Forbidden Music

Forbidden Music

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In a place where Imam Hussein (7) plays the entire game of love, casting the dice of passion, and drinks the cup of unity in full, we call him the “Prophet of Love.” Just as the Prophet Muhammad (9) is the Seal of the Prophets, and his father, Imam Ali (7), is the First and Last Imam, the foundation of Wilayah (guardianship), Imam Hussein (7) is the Prophet of Love. The reality of Karbala, as seen through Imam Hussein (7), has not manifested for any other divine figure. This characteristic of Imam Hussein (7) is that on the Day of Ashura, he plays the game of love with everything he possesses, this being the gamble of love, often referred to as “utter loss.”

In the gamble of life, my dice fell, though my dice were shattered, the board broken.
I threw my heart onto the waves of your love, unaware of what my heart had done to my sight.
Your anger, O beloved, was strong upon me, yet for me, heat and cold alike felt the same.

At noon on Ashura, Imam Hussein’s sacred form becomes celestial, so beautiful it seems as though God Himself has descended to earth and to Karbala. He says, “O swords, take me!”—”The swords, take me in your embrace, and leave no sanctuary for me, for you are my refuge.”
“Not only my heart is taken, but my soul, too, intoxicated by your radiance.”
“Beloved, the heart does not seek profit in this gamble. The heart that seeks refuge is now wasted.”

This is the very prayer of Arafa and Eid al-Adha! When the Imam says, “Swords, take me in your embrace,” it is God who is present on earth, in Karbala.
A heart more in love than this, full of pain—where is it? A heart without any joy—where is such a heart?
Here, there is no place for Abraham and Ishmael, for it is not a sheep or an animal that is sacrificed:
“To become a lover of the Truth is to be pure,
For one who lays his head upon the sword of Truth is a true man.”
All the world, both the dice and the dice-thrower, are lost,
Even though the dice-thrower is himself the very dice.

Love makes the heart tremble with longing. Even though the heart is filled with grief,
The gambler, intoxicated by the beauty of love, loses himself entirely.
The beloved is beyond the reach of the lover;
Such is the gamble of love, which only ends in the immersion of the lover in the divine.
The body is abandoned, the grave forgotten, and all that remains is the essence of the Beloved.

Karbala is the gamble of love:
I am the “Right” die, and yet I am the token in its loss, my soul longing for the encounter with Him.
Love seeks the destruction of the lover, calling him to his annihilation until there is no self remaining within the lover. It is the game of love that loses itself.

Intoxicated and beyond reason,
In the game of your love, what profit did I gain?
The lover, in love, gradually feels his own dissolution:
Where is the sound of the dice, and the journey of the tokens?
The promised meeting, where is it, O Beloved, the eternal goal?

Love is a field of collapse, but it is not a fall. Instead, it is a promotion to a higher realm, beyond the realms of creation, to the Divine Presence, where nothing is named or defined.
Through existence, I am free of both worlds,
The beauty of the Truth is the source of my prayers.
I am no longer in pursuit of the illusory world.
The gambling of Love has taken me far beyond the mundane,
I have transcended the world of duality and have become immersed in the oneness of existence.

The lover, in a state beyond definition, desires nothing but the Beloved.
In that state of no definition, nothing remains but Him.
Thus, when the lover speaks, it is not the lover speaking, but the Divine through him.
In that state of no “name,” even the name of God becomes an attachment. This is the profound meaning the lover seeks.

The gamble of the entire existence is a chance for the lover to enter into the Divine Essence.
When the lover, dissolved in the beloved’s beauty, reaches that point, everything before him becomes a token of the dice, his connection to the Divine perfect.
In love, the lover is no longer concerned with worldly matters; instead, he is preoccupied solely with the Beloved, experiencing only Him.

My heart has left all worldly pursuits behind.
In the face of the Divine, all the world’s offerings are nothing.
Thus, in the end, the lover realizes:
There is nothing but Him—no adversary, no friend, no enemy, no kin.
Only the Divine is the true companion.
If anyone does not fear losing and wishes to test the game, let them challenge themselves in the gamble of love.
I have given my heart, and my Beloved knows this.
She sits with me, playing the game of love—while I am but the beggar, and she is the queen.

The true lover, even without the game, is already lost in the Divine,
Though the heart belongs to God, the Beloved guides the way.
If someone finds themselves in this game of love, they will never escape.
The world and all its distractions vanish, for the soul has become absorbed in the Divine.
And the final victory is in losing oneself entirely for the sake of the Divine.

Contraction and Expansion of Sound

Sound, due to its nature of being a wave-based movement, is characterized by contraction and expansion. Contraction and expansion follow movement, and therefore, they are present in all phenomena, even in existence itself. The divine breath or the breath of God also experiences contraction and expansion. When contraction and expansion reach the domain of the material world and manifest in electrical systems, they are represented by the two wires, phase and neutral. Sound, like all phenomena, follows the systems embedded within them, and its contraction and expansion arise from the essence of existence and the phenomena it generates, producing a wavelength.

When contraction and expansion of phenomena are translated into the domain of music, they take on the terms “composition” and “rhythm.” The arrangement of two notes or a sequence in “composition” corresponds to contraction, while the proportional increase and decrease represent “rhythm.” Rhythm refers to where the sound should contract and where it should expand, where the curve should be, and where it should break. It is about the nuances of sound and where it becomes fine or coarse. Sound is created from “silver” and “rhythm.” Silver refers to the pronunciation of a letter or the striking of a musical instrument, resulting from physical contact between objects. In the context of poetry, silver is the letter, which may either be moving or stationary, and from it arise “cause,” “foundation,” and “intervals.” The application of silver in music and poetry requires a specific harmony in execution.

The Nature of ‘Ghana’

The musical quality of the human voice is called “ghana.” In its literal sense, “ghana” means possessing, having, or being capable. It refers to either movable property (qana) or immovable property (ghana). This property can be either material or abstract. Thus, it is not correct to confine property to material matters only. Ghana signifies ability, which applies both to physical strength (a material attribute) and to strong will (an immaterial quality).

Though “ghana” and “qana” both refer to ability, “qana” has a more permanent nature and applies only to immovable properties, which are not transferable. Therefore, it does not apply to the voice, as the voice is movable and transferable. “Ghana” is not used for the voice because it undergoes changes — such as varying in pitch, tone, volume, and modulation — and can fluctuate.

Ghana, meaning capability, applies to specific instances. “Sound” is one of the manifestations of power. A special type of sound is referred to as “ghana,” as possessing that specific sound exemplifies capability. God is “ghana” because He is powerful and self-sufficient, requiring nothing from others.

Beauty, wealth, and a pleasant voice are all forms of capability. These three characteristics often humble others. People who possess beauty or a good voice feel a sense of self-worth. Beauty is akin to “ghana,” bringing wealth, but those who lack beauty — especially without strong faith — may experience a lack of self-esteem. Possessing a beautiful voice or a pleasant sound is a form of strength. When someone sings beautifully, others become humble and listen attentively. Beauty, too, can have a powerful effect on the observer, overwhelming them. Some forms of strength can be overpowering, like beauty that can be admired unless concealed. Vocal strength, however, is not like that; even if concealed, it continues to assert itself, leading to arrogance and self-importance, much like wealth that breeds independence and pride.

In terms of the specific sound being called “ghana,” which denotes power, it is because a beautiful voice is a type of capability that is not fixed. Unlike “qana,” which applies to immovable properties, a song or voice has movement, modulating in pitch, tone, and intensity. Historically, “ghana” has been associated with the voices of wealthy and powerful people, as their voices were recognized in social gatherings and parties.

The word “ghana” appears seventy-two times in the Qur’an. In none of these instances is it used to describe sound or the quality of sound. In all cases, it refers to possession or wealth. When “ghana” is used in reference to God, it does not carry connotations of arrogance or oppression, and its meaning in this context differs both in essence and in wording.

Musical ‘Ghana’

“Ghana” is different from sound, voice, or speech; it is a quality of sound. We will examine the factors that influence and contribute to “ghana.” As the creation of sound is quite complex, discussing “ghana” cannot be done simply by understanding a mode or a method of its formation. It requires precise and experiential understanding of “ghana,” which is a blend of tone, flexibility, modulation, pitch, and many other complex factors. To fully grasp the concept of “ghana” and music, all of these aspects have been explained earlier, and the process by which musical sound forms step by step has been outlined. “Ghana” is a descriptor of sound, and elements such as melody, rhythm, and tone are characteristics that attach to and describe it.

The Role of ‘Rhythm’ in Sound

One of the characteristics of “ghana” is its ability to produce “tarab,” or emotional ecstasy. A pleasant voice and harmonious sound, when done in a particular manner, create “tarab,” which brings joy. Prolonging and modulating the sound, using vocal inflections, trills, and other musical embellishments, creates an experience of ecstasy and joy. Just as the chirping of birds, the flow of water, and the babbling of a child bring joy, so too does the act of driving a fast-moving vehicle down a steep slope create a sense of exhilaration and lightness. This feeling is often referred to as “tarab.” From a psychological perspective, “tarab” is akin to the thrilling sensation one feels when moving quickly down a slope in a vehicle. Even with some practice, this feeling becomes enjoyable, demonstrating the connection between “tarab” and joy.

Conclusion

There are various natural phenomena that cause “tarab” and joy. Many of the examples we have provided are metaphorical and are not prohibited in religious contexts, as the enjoyment of such experiences is inherently natural. However, the prohibition of certain pleasures often arises from the side effects they produce, and this deserves further discussion.

Creating “ghana” involves the production of sound that brings about a sense of “tarab” and exhilaration, felt by both the performer and the listener. When sound is harmonious, it brings joy to both the performer and the audience.

Sadness, Wailing, and Joy

“Sadness” is a gentle sorrow in contrast to wailing, which is a harsh and intense sorrow. In other words, wailing is associated with loud and coarse devices, while sadness pertains to delicate and subtle devices, or it can be described as melancholy or sorrowful. For example, the Shushtari, Mahoor, or Segah are melancholic, whereas the Chahargah is loud, coarse, and leads to a cry.

It is narrated that the Holy Quran was revealed with sadness, and hence, it should be recited with sadness. Here, “sadness” refers to a soft and calm voice, in contrast to a loud and deep tone. The Quran embodies “Ya Latif” (O Gentle One), representing kindness and purity, and should be recited with softness and sadness.

Sadness is also capable of bringing joy. The Dashti scale is a sorrowful scale, while the Shur scale is specifically sorrow-inducing. However, both scales also have the potential to bring joy. When someone sings Dashti or Zabol, they can bring forth such a melancholic joy that it causes tears. Joy divides into sadness and happiness: if it causes the heart to fall, it is sadness; if it lifts the heart, it is joy.

Tajweed

Tajweed is the proper articulation of each letter and its correct pronunciation with the necessary requirements. Tajweed is a type of vocal resonance that follows and enhances melody. “Joodat” or “Tajweed” describes the quality of the word, while “ghina” (vocal resonance) is a description of the voice and tone. Therefore, resonance precedes Tajweed. A resonant melody may be present without Tajweed, but a word that is recited with Tajweed cannot lack resonance.

Tajweed is essential for improving the recitation of the Holy Quran. For example, adhering to the proper pronunciation of the Quran’s elongations (mad) is crucial for beautiful recitation. Among the Quranic verses, Surah Al-Fatiha is one of the most difficult in this respect. To properly elongate its vowels, it is necessary to add melody. The heavy elongations cannot be articulated without a musical intonation, just as the Quran cannot be recited beautifully without resonance.

Surah Al-Fatiha is called “Al-Fatiha” because it is the opener and breaker of barriers. Anyone who does not add resonance to it will not be able to open or break through any barriers and will resemble the followers of the Torah who recite in a monotonous “min min” or “waz waz” manner, avoiding loud vocalizations for fear of the criticisms directed at them. Similarly, some individuals, when unable to pronounce a word correctly, twist it in their nose to conceal the proper pronunciation.

Melody

A melody is the refinement of the voice, where a beautiful voice is enhanced with other qualities, bringing delicacy and refinement to it. A melody is distinct from the soul of sound; it refers to the sharpness of the voice.

Trills

Trills refer to rolling the voice in the throat to create a chirping or warbling sound, also known as “tahreer.” The sound of a bird or animal can create a trill, which has a distinct quality of strength and beauty. For instance, the nightingale and the cicada produce very beautiful and strong trills. The donkey also has a loud trill, produced with its strong voice.

Excitation

Sound can be described as both joy-inducing and capable of arousing excitement. In addition to joy and trill, sound can also excite and stimulate.

The relationship between the joy of sound and its ability to excite is logically mutual, as some sounds may neither bring joy nor excitement, while others may be both joyful and exciting. A sound may be joyful but not excite, or it may excite without bringing joy, only stimulating physical responses like a glance, a smile, or even thoughts of temptation that lead the listener towards sin.

It is important to note that both joy and excitement refer to active properties of sound, not dependent on the listener or audience, though these qualities are often added and directed towards something external. The nature of joy in a sound exists within the sound itself, independent of whether the listener enjoys it or not. Some individuals may fail to feel joy from a beautiful sound due to internal ailments, while others may feel excitement due to external factors, even without considering the sound’s actual meaning.

Thus, the excitement in sound, like joy, is a quality that exists inherently within the sound but is also influenced by the person or situation. For instance, a very beautiful woman might arouse excitement, not because of the sound itself, but because of her beauty, or a couple who are newly engaged might feel excited merely through conversation, without paying attention to the actual meaning of the words.

Tone and Pitch

The tonal structure or pattern that gives form to sound and provides rhythm or harmony is either caused by the human voice or by musical instruments. If the sound is produced by the voice, it is known as a “scale” or “melody,” and if an instrument is used, it is referred to as a “tune” or “note.” Musical instruments vary in their mechanisms. They may produce sound through the air from the lungs or via a string or percussion by the hands.

Thus, the note, scale, and melody are forms of intonation that shape the sound. These forms can induce joy or sadness. Joy and sadness are not types of scales, but they are the emotions conveyed by the melodies and patterns that transmit and evoke these feelings.

A singer or musician must create a sound that is complete, harmonious, and in sync with the scale, avoiding variations that might disrupt its flow. For example, if singing in Mahoor, the singer must maintain the integrity of the scale to avoid deviating from it and falling into a disordered rhythm.

The Expressive Role of Sound

As we have noted, all phenomena in the universe manifest through contraction and expansion. All degrees of being, as expressions of the Divine, reflect the qualities of beauty and majesty. The Divine presence manifests through expansion (beauty) and contraction (majesty), and everything in existence is shaped by proximity, distance, connection, and separation.

Sound, like all phenomena, follows the movement of existence and generates waves that influence its form. Movements, whether existential, emotional, natural, or forced, all contribute to the pattern of closeness, distance, connection, and separation. As is often loosely defined in movement theory, “the movement of a thing from potential to actual,” the dynamics of separation and arrival are shaped by contraction and expansion. Thus, all phenomena, including sound, are governed by expansion and contraction, and they produce their own waves that lead to various types of sound. Therefore, every phenomenon in the universe inherently produces sound, which is a form of divine expression.

Sound: A Natural Phenomenon with Celestial Sweetness

Sound is an inherent manifestation of natural phenomena, and it is not something to be contested or avoided. It should be understood as a natural fact, but this understanding should not lead to the disregard of religious boundaries. Rather, it reflects a balance between acknowledging the natural aspects of sound and adhering to spiritual discipline.

As Avicenna beautifully states, “Sound has its own sweetness, and if one does not enjoy it, they will find it nowhere else.”

Indeed, this is true: sound, like a celestial sweetness, is a gift from the Divine. If one does not enjoy it, they remain deprived of a profound experience that transcends ordinary perceptions. God has placed the gift of sound within humans and all beings, and the act of sound creation is undeniable in all of nature. Humans, more than other creatures, have the capacity to produce the most beautiful sounds, even surpassing the nightingale or canary. Humans, because of their collective nature, can express the perfection of other beings, yet each creature, in its own way, creates and emits sound uniquely.

Worldly, Spiritual, and Intellectual Sound

We have established that sound arises from movement, and just as movement exists throughout the universe, so too does sound. Avicenna divides sound into two categories: the real imaginative sound, or “spiritual sound,” and the fictional or “worldly” sound. Spiritual sound is associated with higher meanings, elevation, and transcendence, while worldly sound brings about decline, weakness, and worldly distractions.

This categorisation, while not exhaustive, suggests that sound, in its essence, is not just a material phenomenon but also a spiritual and intellectual one. As such, sound can be a means of spiritual elevation, as exemplified by the voices of great figures such as Imam Hasan, Imam Sajjad, Imam Kadhim, and the Prophet David, whose voices were so beautiful they captivated the hearts of listeners and nature itself. These exemplary voices are those that guide the soul and spirit towards higher realms of existence, demonstrating that sound can be a profound source of nourishment for the soul.

The power of sound production, particularly through the vocal cords and the auditory system of humans, with its inherent complexities, serves as a vivid example of the miracle of creation. Even a slight displacement of the vocal cords can result in the inability to produce sound, or a blockage in the voice caused by swelling in the vocal cords, preventing their natural expansion and contraction. Someone experiencing this disorder must consume starch or eggs to restore their vocal cords to their natural state, ensuring proper expansion and contraction. Similarly, listening to beautiful and enjoyable melodies is a natural activity for both the ear and the intellect. Any deviation from this requires engaging with nature, and this should be guided by religious teachings. Human limited knowledge requires the guidance and enlightenment from the boundless wisdom of the final Prophet—whose knowledge is a divine revelation from God.

