan
Oh you who believe please give Thanks to Allah.
Allahu Ghafur Allahu Rahim

Allahu yuhibul Muhsinin,
huwa Khaliquna huwa Raziquna

wa hua ala kulli shaiin qadir
Allah is Ghafur Allah is Rahim Allah is the One

Who loves the Muhsinin,
He is the Creator, He is the Sustainer and He is the One
 Whohas power over all.⁴⁶

 

Allah is the Light

 How great the wonders of the heavens
And the timeless beauty of the night
How Great – then how Great the Creator?
And its stars like priceless jewels
Far beyond the reach of kings
Bow down for the shepherd guiding him home.

But how many eyes are closed
To the wonder of this night?
Like pearls, hidden, deep beneath a dark
Stream of desires.
But like dreams vanish with the call to prayer
And the dawn extinguishes night – here too are signs.
Allah is the Light - Allah is the Light

How great the beauty of the Earth and the creatures
Who dwell on her.
How Great – then how Great the Creator?
As its mountains pierce the clouds
High above the lives of men
Weeping rivers for thousands of years.

But how many hearts are closed
To the wonders of this sight?
Like birds in a cage, asleep with closed wings
But like work stops with the call to prayer
And the birds reside – here too are signs
Allah is the Light – Allah is the Light

How great the works of man and the things he makes
How Great – then how Great the Creator?
Though he strives to reach the heavens
He can barely survive
The wars of the world he lives in.

Yet, how many times he’s tried,
Himself to immortalize?
Like his parents before him in the Garden of Eden
But like the sun sets with the call to prayer
And surrenders to the night - here too are signs
Allah is the Light - Everlasting
Allah is the Light - Everlasting
Allah is the Light - Everlasting
Allah is the Light - Everlasting⁴⁷

 

Our Guide is the Qur’an

Dusturuna-al Qur’anu

Wa Deenuna-al Islamu

Arkanuhul Jaleelah da-aimun Fadheelah

wa yash-shahadatani qaaidatul Iman

wa-Sawmu wa-Salatu  wa-Hajju wa-Zakatu

 

Our guide is the Qur’an

Our Religion is Islam

Five Noble Pillars upholding what is virtuous

To make the Testimony is the base of the Faith,

and the Fast, and the Prayer, the Pilgrimage and Charity.⁴⁸

 

Guide Me All The Way
 

I know that You could easily
Take away everything You’ve given me
And I try to remember
Not to take anything for granted
‘Cause I know that one day
Suddenly this will all come to an end
So my last wish is for You to be pleased with me

Allah Ya Allah
Guide me all the way to YourJannah
Ya Allah Ya Allah
Don’t let me go astray ’cause I need You
By my side, I wish to be close
Close to You throughout my life
Ya Allah Oh Allah!
Be with me all the way

I know that sometimes I do
I do forget that my next breath could be the last
Forgive me ’cause I can’t Thank You enough
Forgive me when I doubt Your Love
Now I pray for that day
when all this stops and comes to an end
So my last wish is for You to be pleased with me

Allah Ya Allah
Guide me all the way to Your Jannah
Ya Allah Ya Allah
Don’t let me go astray ’cause I need You
By my side, I wish to be close
Close to You throughout my life
Ya Allah Oh Allah!
Be with me all the way

Day by day passes
And I think that my time could be near
So I pray: O Allah let this world be in my hands
And not in my heart
‘Cause soon I’ll have to leave it

Allah Ya Allah
Guide me all the way to Your Jannah
Ya Allah Ya Allah
Don’t let me go astray ’cause I need You
By my side, I wish to be close
Close to You throughout my life
Ya Allah Oh Allah!
Be with me all the way

Guide me all the way
Don’t let me go astray ⁴⁹

 

My Ummah

 

My ummah my ummah

He will say

Rasulullah on that day

Even though we've strayed from him and his way

My brothers my sisters in Islam

Let's struggle work and pray

If we are to

Bring back the glory of his way

 

Chorus:

Ya Allah ya Rabbal ‘alamin

Ya Rrahmanu ya Rahim

Ya Rabbi

O Allah Lord of the worlds

O Merciful and Beneficent

O my Lord

 

Let the ummah rise again

Let us see daylight again

Once again

 

Let's become whole again

Proud again

'Cause I swear with firm belief in our hearts

We can bring back the glory of our past

 

My ummah my ummah

He will say

Rasulullah on that day

Even though we strayed from him and his way

 

Look at where we were

And look at where we are

And tell me

Is this how he'd want it to be?

