SYNOPSIS
OF PRECEDING SHAR'AH TEXTS ALONG WITH CONCLUSIONS TO BE
DRAWN FROM THEM
MUSICAL
INSTRUMENTS (MA'AAZIF)
The use of all
musical instruments (*236) is forbidden. This ruling has
been arrived at through an analysis of the texts of authentic
hadeeths narrated by Al-Bukhaari and Ibn Maajah, in which
the word al-ma'aazif (musical instruments) occurs. Since
the wording of the text is general ('aammun), its directive
encompasses all types of musical instruments except the
daff, whose permissible use is a specification (takhsees)
of the general text or an exception to the general ruling.
These two texts are sufficiently clear proof which establish
a general, all-encompassing prohibition. However, to remove
the grounds for all possible specious arguments regarding
this all-inclusive hukm (ruling). And in order to clarify
it beyond a doubt, the shari'ah has conveyed a number of
other texts which categorize the various possible types
of musical instruments and prohibit them. The categories
of musical instruments are as follows: (a) wind instruments,
(*239) (b) string instruments, (*240) (c) percussion instruments
(*241) and (d) a combination of two or more of the above.
(*242)
The first category
is represented by the previously-mentioned narrations of
Al-Bayhaqi and Al-Haakim, wherein the terms mizmaar (flute)
and mazaameerush Shaytaan (Satan's wind instruments) are
mentioned respectively. The second category is indicated
by one of Ahmad bin Hanbal's narrations wherein the word
qinneen (lute) (*243) appears. The third category is epitomized
by another tradition collected by Ahmad in which bothe the
terms koobah and tablah (i.e. drums) are recorded. (*244)
At this point,
some clarification regarding the daff (a type of drum and
a percussion instrument) is necessary. Since its use is
permissible only by virtue of its being an exception to
the general rule of prohibition of musical instruments,
certain stringent conditions are to be observed in reference
to it, such as its size, shape and form, and the circumstances
under which its use is permitted (as indicated by the texts
wherein it is mentioned). As for the occasions upon which
its use is permitted, a clear exposition has preceded in
the first section of the previous chapter. Concerning the
former two conditions, the daff should not exceed its general
size as determined by common usage ('urf) (*245) and it
should somewhat resemble the tambourine with the skin drawn
tight on one side (*246) of the wooden frame; except that,
by consensus of the scholars, (*247) it is to be devoid
of the rattles (jallaajil) common to tambourines. These
conditions are based on certain principles (*248) (qawaa'id)
established in the science of usoolul fiqh. Thus, when there
is an exception (istithnaa) to a general ruling (hukm),
one is restricted to the exact conditions and circumstances
relating to that exception, without exceeding the bounds
set by the text which describes it. The following example
from the shari'ah clarifies this point.
It is an established
fact that wearing of silk clothing is generally prohibited
for males. However, there are a few specific and limited
exceptions to this ruling, among which is the permissibility
of adding silk trim to the sleeves and hem of one's garment.
The width of this band of silk trim is specified as a finger's
length. (*249) Thus, one would not be allowed to increase
this designated measure to say, two or three fingers' length.
The condition of an exception to a general ruling of prohibition
must be observed meticulously, since that exception is only
allowed by virtue of those very specific and stringent conditions.
By the same token, it would not be permissible to apply
this specific exception regarding silk (for males) to another
prohibited material, say for example, garments made from
pure golden threads. (*250) Although both silk garments
and pure gold woven garments are prohibited for men, it
would not be correct to say that a finger's width band of
such gold trim may be applied to male garments just as a
finger's width band of silk trim may be.