It is true that beauty, capability, and goodness in Islam—being a natural religion—are not prohibited; however, regarding sound and voice, only if there is a clear prohibition, can it be deemed forbidden. The only accepted sources of authority in such matters are the Holy Quran and the Sunnah. Analogies based on unspecified causes or personal judgments cannot serve as valid evidence for legal rulings. The absence of prohibition implies the permissibility of singing and music. It is indeed true that sound and the enjoyment derived from it are natural and in accordance with creation, but this argument is incomplete on its own. It becomes complete and legally binding only if there is no prohibition from the religious lawgiver. Therefore, all claims for prohibition must be examined, and if no such prohibition exists, it should not be declared unlawful for oneself or others.

The Power of Sound Creation

Ibn Sina, in his delightful expression, said: “Among the tangible things, sound has a special sweetness.” This sweetness is not limited to the listener; the singer also enjoys their own voice. By singing, the vocal cords are stimulated, and the singer derives pleasure both from this stimulation and the power they exert. Sometimes, the singer finds more satisfaction in their own sound than the listener because the act of singing brings forth their own creative power. The vocal cords are designed in such a way that they require breath to vibrate. A person who sings derives joy first from breathing into these cords and then shares this pleasure with others through their voice.

The ability to create pleasant sounds reflects a person’s strength and skill. A person capable of shaping their voice harmoniously creates beautiful music. This skill is not easily attained. Creating a pleasing voice involves overcoming numerous challenges. Various factors must be brought together for the voice to be pleasant, rich, and mesmerizing. Talent, knowledge of sound, vocal technique, and modulation are just some of these factors. Not everyone can make their voice sweet and melodious. Every voice differs from another—one voice is resonant, while another is not; one voice is deep, while another is high-pitched.

The Ruling and Power of Sound

Sheikh al-Islam has another insight which is highly accurate and pertinent. He states: “Nature, which is a divine sign in bodies, always maintains itself in various states and attributes, and in these matters, it adheres to a specific system (and does not deviate from it).”

The power of creation is called “ruling.” The effect of sound is its ruling. Nature has an effect, and sound, as a natural phenomenon, is not without impact. For instance, if someone shapes their voice for six months in the Mahur mode and sings, their eyes will become narrower, and the sound waves will affect their eyes. If someone sings in the Shur mode, their harshness will be reduced. Singing in the Bayat mode will make them more prone to laughter. If they sing in the Saaqi mode, their attachment to the world diminishes. Singing in the Isfahan mode prevents premature aging and prolongs their youth. These are the rulings of different musical modes. The Sheikh also says: “Every part of nature has its ruling, which is a divine effect, and sound, too, has its ruling.”

Today, sound has become a tool for propagating truth or falsehood. A prime example of this is the society of religious singers in the country and certain singers abroad. Religious singers have become the voice of the Islamic system, while some singers outside the country represent the opposition. Singers are the only artists who have managed to stay abroad, bringing the opposition out of obscurity, while religious singers in the country sometimes even surpass the clergy in influence, a feat that even the philosophers may find difficult to challenge. This demonstrates the power and grandeur of sound. Both religious singers and artists have the ability to unleash their voices, but if someone lacks the courage or training to do so, they will not be able to harness this power. It is the sweetness of sound that captivates and enchants people in a way no other tool can. Scholars must possess the ability to express their voices clearly and communicate effectively with the general public. Imam Khomeini, in addition to his courage, spirituality, truth, and jurisprudence, had the power to connect with people through his eloquent speech. He had the power to manage his words and deeply affect people’s hearts and souls. Imam Khomeini could easily make people weep, just as he could easily make them laugh. If we look back at the lives of successful people, we find that their families were open-minded, with correct and enlightened thoughts, free from dogmatic and rigid beliefs. Otherwise, their children would not have achieved such growth. The late Imam’s success stemmed from his upbringing in a family where he enjoyed freedom of thought and expression. He grew up in an environment where freedom of speech and action were never restricted.

The Sweetness of Sound

Imam Sadiq (AS) described the science of sound, music, and melody with great subtlety in Tawhid al-Mufaddal, while others like the great philosopher Ibn Sina only touched upon some aspects of it. It is a great pity that capable students or suitable environments to bring forth this knowledge from the Infallible Imams (AS) have not existed. Our Imams were greatly oppressed, and the tradition left by them remains strange even during the era of the reign of the Ahl al-Bayt. Despite these traditions, one feels ashamed to compare Ibn Sina’s statements—no matter how profound—with the words of the Infallible Imams (AS).

In this tradition, not only is there no mention of the prohibition of sound, voice, singing, or music, but sound is described as beautiful and sweet. Thus, it must be said that those who view sound negatively and sometimes refrain from benefiting from it are in contrast to the approach of Imam Sadiq (AS) and his taste. Imam Sadiq (AS), in Tawhid al-Mufaddal, shares principles from the sciences of physiognomy, palmistry, and psychology, highlighting that the speech of every individual is related to the shape of their lips, tongue, and the articulation of sound, revealing the physical challenges related to the mouth, teeth, and pronunciation.

In any case, those who believe that enjoying beautiful and melodious sounds is problematic need to reconsider this viewpoint based on the noble passage from Tawhid al-Mufaddal:

“If there were no hearing, the enjoyment of delightful and joyous sounds, as well as sorrowful ones, would be lost.”

A melodious voice is one that evokes a sense of joy, allure, excitement, and serenity. This characteristic is more commonly found in women’s voices. It is obvious that Imam Sadiq (AS) never values something haram or considers sin as something of significance. Therefore, if he considers joy and pleasure in sound as good, this indicates that the pleasurable nature of sound cannot be a reason for its prohibition. Imam Sadiq (AS) speaks of the beauty of sound in grand terms. If he uses the pleasurable nature of sound as a rationale for its goodness, then it must be deemed permissible and valuable. Based on this passage, Imam Sadiq (AS) places high value on the creation of hearing.

Melody and Sound

We mentioned that sound is the quantity of wave, air, and the movement of breath (exhalation), or a musical instrument. “Melody” is a quality that can be attributed to sound. It is the natural or acquired rhythmic harmony of sound. Melody gives sound the ability to bring joy or sorrow. Sorrow or joy is a description of the internal state of the singer, which manifests outwardly in the melody they produce. Melancholy and joy are the emotions that arise from longing, purity, love, and separation, but externally, these emotions are projected through the melody by the musician or singer.

The pleasure derived from melody and rhythmic singing is welcomed. It is not the case that harmonious sound lacks enjoyment. A healthy person does not dislike such pleasures, and even wild animals can be induced to dance with it. However, if a person desires a rational life based on the preservation of a healthy intellect and moves with willpower, reason, and faith, they must avoid excessive or inappropriate use of some delightful songs and maintain the purity of the soul from such pleasures. The necessary guidance in this matter must be sought from a master acquainted with spiritual ranks, experienced in psychological issues, and also a scholar in religious jurisprudence.

Harmonious and pleasant sound is akin to grease or oil for friction-based devices or hinges, making them slippery. A harmonious sound brings such pleasure or sorrow and joy to the soul that if overindulged, it robs the soul’s inhibiting power and weakens the will. The power of sound lies in the fact that, if given a pleasant and appropriate form, it settles within the soul. Narrating with sound, especially for humans (who possess collective potential), is pleasurable. The pleasant melody that reflects the face of beauty brings it to the mind, reviving and picturing that face is delightful, as the saying goes: “Describing life is half of life”; although, to be more precise, it should be said, “Describing life is the whole of life or more than life.” In worldly pleasures, describing them is more delightful than actually experiencing them, whereas in the pleasures of the afterlife, the experience itself surpasses its description.

When sound takes a fitting form in the context of music, it becomes pleasurable. The subject of pleasure and success is the “soul.” Taking pleasure in music is an instinctive, natural, and inevitable thing for the soul, but such matters are permissible for some while forbidden for others, so that each person experiences a pleasure that is compatible with their nature and does not deviate from the natural course or lead to corruption. When we say music and singing are pleasures of the soul, we mean that music is beneficial for the soul’s development, but not all pleasures and successes are compatible with everyone’s nature or their path to perfection. Therefore, one must identify the natural path of each individual to determine the music most suitable for them and refrain them from those kinds of music that are incongruent with their nature.

When sound is incorporated into a particular musical system and is given a melodic quality, it becomes pleasurable and produces a mental satisfaction. Every person with healthy cognitive and emotional faculties enjoys pleasant sounds. However, a devout person feels discomfort from songs that are sinful, not because of the beautiful, structured sound, but because of the sin associated with it. Anyone who suffers from beauty is not mentally sound. Hence, if a melodic song is not pleasing to someone, they may either have psychological issues or be afflicted with a dry nature.

Taking pleasure in a beautiful sound is a natural instinct. God has endowed humans with the ability to enjoy harmonious sound, although the subject of pleasure is the soul and its mental faculties. Just as every person has a God-given sense of taste to distinguish between good and bad food, each soul has the inherent ability to enjoy pleasant sounds, while dissonant sounds are unpleasant. This statement applies to average individuals, and for regular believers, since they have the necessary rationality and piety, their soul’s pleasures are not dominantly visible. However, the saints of God derive their joy from divine will, not from the things that emerge from the soul.

Natural and Wild Sounds

Sound can either be natural or wild. The criterion for a sound being wild is not the wildness of its source, as for example, although the lion is a wild animal, its sound is natural! Rather, any sound whose nature has been cultivated is domestic, even if its origin is wild, and any sound whose nature has not been cultivated is wild, even if its source is domestic. Humans, as a species, are naturally domestic; however, the sound of many individuals tends to be wild. Therefore, natural sounds are for all beings, while acquired sounds are specific to humans.

A domestic sound, which is inherent and does not require training, varies depending on time and place. For example, a lion or tiger can be trained, and its sound can be domesticated, or a lion’s roar can be taught to resemble a cat’s meow, just as a cat can be taught to sound like a lion. Similarly, a human’s sound, through education, can be transformed from wild to domestic.

A person who cannot perform musical scales correctly or appropriately has not cultivated their natural wild nature. However, someone who is in tune with nature is domestic because their natural training has shaped them. Just as aphids are not natural for trees, if the health of the tree is managed correctly, the aphid will not infest, and similarly, if a tree does not bear fruit, it has not been properly pruned. These are not inherent qualities of the tree, and with proper care and training, such issues can be prevented.

The Difference Between Human and Animal Sound and the Place of the “Language of Birds”

Although both human and animal sounds can be either wild or domestic, the difference between human and animal sound lies in the fact that animal sound is natural and simple, while human sound is composed, blended, and collective, due to the collective nature of humans. Animals cannot produce more than one or a few limited sounds, whereas humans can. Humans should not only engage in writing and reading but also interact with nature and sometimes, for instance, observe how a mosquito or fly moves to uncover many truths. While animals possess harmonious sounds and move beautifully, unfortunately, some people become so engrossed in papers and pens that they overlook the divine and celestial truths that could be found right here and now, discussing things that are beyond their immediate understanding.

If animals are placed in a laboratory environment, humans would realise that a fly possesses a perfectly suited body and beautiful sound, naturally domesticated. However, a human who has lived in different homes, cultures, and under various masters will find their sound corrupted and wild. That is why many music instructors are reluctant to accept students who have previously studied under someone else, as their sound may be “used” and not pure.

Another difference between human and animal sound is that human sound, being collective, is open, while animal sound is not, and they can only produce one or a few notes. The act of mimicking animal sounds or understanding their language, known as the “Language of Birds,” comes from an understanding of their notes and the musical scale they use. As we are told, the Prophet Solomon knew the seven types of sounds of animals and the specific musical scale each animal used, just as the ant’s speech was understood by Solomon.

Human beings, possessing a collective nature, can communicate with animals, which cannot do so because they lack collective faculties. Communication with animals is an intermediate skill and does not require divine infallibility, which is a higher and more advanced status. Human potential is very high, and one simply needs to activate and develop their hidden abilities. The infallible beings (Ahlul Bayt) have utilised all of their potential, whereas regular humans remain unaware of their latent abilities. It is not the case that God gave the “Language of Birds” solely to Prophet Solomon, but rather that humans, by virtue of their collective nature, possess all of God’s names and attributes, and just as God has power over all things, so do humans, and conversing with animals is one of the manifestations of this power.

Training Sound

Natural sound is endowed to all, but the distinction of humans lies in the fact that they must undergo proper training to avoid their sound becoming wild. While human sound is inherently natural, it is wild until it is trained. Despite the potential to produce beautiful sounds, a person’s sound is often unrefined, as they have free will and training can refine it. Animals, lacking such free will, are not wild and are naturally trained by nature to produce harmonious sounds.

The role of a coach or master in refining sound is critical. Without a skilled coach, a child’s sound can become distorted and wild. Nature itself, however, does not cause such issues. Wild sounds, if not trained, become dissonant. Just like wild trees grow without interference, but cultivated trees need a gardener to ensure their growth, human sounds, which require training, can either remain wild or become harmonious, depending on the expertise of their trainer.

The Influence of the Environment on Sound

The environment, whether open or closed, influences the sound. Living in a confined space, like a small apartment, limits the mind and shortens life. For instance, if a lion is kept in a cage, its roar changes and becomes wild. On the other hand, if a person has a spacious home and open environment, their sound remains domestic. Even if one lives in a confined space, they can at least go to the street or park during the night to release their pent-up emotions and sounds.

The Impact of Clean Air on Sound

In addition to proper breathing, clean air is essential for producing beautiful melodic sound. The significance of breathing clean air is especially important for those engaged in spiritual and mystical practices. Polluted and stale air clouds the mind and dries up the wellspring of thought. It is advisable for spiritual people to live in natural, open spaces under the sky, avoiding indoor, enclosed environments as much as possible.

For producing a proper voice, one must practice correct breathing. Without exercise and proper breathing techniques, one’s voice will lack harmony. Regular physical activity helps keep the lungs clear and healthy, contributing to the clarity of one’s voice.

Softness and Flexibility of Sound

Sound requires freedom, elasticity, and smoothness. Just as gymnasts have flexible bodies that act like springs, a person with a stiff body, when bent, will create a sound like that of a dry piece of wood.

Roughness of Sound

Another characteristic of sound is that sometimes it is clear, and at other times it is rough and gritty, like the sound of a radio, which sometimes has a clear signal and at other times a rough one. When the frequency of sound increases and becomes coarser, the sound becomes rough. The roughness of sound, in its normal state, is not easily noticeable. However, a person with an understanding of acoustics can identify the frequency of sound, its qualities, and, for instance, the roughness in it.

Conditions Affecting Music

Just as sounds differ from one another, so does music. Some types of music are unpleasant or jarring to certain listeners, while others are enjoyable. Music has both form and content. The form of music refers to its structures, compositions, and rhythms, while its content consists of the melody and mood associated with the music. Just as the forms of music differ, so too does its content, and this is relative—it varies depending on individuals.

Just as sound and voice have different qualities, so do listening and hearing. At times, a person is happy, and at other times, they are sad, and each of these emotional states affects the listener differently. Sometimes the sound matches the mood of the listener, bringing them joy, while at other times, it does the opposite. Even a pleasant sound, one that fits the listener’s mood, can become bothersome if it is too loud. The loudness or softness of sound is also relative and varies from person to person; location also plays a role. For instance, if someone raises their voice a bit louder than usual in their home, it can become irritating because the small space amplifies the sound, whereas the same person yelling in an open desert won’t be bothersome due to proper sound reflection. Some people have sensitive ears and can hear faint sounds from a distance; thus, the appropriate loudness and softness in prayers depend on the individual, as each person has different auditory characteristics.

Music: A Systematic and Harmonized Study of Sound

So far, we have established that the subject of music is sound. Music as a discipline seeks to give sound order, harmony, and a pleasing form. This effort takes place in two forms: theoretical and practical. Theoretical music involves understanding the subject, principles, and scientific matters of music. Practical music involves the skill of applying theoretical musical knowledge. One may learn music theory well but may be unable to apply it practically. A musician wanting to learn the accordion or the ney cannot learn simply by reading about it; they must actually play the instrument. Similarly, a singer wishing to learn a particular musical scale, such as the Chahargah, Segah, Shushtari, Hijaz, or Abu Ata, must sing; otherwise, how can they learn? Every musical scale has its own rules that must be distinguished in practice. Music is not a purely theoretical or abstract science but a discipline that has practical, achievable applications. Music is the art of human sound and the skill of one’s hands. One becomes a musician by learning how to sing or play an instrument. The knowledge of music theory is only useful when applied in practice, as sound and melody emerge from it. Thus, theory and practice in music are intertwined. One does not become a musician after a single practice session; rather, repeated effort and continuous practice are required to master a musical scale.

Someone who does not know music or cannot apply it has unnatural (wild and unrefined) sound. In contrast, someone who has this skill can control their voice as if they hold it in their hands, using it wherever they desire. We spent several years learning our vocal techniques, even avoiding cold water during the summer, because cold water can irritate the vocal cords and make it harder to control the voice.

The Relationship between Melody and Space

Just as a person’s emotional state greatly affects what they hear, sound also has an impact, and a sound may either lead someone to an inappropriate place or distance them from one. This indicates that the context is essential for the melody, not the atmosphere. Melody in music and song has a powerful effect on the listener and can evoke either joy or sadness. Depending on the person, different sounds and melodies should be used in different contexts; for example, a sad song is appropriate in times of sorrow, while a joyful melody should be used in times of happiness. Time of day and weather also influence how music is performed. Certain people have the ability to perform melancholy music even in happy moments without causing harm, but unfortunately, few people make use of this ability, and many Muslims have distanced themselves from this art.

The Meaning and Essence of Sound in Music

We have stated that music focuses on sound and aims to bring harmony and order to it. Music is not just a form of rhythm or a melodic voice; it is also a carrier of meaning. The form of music, the melody, and the rhythm all contribute to its meaning and soul. Music is not just a wave or sound; it carries truth, spirit, and content, which can stir emotions and lead people to action. If music were only about shaping sound without meaning, it would only provide temporary pleasure and induce a state of excitement. The joy and pleasure derived from music come both from the music itself and the listener’s internal response.