Oh no! Let                                                                                                                                                                                                                                                              us bring back our glory

 

Chorus:

Ya Allah ya Rabbal ‘alamin

Ya Rahmanu ya Rahim

Ya Rabbi

O Allah Lord of the worlds

O Merciful and Beneficent

O my Lord ⁵⁰

 

Make Me Strong

 

I know I’m waiting
Waiting for something
Something to happen to me
But this waiting comes with
Trials and challenges
Nothing in life is free
I wish that somehow
You’d tell me out aloud
That on that day I’ll be ok
But we’ll never know cause
That’s not the way it works
Help me find my way

My Lord show me right from wrong
Give me light, make me strong
I know the road is long
Make me strong
Sometimes it just gets too much
I feel that I’ve lost touch
I know the road is long
Make me strong
 

I know I’m waiting
Yearning for something
Something known only to me
This waiting comes with
Trials and challenges
Life is one mystery
I wish that somehow
You’d tell me out aloud
That on that day You’ll forgive me
But we’ll never know cause
That’s not the way it works
I beg for Your Mercy

My Lord show me right from wrong
Give me light, make me strong
I know the road is long
Make me strong
Sometimes it just gets too much
I feel that I’ve lost touch
I know the road is long
Make me strong ⁵¹

 

 My Only Wish

All your armies, all your fighters
All your tanks, and all your soldiers
Against a boy holding a stone
Standing there all alone
In his eyes I see the sun
In his smile I see the moon
And I wonder, I only wonder
Who is weak, and who is strong?
Who is right, and who is wrong?
And I wish, I only wish
That thetruth has a tongue ⁵²

 

Peace Train
 

Now I've been happy lately,

thinking about the good things to come
And I believe it could be,

 something good has begun

Oh I've been smiling lately,

dreaming about the world as one
And I believe it could be,

some day it's going to come

Cause out on the edge of darkness,

there rides a peace train
Oh peace train take this country,

come take me home again

Now I've been smiling lately,

thinking about the good things to come
And I believe it could be,

 something good has begun

Oh peace train sounding louder
Glide on the peace train
Come on now peace train
Yes, peace train holy roller

Everyone jump upon the peace train
Come on now peace train
Get your bags together,

go bring your good friends too
Cause it's getting nearer,

it soon will be with you

Now come and join the living,

it's not so far from you
And it's getting nearer,

soon it will all be true

Now I've been crying lately,

thinking about the world as it is
Why must we go on hating,

why can't we live in bliss

Cause out on the edge of darkness,

there rides a peace train
Oh peace train take this country,  

come take me home again⁵³

 

Qur’an Recitation in Rhythmic Tone

 

The question arises: Can Qur’an be recited in tones of rhythmic music? The reply is: Yes it can be as long as such recitation is within the limits of the rules of tajwid.⁵⁴  The Qur’an can be related in a large sense to music. Qur’an can be recited in a beautiful melodious way and in an attractive vibrating quavering tone.  Music has the power to affect the human spirit and penetrate the heart of man. It excites feelings and emotions and sometimes calms; music uplifts the sick, pacifies irritable children, and encourages armies to fight on the battlefield. Denying music completely, without reservation, is not reasonable or realistic, for music and harmony exist both in nature and in man himself. The palpitation of our heart is rhythmic and in perfect harmony. There is music in the flowing of water, in a bird’s singing, just as there is music in the crying of the baby and in the moaning of a patient. So it is impossible to separate music from man.   

Prof. Dr. Seyyed Hossein Nasr, an eminent academician, commented: “The Qur’an itself in its traditional prosody is at once music and poetry, although traditionally it has not been classified as either but, being the Word of Allah, belongs to a category above all categories of human art. … The call to prayer (al-adhan) is almost always sung, as the Noble Qur’an whose chanting is the most nourishing of all music for the soul of the people of faith (muminun) although the chanting has never been technically called ‘music’, that is musiqa or ghina. Even now, during Ramadan, in some Islamic cities, one can observe the age old tradition of waking the people in time to eat before dawn and the beginning of the fast by means of chants, and sometimes trumpets. … Finally, it might be mentioned that the Muslim armies performing the holy war (al jihad) were accompanied from the earliest times by a type of music which intensified the qualities of bravery and courage within the hearts of soldiers. … Jalal al-Din Rumi often took songs from the taverns of Anatolia and converted them into vehicles for the expression of the most profound yearning for Allah. … The spiritual concert is permissible (mubah) for the lovers of Allah; it is forbidden (haram) for the ignorant.  