Along the same
lines of reasoning illustrated in the above-mentioned example,
it follows that another instrument appearing to be similar
to the daff (since it is of the same name [drum] and category
[percussion instrument]) cannot be used in its place. According
to the rules of usool, (*251) analogy (qeeyaas) cannot be
made in the case of an exception (mustathna) to a general
ruling. (*252) Rather, there must exist an original, established
text (asl) on which analogy can be validly based. In this
case, other drums (such as bongos or congas) cannot be used
in place of the daff because the original ruling (asl) regarding
musical instruments in general, and percussion instruments
in particular, is prohibition. The daff is an exception,
bot the rule. And therefore, fails to meet the criterion
required for sound, valid analogy.
It further warrants
mentioning that the Prophet (upon whom be peace and blessings)
designated the use of the daff and strongly encouraged it
(*253) during the marriage feast. As was shown earlier,
it was also allowed on various other occasions while other
existing percussion instruments (such as the koobah, tabl
and tablah) (*254) were not designated for use but rather
were prohibited. The wisdom behind this precise restriction
of instruments to the daff lies in the fact that it sufficiently
satisfies the need for proclamation, provides moderate rhythm
which enlivens, and results in joy for the partakers, At
the same time, the drum's otherwise negative percussive
potentials are muted and controlled in this particular instrument.
In concluding
this issue, it must be stressed that it is one's duty to
bring all thoughts and deeds into consonance with both the
spirit and the letter of the divinely-revealed shari'ah.
All musical instruments must necessarily fit into one or
another of the three, previously-mentioned broad categories;
otherwise, they constitute a combination thereof. As for
instruments like the synthesizer or other electronic gadgets
which simulate the sounds of conventional musical instruments,
the ruling regarding them is precisely the ruling established
regarding the instruments they imitate – namely, prohibition.
The same ruling applies to the human voice if it is able
to simulate an instrument from any one of the foregoing
categories.
SINGING
(GHINAA)
Preceding texts
of the sunnah designated the general ruling of prohibition
regarding singing under certain circumstances. The narration
of Al-Haakim described the singing voice coupled with music
as imbecilic and sinful. Naturally, singing to musical accompaniment
is forbidden since it is coupled with music. (*255) As for
innocent singing to the accompaniment of just the daff,
this has been allowed on only specific occasions. (*256)
Singing without
musical accompaniment is permitted under certain circumstances
and with particular conditions. The lyrics of the songs
must be pure and innocent, and must keep within the moral
bounds set by Islamic teachings. Hence, lyrics which are
erotic and licentious (*257) and/or sung in a licentious
manner (*258) (which adversely affects the libidinous instincts
of the listener) are undoubtedly forbidden. Moreover, even
innocent songs become forbidden if they are performed in
the presence of, or are coupled with, such prohibited acts
as gambling, drinking and other deeds of moral depravity.
Singing by women is restricted to a female audience as the
nature of a woman's (singing) voice is to excite sexual
feeling in the male listener. Generally speaking, these
songs should be pure and innocent although they need not
be restricted to Islamic themes. They may express simple
joys, wisdom, etc. They may be in praise of such attributes
as courage, fearlessness and strength; or the lyrics may
commemorate historical incidents such as battles against
the enemy, etc. Among the best songs are those which encourage
piety through good deeds done for the sake of Allah.
RELATED
ISSUES PRODEEDING FROM THE GENERAL RULING OF PROHIBITION
DANCING:
Dancing to musical
instruments is prohibited since that which is coupled with
a prohibited thing becomes forbidden. As for dancing without
music, or to the accompaniment of the daff only, such is
restricted solely to women and children and is not befitting
the role of males. The accomplished muhaddith and jurisprudent,
Izzuddeen bun Abdis-Salaam, (*259) says in reference to
men dancing, "As for dancing and handclapping in a
light and frivolous manner resembling the frivolity of females,
none would do it except the light-headed or affected ignoramus.
The proof of his ignorance is that such a thing is not mentioned
in texts of the shari'ah, the Quraan or sunnah; nor did
any of the prophets of disciples do it. Rather, it is done
by ignorant fools who have mistaken mere fancies for real
truths. (*260) Scholars have prohibited clapping for men
due to the Prophet's saying, 'Clapping is for women.'"