Some consider music a mere form without substance, claiming that if music had meaning, it would have the same effect across all cultures. However, Eastern music does not evoke the same emotional response in Western listeners as it does in Eastern listeners, just as certain smells, like flowers or the scent of water, may have universal appeal, but not all experiences are the same across cultures. In reality, the emotional impact of music varies because it carries a different meaning for different people. Music has its own spirit and truth, much like the material world.

The notion that music has a spirit does not mean it has a spirit similar to that of human beings or angels, but rather that every material has its own essence. Just as every soul demands a corresponding body, music’s form, essence, and spirit combine to evoke an emotional response.

Sound as a Silent Word

We have discussed how music shapes sound and conveys meaning. On this basis, music is similar to the use of words. Sound and speech have both form and content. The content of this form is the meanings that are carried by sound. Since music and rhythmic sound are forms of speech, words can be categorized into two types: silent and spoken. The sounds and voices of words are expressions of the heart. This is why sound and voice are the forms of words. Just as words convey meaning, so too does music through its sound and rhythm.

The distinction between meaningful and meaningless words is not as clear as it seems. Even so-called “nonsense” words can carry meaning in certain contexts. In the natural world, there is no meaningless sound—every sound has a purpose and a message. Even sounds like a cough or a sigh carry information, much like the speech of a person in a state of delirium or unconsciousness, which can be incredibly revealing of their true feelings.

Thus, in both spoken and musical expressions, meaning is inherent, and there is no such thing as sound or speech without meaning. Just as different sounds can be used in music to convey various emotions, so too can words and phrases be used to communicate ideas.

Conclusion

Music, like speech, is an essential form of human expression. It has both a form and a meaning, and its impact is shaped by the emotional and spiritual context in which it is experienced. Just as words convey ideas, so too does music convey feelings and ideas through its rhythms, melodies, and harmonies. Understanding music and sound is not just about technical mastery; it is about connecting with the deeper emotional and spiritual truths that sound can communicate.

As God has given us eyes and ears to see and hear, and a throat and voice to speak gently and sing aloud, it is not the case that speech is solely for amusement, play, or distraction, although it can certainly serve those purposes. Of course, there are also harmful uses of speech, such as backbiting, slander, and similar things, just as the eyes can also be used for sin. However, this does not mean that we should abstain from enjoying beautiful sights or consider them futile.

Now, the one who sings, their voice, tone, inflections, and rhymes all emerge naturally and instinctively, and this is the art of music that can acquaint us with the subtleties and truths it holds. Just as early humans did not know what fire was, but through intellectual progress, now even air can be set on fire, so too have sound, voice, musical modes, and instruments followed a similar path, originating from human nature and evolving progressively. Sound and voice are part of the inner melody and its nuances, just as poetry is. One of the human talents and specialties is composing poetry. As human thought has advanced, countless poems have been written, many of which astonish scholars and the spiritually inclined.

The term “diacritics” refers to the marks that indicate movement or modulation, much like how sound and voice reveal the inner workings of a person. As the saying goes, “What is in the jar is revealed when poured out,” so too can speech sometimes reveal the innermost thoughts, either through spoken words or through a cry. Speech can be vocalised or silent. There is unity between speech and sound, and sound cannot exist without speech. Moreover, speech in this context refers not only to meaningful words but also to the vocal sounds that give meaning. In certain places and times, one must shout or sing, and there is a close relationship between voice and certain matters. An example of this is fear. When someone is afraid, just like a person walking in a dark alley or a quiet street, they might start to sing or shout.

A person who dreams and faces a difficult situation may, unintentionally, speak or scream in their sleep. If this doesn’t happen, they may suffer from neurological disturbances and potentially become mentally ill.

God, in His infinite wisdom, has provided the voice as a reassurance during moments of intense fear. Without this, many fears could lead to a stroke. This is like someone who has a fever: if the fever rises beyond the normal threshold, it may cause convulsions. The fever is like the heat under a pot, and if it gets too high, the water inside may overflow. To prevent convulsions, the body’s temperature must be reduced with measures like a sponge bath, which does not eliminate the fever but merely lowers it and directs it away from the brain.

Music: The Knowledge of the Soul’s Melody

The study of music is the study of the soul’s melody. Music is the knowledge of “the speech of the soul.” The speech of the soul is the language of all phenomena and of existence itself, and it is a speech that is contained within the being, not made public, requiring a sharp ear to trace and understand. When a bowl is struck, the bowl itself may not comprehend the sound, but its essence does. The sound of the bowl is the speech of its soul, just as the echo of a cry beneath a dome or the sound from a vessel is different from the voice of the vessel itself. All these external sounds have a different nature than the internal voice of the object. Not only the bowl but every phenomenon is aware of the sound of its own soul. The melody of the heart is expressed through voice and sound, which take on external forms. It is through this sound that we can observe and discern the inner state of a person, much like how a person’s facial expression can reveal their inner secret.

This idea that speech is not merely verbal but also a sound, albeit silent, holds immense significance in the study of music, especially when considering the progress this knowledge has made. If this knowledge continues to be managed and developed by philosophers, as it has in the past, rather than being obstructed by superficial scholars, it will continue to offer deep insights.

A person who does not understand the complexities of music is like one who sees a rectangular dining table but, upon entering a restaurant where the tables are round, declares them not to be tables and insists they should be removed. The study of music is a highly intricate subject of great importance, and its significance will be addressed further when we discuss the “importance of understanding musical modes and systems.”

Nature: The Teacher of Musical Modes and Instruments

Just as Aristotle, through careful observation of human discourse, discovered logical propositions, musical modes and instruments have been derived from nature and human dialects. The first musical instruments are attributed to the philosopher Pythagoras, who, through his observations, created the “tar” from the sound of a hammer striking an anvil and the “barbat” (lute) from the sound of wind blowing on a hollow rock. Musical systems and instruments have been shaped by the thoughtful observations of philosophers regarding nature. For example, by studying the human auditory system, certain musical instruments were designed, especially wind instruments. If one blows into a leek stalk, the pleasant sound of music arises, similar to the sounds of a flute or reed pipe.

Nature and physical objects have played a fundamental role in the creation of musical modes and science. Humans have used their intellect to uncover and understand these processes. In every culture and nation, with different languages, various melodies have been discovered. In Persian, these discoveries are referred to as “maqam” or “dastgah,” which is the general framework of a melody and the shape of sound.

Sound, and its form, have nature, system, rhythm, meter, and cadence. Sound and its essence are part of both human nature and other phenomena, and even the divine and abstract realms possess their own sound and speech.

The musical modes and systems that exist among different cultures have been discovered through nature and are named after the shapes they take. Over time, scholars have painstakingly identified and documented these modes, contributing to the historical body of knowledge on the subject.

The Structure of Musical Sound (The Musical Systems)

Sound is like the movement of a car. When the car is in a low gear, it moves slowly but with more power. This low gear is suited for situations where movement requires strength rather than speed. If a higher gear is used, it can damage the car, and movement may not be possible. We mentioned earlier that sound can be either high-pitched or low-pitched. The beginning of a musical performance, known as the “introduction” or “daramad,” is like driving in a low gear. It must be performed with a deeper voice, which sets the tone for the musical system. After establishing this deep sound, the voice must gradually shift to a higher pitch, just as the car moves into a higher gear.

The introduction leads to the next phase, which is the “peak” of the performance. Following this peak, the music returns to its starting point, much like a car returning to its initial speed after reaching top performance. Through this progression, the sound forms a coherent and balanced musical structure, called a “dastgah” or “mode.” Each section within the mode is known as a “takkah.”

A singer must master the introduction so that, when reaching the peak of the performance, their voice does not weaken. If the introduction is sung too loudly, the singer may lose vocal power during later sections of the performance. Hence, balance and strength must be maintained throughout the musical journey. The peak and final sections of the mode are like the rhyme in poetry, which should harmonize with the rhythm of the words.

Occasionally, a singer may experience vocal weakness and, if they struggle to continue, they can alleviate this by entering a lower pitch or singing a different melody to regain their strength.

The segments of a musical mode, known as “gushes,” are distinct from the mode itself. Each mode has several specific “gushes” that define its structure. Some modes share common “gushes,” while others may be unique. Each “gush” is akin to a street branching off from the main road of a mode.

Each of the devices and fundamental lines of Iranian musical themes possesses various sections. These sections have a special value in the context of musical art, holding a distinctive place and being of particular interest to the professionals in the field. One example of such sections is the “Gah” (meaning time or period). The term “Gah” refers to the ceiling or pitch range, which changes. When the pitch range of the device changes, the device itself also changes, transforming into a “Dugah,” “Sogah,” or “Chahargah.” The core of these devices is close to one another, with “Sogah” being the most important and softest. “Dugah” is very delicate and low-pitched, with an extremely soft texture. “Chahargah” is louder and has a sharp and intense character. “Chahargah” is used in the rhythms and rituals of ancient clubs and also in Ghazals of the tavern poets, as well as in the Homayun and Mahur modes. “Chahargah” is a suitable device for dance and includes a variety of rhythmic cycles, ranging from one beat to the complexity of ten, twenty, thirty, or forty beats.

Devices correspond to the vocal range of individuals, and it is not possible to fit every device to every vocal range. Some people sing Bayat-e-Turkm well, while others are better suited to singing Ishaq or Rajeh and so on. Devices are like sounds; just as natural sounds differ, so do musical devices.

At times, a device is free-form, while at other times, it is performed in a specific style. Sometimes, a performance may lose its proper tone due to a lack of adherence to the established rules and techniques of singing.

Beyond the device, sections or fragments also take on various styles, such as the Mokhalef-e-Mo’ammali and Mokhalef-e-Golpa, or in the Shushtari device, the free style or the Abdulwahab Shahidi and Gabri style.

“Style” is distinct from the device itself. Two people can perform the same device in different styles. Style is a creative act, while the device is something that has been discovered, inherent in nature. Occasionally, skilled masters invent new styles. Style is the personal characteristic that a singer or performer leaves in a device. To illustrate the difference between style and device, one can compare wheat and barley, which are two different species. For example, Homayun and Mahur are two distinct devices, like the difference between wheat and barley. However, the difference in style is like the difference between Shiraz wheat and northern wheat. Both are wheat, but they are different, each with its quality and characteristics. Shiraz wheat is dry, while northern wheat is moist. Similarly, the style of one performer in a device may differ from the style of the same device performed by another singer. In tone, one must respect the device to avoid “losing tone” (deviating from the style, section, or device). However, it is possible to apply different styles within one device. Sometimes, a highly skilled performer may create their own version of a device without deviating from the known tone.

Accents have a significant effect on the construction and transformation of devices. For example, Bayat-e-Turk is very different from Bayat-e-Isfahan, even though both are of the same Bayat family. The same is true for other devices, which change based on the singer’s accent. Dashtestan is suitable for the Dashti tone, Zabol is used in Chahargah, and Shour-e-Shiraz is associated with Shour.

Persian music contains many devices and scales, with well-known examples such as: Afshari, Dashti, Isfahan, Abu Ata, Homayun, Shushtari, Shour, Shour-e-Shiraz, Pahlavi or Masnavi, Segah, Chahargah, Mahur, and Rast-Panjgah. Here, we provide a brief explanation of each.

Afshari Device

Afshari is a melancholic device, a language of sorrow. It is rarely used for joy or celebration. This device expresses dignity and detachment in its portrayal of feelings. Many Persian poems suit the tone of this device. It has many beautiful sections that exhibit particular attention to detail.

After the Daramad, Afshari moves into Iraq and reaches a peak with the Rahav or Nava section, before returning to Daramad with a low-pitched melody.

The standard reading of this scale can either be simple or complex. In the latter, the freedom of taste, creativity, and mastery of sections dominates.

Afshari is one of the important general devices used for Mehreb, reading elegies, prayers, the Adhan, and similar spiritual purposes. The Qur’anic verse “And recite the Qur’an in slow, measured rhythmic tones” cannot be performed without an understanding of Afshari. The bases of Afshari are Iraq and fine details, much like Segah and Chahargah.

Segah Device

Segah is the device of love and joy. It is joyous and has a delicate and refined quality.

This device is heavy, with an even balance between its high and low pitches. Its various modes exhibit a particular natural harmony. Among all devices, Segah is known for its strength and renown.

After the Daramad, Segah introduces Mouyeh, Mokhalef, and Moghoul in sequence, following a downward pattern and returning to the low-pitched Daramad. Segah has its own exclusive sections, which add to its grandeur.

Dashti Device

Dashti is a device that only evokes sadness and sorrow, setting the heart of the lover aflame with passion. Although this fire soothes the heart, it is intense. In this scale, only particular poems are suitable; it does not work with all kinds of poetry. In contrast to Segah, which works with a wider variety of poems.

Dashti begins with Daramad, then moves into Rajeh and Ishaq, building to a peak of Shour, before returning to the low pitch of Daramad. Its sections follow a profound emotional trajectory, from love to despair and from yearning to separation, always expressing complaints, longing, and desire.

Isfahan Device

Isfahan is a delicate and melodious device that has a special sweetness and charm. In the language of spiritual seekers, it is a “heart-breaker.”

This device moves from Daramad into Rajeh, reaching a peak with Ishaq, before descending into Shour and returning to Daramad.

The Saqi-nameh (Cupbearer’s Song), a lament of the lovesick soul, is a distinct section in the Isfahan device. It maintains its artistic independence, standing out from other sections, just like the Masnavi.

Abu Ata Device

Abu Ata is an exalted, joyous device that calls for gardens, fields, and the natural world. It is a voice of nature, evoking the sounds of the sea and desert, enchanting the soul.

This device moves from Daramad into Hijaz, combining elements of Kobari and Shour-e-Shiraz, before returning to Daramad. Its most notable section, Zarabi, holds a particular charm and is performed in a 6/8 time signature.

Homayun Device

Homayun is a refined and soulful device, invoking the dawn and the beauty of nature. It is the voice of the lover and the mystic in the fields, gently weaving melodies.

After Daramad, it enters into Chakauk, moving into Bidat before reaching its high point with sections like Leyli, Majnun, and Bakhitari, followed by Rajeh and a return to its low pitch.

The Dastgahs and Their Components in Iranian Music

Each of the fundamental systems and rows of Iranian musical modes contains various “gooshehs” (musical phrases). These gooshehs hold a special value in the context of musical art and are of particular interest to those versed in the art. One example of a “goosheh” is “Gah,” which refers to the pitch ceiling, which changes. When the pitch ceiling changes, the entire system also changes and can transform into the two-gah, three-gah, or four-gah modes. The essence of these systems is quite similar, with the three-gah mode being the most important as it is soft and gentle. The two-gah is highly detailed, with a low pitch and a very soft quality. The four-gah mode is deep and intense, and it has a sharpness and distinctiveness to it. The four-gah is used in ancient beats, in the poetry of taverns, and in the modes of Homayoun and Mahur. It is especially suitable for dance, with its beats being one, two, three, up to ten, twenty, and even thirty.

The modes are aligned with the vocal ranges of individuals, and not all systems can be performed within every vocal range. For instance, one person may sing well in Bayat-e-Tork, while another might perform well in Ishagh or Rajeh, and so on. The systems are like voices themselves, as just as natural voices differ, so too do these systems.

At times, a system is performed freely, while at other times it is executed in a particular style, and sometimes it deviates from its prescribed norms and tones, resulting in an off-tone or “lahan kharej,” where the singer’s performance goes outside the boundaries of the system.

In addition to the systems, each goosheh or section can adopt various styles, such as the regular “Mokhalef” or the style of Golpa, or in the case of the Shushtari system, the free style or the style of Abdolvahab Shahidi and Ghabri.

Style vs. System

“Style” is a distinct concept from the system itself. Two different singers can perform the same system but in different styles. A style is a personal invention, while a system is an exploration, an emergence from nature itself. Sometimes, masters and experts of the craft invent new styles. The style represents the unique imprint of an artist within a particular system. To illustrate the difference between style and system, one might compare wheat and barley: although both are types of grain, they differ. Similarly, Homayoun and Mahur are distinct systems, like the difference between wheat and barley. However, the difference in style is more like the difference between Shiraz wheat and northern wheat: both are wheat but have distinct characteristics. Shiraz wheat is dry, while northern wheat is more moist. Similarly, the style in which one singer performs a system may differ from the style another singer employs for the same system. In performance, one must adhere to the system to avoid “lahan kharej” (straying from the style or system). However, it is possible to have different styles even within the same system. A highly skilled singer, for instance, might perform a system without straying from its known tonality or “lahan kharej” while creating their unique take on it.

Accents and Dialects in the Construction of Systems

Accents are highly influential in shaping and altering the systems. For example, Bayat-e-Tork and Bayat-e-Esfahan are very different, even though both are from the same Bayat family. This is true for other systems as well—altering the singer’s accent can significantly change the nature of the performance. Dastestan is tied to the Dast region, Zabol to the Chahargah, and the Shiraz variation of Shur is unique to that region.

Iranian Music and Its Systems

Iranian music contains numerous modes and systems, with some well-known examples such as: Afshari, Dashti, Esfahan, Abou Ata, Homayoun, Shushtari, Shur, Shur Shiraz, Pahlavi or Masnavi, Sehgah, Chahargah, Mahur, and Rast-Panjgah. Below is a brief description of each.