Prof. Dr. Seyyed Hossein Nasr concluded: “Islam has banned music which leads to forgetfulness of Allah and has forbidden those Muslims from hearing it who would become distracted from the spiritual world and become immersed in worldliness through listening music. But Islam has preserved for the whole community music in its most exalting and yet sober aspect”. ⁵⁵

Jalal al Din Rumi observed: Music is the food of lover of Allah … The fire of love is made keen inflamed by melodies … ⁵⁶

Conclusion

The challenge before the Muslims today, therefore, is not only to close the door to obscene items of entertainment but to make available to the people positive programs so that the energy of the people could be diverted to constructive channels. The uppermost responsibility of those who work for social reform and renewal is to work in this direction. The scholars, intellectuals, cultural activists and ulama must remain ever vigilant and do their utmost to encourage those who can bring out the required transformation in the Muslim society by being proactive. 

 

Article prepared on:  1st January 2011.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

References

 

1. The Dainik Prothom Alo, Dhaka, Bangladesh, 16 October 2010 

2. Prof. Dr. Lois Lamya al Faruqi, The Shariah on Music and Musicians in Prof. Dr. Ismail Rajhi al Faruqi ed. Islamic Thought and Culture, IIIT, Washington D.C., 1982, p 31

3. Prof. Dr. Yusuf al Qaradawi, Diversion and Arts in Islam, Islamic Inc. Publishing & Distribution, Egypt, 1998, p 9

4. ibid, p 52  

5. Wael Shihab, Music: Islamic Viewpoint, IOL, 27 March 2008

6. The Shariah on Music and Musicians in Islamic Thought and Culture, ibid, p 39

7.  Diversion and Arts in Islam, ibid. p 26

8. ibid, pp 28, 35, 42-44

9. ibid, p 44

10. ibid, p 60

11. ibid,  pp 60, 62-63 

12. Prof. Dr. Zulkiple Abd Ghani, Entertainment in Muslim Media: Unsettled Problem, Journal jointly published by Institute of Islam Hadhari, Universiti Kebangsaan Malaysia (National University of Malaysia) and Jabatan Kemajuan Islam Malaysia (Department of Islamic Development Malaysia), Jurnal Hadhari Bil. 2(2009), p 61

13. Prof. Dr. Zulkiple Abd Ghani, Islamic Popular Culture: Emerging Nashid Groups in Malaysia, Ulum Islamiyyah – The Malaysian Journal of Islamic Sciences, Islamic Science University of Malaysia, Vol. 5, No. 1, 2006

14.  Diversion and Arts in Islam, ibid, p 63

15. Murad Hofmann, Islam and Qur’an: An Introduction, amana publications, Maryland, USA, 2007, pp 61-62

16. Prof. Dr. Lois Lamya al Faruqi, Islamization Through the Sound Arts, The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists and The International Institute of Islamic Thought, Washington DC and Kuala Lumpur, Malaysia Vol. 3, No. 2, 1986, p 174

17. Imam al Ghazzali, Ihya Ulum-Id-Din (Chapter – 9, Music and Ecstasy), English tr. Fazlul Karim, Islamic Book Services, New Delhi, Vol. II, 2000, pp 182-202

18. Dr. Yusuf Progler, Music and Sound Arts in the World of Islam, IOL, 17 July 2002

19. Iran’s President Bans All Western Music, USA. Today, 19 December 2009

20. Moulana Abul Kalam Azad, Ghubaar-e-Khaatir, India, 1946

21. Prof. Dr. Tariq Ramadan, To be a European Muslim, The Islamic Foundation, Markfield, Leicester, UK, 1999, p 202

22.   Diversion and Arts in Islam, ibid, p 30

23. ibid. p 21

24. ibid. pp 21-22

25. Reported by Al Hakem on the authority of Abi Adardaa al Bazaar and quoted in   Diversion and Arts in Islam, ibid, p18

26. The Shariah on Music and Musicians in Islamic Thought and Culture, ibid, pp 46-47

27. Prof. Dr. Yusuf al Qaradawi, The Lawful and the Prohibited in Islam, American Trust Publications, Indianapolis, USA, p 290