(*262) At another place Izzuddeen bin Abdis-Salaam says,
"Dancing is a bid'ah [blameworthy innovation]; none
partakes of it except the foolish [who are short of sense],
and it is bot befitting except for women." (*263)
It must be pointed
out that even dancing by women has its conditions. No music
other than that provided by the daff and the human voice
is allowed. Women must be properly clothes (*264) and are
restricted to the company of women and children only. Even
in the presence of women, the female is prohibited from
dancing licentiously (*265) and from using sexually arousing
lyrics or manners. Hence, women's dancing should be a simple,
natural rhythmic swaying free from very form of obvious
or covert vice.
PROFESSIONS
CONNECTED WITH MUSIC AND ITS ADJUNCTS:
It follows from
what has preceded that the profession of music, singing,
dancing and instrument making and selling are all forbidden.
(*266) In an Islamic state such instruments may be seized
(*267) from their owner and destroyed with recourse to indemnity.
THE
MUSLIM'S DUTY REGARDING IT:
It is the duty
of a Muslim that he avoid listening to music and singing
in so far as it is within his power and jurisdiction (e.g.
in his home, office, car, etc.). As for what he hears from
his neighbor's yard, or when he passes through the streets
or markets, that is not a sin upon him, (*268) nor is it
his responsibility to try to stop it unless he has the power
and authority to do so. He may advise such unfortunates
in a gentle, admonishing tome, using wisdom and good convincing
arguments so that perchance they may see the light and fear
Allah.
In certain circumstances
a person may be forced to hear music without the will or
desire to do so, in which case he is not to blame. For example,
a person may require clothing or foodstuffs from a certain
store or shopping center where music is constantly played
over the public address system; or a person may sit at the
television or radio in order to hear the news or to watch
a certain documentary or otherwise useful film because of
its educational benefits. Obviously, music and singing are
often interspersed throughout such educational and informative
audio-visual materials and cannot be avoided. So long as
other similar materials devoid of music and singing are
not available, it is permissible to use materials in which
the music is merely incidental and not the sole object.
However, it must be with the sole intention of deriving
benefit from the information contained therein and not for
the purpose of seeking pleasure in hearing the music. Needless
to say, it is the duty of Muslim educators and Islamic institutions
to develop audio-visual materials in all fields of education
which fulfill the need of the Muslim ummah while remaining
within the confines of the divinely-revealed shari'ah.
As for so-called
"therapeutic purposes," such as listening to music
in order to relax after a long, tense day at work or as
a medium for "sensitivity" training session or
as a stimulant for "creative writing" or anything
else of that nature, the ruling is prohibition since music
in such cases is an object in itself, and since there is
not real necessity (daroorah) or even any need (haajah)
for it.
THE
VARYING GRAVITY OF THE SINFULNESS OF MUSIC AND SONG:
The gravity of
the sinfulness of music and song varies widely according
to its type, the way it is performed, by whom it is performed
and under what circumstances it occurs. It is also conditioned
by these variables. Thus, {Every soul will be held
in pledge for what it has earned.} (*269)
SOME
ACCEPTABLE ALTERNATIVES TO PROHIBITED FORMS OF MUSIC AND
SONG
It is the duty
of every Muslim to strive his utmost to find acceptable
(lawful) alternative to the prohibited forms of music and
song as delineated in the treatise. No doubt, for every
unlawful thing there is a lawful alternative available.
Some suggestions follow.