Chapter One / Philosophy of Music

Unfortunately, throughout history, the disinterest of the people of truth in music and the world of politics has often led to the dominance of the people of falsehood in many areas. Today, the economy, politics, music, and every tool are in the hands of others, and Muslims have been disarmed and lost many of these areas. Foreigners, detached from religion, push power in broad propaganda, seemingly rejecting it, but in reality, they draw it closer and become the leaders in the political scene. When people see them and the people of truth step aside, they forget the meanings of words. They present politics, which is the power to manage phenomena to bring them to their natural good, with their deceitful behavior, as something cunning, a game, and a trick. When politics is taken from the hands of the divine friends, one should not expect anything else. When love was taken from Joseph, it should be sought in Leila and Majnun, Shirin and Farhad, and Khosrow and Shirin — which are a lower level of it. Music also shares the same fate. The sound that could have been David’s has fallen into the hands of the riffraff, and they have mastered it so much that it is no longer easy to free it from their grip. We know the divine friends and mystics, whose existence is very precious. They lie in wait for nature and discover or invent a system; but alas, we do not make use of these systems, and it is the corrupt dancers who, without the necessary scientific awareness, use them. A sample of this statement is the case of philosophers, thinkers, jurists, and scholars who spend long years of effort and asceticism to become real experts, but nothing reaches the people; while someone with little knowledge of religion, having acquired it from hearsay without any effort, prattles and pockets material and sometimes spiritual opportunities.

Some of the systems belong to well-known nations and peoples. Some systems are general, while others are regional. Dughah, Saghah, Chahargah, Rastpanjah, Mahur, and Homayun are general and universal, while Isfahan, Dashti, Bayat Tork, Shour, Shour Shiraz, and Shour Shirin are regional. Sometimes, a particular people, over time, have worked hard to complete a sound and bring it to perfection.

The Importance of Recognizing Musical Systems

We said that sound has various scales and notes that sit together, forming words like the letters of the alphabet. Identifying these notes decodes the heart’s speech of the sound’s owner.

We will proceed to mention how the music of certain surahs and verses from the Holy Quran and some prayers influence the soul and spirit of humans, so the necessity of recognizing musical systems becomes clear. Sound and voice are divine gifts that God has bestowed upon humans, as well as on other phenomena. Every phenomenon has a pleasant sound and a corresponding system. One of these phenomena is Surah Al-Fatiha. Surah Al-Fatiha has its own musical system in which some poems can be performed and sung.

In the supplications and in the Sahifa Sajjadiya, there are also systems that all have a spiritual rhythm! Music is the universal and natural language of phenomena, and reason does not approve of always staying away from it. An ordinary person, for their healthy life, needs to use song and music while keeping within religious boundaries.

The Musical Sound of the Holy Quran

The Holy Quran, this only complete divine book, contains various musical systems. Systems that are unique to this heavenly book. When a music master reflects on the verses of the Holy Quran, they will find that the entire book has a melody and rhythm, and they might think they are holding a musical book. The Arabs, who listened to the most eloquent of odes and considered themselves the only owners of it, found the Quran more eloquent than their own odes, and its systems unknown to them.

If someone has knowledge of acoustics, they will realize, in the study of the linguistics of the Holy Quran, that the sound and voice of the Quran are unique and that language does not play a central role. For example, it is not that the sound and musical language of the Quran are Arabic. The language of the Quran is the language of nature, and even animals are not foreign to this language. To understand the melodic meanings of the Quran, it is not even necessary to know Arabic. Anyone who is aware of acoustics and the voice of nature can understand what the Quran says, even if they do not know Arabic or Persian.

If the systems and styles of various sounds and voices are known, it will be realized how God revealed the Quran to Gabriel, and how Gabriel received it. The voice of revelation and the voice of divine lordship are secrets of existence. Is revelation a material sound or immaterial and abstract? In any case, sound and voice are profound realities that humanity has not yet fully understood, and they have not been able to learn from the divine prophets. The sound that the prophets used to purify their hearts and nurture their love for God.

Imam Sajjad (7) recited the Quran so beautifully that some would faint. The water carriers, upon hearing His mesmerizing, tender, and celestial voice as He recited the Quran, would lose their senses and become so enchanted that, despite holding water containers and walking in the heat, they would lose their consciousness, as if they were addicted to this act, and it was always the same with them. They would gather in groups. The reason some of them fainted was the ecstasy present in the sound.

The imams, being innocent and possessing divine knowledge, had a purity and sincerity in their beautiful voices that made them soothing to the heart. The divine light of prophecy and guardianship manifested in the faces and words of the divine friends. Such truths do not need further investigation, and anyone who has caught even a whiff of the truth of guardianship will find it comprehensible.

If the Quran and the supplications of Ali, Sajjad, and Mahdi, as well as the supplication of love from Fatimah (3), were presented with a beautiful voice, the very skies would part and the hearts of all who passed by would be taken. Just as the travelers would faint at the sound of the Imams (7). Of course, reaching this level requires education, training, and the nurturing of some righteous individuals. The profound words of the Sahifa Sajjadiya, like modern weapons to overthrow corrupt systems, are highly effective, but who truly understands their value and knows how to use them?

Some verses of the Holy Quran carry sadness, while others carry joy. Many verses of the Holy Quran can be used to cure spiritual and psychological illnesses, but unfortunately, the Quran is not being used, and the Muslim community has neglected this divine book, leaving it abandoned and forgotten.

The one who has the melody of reciting the Holy Quran should recognize the musical systems, so when they reach a verse about punishment, they do not recite it joyfully, and when they come to a verse of joy, they do not recite it as if it were one of punishment. The verse about God’s mercy is different from the verse that says: “Say: ‘Be cast into it [Hell], and do not speak to Me.’” Therefore, it is necessary.

The text mentions that when the Trumpet is blown, everything in the heavens and the earth will be overwhelmed, except for those whom God wills. What we have heard about the Trumpet is often associated with fear and terror, yet this is not the case. The sound of Israfil’s trumpet is among the most beautiful of voices. In the narration of Mufaddal, we will discuss this further. How is it that the voices and recitations of the divine saints could cause people to faint and even die upon hearing them? People with a refined sense of taste can distinguish between different types of food, but understanding the beauty of a voice—one so exquisite that it could overwhelm or even kill—is a concept that is not easily grasped.

It is worth considering how Imam Hasan, Imam Sajjad, Imam Baqir, and Prophet David (peace be upon them) recited, and with what style and technique, such that they left all listeners in awe. The sound of Imam Sajjad’s recitation was so powerful that even those carrying water would be overwhelmed by it. A narrator once asked Imam Reza (peace be upon him) if the Prophet Muhammad (peace be upon him) raised his voice during prayer and while reciting the Qur’an. The Imam responded that the Prophet did so in accordance with the capacity of those praying behind him, for if the Prophet had raised his voice slightly more, no one would have been able to endure it. This indicates that through the voice, one can elevate or constrict a soul. However, Muslims have not had the proper framework to utilise this divine gift in its lawful form. Now that the Islamic government rules the community and the religious institutions have expanded, there may be an opportunity to encourage people to use this remarkable gift in spreading the love for the Prophet’s family.

The voice and sound are the sustenance of the heart, and this is why the Qur’an says: “And when the Qur’an is recited, listen to it and be silent, that you may receive mercy” (Qur’an, 7:204). In other words, when listening to the Qur’an, one should provide nourishment to their soul by fully engaging with the divine words, without distractions.

Sadly, since we have not been able to guide those with beautiful voices, the domain of sound and music has fallen into the hands of the vulgar and immoral, who have dominated this field. As a result, the use of sound and music has been prohibited when associated with sin and misguidance. However, it should be noted that sound, in itself, is a beautiful and virtuous thing, and it is not the voice or sound that is condemned, but rather the way it is misused for sinful purposes. A beautiful voice is a gift that was given to all the prophets and saints, and it is a reflection of divine grace. The Qur’an mentions the beauty of voices, and all the prophets not only had a beautiful voice but also possessed a beautiful appearance, which was a divine blessing.

The beauty of the sound in Qur’anic recitation, which is known as “tarteel” (recitation with precision and beauty), cannot exist without a sense of rhythm and melody. A good voice with proper modulation makes the recitation of the Qur’an more enchanting, and without it, the voice remains ordinary and devoid of beauty. The supplications of the prophets, as shown in various supplications, adhered to specific modes and rhythms.

Imam Sajjad’s recitation of the Qur’an and his supplications were so beautiful that even those who were burdened with heavy loads, such as water carriers, would be mesmerised and remain still, overcome by the beauty of his voice. The narration emphasizes that Imam Sajjad, while reciting, was always engaged in a form of worship, never distracted by worldly concerns.

The voice of Imam Sajjad was so captivating that it could hold even the water carriers, who were accustomed to walking under the scorching heat of the desert, in a state of stillness. This not only reveals the beauty of his voice but also suggests that he was mindful of the listeners’ ability to endure and enjoy his recitation.

Islam does not condemn beauty or enjoyment in itself; rather, it celebrates it as a divine blessing. Beauty in voice, just as beauty in appearance, is a form of perfection. The Qur’an encourages a beautiful, melodious recitation, as it helps those who listen to it to reflect and feel the divine presence more profoundly.

The Prophet (peace be upon him) also had a beautiful voice, which he used to recite the Qur’an in such a way that it was not overwhelming for the listeners but still captivating. His recitations were measured and suited to the capacity of those who listened. In contrast, many today fail to utilise the power of their voices to spread the message of faith, and unfortunately, the media often promotes distractions that keep people awake late into the night, making it difficult for them to wake up for Fajr prayer.

In the past, Muslims would rise early in the morning, and the beautiful sound of the Qur’an would fill the home, but today the modern distractions have caused many to forsake such practices. This shift has led to the erosion of beneficial daily routines, as television and other entertainment platforms now dominate people’s lives, leaving them sleep-deprived and spiritually disconnected.

It is in this context that the narration reminds us that the Qur’an was revealed with sorrow, and thus it should be recited with emotion and sorrow as well. This emotion is not only for personal connection but also serves to remind us of the separation of the Qur’an from its divine source. The narrations encourage us to recite the Qur’an with emotion, allowing us to feel the depth of its message.

The notion of reading the Qur’an with “ghina” (melodious recitation) is emphasized in the narration that stresses the importance of emotional engagement with the Qur’an. When recited with sorrow, the Qur’an becomes more impactful and meaningful, just as the Prophet (peace be upon him) and the Imams would recite with beauty and emotion. The intention behind these narrations is not to impose a rigid rule, but to guide people towards reciting the Qur’an with love, reverence, and a sense of devotion.

The practice of adhan (the Islamic call to prayer) is highly emphasized and is considered a strongly recommended act in Islam. The significance of adhan is such that, according to Islamic scholars, if a person begins the prayer without the call to prayer, they may interrupt their obligatory prayer in order to recite the adhan. The phrases of adhan are entirely characterized by istila’ (elevation) and do not feature any lowering or subjugation. The elevated nature of the adhan not only expands and broadens the soul but also frees the caller’s voice, guiding them to raise themselves. The adhan is elevated, while acts such as bowing (ruku) and prostration (sujood) are considered acts of lowering. As one cannot suddenly move from the height to the low, certain phrases of the prayer such as “Rabb al-‘Aalameen” (Lord of the Worlds), “al-Din,” “Nasta‘een” (We ask for help), “Ihdina al-Sirat al-Mustaqeem” (Guide us to the straight path), and “Dhallin” (those who have gone astray) are intended to prepare the individual for bowing and prostration. The Shari’ah teaches that a prayer which lacks elevation at the start is incomplete; therefore, one may leave the prayer in order to perform the adhan.

The adhan represents the summit of the prayer, and if it is not recited or its elevation not attained, the current prayer may be abandoned until the elevation is achieved. This rise and fall described here is akin to the ebb and flow of the soul, as we discussed with respect to the voice. The qabd (contraction) lifts the person, while the bast (expansion) broadens them, lowering them. If a person does not elevate during the prayer, they lack the ability to transcend the earthly realm and cannot journey to spiritual ascension. Those who do not leave the worldly concerns behind during their prayers are unable to free themselves from their worldly distractions and are often preoccupied with various issues. Those who struggle with a lack of focus and concentration in prayer, suffering from doubts and misgivings, can remedy this by correctly reciting the adhan and the iqama.

The Music of Prayer

Prayer has a melody. The necessity of intonation in its recitation is clear. The elongated sound of words, such as “wala al-dhallin,” creates a musical scale, forming a device of melody. In Surah Al-Fatiha, the elongation of sounds produces various tones, making it the most challenging part of the prayer. Allah says, “And recite the Qur’an with measured recitation” (Al-Muzzammil 73:4). The purpose of this is to maximize the benefit of sound and voice, not solely for sin or frivolous purposes. This aligns with the well-known saying that the mosque door should never be closed for the sake of one person who does not pray.

Voice and sound are nourishment for the heart, which is why a prayer that lacks proper tone and rhythm can harden the heart, distancing it from spiritual sustenance and making it uncomfortable. A prayer recited without this musical element, akin to the mumbling of Jews while reading the Torah, is not a prayer of true faith. The guidance to recite with melody is essential for focusing one’s attention on God, helping the worshipper to direct their heart to the Divine and seek the beloved’s presence. However, someone who recites the prayer hastily and focuses on finishing it quickly, bypassing the proper musical rhythm and melody, cannot experience the deep, heartfelt prayer that draws one closer to the Divine.

If a person recites their prayer properly, with melody, rhythm, and attention, it not only benefits their spiritual connection but also their physical well-being. It has been noted that those who recite the Qur’an and perform their prayer with attention to melody and rhythm, as described in the Qur’an (73:4), will find health and balance in their life, avoiding tension, anxiety, and nervous disorders. Conversely, those who fail to give due attention to these musical elements may miss out on some of the psychological and spiritual benefits of prayer.

Music and Military Chants in Early Islam

The recitation of war chants, or rajaz, was an important feature in early Islamic battles, often used to boost the morale of Muslim soldiers and undermine the enemy’s spirits. In the early battles, the polytheists would shout, “A’lu Hubal” (Exalt Hubal), to which the Muslims would respond, “Allah A’la wa ajall” (Allah is Higher and more Glorious). These two chants, with their musical intonations, created a powerful effect. The polytheists would claim, “We have al-‘Uzza, and you have nothing,” to which the Muslims would counter with, “Allah is our protector, and you have no protector.” These responses not only reflect the difference in their beliefs but also the contrasting cultural and spiritual outlooks between Islam and polytheism.

This type of musical chanting had a profound effect on the soldiers’ spirits, and was used strategically in the battles of early Islam, which illustrates the power of sound and rhythm in rallying the troops.

Musical Sounds and Divine Logic

Previously, we discussed rational sounds. The sound and voice of rationality bring one closer to the Divine. The prophets and saints of God, in their prayers, supplications, and recitations of the Qur’an, sought the highest form of sound, which is the spiritual melody that leads one closer to God. It is believed that the time and circumstances did not allow the saints to express or teach this highest form of sound. They were unable to find the right students who could learn from them, nor did they have the opportunity to disclose these secrets.

Every action that produces sound has a specific musical scale. Even the sound of footsteps while walking follows a particular rhythm and melody. All natural phenomena possess a voice, and each sound has a unique tone and rhythm. Philosophers have discovered some of these sounds and musical scales, but most Islamic scholars, due to political constraints, have issued fatwas prohibiting music. As a result, the path to discovering and developing music, even within the Shia cultural sphere, has been hindered.

The natural world is full of countless sounds, each of which belongs to a specific musical scale. The chirping of a bird or the croaking of a crow each have their own unique melody. Even the sounds made by plants, trees, and animals are part of a divine symphony. When these sounds are understood, they can become a source of deep spiritual insight, resonating within the soul and connecting the listener to the Divine.

Conclusion

The concept of sound and music is deeply integrated into spiritual practice, prayer, and even the natural world. A proper understanding of sound, voice, and melody not only affects our spiritual state but also our mental and physical health. The use of melody in prayer, the chanting of war cries, and the natural sounds of the world all serve as reminders of the Divine order and harmony that governs all existence. However, without a proper understanding and appreciation of these sounds, one risks losing touch with the deeper spiritual significance they carry.

The Impact of Music and Song on the Soul: An Islamic Perspective

It has been said that music and song are nourishment for the soul; however, it is important to understand that inappropriate (forbidden) music and song have the same effect as poisoned food on the body, and are extremely dangerous. In fact, the need for vigilance in this regard is even greater. This is because music and song are primary forms of nourishment that reach humans through their senses, and naturally, they have a more profound effect on individuals than ordinary food. The benefits and harms of music and song are therefore far greater than those of regular food. This is why Islamic law is involved in this matter. Sharia does not deny that music and song are forms of nourishment, nor does it claim that all forms are harmful. Rather, it stresses that one should avoid the harmful effects of music and only engage with what is permissible and beneficial. Islamic law treats music and song in the same way it addresses human nutrition, distinguishing between what is wholesome and what is corrupt, deeming the former lawful and the latter unlawful.

It is also worth noting that even the consumption of permissible and wholesome food in excess can be harmful to the body, just as excessive indulgence in music and song can harm the soul. This is equally true in cases of neglect or insufficient engagement, which can also lead to harm both for the soul and the body.

One of the factors leading to confusion and distraction of thought is excessive exposure to music and images. It often happens that a person loses their belongings frequently or forgets the number of prayer units in their prayers. One of the main causes of this is excessive auditory and visual stimulation. Continuous use of sight and hearing, through constant movements, listening to the radio, or watching television, can make one’s mind and senses like a car engine that has mixed oil and water, or like a tired driver who cannot see properly on the road.

It should be understood that idleness of the eyes and ears also causes significant harm. People who spend time in dark and silent prisons or basements often develop weak and strained eyesight, and their nerves become fragile.