28.  ibid, pp 300, 303

29.   Entertainment in Muslim Media: Unsettled Problem, ibid, p 59

30.   Islamization Through the Sound Arts, ibid, pp 175-176

31. Tala'al Badru. https://en.wikipedia.org/wiki/Tala'_al_Badru_'Alayna. Assessed on 11 November 2016

32. The Bright Moon.  https://en.wikipedia.org/wiki/Tala'_al_Badru_'Alayna. Assessed on 11 November 2016

33. Rashidun Nabi ed. Nazrul Sangeet Sangraho, Nazrul Institute, Dhaka, 2015, p 203

34. Mohammad Omar Farooq tr. Kazi Nazrul Islam’s poem  Khoma Karo Hajrat –  Forgive us, O Prophet http://dukhumiah.blogspot.com/2010_05_01_archive.html. Assessed on  30. 12. 2016

35. Kazi Nazrul Islam, Bajichhe Damama,, Nazrul Rachanabali, Bangla Academy Dhaka, 2007, Vol. V, pp 276-277

36. Prof. Kabir Chowdhury translated Kazi Nazrul Islam’s poem Bajichhe Damama– The Resurgence in Mohammad Nurul Huda ed. Poetry of Kazi Nazrul Islam in English Translation, Nazrul Institute Dhaka, Vol. – 1, March 2014, p 555

 37. Kazi Nazrul Islam, Ramjaner Oi Rojar Sheshe Elo Khushir Eid, Nazrul Rachanabali, ibid, Vol. IV, pp 293-294 

38. Prof. Kabir Chowdhury translated Kazi Nazrul Islam’s poem Ramjaner Oi Rojar Sheshe Elo Khushir  Eid - O Heart There Comes the Happy Eid in Poetry of Kazi Nazrul Islam in English Translation, ibid, p 525

39. Kazi Nazrul Islam. Ramjaner Oi Rojar Sheshe Elo Khushir Eid, tr. into English by Mohammad Omar Farooq] http://www.poemhunter.com/poem/eid-at-the-end-of-fasting-of ramadan/.Assessed on 7 July 2016

40. Mizanur Rahman translated Kazi Nazrul Islam’s poem   Ramjaner Oi Rojar Sheshe Elo Khushir Eid– At  the End of Ramajan Fast, O My Mind in Poetry of Kazi Nazrul Islam in English Translation, ibid, p 524

41.  Nazrul Sangeet Sangraho, ibid, p 327

42, Abu Rushd translated Kazi Nazrul Islam’s poem Prarthana - Bless Us Oh Lord

http://dukhumiah.blogspot.com/2010_05_01_archive.html Assessed on 30. 12. 2016

43. Dr. Muhammad Iqbal, Bachche Ki Dua, Bang-e-Dra. http://iqbalurdu.blogspot.com/2011/02/bang-e-dra-9-bache-ki-dua.html. Assessed on 11 November 2016

44. Dr. Muhammad Iqbal, The Child's Invocation ,Bang-e-Dra.
http://iqbalurdu.blogspot.com/2011/02/bang-e-dra-9-bache-ki-dua.html. Assessed on 11November 2016

45. Abdul Fattah, Thank You Allah.  http://www.metrolyrics.com/thank-you-allah-lyrics-raihan.html. Assessed on 21 October 2016

46. Michael Jackson, Give Thanks To Allah.  http://www.letssingit.com/michael-jackson-lyrics-give-thanks-to-allah-1n5wn83. Assessed on 21 October 2016

47. Yusuf Islam, God is the Light. http://www.ummah.com/forum/showthread.php?320611-Lyrics-of-the-song-God-is-the-Light-by-Yusuf-Islam. Assessed on 21 October 2016

48.  Zain Bhikha, Our Guide is the Qur’an . https://www.musixmatch.com/lyrics/Zain-Bhikha/Our-Guide-is-the-Qur’an. Assessed on 21 October 2016

49. Maher Zain, Guide Me All The Way. http://www.azlyrics.com/lyrics/maherzain/guidemealltheway.html, Assessed on 21 October 2016

50.  Sami Yusuf, My Ummah. http://www.lyriczz.com/lyrics/sami-yusuf/58893-my-ummah/. Assessed on 21 October 2016

51. Sami Yusuf, Make Me Strong.  http://www.azlyrics.com/lyrics/samiyusuf/makemestrong.html. Assessed on 21 October 2016

52. Sami Yusuf, My Only Wish.

http://www.azlyrics.com/lyrics/samiyusuf/myonlywishinterlude.html. Assessed on 21 October 2016

53. Yusuf Islam, Peace Train. http://www.azlyrics.com/lyrics/catstevens/peacetrain.html.

Assessed on 21 October 201

54. Prof. Abdurrahman Cetin, The Place of Music in Qur’anic Recitation, The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists and The International Institute of Islamic Thought, Washington DC and Kuala Lumpur, Malaysia Vol. 16, No. 1, 1999, pp115, 119  