RECITATION
OF AND LISTENING TO THE READING OF ALLAH'S BOOK:
Recitation of
and listening to the reading of Allah's Book, so aptly described
by the English translator of the Quraan, Muhammad M. Pickethall,
is "that inimitable symphony, the very sounds of which
move men to tears and ecstasy." (*270) In a number
of authentic traditions, the Prophet (upon whom be peace
and blessings) stressed that the Quraan was to be chanted
or sung in a sweet and melodious voice:
Aby Hurayrah
reported that Allah's Messenger said, "Whoever does
not chant the Quraan isn ot one of us." (*271)
In another hadeeth
it is reported:
Al-Baraa bin
Aazib related that Allah's Messenger said, "Adorn the
Quraan with your voices." (*272)
It is incumbent
upon Muslims to learn how to recite Allah's Book in a beautifully
sweet and melodious voice in consonance with the rules of
tajweed, to constantly practice its reading and to listen
to others; for nothing like the Quraan uplifts the spirit
and puts peace and tranquility in one's very heart and soul.
SINGING
AND LISTENING TO ISLAMIC SONGS:
Islamic songs
(anaasheed Islaamiyyah) contain moving lyrics which fire
enthusiasm and desire for jihaad and encourage noble Islamic
manners, morals and practice in all aspects of the Islam
faith. There is presently a great surge of these anaasheed
flooding the world of the Arab Muslim youth, and there is
no reason why such inspiring songs should not be composed
on various pertinent subjects by the enlightened western,
English-speaking youths of today. (*273)
REMEMBRANCE
OF ALLAH (DHIKR):
Some often claim
that they listen to music occasionally in order to cool
them down or to relax them. It is suggested that as believers,
they habituate themselves to remembrance of Allah (dhikrullah)
and to the mentioning of His praises (tasbeeh) as well as
petitioning Him for forgiveness (istighfaar). The sunnah
is replete with a myriad of adhkaar (formulas of repeated
recitation). It is the remembrance of Allah which brings
peace and tranquility to the human soul, not music which
is fleeting and superficial. The glorious Quraan says, {Yes,
verily in the remembrance of Allah do hearts find tranquility.}
(*274)
HEALTHY
PHYSICAL SPORTS:
One of the best
alternatives to music and its attendant evils is the engagement
in healthy physical sports which brings benefit by developing
physical and mental acumen. The Prophet (upon whom be peace
and blessings) has encouraged certain sports, among them
swimming, horseback riding and the art of marksmanship.
(*275) The martial arts is another important field for developing
physical and mental prowess.
CONCLUSION
It is trusted
that what has preceded constitutes for the reader a sufficiently
explicit analysis and exposition of the Islamic ruling regarding
music and song, leaving him/her with a perfectly clear understanding
of this serious issue. It is hoped that many of the common
misconceptions regarding music and song have been addressed
and removed in a lucid, convincing manner, resulting in
surety and tranquility for the reader's soul and conscience.
I pray that this is {a plain statement to men, a guidance
and instruction to those who, fearing Allah, ward off evil.}
(*276)
THE END
Return
to Table of Contents
Footnotes:
(*238)Except
for the daff, the simple hand drum, which is allowed for
use by women and children on specific occasions mentioned
by the authentic sunnah. This has been clarified by a previous
section of this work, entitled "Examples of Occasions Specified
by the Sunnah."
(*239)Such
as flutes, horns, trumpets, accordions, saxophones, trombones,
etc.
(*240)Including
guitars, violins, banjos, harps, sitars, lutes, basses,
cellos, etc.
(*241)Such
as gongs, cymbals, bass drums, bongos, congas, tambourines,
etc.
(*242)For
example, the piano, which combines percussion and string
instrumentation.
(*243)A
type of guitar common to Arab lands.
(*244)The
complete text of these hadeeths has preceded in Arabic along
with their translations in the second section of this study
under the title, "Critical Analysis of the Hadeeth Literature."
(*245)Its
size, according to common usage or custom ('urf), varies
approximately between twenty and thirty-five centimeters
in diameter for the skin. The width of the circular wooden
frame upon which it is strung is about a finger's length.
Exceeding this stipulated size would result in a louder
sound, which in turn exceeds the instrument's basically
limited percussion potentiality. Conversely, a much smaller
size diminishes its basic sound capability, and thus, the
objective of "announcing" the wedding feast through its
sound would not be realized. As it is said, "The best of
affairs are intermediate" - in the middle ground.