The intake of sensory stimuli should be balanced. If it goes beyond its natural limits, it harms the soul. In the past, many people suffered from blindness due to poor healthcare and lack of proper eye care. Today, the number of people wearing glasses has increased, as overuse of the eyes leads to fatigue. Artificial light is like pebbles that damage the eyes and nerves. Hence, exposure to fresh air and natural light is recommended to prevent the bombardment of artificial light.

Islam does not consider music and song to be irrational, nor does it dismiss their importance. Islam values everything, especially human nutrition and the engineering of food, ensuring that only wholesome foods are consumed and that poisonous food is avoided.

The Effects of Music as Food

Earlier, we discussed how music and song can be both nourishment and medicine. We now add that the energy derived from music serves to assist and motivate a person in their tasks, much like one can find assistance in patience and prayer. However, music and song can also have a destructive effect, functioning much like a tool that can be used for both good and evil.

Imaginary music can make the soul more active, whereas intellectual music in the higher spiritual and divine realms can uplift a person and sometimes take them to the heavens. When music is referred to as a miracle or divine blessing, it is not merely for the mouths of deniers or claimants, but to bring seekers closer to the divine power, granting them the ability to reach higher states. Sound, voice, and rhythm are significant human abilities that can carry the soul to other worlds.

Music sits in the realm of the emotional self. Therefore, excessive exposure to music and song can make a person overly imaginative and weak in character. On the other hand, completely avoiding it can lead to a dry mind and consequently a shorter life.

Music, in giving feelings to humans, is similar to the obligatory prayers offered at specific times during the day. God divided the seventeen units of prayer throughout the day and night, and the believer is required to offer them at prescribed times. One of the wisdoms of the daily prayers is the purification and clarity they provide to the emotional self, allowing it to remain flexible. A person who is constantly engaged in work and effort will experience a contraction of their emotional state, just as the verse says: “Indeed, for you during the day is prolonged occupation” (Quran, 73:7). The five daily prayers bring ease and flexibility to the soul, counteracting the dryness brought on by daily work.

Those who avoid prayer and all sources of joy and exhilaration will experience spiritual dryness. It becomes harder for them to engage with others in a compassionate and constructive manner. A person who has lived seventy years without ever experiencing the joys of sound, rhythm, poetry, or music will have a dry and harsh soul, leading to greater emotional and relational difficulties.

On the other hand, a person who listens to music while performing prayer, studying, or engaging in other activities is spiritually ill, much like someone who has become so accustomed to walking without a cane that their legs and back weaken as a result.

The Role of Music in Spiritual Journey

In this section, we focus on the disciple and spiritual seeker, not the ordinary person. The seeker requires music and song. The use of music for some seekers is dependent on their stage of spiritual progression. It is important to note that music may be permissible for one seeker and forbidden for another. For example, the Maḥūr scale may be prescribed for certain seekers at specific stages of their journey, but this does not mean that all types of music are permitted for all seekers, let alone for the general public.

A seeker who aims to progress and ascend through spiritual stages may need music as a tool. However, this does not imply that all individuals, who are still on the surface level of life, should adopt this tool.

In Sufism, music, song, and listening to spiritual sounds (Sama’) are considered to be helpers or aids in the spiritual journey. A seeker, who is studying the stages of love in the presence of a master, often faces great hardship, including material poverty and various tribulations. The seeker, when confronted with psychological exhaustion and the weight of these hardships, may be recommended by their spiritual guide to listen to music or song, in moderation, as a means to renew their spirits. Music prescribed by the guide is tailored to the seeker’s needs and progress.

Sama’ and Dance

In the spiritual stages, the practice of “Sama’” is mentioned as one of the stages of progress. In the book Manāzil al-Sāirīn, we discuss the concept of Sama’ in detail. Sama’ refers to listening to spiritual sounds and divine inspirations in the form of sound. This should not be confused with the practices of certain Sufis who incorporate music and dance into their rituals.

Types of Attainment

It was stated earlier that music and song are both aids and facilitators on the spiritual path. These facilitators fall into two categories: psychological (imaginary) and spiritual (divine). The psychological facilitator prepares the seeker for higher experiences, while the spiritual facilitator is directly linked to divine inspiration, such as divine revelations, dreams, and visions.

For early-stage and intermediate seekers, music can be a psychological facilitator. However, the advanced seekers, those who are intimately connected to the divine, do not require such aids. The advanced, beloved ones of God experience divine inspirations and revelations directly, without needing the external stimuli of music and song.

The Importance of Understanding Musical Scales

A religious scholar must understand the various musical scales to issue a ruling on music. However, a philosopher must not only understand these scales but also be able to perform them. A philosopher who struggles with the practical application of music lacks complete practical wisdom. Therefore, the knowledge and performance of music are essential skills for those who wish to master it.

The sounds of the ney and the sounds of the nai are both concurrent with waves, words, and meanings; the difference lies in that the ney has a non-verbal, situational indication, while the nai has a verbal, situational indication. The alignment of the present moment is also present in the instruments. From one ney to another, there are dozens of neys in between, each with its own particular mood depending on the circumstances.

The fourth alignment concerns the temporal and spatial conditions, and other situational factors that cause variation in the instrument. For instance, the tar has one state in one place and a different state in another. Similarly, when the tar is played with a finger, it sounds one way, but when played with a ring, it sounds different.

The Various States of the Listener

Just as the performer and musical instruments experience different states depending on the contexts they are in, the listener also experiences various states, influenced by personal traits, motivations, age, and their health or illness. Each listener has a separate judgment regarding what they hear. It is possible that one musical mode may seem inappropriate to one person, while it may seem fine to another; or one mode may be suitable for a private setting but inappropriate in a public one.

Sometimes, the purpose of the soul in listening to music or song is imagination; at times, it ascends and soars, and other times, it evokes the celestial. However, the underlying subject is always the soul. Sound and voice affect the soul; sometimes the sound lingers in it, and sometimes it has an exit. The sound and voice that enters the soul may either destroy it or encourage it towards virtues.

Understanding the Subject of Song and Music

The subject of song and music, with all its characteristics, must be understood. Without understanding the subject, one cannot merely speak of its ruling. Song can describe both sound and music; for song means a harmonious sound and melody, while musical song refers to the melody, the note, and the unfolding of musical gestures. Sound and music, or a beautiful voice, are created through compositions and rhythms. As mentioned earlier, composition refers to the arrangement of notes, while rhythm refers to the connection of those arrangements. Sometimes notes are connected to each other, which is called “taqriʿ,” and sometimes one note is given and another taken, referred to as “taqliʿ.” The sound of clinking or chirping is an example, where the sound circulates until it is revealed.

In sound, besides composition, there are also taqriʿ, taqliʿ, or actions such as striking, separating, tearing, cutting, and throwing, as well as variations in sound like softening or intensifying.

The Role of Sound in Happiness

Song is a source of rhythmical sound. The type of sound is both rhythmic and joyous because, at times, the sound is natural, and at other times, it is external. Natural sounds also come in two types: wild and non-wild. Non-wild natural sounds are those that belong to non-human entities, such as the sounds of stones, water, canaries, beetles, sparrows, mosquitoes, and ants. For instance, the mosquito, like a phantom, penetrates the body with its fine needle-like sting. Does it do this with sound, or with its fine sting?

Understanding sound, voice, musical modes, instruments, rhythm, tone, song, mood, destruction, imagination, and excitement—all of these must be understood together for each to find its specific ruling.

Existential Expansion and the Scope of Sound

Sound and voice are a combination of length, modulation, tone, harmony, peaks, troughs, and words, which are the causes of the manifestation of sound. These elements are a blend of unity and multiplicity. The unity lies in the sound and voice, while the multiplicity includes variations such as modulation, peaks, troughs, harmony, and other characteristics within them.

The active cause of sound and voice is love and art. Love is the efficient cause, and art is its instrumental face and material cause. Sound, voice, and song are referred to as “speech without words” and “the creation of effect.”

The nightingale’s song and the sparrow’s song, despite their similar form and appearance, have different modulations. If one becomes familiar with the sounds of these creatures, they will also comprehend their speech and understand the “language of the birds.” As we have previously mentioned, the “language of the birds” does not merely refer to the sounds of birds but to all animals. Moreover, other natural phenomena like the wind, air, heat, and even light have specific sounds. The collision of objects also produces particular sounds. The sound of a stone hitting glass is different from the sound of a stone hitting iron. Human beings, who possess a collective status and abundant consciousness and will, can have their own natural and scientific sounds, making sound something that is acquired and knowledgeable.

The Different Effects of the Musical Modes

Proving the effects of music, many of which are abstract, is not easily achievable, and it is difficult to find a clear standard for it, as these effects have an abstract nature. Proving each one requires time and a separate book, unlike material phenomena, which can be experienced through the senses and are thus easier to prove. Demonstrating that music has a calming effect or induces lethargy and indifference requires extensive study and research, as well as laboratory experiments, for substantiation. These matters can be proven and should not be considered beyond reason. It is clear that there is a difference between something unprovable and our inability to prove something. The teachings in the traditions regarding song and music are all understandable and verifiable, even though contemporary humans might not be able to grasp them, yet future generations will.

We are here discussing the overall effects of modes and scales.

The effects of the musical modes vary. For example, the Isfahan mode has a subtle and refined joy. The Hijaz and Hussaini modes evoke passion. The Shushtari and Dashti modes are sorrowful, though some joyful sections can be found in these two modes. The Zabol and Chahargah modes inspire courage and valor. Each mode, in its own way, has its characteristics.

Some individuals prefer songs, while others lean towards more formal compositions. Women tend to perform songs better, while men gravitate towards more structured vocal performances. Lower voices are better suited for songs, while higher-pitched voices excel in more formal singing.

Individuals’ temperaments affect their sensitivity to musical modes. For instance, delicate individuals may resonate more with the modes of Segah and Isfahan, while coarser individuals may find the modes of Chahargah, Zabol, and Bayat more appealing.

Therapeutic Effects of Sound and Music

Sound, voice, song, and music also serve as nourishment. In addition, they have a medicinal quality and can be used therapeutically or as a sedative and calming agent, or even as a stimulant and nourishing element. It is clear that food and medicine are distinct concepts, and medicine is prescribed only for the sick.

Although song and music are naturally derived and can suit an individual’s nature, the modern scientific community treats them like medicine, recognizing the need for balance and moderation. It avoids both stagnation and excessive indulgence, which might destabilize the will.

Though song and music were once understood by philosophers, no scholar has had a comprehensive understanding to define the proper medicinal use of music, for instance, to authorize specific tunes for prayer recitation.

Excessive use of relaxing music can lead to depression or even self-harm. Just as opium is a sedative that alleviates pain, excessive reliance on it leads to addiction, an incurable condition. Therefore, the medicinal use of song and music should be reserved for the sick and prescribed by experts in psychological and theological matters.

The History of Music Therapy

Among the foundational texts in the field of music therapy are those by Al-Farabi and Avicenna. Both were Shiite scholars and philosophers. They emphasized in their writings that musical modes have an internal root within humans and can be beneficial for treating mental illnesses. In this way, they laid the foundation for “music therapy.”

Through song and music, one can treat various weaknesses, anxieties, or obsessions. Those suffering from insomnia may find peace in listening to gentle sounds and melodies. Even the ticking of a clock can induce calm in them. However, we also mention that those with strong wills can fall asleep and wake up without needing external stimuli.

Someone performing in the Zabol mode can quickly inspire hope and joy in someone who is grieving, desperate, or hopeless. This person might even be freed from the despair induced by strong sedatives prescribed by inexperienced psychiatrists. However, due to the corruption and pollution of music in our society, we have neglected its therapeutic benefits, much like the neglected healing powers of prayers and divine names.

The Decline of Music Therapy

The dominance of the traditionalist clerics, who insisted on the absolute prohibition of music, and the rise of extremist Sufis during the Safavid period, who embraced music without discerning its proper limits, led to great conflict. This created a situation where neither the scholarly figures nor the traditionalists could intervene effectively, leaving music to be misunderstood and misused.

Even during this time, scholars like Mulla Sadra and Fayz Kashani found themselves in exile and marginalized. The departure of comprehensive religious scholars from the discourse on music led to the misrepresentation of music as the domain of the ignorant, and the profound philosophical and therapeutic insights of figures like Al-Farabi and Avicenna were lost.

With the arrival of Westerners in Iran and the establishment of Dar ul-Funun, the study of music, like many other sciences, was removed from the educational programs of the few scholars who remained and were marginalized. As a result, only uninformed students, unaware of philosophy, wisdom, and spirituality, were taught music under foreign instructors, and no one took interest in learning music anymore.

During the reign of Nasir al-Din Shah, military bands, also known as European-style musical groups, were established in Iran, replacing the traditional drum houses. The primary aim of creating a music department at Dar ul-Funun was to train musicians and instructors to manage these new music ensembles. The European music teacher, Mr. Lumer, played a pivotal role in this. Lumer’s music was adopted by local khans and even women who became musicians and performers, leading to a decline in the depth and intellectual nature of music. Among those who graduated from his school, there is not a single name of a scholar. Music in Iran, a Shiite country, came under the influence of Mr. Lumer. Following his teachings, the poetic works of Hafez, Saadi, and Rumi faded, replaced by meaningless, shallow songs. The dominance of harsh, narrow-minded puritans who pushed out well-rounded scholars and music experts led to a cultural shift. Classical poetry and music were forgotten, and lascivious songs dominated the royal atmosphere of the time. The efforts of erudite scholars such as Sheikh Tusi and Farabi, who had contributed to the cultural heritage of this nation, were disregarded. The rigidity and zealotry of these superficial individuals caused the true seat of power to shift away from scholars of religion, leaving the Shiite culture and its teachings in a state of neglect. Mr. Lumer, who was affiliated with the political and Jewish Masonic movement, pursued a policy of “overthrowing Shiite knowledge” in his teaching. He deconstructed Iranian literature and mysticism, promoting Western music and erotic poetry instead. His teachings turned the profound verses of religious scholars into shallow, sensual lyrics, replacing the intellectual depth of classical music with crude forms of entertainment, which ultimately led to the disintegration of culture and identity.

By replacing traditional religious practices and invoking pleasure-driven entertainment, such as music, they undermined both the spiritual and moral fabric of society. In the face of this new cultural shift, religious scholars retreated, abandoning their traditional duties and principles. They failed to confront these challenges, leaving the field open for figures like Mr. Lumer to dominate. Those trained under his influence used the music systems that had been painstakingly crafted by religious scholars for debauchery. During the Qajar period, especially under the Pahlavi regime, music and singing saw a decline, and the policies of the Umayyad and Abbasid dynasties were revived in Iranian music.

Religious scholars, rather than acting in line with the teachings of the Prophet (PBUH) and the Quranic injunction, distanced themselves from music and artistic expression, even to the point of avoiding celebrations like weddings out of fear of resemblance to non-believers. However, the situation improved after the Islamic Revolution. Thanks to Islam and the leadership of Imam Khomeini, the Shiite voice was resurrected, and religious broadcasting became a powerful tool for expressing Shiite identity. Imam Khomeini’s leadership freed the Shiite culture from its isolation. With the advent of the Islamic Republic, the state no longer separated religion from politics. As a result, music and the arts could be revitalized in a way that aligned with Islamic values, fostering a new era of cultural renaissance.

The Islamic Republic must carefully navigate its engagement with music, addressing both the challenges of preserving cultural integrity while also opening up new possibilities for music that serves the needs of society. By ensuring that music is used responsibly, with a focus on spiritual enrichment rather than sensual gratification, the government can help foster a culture that brings joy while maintaining moral discipline. The focus should be on using music as a tool for promoting values that align with Islamic principles, and this requires careful planning and leadership.

In this modern world, where global communication has reshaped the landscape, the power of music, poetry, and culture in general is increasingly recognized as an influential force, one that can challenge the status quo and reshape societies. The future of music in the Shiite world should be shaped by a combination of religious wisdom and contemporary creativity. If the leaders of the Islamic Republic embrace this approach, they will not only be able to revitalize music in a way that promotes Islamic values but also use it as a powerful tool in their global cultural influence.

As we look ahead to the next century, the Islamic Republic has the opportunity to harness all the tools of culture, including music, to create a positive and meaningful cultural influence, both within Iran and in the global community. Music must be defined and utilized in ways that are consistent with Shiite values, using religious and cultural references as models for positive, ethical music that strengthens the moral fabric of society. This is the path forward for a vibrant, spiritually enriched future.

“Three things from your world are dear to me: women, fragrance, and the light of my eyes in prayer.” [40]

Women, fragrance, and prayer represent complete fulfilment, encompassing both material pleasure and the enjoyment of spiritual and immaterial delights. The Prophet Muhammad (PBUH) considered the light of his eyes to be in prayer, and the prayer rug does not obstruct his enjoyment of women and fragrance, which enhance sexual vitality. If today Muslims suffer from psychological complexes and regret regarding sexual matters, and their women, veiled in several layers of clothing, lack safety, it is because they have deviated from the example of their Prophet, and do not adopt the scholarly and Sharia-approved conduct in their lives. Consequently, they do not understand the methods of achieving fulfillment. True fulfilment is that which offers both social and psychological health to individuals. The Prophet (PBUH) had both “women” and “fragrance” by his prayer niche and used them for his well-being. He used fragrance for his wife to enable her to pray in a way that is calm and free of complex emotions, deficiency, and regret. Fulfillment leads one to spirituality, a quality which the prophets and saints possessed. Imam Ali (AS) had the best woman in the world, Lady Fatimah (AS), who was unmatched by any heavenly houri.