55.  Prof. Dr. Seyyed Hossein Nasr, Islamic Art & Spirituality (Chapter IX and X), joint production of Indira Gandhi National Center for the Arts, New Delhi and Oxford University Press, 1990, pp 151-174

56. Jalal al Din Rumi, Mathnawi

 

 

 

 

 

 

 

 

Bibliography

 

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6. Prof. Dr. Seyyed Hossein Nasr, Islamic Art & Spirituality, joint production of Indira Gandhi National Center for the Arts, New Delhi and Oxford University Press, 1990.

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11. Khalid Beg, Slippery Stone, Openmind Press, USA, www.openmindpress.com.

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13. Tariq Ramadan, To be a European Muslim, The Islamic Foundation, Markfield, Leicester, UK, 1999.

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16. Philip K. Hitti, Islam A Way of Life, University of Minnesota Press, Minneapolis and Oxford University Press, London 1970.

17. Prof. Dr. Lois Lamya al Faruqi, Islamization Through the Sound Arts, The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists and The International Institute of Islamic Thought, Washington DC and Kuala Lumpur, Malaysia Vol. 3, No. 2, 1986.

18. Omar W. Nasim, Towards an Islamic Aesthetic Theory, The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists and The International Institute of Islamic Thought, Washington DC and Kuala Lumpur, Malaysia, Vol. 15, No. 1, 1998

19. Weston F. Cook. Jr. Conference Report - Islamic Expressions in Art Culture and Literature,  The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists and The International Institute of Islamic Thought, Washington DC and Kuala Lumpur, Malaysia, Vol. 15, No. 2, 1998.

20. Prof. Abdurrahman Cetin, The Place of Music in Qur’anic Recitation, The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists and The International Institute of Islamic Thought, Washington DC and Kuala Lumpur, Malaysia, Vol. 16, No. 1, 1999.

21. Alyson E. Jones, Book Review - Music Education and Muslims by Diana Harris, The American Journal of Islamic Social Sciences, The Association of Muslim Social Scientists of North America and The International Institute of Islamic Thought, USA,   Vol. 25, No. 2, 2008.

22. Prof. Dr. Zulkiple Abd Ghani, Islamic Popular Culture: Emerging Nashid Groups in Malaysia, Ulum Islamiyyah – The Malaysian Journal of Islamic Sciences, Islamic Science University of Malaysia, Vol. 5, No. 1, 2006.

23. Prof. Dr. Zulkiple Abd Ghani, Entertainment in Muslim Media: Unsettled Problem, Journal jointly published by Institute of Islam Hadhari, Universiti Kebangsaan Malaysia (National University of Malaysia) and Jabatan Kemajuan Islam Malaysia (Department of Islamic Development Malaysia), Jurnal Hadhari Bil. 2(2009).                       

24. The Dainik Prothom Alo, Dhaka Bangladesh, 16 October 2010.

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26. Wael Shihab,   Music: Islamic Viewpoint, IOL, 27 March 2008.

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28. Iran’s President Bans All Western Music, USA Today, 19 December 2009.

29. Moulana Abul Kalam Azad, Ghubaar-e-Khaatir. 

30. Jalal al Din Rumi, Mathnawi.     

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Abstract

 

[If we look at the history we find Muslim society has customarily shown great tolerance for the music. Music is not included in the forbidden list and there is no specific penalty, hadd, in the shariah, the Qur’an and the authentic and well established hadith, for playing music or enjoying music. Muslim history also does not illustrate any incident of penalty under tazir, administrative authority, by the rightly guided caliphs for playing or enjoying music. There is also no record in the history that Umayyad, Abbasid and other caliphates imposed penalty for playing or enjoying music. Allah has cautioned us against the reckless forbidding of what He did not forbid [Qur’an 7: 32-33]. Allah has prohibited singing and music is false attributions and slander against Allah and should be rejected outright. The general rule is that music is permissible; its prohibition is the accident or exception caused by improper usage. Islam has preserved for the whole community music in its most exalting and yet sober aspect. In fact music is a significant defense against cultural alienation or annihilation and can protect Muslim cultural identity from erosion and obliteration. In this book the same issue has been repeated again and again, which might not look academic and  also be boring to some readers, for  greater clarity quoting views of different scholars so that the findings in the book become more acceptable to the readers and the ulama, Islamic religious scholars.] #