(*246)The
term daff literally means the (one) side of a thing or its
surface. For details, see Lisaanul Arab, vol. 9,
pp 104-106.
(*247)See
Kaffur Ra'aa, pp. 94-95.
(*248)These
principles were mentioned in the previous section and are
also applicable here.
(*249)The
width of four finger clinched together (which is basically
the same) according to various authentic narrations of Iman
Al-Bukhaari, Abu Dawood and others. The actual finger's
length varies according to each individual, but an average
finger length of the middle finger (the longest one), is
about 8-9 centimeters.
(*250)Threads
made from minutely thin, but pure gold wires, woven together
to make a garment.
(*251)See
Al-Bardeesi's Usoolul Fiqh, p. 240 and Abdul-Qaadir
Ataa's Haadha Halaal wa Haadha Haraam, p. 211.
(*252)Because
by its very nature the exception (mustathna) differs from
the original ruling to which it is an exception.
(*253)In
preceding texts of the authenic sunnah.
(*254)The
kooban is a drum with skin on bothsides. The tabl is similar
except it is usually larger in size. And the tablah has
skin only at the top, with a long, open, hollow base made
from wood, metal or clay.
(*255)According
to the principle that whatever is coupled with a prohibited
thing becomes prohibited.
(*256)Such
as the 'Eed festival, wedding celebrations, etc.
(*257)Such
as those songs which describe sex, wine-drinking or any
immoral subjects.
(*258)This
occurs when the singer purposely manipulates his/her voice
in a throbbing, titillating manner which arouses sexual
passions.
(*259)One
of the rare geniuses of the Islamic sciences, nicknamed
"Sultanul Ulamaa" (the Monarch of Scholars). He definitely
deserves this title. He was born in Damascus (577 H./1181
C.E.) and died in Cairo (660 H./1262 C.E.). For details,
see Mu'jamul Muallifeen, vol. 5, pp. 249-250.
(*260)The
immediate refernce inthis passage is to the practice of
some Sufis who dance according to a certain method as a
so-called "spiritual" exercise. However, what has been said
here applies generally to all dancing by males regardless
of whether it's done for pleasure or for "worship."
(*261)In
variuos authentic traditions narrated by Al-Bukhaari, Muslim,
et. al.
(*262)Quoted
from Kaffur Ra'aa, p 73.
(*263)Quoted
from the tafseer, Roohul Ma'aani, vol. 21, p. 71.
(*264)In
loose clothing from above the chest to below the knee, at
the very minimum.
(*265)Such
as occurs during belly-dancing or various western dances
such as soul, rock and funk.
(*266)Just
as is the case of wine, whose drinking, production, sale
and even carrying is forbidden.
(*267)By
the proper authorities. See footnote no. 112.
(*268)Unless
he listens to it with the intent to hear it and seek pleasure
in it.
(*269)Soorah
Al-Muddaththir, 74:38.
(*270)See
his foreword to The Glorious Quran, p. 3.
(*271)Related
by Iman Al-Bukkaari. The Quraan is to be melodiously chanted
or sung, but not according to one's personal style dictated
by fancy. The Quraan must be recited according to the rules
of tajweed, the precise science which details the rules
for Quraanic recitation. Notes are to be extended (al-madd)
according to a certain number of beats; the letters noon
and meem are melodiously held and their notes emphasized,
etc. One is required to learn this method of recitiation.
(*272)Authentically
related by Abu Dawood and Ahmad bin Hanbal.
(*273)I
would certainly encourage the likes of Yoosuf Islam (the
former Cat Stevens) and others to use this medium for Islamic
revival and as a means for da'wah (invitation of non-Muslims
to the path of Allah).
(*274)Soorah
Ar-R'ad, 14:28.
(*275)Regardless
of whether it be with crossbow, spear or firearms.
(*276)Soorah
Aali-Imraan, 3:138.