Even in the realm of ordinary human beings, the Holy Quran states:

“Love of desires, such as the love of women, children, and piles of gold and silver, fine steeds, and livestock, and fertile lands, is made alluring to people. This is the enjoyment of the fleeting life of this world, but with Allah is the best return.” [41]

God has made worldly affairs an adornment for people, and the enjoyment of these worldly delights is a natural and instinctive part of human nature. Sharia, however, only prevents people from deprivation and disobedience, not from experiencing fulfillment, joy, and natural pleasure. The Prophet Muhammad (PBUH) said, “I have chosen three things from your world: women, fragrance, and the light of my eyes in prayer.” This statement affirms both material and spiritual fulfillment, showing that the Prophet (PBUH), in his capacity as the final messenger, benefited from both. Interestingly, the Prophet’s statement indicates that one should not be immersed only in material pleasures and pursue nothing but the love of “women and children.” Instead, one should seek spiritual ascension alongside material enjoyment and aim to reach the pinnacle of spiritual perfection and closeness to the Divine. In the pursuit of pleasures, one must avoid corruption, sin, and debauchery, seeking only permissible and lawful pleasures.

This prophetic narration, in which the Prophet (PBUH) says he chose women, fragrance, and prayer from the world, shows that the divine authorities, though earthly in appearance, are in reality heavenly beings. The true skill lies in living an ordinary life, while simultaneously keeping the heavens beneath one’s feet. To understand the divine authorities, one must consider all dimensions of their personality, ensuring that focusing on one aspect does not lead to neglecting another. They should not be viewed in a fragmented manner.

In any case, the argument is that designing “religious happiness” is a social necessity. The Holy Quran awakens us in one of its verses:

“Say: Who has forbidden the adornments of Allah which He has brought forth for His servants, and the good things from the sustenance that He has provided? Say: They are for those who believe during the life of this world, and exclusively for them on the Day of Resurrection. Thus do We detail the verses for people who know.” [42]

Who has forbidden the lawful pleasures, which are God’s provision, in this world for the believers, when these same blessings will be purer and more abundant in the hereafter, like “pure wine”? We elaborate on these matters for those who use reason and wisdom. It is important to note that this verse is a warning and a threat. Happiness, joy, and the use of stimulants such as healthy music and dance should not be denied; they are lawful provisions that must not be replaced with gloom and despair, which stem from impurity. Especially in the governance of the Wilayat system, many matters have been made pure and permissible.

This is why the limitless nature of Islamic jurisprudence and the understanding of priorities in its discussions becomes clear. It is simplistic to assume that the works of past jurists, which often repeat the same content, are sufficient for today’s society. Many of their rulings are based on a time when non-religious governance prevailed, and they speak of issues that have changed with advancements in science and society. However, the culture and teachings of Shi’ism remain paramount, as they are based on the divine guidance of over 270 years of infallible teachings, even though understanding and interpreting the words of the infallible is not easy. Jurisprudence concerns understanding the rights of people toward God, the rights of God toward people, and the rights of people toward each other, and this understanding requires sharp intellect, precise attention, a pure heart, and a holy nature.

In the past, governance was in the hands of the opponents of Shi’a, who managed policies related to music and other sources of happiness and joy. On the other hand, the tragedy of Karbala left a permanent scar on the hearts of Shi’ah, forever mourning the fate of Imam Hussein (AS). This sorrow was particularly heavy for the symbols of piety and loyalty, who fully understood the suffering of the rightful owners of authority. The grief of Imam Hussein’s martyrdom weakened the spirits of Shi’ah scholars. This phenomenon did not end in ancient times, but continued under the oppressive regime of Reza Shah, when people would retreat into basements, close doors, hang curtains, and weep for their Master, Imam Hussein (AS). Today, however, with the establishment of the Islamic government led by Imam Khomeini, the design of the “religious happiness” model can be initiated. Planning for celebratory occasions and creating a “religious happiness” framework is a pressing necessity for today. The concept of “religious happiness” is still absent in our society, and the people have yet to experience the true “taste of happiness” in the light of religious joy. Thus, many young people respond to superficial stimulants and engage in various forms of temporary, hollow joy.

Hence, we must now consider how to design and implement religious happiness through various means, including music and singing, so that this religious and cultural product can even be presented to non-Muslims, inviting them to share in the joys of Muslim life.

Both mourning and happiness should have their designated places, and we must act justly in both. Mourning and joy should be distanced from sin and transgression.

For example, the use of permissible music in religious and national festivals, as well as celebratory gatherings like weddings and birthdays, can enhance the joy of these events. In particular, weddings and religious celebrations are occasions where the happiness of the believers is celebrated, and religion permits the use of music and singing—provided it is not inherently sinful.

Permissible Music

Music in itself is permissible. If no sinful or immoral activity accompanies singing or music, then it is permissible. However, if music is used in support of evil causes or associated with sin, such as drinking alcohol or inappropriate mixing of the sexes, it becomes impermissible.

A beautiful voice is a divine blessing that enhances beauty, and just as one cannot harm the beauty of a face with a razor, one should not harm a beautiful voice. Both should be preserved from sin, as sin is their true harm.

A person has the ability to recreate the heavenly delights and happiness of the afterlife in this world, discovering or inventing them and offering them in a lawful way to the people of the world. This is achievable, just as non-divine individuals can create products in various fields like electronics. So, too, the people of our land can bring this achievement into existence. Today, Iran has produced champions of strength, even though at one time, many of its people struggled to read the Quran. Now, the country has thousands of Quranic recitations, affirming that an Iran loyal to the principles of divine leadership is capable of achieving greatness in every sphere.

Thus, the Shi’a people can and should use their dedication to enhance the culture of the future, writing their own future based on the principles of loyalty to the family of the Prophet and following their love for Imam Ali (AS). This requires the development of a precise ideological plan and leadership capable of identifying the challenges of the coming century and preparing to overcome them, with an unyielding commitment to dispelling misconceptions and spreading the true, clear Islamic laws of halal and haram.

ChatGPT said:

The voice, like numbers, has a discrete determination (not continuous, as nothing in the world is continuous), and unity and oneness exist in all numbers, with the finite being the one that tolerates both decrease and increase. The same is true for the voice, which is present in all its wavelengths, and it unifies with its short or long range. Recitation and attributes such as jahār (loudness) and ikhfāt (softness) are unified, and it is not that there are two separate existences, subjects, or wills involved in it. Recitation, jahār, and ikhfāt cannot be separated, and it is impossible to find a recitation that is neither loud nor soft, just as it is impossible to find a number that is neither even nor odd. The difference between jahār and ikhfāt lies in the tonal quality and essence of the sound. A sound with a ring or resonance that is audible is associated with jahār, whereas a sound without resonance is termed ikhfāt. In Islam, women are free to make their voices resound in jahār prayers, but they are neither compelled to resonate nor prohibited from doing so, as the very resonance of the voice contributes to spiritual growth and elevation in the act of worship. If a woman is unable to call upon God with her voice, she should sit at the table of others and listen to their voices.

Although the soft sound (ikhfāt) lacks a ring and resonance, it still has a sound, and an unrelated man can hear it. If the loudness of a woman’s voice is regarded as a secret that should not be revealed to an unrelated man, the same applies to the soft sound. Sometimes, the secrecy of the soft sound is accentuated by the hidden nature of the stimulation it carries, which requires more effort to express words and often produces more pleasure for the ill, unrelated man. Therefore, secrecy cannot be considered an attribute of a clear or loud voice. Psychology has established that the more hidden or restricted something is, the more eager a person becomes to obtain it, and the more they covet it. Since the soft voice is not easily heard and requires more effort to listen to, it increases the desire in an ill person to hear it.

The fatwa of concealing a woman’s voice stems from the collective tastes and inclinations of scholars and the devout in the years after the Minor Occultation, a form of embellishment. This is because it is the scholars of the Major Occultation who issue the fatwa advising women to be cautious and soften their voice when an unrelated man is present, and not to give their voice substance. No credible evidence exists apart from a claimed consensus and the fame of such fatwas to support this ruling.

God created humans in the best form and endowed them with a beautiful voice. As Imam Sādiq (peace be upon him) mentions in Tawhid al-Mufaddal, the human vocal apparatus is referred to as the “great flute.” Some jurists refer to it as “concealment” for women. If that were the case, God would have placed it in the lower parts of the body, which are concealed. But the woman’s form, mouth, power of expression, and voice are not for concealment, and God, who desires the openness of these aspects, placed them at the highest point of the body to manifest their visibility. We have already discussed that covering them with a veil is disliked, and it is the misguided and corrupt individuals who misuse these qualities or simple believers who cover them. Today, no one believes that a woman’s voice must be concealed unless their mind is clouded with corruptions, wanting to hide women away in the corners of the home, backed by male chauvinism.

There is no prohibition on a woman’s voice as long as it is not associated with falsehood, and both men and women can be singers. In cases where music and singing are permitted, there is no issue with a woman’s voice being musical or performed, whether heard by an unrelated man or not.

It is true that religious scholars and jurists differ on whether a woman can loudly recite prayers in the presence of an unrelated man or whether a loud prayer by a woman in the presence of an unrelated man invalidates her prayer. However, this disagreement is not rooted in religious doctrine, nor is it the result of conflicting narrations. The question of whether the prayer of a woman becomes invalid due to loud recitation in the presence of an unrelated man does not arise from conflicting narrations, and religious sources do not play a role in this difference. Rather, this disagreement stems from a lack of understanding of the philosophical identity that must distinguish various aspects. Ignoring these distinctions leads to logical fallacies. If the matter of jahār and ikhfāt were to be entrusted to an expert in acoustics, the differences and the relationship between them would be clear, and such disagreements would not arise, as the late author of Hadaiq states: “This differentiation is an overcomplication by some jurists on this issue.” However, in our view, this matter is one of the non-existence of the subject because we do not consider it prohibited to hear a woman’s voice. Based on religious sources, we affirm that not only is loud recitation in prayer in the presence of an unrelated man permissible, but she can also sing, and since healthy music is also permissible, there is no objection to her singing. This ruling is in line with the primary rule in this area unless strong evidence of prohibition is presented, and no such evidence exists. However, if the singing and music of women promote false beliefs or serve a tyrannical regime, it becomes forbidden, as the voice and sound in opposition to truth is unlawful. Therefore, we consider singing for the tyrannical system, i.e., music serving the regime that governs unjustly, as forbidden. Likewise, any song or melody that promotes false beliefs, sins, or spreads immorality is forbidden, and these rules apply equally to both women and men.

A woman’s voice is not for concealment, and the statement that “a woman’s voice must necessarily be concealed” holds no validity and has no religious backing. A woman’s loudness has no problem from the perspective of Sharia. There is no prohibition on healthy singing for women. Restrictions on singing apply equally to both men and women. Women, within the boundaries set by Sharia, can freely sing. What prohibits the singing of women is the same as what makes men’s singing unlawful, namely the involvement in sin and immorality. Based on this, women may sing as men do, as long as they refrain from sin. There is no evidence to prohibit a woman from singing in principle. The prohibitions against women’s singing are all associated with external sins: whether it is because of the voice being crude or light-hearted, the exposure of her body, or the incitement to sinful actions, or the expression of her bodily features that deserve punishment. Likewise, the content of songs and melodies must be free from vulgarity, the spread of immorality, serving the enemies of the nation, destroying the homeland, or supporting the tyrannical regime. In any case, briefly, a woman should not suffer from psychological disorders that lead her to sing songs out of sickness. Today, much of the music outside the boundaries promotes the ideologies and goals of the enemies, and such singers have unknowingly become the political mouthpieces of the enemies of religion.

The Shared Truth of Sound in Men and Women

All of Islam’s rulings, which apply to human beings, are shared between men and women. If anyone claims that a ruling applies specifically to men or women, they must provide proof. For example, if a jurist decrees that Friday prayer is only obligatory for men, they must provide evidence for its specificity. Otherwise, the verse “Whoever does righteous deeds, whether male or female, and is a believer, We will give them a good life, and We will reward them according to the best of what they used to do.” (Quran 16:97) leaves no room for distinction between men and women in their actions.

The essence of sound, whether in men or women, is shared, and this essence, by its nature, requires a uniform ruling for both. Therefore, for any special ruling on music and singing to be applied specifically to a woman’s voice, independent evidence must be presented. If someone rules on the permissibility or prohibition of music in a specific case, this ruling applies equally to men and women. When we say that incitement to sin is forbidden, this applies equally to men and women, and it is not limited to feminine flirtations or gestures.

The voice of a woman, in and of itself, is not problematic as it is merely sound, and its beauty is not problematic because it is a form of beauty, provided it is not accompanied by flirtation or coquetry. However, in a society that is infected and distant from health, the promotion of a woman’s voice only worsens its corruption. In this discussion, it is important not to confuse two aspects: the essential nature of the voice (its existence) and its expression (how it is manifested). For instance, if a man or woman sings a ghazal, directing the listener into a state of serenity or contemplation, without any flirtatious intent or manipulation, it is not problematic. The inner calm (often described as joy or ecstasy) produced by this experience does not make it forbidden. However, if the voice of a man or woman incites illicit desires or leads the listener to contemplate the body or hair of someone else—especially someone not within their marital or familial bounds—then, not only singing but even an ordinary voice becomes forbidden. Such an invitation to such desires is akin to a call to the camp of disbelief, and is generally impermissible, whether it is uttered by a man or a woman. Even though women may have more capability in this regard, any form of incitement to illicit acts—whether through flirtation, gestures, or even ordinary speech—is forbidden.

Singing in different musical modes also varies in permissibility, as some are noble and refined, while others are light-hearted and frivolous. The choice of musical mode thus impacts the permissibility of the song. For instance, the Zabir mode is considered frivolous, with a particular rhythm and beat, whereas modes such as Afshari, Bayat, or Mahoor are regarded as noble. If a man or woman sings in these noble modes, devoid of flirtatiousness or sexual undertones, and women avoid indecency or immodesty, adhering to Islamic modesty, their singing is not problematic, especially if the lyrics foster faith and affection towards the family of the Prophet (PBUH). However, if the societal atmosphere is so corrupt that immoral women overshadow the singers of faith, preventing them from performing or being heard, this becomes an issue. This is a result of weaknesses in both the community of faithful women and in the monitoring and executive systems. In such a situation, listening to such music and the act of singing may become problematic.

Islamic society must adopt the principle from the Quran: “And prepare against them whatever strength you can” (Quran 8:60), which is not limited to military strength but also includes cultural tools. Hence, the Islamic society should support the education and promotion of singers who use their talent to spread the teachings of the Ahl al-Bayt (PBUH).

It is essential to note the psychological principle that people tend to gather based on shared affinities. It is rare for someone to follow or support another without shared interests. For example, corrupted men often seek women who are frivolous, immodest, or morally compromised. To combat such corruption, we must eliminate the conditions that foster such behavior by instilling the culture of chastity.

When discussing women’s public speaking, sermons, or singing, some may find it distasteful. These individuals likely have unresolved psychological issues or complexes, particularly related to sexuality. In such societies, it is the society itself that is ill, not the actions of women. The proper solution is not to silence women, but to correct and educate both men and women, gradually transforming the culture to one that promotes chastity and virtue. In this regard, providing appropriate freedoms is crucial, as “humans are eager for what is denied to them” (Quranic principle).

If we reduce prohibitions, the level of piety will increase. In the realm of jurisprudence, we should not rush to issue judgments based on the actions of society’s ill individuals. Instead, we must first address the broader societal issues, promote knowledge, and establish a healthy, virtuous environment, after which religious rulings can be correctly applied to that community. Once societal issues such as poverty are eliminated, crime—such as theft—will decrease, as people will no longer be driven by need but by moral choices.

Historically, when a woman left her home, many eyes followed her. Today, as Iranian women have more freedom to participate in public life, fewer people stare at them, unless they themselves have psychological issues. By addressing the needs of society, we can restore its health. For instance, a woman can participate in public life with appropriate modesty and conduct, including speaking, delivering speeches, or even singing. There is no inherent prohibition in this, provided the society itself is healthy and free of corrupting influences.

Moreover, the joy and happiness of the faithful, particularly women, should be nurtured through legitimate means. Many psychological and emotional problems women face, especially related to their physical or mental health, stem from the absence of meaningful activities and the failure to express their womanhood. If women are denied the ability to nurture their souls, they may be tempted into immoral behaviors. In this light, if a woman engages in singing for her husband, and the purpose is to enhance marital harmony and joy, this should not be prohibited.

To conclude, while the singing and voice of women are permissible in healthy societies, we must remain mindful of the surrounding cultural context. In corrupted or unhealthy societies, even permissible acts may be fraught with unintended consequences. By nurturing a healthy, virtuous society, we can reconcile religious freedoms with piety and self-control.

The voice and sound of a woman, in that it is merely sound, and the beauty of her voice, in that it is simply melodious and not accompanied by any flirtation or coquetry, are not problematic. However, in a society that is corrupted and distant from health, promoting the sound of a woman would only worsen its corrupt state. In this discussion, one must never conflate the two aspects—ontological and epistemological. For instance, if a man or a woman renders their voice in a ghazal, directing it to an ordinary or even spiritual state, and it imparts purity to the listener, it is not an issue. The emotional inertia that results from this, which may be termed as tarab (ecstasy), does not make it unlawful. However, if the voice of a woman or a man incites temptation for what is forbidden and their singing leads the listener to a foreign body or hair, the issue is not confined merely to the voice but extends to the very act itself. Such an invitation is akin to leading one into the camp of disbelief, and thus, both the voice itself and its seductive elements become unlawful.

The nature of the musical mode (or dastgah) in which the voice is employed plays a role in determining the permissibility of singing. Some modes are considered noble, while others are light and frivolous. For example, the Zabol mode is seen as frivolous, with its characteristic rhythm and beat, whereas modes like Afshari, Bayat, and Mahur are considered noble. If a woman or man sings within one of these noble modes, without flirtation or affectation, and adheres to Islamic modesty in their attire, their singing is permissible, especially if the lyrics reinforce faith and devotion to the family of the Prophet Muhammad. This would be in line with the Shari’a, provided that the corruption in society has not reached such a point where morally deviant women suffocate the more pious women, preventing their participation in the public sphere. This would be a result of the weakness in the community of faithful women and the deficiency in the regulatory and executive bodies.

The Islamic community must adhere to the principle “And prepare for them whatever strength you are able to muster” (Qur’an, 8:60), which includes not only military power but also cultural tools. A structure should be established to support and train talented male and female singers who aim to promote the culture of the Ahl al-Bayt (family of the Prophet). This should be a priority in their educational and outreach programs in promoting religious teachings globally. As previously stated, the Qur’anic prohibition pertains to women who speak or sing in a seductive or flirtatious manner. In this context, such women are considered mentally ill. Otherwise, the sound of a woman who speaks or sings with clarity and health is not problematic.

It is also important to recognize a significant psychological principle: individuals and groups tend to congregate based on shared characteristics, and it is rare for someone to follow another without some common ground. Based on this principle, immoral men seek women who are light and unchaste. To combat this, the foundation of chastity must be fortified to eliminate the grounds for corruption.

When we talk about women delivering speeches, sermons, or even singing in public, those who oppose this often have underlying issues related to their own sexual frustrations or repressed desires. In a community such as this, the issue is not that women’s voices should be silenced due to the illnesses of men, but rather, that both men and women should be corrected and educated. The culture of the society must be gradually changed through planning, allowing for the development of taqwa (God-consciousness) and self-restraint. A society that promotes lawful freedom is an effective means for fostering virtue and temperance, as the principle “humans are more eager for what is prohibited” (Qur’anic principle) is universally applicable. The more prohibitions there are, the lower the level of taqwa. Thus, in issuing legal rulings, we must not focus solely on the sick individuals in society but rather look at the society as a whole and derive rulings based on the overall health of the community.

Historically, when women left the house, they were often the focus of many eyes. However, today, as women in Iran engage more freely in public life, fewer individuals gawk at them unless they themselves are ill. If society addresses its needs, health can be restored. In this case, when a woman enters the public sphere with proper attire, free from flirtation or affectation, speaks, lectures, or even sings for an audience, there is no valid reason to prohibit her actions. This is true for a healthy and average society, but in a society deeply diseased, many previously lawful actions are transformed into unlawful ones due to the secondary and unintended consequences of those actions. In such a society, it is better to close one’s eyes when entering, as one would in a city of the blind. This is a secondary ruling for a community with widespread ignorance, which prevents the discussion of certain intellectual and spiritual topics.

The Necessity of Joy and Legitimate Happiness in the Women’s Community

In the discourse of religious joy, it is said that pious women may generate joy and happiness for themselves and others through singing. Many of the illnesses that women, particularly psychological, emotional, and reproductive issues, stem from a weakened nervous system. This is because women often find themselves burdened with household chores and the expectations of society, unable to express their femininity or engage in nurturing activities. Should such a woman, God forbid, fall into sin, would it be justifiable to impose the punishment of adultery on her simply because she holds a marriage contract? Surely, the mere existence of a marriage contract does not prove a woman’s chastity.

A believer can only maintain their health and vitality if their life, with all its ups and downs, remains filled with joy and vitality. Any form of lethargy and apathy is a sign of a lack of faith. Based on this principle, a woman must be trained to maintain joy and vitality at home, bringing the greatest happiness to her husband, so that he becomes emotionally engaged and devoted to her, eliminating the need for external temptations, such as the songs of women outside the home, which often serve to incite forbidden emotions or further the cause of oppression.

Sadly, some individuals abandon what is lawful and pure in search of impurity. Therefore, it is imperative to transform the community’s culture into one aligned with religious values so that it becomes a “wholesome society,” where both men and women can express their talents and voices in a manner that reflects religious dignity and virtue. This work can also contribute to the flourishing of “Shia joy,” which is part of the larger goal of promoting happiness and peace within the family and society.

Music Therapy and Women’s Singing as a Remedy

In one narration, a person asks Imam Zayn al-Abidin (A.S.) about a slave girl with a beautiful voice. The Imam responded, “What would you do if you bought her, and she reminded you of Paradise?” Such a voice, naturally sweet and beautiful, is permissible, as it draws the listener’s heart toward divine blessings, without engaging in any illicit or sinful behaviour. The beauty of the voice, when it elevates the listener to a higher state of spiritual awareness, is permitted.

Today, some mental illnesses in Western countries are treated using music therapy, where beautiful, gentle voices are employed to calm patients and speed their recovery. Although the Western approach may not adhere to the rules of Islamic law, it is a scientific reality that interacting with others in a soft, pleasant, and joyous manner accelerates healing. This is a principle that is logically understood.

In today’s world, some businesses hire women to perform certain roles, knowing that their soft voices and gentle demeanor are more effective in attracting customers and reducing stress. The role of the jurist is to ensure that these activities are conducted within the limits of the law, distinguishing between what is lawful and unlawful, and preventing the abuse of what is otherwise permissible.

Some psychological conditions can indeed be alleviated by women’s singing. Unfortunately, the field of “music therapy” has been largely forgotten in contemporary times, even though it could be a powerful tool for spiritual and emotional healing. Under the Islamic system, women’s voices can be harnessed for these purposes, while simultaneously conveying messages of spirituality, independence, freedom, and devotion to the Ahl al-Bayt (family of the Prophet). Women, when singing to promote these values, can indeed use their voices effectively in service to the greater good.

If a woman sings in public but does so in a modest and non-seductive manner, and if her voice does not incite forbidden desires or invite others into sin, then there is no issue with her singing. However, it remains unlawful if her voice invites men to look at her body, or if it incites them to forbidden desires.

Invoking Desire within Marriage

It is even recommended for a woman to stir desire in her husband through her voice, as this kind of invitation is not only lawful but desirable within marriage. Many men suffer from emotional coldness, leading them to become distant and even unfaithful. A woman who is able to excite her husband and maintain the sexual and emotional bond between them is fulfilling a noble and necessary function. This is a natural part of marital life and strengthens the bond between husband and wife.

Just as the voice of a man and a woman can both be natural and capable of inciting desire, so too can they be used for good or for harm. While a woman’s voice may have a stronger potential for incitement, speaking in a manner that is affectionate or tender is not inherently sinful, as long as it is done within the bounds of chastity and the law.

In every issue, one must always seek the opinion of Shariah, and in that issue, refrain from personal interests, preferences, tribal or traditional biases, and maintain the boundaries set by Shariah. Religion is the essence of freedom and liberty, and there is no restriction in it. Those who regard it as restrictive, who bind reason and enslave the human being, speak in ignorance. Shariah and sound reason are like the traffic rules that not only do not obstruct but prevent congestion, ensure smooth flow, and prevent accidents; they are the way forward. Reason and Shariah are revelations and illumination, their essence is enlightenment. A person who lacks sound reasoning and does not receive light from religion has no insight, does not follow the right path, and harms themselves. Freedom is also a derivative of awareness, and the value of freedom is proportional to awareness. Otherwise, chaos ensues. A society should reach a point where all its actions are driven by thought, awareness, and will, not by ignorance or compulsion. Otherwise, any movement, even if it involves shifting from one place to another, has no value.

What Islam considers of paramount importance in social relations, and in all matters concerning what is lawful (maḥram) and unlawful (non-maḥram), modesty, and the preservation of these principles, is ensuring “chastity.”

We have previously stated that hijab is different from covering; religion calls for the followers to adopt modest covering, not hijab per se. Covering should be in harmony with chastity: it should not be vulgar or oppressive, nor should it be cumbersome or disturbing. Such a covering can be offered in many different forms and ensure the Islamic dress code in a scholarly and modern society.

Similarly, in the act of looking or gazing, Islam advises caution in order to preserve modesty and respect for individuals. It cautions against the sharp gaze, which is considered an intrusion. Whether or not the gaze is impure, the sharp gaze itself is an intrusion. Intrusion extends beyond sin, pollution, and harm—it is a violation. A sharp gaze, an act of transgression, does not apply only to non-maḥram individuals but can also include maḥram and same-gender individuals. Such violations are committed only by individuals who are prying, inquisitive, idle, or unrefined—those who constantly look at others and disregard any sense of boundary. A transgressive gaze, whether towards a man or a woman, same-gender or opposite-gender, maḥram or non-maḥram, whether driven by lust or not, is forbidden and should be prosecuted in a society that values high culture.

Today, in free countries, as discussions about maḥram and non-maḥram and the issue of modesty are sidelined, dogs have gained more value and higher regard. Dogs, at least, have fur and coverings, but women have none, which might be the reason they have lost their former allure. Where is the extremism of the East, where even the softest sound from a woman raises sensitivities, causing psychological issues for both men and women? Both Eastern and Western approaches to women have destroyed the health of both genders and the society as a whole.

Today, in some liberal societies, men can officially marry other men, and they are striving to legitimize same-sex marriage and homosexuality. All these harms stem from the failure to respect boundaries because men who do not guard the privacy of women and continuously violate them—whether by gaze or otherwise—no longer derive pleasure from women, and women cease to be appealing to them. Consequently, they turn to same-sex marriage. In the East, due to restrictions, the female gender has become so sexualized for some that just hearing the letter “Z” reminds them of a woman. Both approaches, extreme or liberal, are an abandonment of moderation and harmony with human nature. Islam opposes both extremes, offering instead modesty and chastity as the way forward. A person who follows the path of modesty and chastity can move easily in any space and any direction. Of course, one can only follow the path of modesty if their heart and eyes are content at home, where the spouse has filled their emotional and sensory needs so that, when they step outside, they are not tempted.

However, men and women are inherently different, and they must respect each other’s boundaries and values. The issue of covering, maḥram and non-maḥram, and avoiding sin in social relations between men and women is an undeniable truth. However, this truth should not lead to an exaggerated sensitivity that confines a woman’s voice to the secrecy of her home or numbs her spirit—both of which are forms of misguidance.

The Necessity of Women’s Presence in Society

A woman is primarily a domestic being, and then a social being, while a man is primarily a social being and then a domestic one. Therefore, society cannot deprive either of them from fulfilling these roles; rather, each should be involved in both society and home according to their natural requirements. Women should be placed in their natural environment so that they can rediscover their essential role, pursue their perfection, and complement men in this process. Thus, keeping women confined too much at home causes them to become agitated in the domestic space. The result of such agitation is that they are drawn towards the public sphere, prioritizing their social role over their domestic role, which disrupts their natural balance, pulling them towards extremism and destabilizing the foundation of the family.

Beyond this, it must be noted that there are several modern necessities that require women’s active participation in society, such as education, university studies, legal assistance, healthcare, and certain professions in which women need to be self-sufficient and independent from men. However, as we will discuss, women should work part-time in society, not for eight full hours, so they do not return home exhausted, maintaining their ability to manage marital affairs and domestic responsibilities. The home itself should also remain a place of work. Later, we will discuss specific professions for women, roles that are forbidden for men. For instance, it is not inappropriate for a woman to freely express her voice in singing or to mourn for the deceased in a public setting.

Gender Roles and Work in Society

Neither man nor woman is solely a social or domestic being; both are human beings with mixed roles, though their responsibilities are distinct. A woman’s primary role is domestic, followed by a part-time social role. A man’s primary role is in society, followed by a domestic one. A man’s role at home should not interfere with his primary social function, and conversely, a woman’s role at home should not be overshadowed by her secondary social involvement.

Men and women should each respect their distinct roles in a balanced and moderate way, as defined by the natural structure and wisdom of their respective functions. Excessive social involvement for women can weaken their domestic function, just as too much domestic confinement for men can weaken their social and professional capacities.

In conclusion, gender-based division of labor, where specific tasks are designated to each sex, should be respected. Women, for instance, should be engaged in professions related to their gender, such as selling women’s clothing or jewelry, roles that are inappropriate for men. When women take control of such domains, they maintain their dignity, ensuring both their own and society’s peace of mind.

The Role of Women in Society and the Preservation of Dignity and Chastity

Women, like men, should be able to demonstrate their expertise and competence in their respective professions without fear of discrimination or prejudice, particularly in fields such as driving or medicine. However, at present, public chastity in society does not meet the required standards. As a result, women cannot fully participate in public life without the accompaniment of their mahrams (male guardians), as their presence in the community, without a high level of security, is comparable to an electrical circuit being exposed to live wires, which leads to social stagnation and harm to the women of society.

The long-term planning of society should be such that women are able to become self-sufficient in their work, just as men should be, and religious scholars must issue fatwas on these matters to prevent the situation where others impose their opinions on the community. This requires both rigorous jurisprudence and a deep understanding of sociology. What is paramount in this regard is the preservation of public chastity, as well as the dignity of both women and men.

Women in Acting

In a healthy society, where chastity is upheld, women should be able to pursue careers in acting, perform before cameras, and engage in familial roles. Even if in such a society, where chastity prevails, actors, both male and female, use romantic language in their performances, it would not be considered problematic as long as their intentions are clear and not an attempt to incite or enact real emotions. However, if the actors’ performances are aimed at genuine romantic engagement rather than merely fulfilling their roles, this would be deemed impermissible.

An actor should behave as a butcher or a tailor would. Just as a butcher washes his hands after his work and a tailor places his needle aside before returning home, an actor, upon finishing their scene, should cleanse their mind of the role and return to their private life. Failing to do so indicates a spiritual ailment within them, and this ailment renders the profession of acting unlawful.

Nowadays, films often portray men and women conversing in such a seductive and provocative manner, to the extent that such scenes would be difficult to find even in the most decadent nightclubs or parties. This often occurs in luxurious settings that promote consumerist culture, negatively influencing not only women but also men, sometimes causing the family unit to become colder. This phenomenon, however, is not related to the voice or sound itself but is instead due to the culture prevailing within society.

Healthy and Chaste Interactions

In their social interactions, both men and women must avoid extremes and maintain chastity. Even the slightest deviation from this balance can cause irreparable damage to the fabric of society. In this context, some fall into extremism by refusing to look at women at all, instead fixating on the flowers of a carpet or the blue sky. Others, conversely, engage in an obsessive scrutiny of a woman’s appearance, even measuring the individual eyelashes of a stranger. Both of these approaches are contrary to the Islamic teachings, especially those found in the Qur’an, which sets clear boundaries regarding how one should gaze at the opposite sex. The Qur’an advises men to “lower their gaze” and to “guard their private parts,” not to refrain from looking altogether but to avoid undue or obsessive gazing.

The Prophet Muhammad (peace be upon him) and the Imams exemplified this balanced approach, and it should not be assumed that they made life unnecessarily difficult for themselves or others. For instance, when a perfume-seller woman came to the Prophet’s house, he would engage with her happily, answering her questions and even discussing her personal matters, such as issues with her husband. Such interactions were not problematic as long as there was no overstepping of boundaries.

The Husband’s Role in the Woman’s Dignity and Privacy

Generally, women, unless subjected to harsh and specific upbringing, tend to be more emotionally driven than men. They often surrender to external stimuli or promises, and their natural predisposition leads them to value appearances over abstract principles. This necessitates that a husband should act as a protector of his wife’s dignity and privacy, ensuring that her emotional and material needs are met. A woman should feel cherished by her husband to the extent that she does not entertain thoughts of other men.

A husband must possess such a level of wisdom and ability to meet his wife’s needs that she recognizes him as her sole provider and protector. It is not a matter of using force or domination, but of displaying a level of maturity and ability to manage the emotional and physical needs of the wife. This will prevent her from seeking affection elsewhere.

Women often compare their husbands to other men, and thus, a husband must strive to be the ideal figure in his wife’s eyes, not through coercion but through love, care, and personal growth. If a husband is dirty, rude, or weak, how can he expect his wife to be emotionally connected to him? A man who cannot meet his wife’s emotional and physical needs may drive her toward discontent and, ultimately, moral decay. It is the husband’s responsibility to ensure that his wife remains content and does not fall into sin.

Women: The Jewel of Life

Women are the flowers of life, not warriors on battlefields. They are the essence of warmth and security in the family, requiring protection and love. The best safeguard for women is the comforting environment of their home, where they feel secure and loved by their husbands, not imprisoned or isolated. In the modern world, it sometimes happens that a pious and devout woman faces difficulties in visiting her own family due to her husband’s disapproval, as her husband may feel possessive or insecure. This mindset, rooted in patriarchal control, treats the woman as though she belongs exclusively to her husband, undermining her autonomy and personal dignity.

When a woman’s well-being and happiness are subordinated to her husband’s whims, it creates an atmosphere of tension and bitterness, which ultimately undermines the marital relationship. In such cases, a woman may feel the need to resort to drastic measures, including considering divorce. Such issues highlight the dangers of an unhealthy power dynamic within the family. Islam encourages mutual respect, love, and understanding between spouses, with the aim of creating a harmonious family environment.

If society provides the necessary support for women, offering access to education and equal opportunities in professional fields, women will be able to demonstrate their full potential in a safe and healthy manner. A society that is sensitive to gender issues must eliminate this sensitivity and educate men to regard women with respect and dignity, without objectifying or exploiting them. Only then will society be able to ensure the safety and dignity of women in public life.

Moreover, it is essential for men to have the requisite spiritual and moral health to treat women with respect and avoid unhealthy temptations. A man who is spiritually grounded will not be moved by the sight of women outside his familial circle. If men and women alike are nurtured in a society that supports healthy moral values, the potential for societal damage through immoral or unjust behaviour will be minimized.

The Importance of Preserving Dignity and the Role of Men and Women in Society

Due to the activities one engages in, it is understood that a tired person needs to rest. However, wandering through alleyways, markets, and the pavements of streets continuously, where one’s life seems to pass aimlessly, is not permissible. In such cases, even men who behave in this way should stay at home and refrain from adding to the heavy traffic, noise pollution, and chaos in today’s cities. Of course, recreation, happiness, and rest are necessary in their own right, but they should not lead to the waste of time or the squandering of one’s life. Joy should bring vitality and energy, not lethargy or despair. If a man or woman is idle and leaves the house without a valid reason, their leaving is problematic. However, if a woman leaves her home to work and support her family—especially in times of economic instability, a volatile job market, and an era dominated by education and universities—there is no issue, and in some cases, it is necessary.

It is, however, problematic for women who are unemployed and wander aimlessly through streets and markets, or for women of corrupt character who are constantly exposed to the lustful gazes of others. It is rare for such women to avoid indulging in any form of impurity or to preserve their dignity. In these cases, the protective instincts of any man would approve of confining them to their homes. There is no distinction between men and women in this matter, and both must be controlled to preserve “chastity” and “modesty”—fundamental principles of religion. The Shari’ah does not intend for women to use shopping as an excuse to engage in pointless conversations with non-mahram men. A woman who is not content with her husband and is not devoted to him may frequent various shops and market stalls, visiting male merchants and doctors, thus wasting her time. Over time, such behaviour can lead to moral decay and cause corruption within society. Shari’ah does not consent to the concealment or imprisonment of women. Rather, men must learn the art of life and strive to be the sole object of their wife’s affection, so that even if a woman sees a thousand other men, her gaze remains fixed solely upon her husband. A woman who possesses such a mindset would never seek excuses to leave the house and would view her home as the safest and most secure refuge, a sanctuary where she feels enchanted and devoted to her husband.

Of course, when we say that this matter applies to both men and women, we should not be mistaken for believing in the Western notion of gender equality. Equalising men and women, disregarding their existential differences and the unique roles each has in the cosmic order, and treating them as entirely identical across all areas of life, is a form of injustice both to women and to men. Such a view detracts from their rightful places. Rationality and truth-finding are far removed from this perspective. Nevertheless, there are shared human attributes between men and women, as both are human beings. One common trait is the power of voice and speech. One significant distinction is that men are social-family beings, while women are family-social beings, each having their own respective role. Any exchange or imbalance in these roles can cause profound spiritual, psychological, and physical harm to both parties, preventing each from reaching their full potential.

The Necessity of Preserving Modesty

Women must leave the house with full adherence to modesty and the prescribed Islamic dress code. It is incumbent upon them to avoid engaging in seductive behaviours or making speech that excites men and incites unlawful desires. Such behaviour is symptomatic of an underlying sickness in the woman. According to certain traditions, it is necessary to keep women with such maladies at home, preventing them from leaving. Women who meticulously shape their eyebrows or wear excessive makeup to attract attention, displaying coquettish behaviours in public that they do not exhibit to their husbands, are far removed from the culture outlined in the Qur’an for women’s participation in public life. These women have become one-dimensional, seeking to satisfy their twisted, obsessive sexual urges in unhealthy ways—behaviour that adds only stress and tension to their lives, depriving them of psychological peace, and leading them down a path of spiritual madness, which requires more detailed discussion. The Qur’an provides a clear guide for women’s presence in society and their interactions with non-mahram men. It advises:

“Do not speak in a soft or alluring manner, lest the sick-hearted should feel desire, but speak in an appropriate manner.” (Qur’an 33:32)

Appropriate speech is one that upholds the dignity and honour of both men and women, protecting them from the snares of Satan. Such recommendations are aimed at preserving modesty, a principle that must be maintained in all interactions between men and women. Anything that undermines this principle is forbidden, and there is no difference between men and women in this regard.

Seduction in Speech and the Voice

Both men and women must refrain from indulging in seductive speech or adopting a coquettish tone, as such behaviour can render a woman’s speech unlawful. Otherwise, speech itself—being merely the utterance of words—does not pose an issue. However, adopting a seductive or flirtatious tone is an external factor that is impermissible. It should be noted that the prohibition of seduction in speech is not contingent upon a man’s reaction. Even if a woman speaks in the presence of a strong-hearted, healthy man who is unaffected by her seductive manner, it is still forbidden for her to speak in such a manner. The Qur’an commands: “Do not speak in a soft, alluring voice.” This prohibition applies regardless of the male recipient’s reaction, as the emphasis is on the woman’s behaviour.

Women’s Role in Mourning and Public Grieving

We have established that a woman is free to engage in any reasonable social activity that is devoid of seduction, the fulfilment of sexual desires, or moral corruption. Women can use their voice for non-professional or non-specialised singing and instrumental performances, provided these activities maintain the health of society and respect for modesty.

One such activity is lamentation or the singing of elegies. However, if a woman’s lamentation is accompanied by seduction or the intention to arouse unlawful desires in men, this makes it impermissible. Lamenting is permissible for women, but if it involves actions that violate Islamic principles—such as speaking blasphemously, making accusations, or supporting tyrants—it becomes impermissible.

Women’s Singing at Celebrations and Weddings

Women can sing at celebrations and weddings, as long as there is no accompanying corruption. However, it is essential to note that hosting a wedding does not provide a justification for violating Allah’s prohibitions. The boundaries set by religion must be preserved in all occasions, including weddings, which should remain an expression of joy and celebration in accordance with Islamic principles.

If, however, women or groups engage in inappropriate dancing before non-mahram men at weddings, or perform forbidden acts, then their singing, as well as the music and dancing, is impermissible. On the other hand, if a woman sings in a way that does not lead her to sin or corruption, respects Islamic modesty, and avoids foul lyrics, then her singing is permissible.

Women can sing, clap, and dance in women-only gatherings without any problem, as long as these actions do not involve any unlawful acts. In fact, with appropriate guidance, positive examples, and good, high-quality lyrics, such gatherings can be encouraged to avoid detrimental practices like excessive or oblivious singing.

On Celebrations and Weddings: The Need for a Method and Framework

In the case of weddings and celebrations, a method and framework should be established, and unlawful practices should be logically, rationally, and socially removed from these gatherings. Believers must first recognise the legitimate freedoms of young people to hold celebrations and festivities, considering these practices as permissible, and must set aside un-Islamic precautions. They should also design diverse patterns and models within the bounds of what is permitted and appropriate, providing them for society’s use. Achieving these two aims requires complete knowledge of divine laws as well as creativity, taste, and active, dynamic management—especially since we are among the finest and noblest of people. However, one should not deprive such a noble society of lawful pleasures and make them sick with rigid thoughts. Narrow-mindedness causes a woman, whom God has granted a beautiful and flexible body, capable of constantly enhancing her husband’s success and maintaining his attention, to lose such power and ability, reducing her to a mere figure, capable only of cooking and cleaning, and thus making life unpleasant for both partners.

Success and Child-Rearing

Success, pleasure, and intimacy are the primary elements in the lives of married couples and the foundation of child-rearing. If intimacy is properly achieved, the resulting child will be strong, capable, and full of vitality. Just as the Islamic community needs tears, it also requires joy and happiness, and both sorrow and joy should be proportionately present in human psychology to maintain balance. If joy exceeds necessary limits and is out of proportion, it is harmful; just as excessive sorrow, beyond its natural bounds, leads to depression.

The Ruling on Women Singing for Men

A woman singing, just as it does not pose any issue for her, also does not present an issue when she sings for unrelated men. What is prohibited is not the woman’s voice itself, but rather the voice that accompanies something forbidden.

The permissibility of women singing can extend to other celebratory events, such as Eid al-Fitr, Eid al-Adha, birthdays, and coming-of-age ceremonies.

God permits singing in celebration and joyous gatherings, but not because people engage in these activities without the permission of the Shari‘ah, thereby necessitating the lawfulness of such activities. Rather, singing and music are not inherently forbidden; Islam has never opposed lawful joy, singing, and dancing. What makes something unlawful is its consequences, such as the decay of religion, the spread of immorality, and the promotion of falsehood, or if inappropriate content is used in such activities.

Nudity and Its Role in the Prohibition of Female Singing

In addition to the fact that unjust rulers took control of female singing, what makes it forbidden is a widespread sin among female singers: nudity. The use of female slaves for the purpose of nudity was a political strategy of unjust rulers. The nudity of female singers, especially those who were slaves, is so certain that any discussion regarding the prohibition of exposing the body or wearing thin clothing is irrelevant. However, if a woman sings with appropriate clothing and does not use lewd or sexually suggestive lyrics in her songs, there is no evidence to justify the prohibition of her singing. It should be noted that rulings on permissibility require strong evidence, just as rulings on prohibition require solid proof.

Women’s singing and dancing, when done without nudity and without engaging in forbidden excitement or leading people into sinful behaviours, is not inherently prohibited. This is in accordance with Islamic principles, which regulate it with strict boundaries.

In early Islam, the scene of music and singing was controlled by the immoral elements of society. These were associated with dancers and singers who encouraged debauchery and corruption. Therefore, the singing and dancing of such individuals were forbidden. However, with the improvement of conditions and the modesty of Muslim women, it is possible to benefit from the singing of Muslim women, as there is no evidence to prohibit it. This brings about a positive and widespread impact in the world, reclaiming the space from anti-revolutionary singers and exiles, and providing an opportunity for their reform and repentance. In this way, culture, art, singing, and musical instruments will no longer be tools for undermining religious principles or the Islamic system but will instead become a reflection of the divine system, promoting public health and religious observance.

The Scope of Female Melodies

The ruling on the permissibility of female singing involves two principles: the general permissibility of singing and the shared rulings between men and women, unless there is specific evidence to the contrary. There is no difference between the permissibility of a woman reading the Qur’an, calling the adhan, composing poetry, or singing songs. A woman may sing for the world to hear, as long as she adheres to Islamic dress code and avoids flirtation or songs that promote falsehoods. However, if she does not follow these guidelines and sings in places of corruption, such as cabarets, parties, or sinful establishments, it indicates that society is still in its infancy and has not reached intellectual maturity. Therefore, her singing in such places is forbidden.

Heavenly Melodies of Women

A man once asked Imam Zayn al-Abidin: “Is it permissible to purchase a slave girl with a beautiful voice?” The Imam replied: “There is nothing wrong with it if you buy her, and why should there be any issue? She will remind you of paradise and the kingdom.”

It is important to note that the Imam did not simply say “there is no harm,” but instead used the expression “why should there be any issue?” which carries a deeper meaning, as if to suggest that there is no problem, especially since her voice will remind you of paradise.

However, we must consider how a beautiful voice reminds one of paradise. The answer is that all of paradise is melody, unlike the world, which is filled with dissonance. God’s saints view all dissonance as harmonious and sweet. What brings to mind paradise is the beautiful voice of a singer, particularly when her appearance and voice are in harmony. A voice that is structured, with appropriate modulations and refrains, has the power to evoke thoughts of paradise.

Music and Freedom from Mental Strain

The entanglements of materialism, worldly distractions, sleep deprivation, greed, fear, anxiety, and mental tension all constitute aspects of the suffering of hell. A beautiful, pleasant voice and melody provide the means for liberation from these afflictions, elevating the soul to a higher realm and reminding it of paradise. However, it should be noted that the paradise referred to here is not the highest level of paradise, but a reminder of it, which leads one towards it without necessarily reaching its most exalted stages.

Religion encourages individuals, when facing worldly pressures and psychological strain, to visit a graveyard. This helps them detach from material concerns and regain their lost inner peace, prompting them to reflect on the hereafter.

Permissible Joy-Bringers

Another important point in this narration is the permissibility of using stimulants. The use of the beautiful voice of a slave girl, which is stimulating, is permissible as long as the stimulation is directed towards lawful and permissible matters.

Many foods, especially those with a warming nature, act as stimulants. Examples include saffron, rosewater, and carrot juice, which enhance vitality and improve men’s ability to enjoy marital relations. The fact that these foods are stimulants does not make them prohibited, as they are only forbidden when they are used for illicit or sinful purposes. Hence, the allure and stimulation of a voice, as well as the joyful and exciting nature of music, cannot serve as grounds for prohibition unless they are associated with corruption or evil.

This narration from Imam Zayn al-Abidin holds particular importance because the Imam himself had access to specialized musical instruments, creating a unique record in the field of music, unlike his contemporaries. Although the circumstances were more open for his successors, Imam Baqir and Imam Sadiq, they did not have the same resources or context.

Islamic Religion: Easy and Natural

Religion is a guide for life, facilitating human progression along their natural path, offering freedom rather than restrictions. The unadorned, healthy religion of Islam never burdens people but always pushes them towards progress and higher perfection. Shari’ah is an easy and natural religion, but it is important to understand that ease in religion does not equate to lawlessness; rather, it means ease within the framework of the law. Islam permits everything unless explicitly prohibited, much like traffic laws that ensure safe navigation and prevent accidents and chaos. These laws, like the anchor of a ship, ensure the safe journey of humanity, preventing it from drifting aimlessly.

Chapter 3 / Forbidden Music

Factors that make music forbidden

We stated that music, in and of itself, is permissible. However, if it is accompanied by certain sins, the production and listening of it become forbidden. These sins include the promotion of tyrannical regimes, the revival of false symbols and styles associated with the forces of tyranny, the dissemination of vice, the promotion of violence, excessive indulgence in hedonistic music, and the lack of essential harmonies.

Belief in the Tyrannical Regime

If music and singing become “the voice of the falsehood” and are used in the service of an oppressive and tyrannical government, any kind of musical production or consumption becomes forbidden. By “falsehood,” we mean anything that obstructs the declaration of the oneness of God, corrupts religion, spreads vice and immorality, promotes oppression or violence, or leads to the violation of divine prohibitions. The highest example of falsehood is “belief in a tyrannical government” and the promotion of its objectives and the support of such a regime.

Many aspects of life can be employed in the service of the righteous cause, just as skills such as marksmanship have a direct connection with jihad (the lesser struggle) in the battlefield for justice. Of course, the larger field of the greater jihad, which supports righteousness and confronts falsehood and its adversaries, is much broader. One of the most effective tools for aligning the masses with either the righteous or the tyrannical cause is music, which can stir the emotions of the community.

The Emergence of Islam and the Need for Severe Opposition to False Music

Islam emerged at a time when pre-Islamic Arabs engaged in a culture that mixed alcohol, gambling, dancing, and music. These practices were emblematic of Arab culture. Islam, in its struggle against these intertwined customs, had to prohibit all these practices, particularly the use of alcohol, which had been deeply ingrained in society. Over time, a policy of opposition to this culture was established. There was no legitimate use of music during this period, and no “flute” or musical instrument was played without sin. Although Prophet Muhammad (PBUH) ruled in Medina for a decade, the city was often embroiled in war, and the harsh circumstances surrounding his rule and the martyrdom of many of his companions left no room for engaging with lawful forms of music. Only the use of martial music, which could be utilized for the sake of religion, found expression.

The struggle against gambling, alcohol, and associated activities such as music necessitated a firm stance against this corrupt culture. The deep influence of these vices on the Arab psyche meant that even discussing the lawful aspects of music would lead people towards the unlawful ones. Context, position, and the particular circumstances surrounding the issuance of legal rulings play a critical role in understanding how these rulings should be applied.

The Tyranny of the Saqifah Regime and the Corruption of Music

Following the Saqifah coup, falsehood became the source of all matters in the Islamic world, with the Umayyads and Abbasids seizing control of everything. Naturally, with the music industry being dominated by the forces of falsehood, the righteous community distanced itself from music and dance. Music and musical instruments, now controlled by the tyrannical regime, became as corrupt as the regime itself. During the time of the Imams (AS), musical instruments were only used in sinful contexts, as there was no Shiite government. The oppressive caliphs, seeing the hands of the religious community tied, exploited music as a tool to further their own agenda. This situation led religious scholars to issue rulings against the permissibility of music and singing. However, these rulings were relevant only to the period when there was no Shiite Islamic government based on the leadership of the Ahl al-Bayt (AS). If circumstances were to change and a government capable of using music in service of the expansion of the Shariah and to stir the emotions of the people for their spiritual benefit were established, there would be no legal prohibition against it.

During those times, music was fully controlled by the oppressive rulers, and the Shi’a, living in a state of exile, fear, and humiliation, had no access to musical instruments or even the ability to preserve their own religious texts. In such a society, the use of instruments like the drum or tambourine, which could deeply affect people’s emotions and stir them against the ruling regime, could not be aligned with religion and the cause of justice. Thus, any use of these instruments in the service of a false regime was a promotion of tyranny and was considered forbidden.

Systematic Oppression and Organised Corruption

At the time the Hadiths were being issued, the Umayyad and Abbasid caliphs controlled the cultural and intellectual life of the people, organising sinful gatherings and parties centered around music and singing. On the other hand, the Shi’a, to avoid oppression from the tyrannical rulers, adopted a policy of taqiyya (dissimulation). While the Shiite Imams (AS) denounced the corrupt system, they had no means to confront the regime on every front. The Hadiths that severely prohibit music and singing highlight the extent of the enemy’s manipulation of the people through the promotion of music and song. The caliphs organized music and singing parties, supported entertainers and musicians, and used these methods to bring the masses closer to the tyrannical regime, thus preventing them from thinking about the existence of legitimate leadership within the Muslim community, such as that of Imam Baqir (AS) or Imam Sadiq (AS).

In such a system, the rulers filled the people’s free time, and even their working hours, with entertainment to prevent them from having time to think critically, and certainly not to reflect on the reality of having a rightful Imam. By filling the air with the sound of falsehood, they drowned out the voice of truth, thus ensuring the sustainability of their unjust rule. Some argue that even today, governments use the same tactics of controlling popular culture, releasing highly watched shows to distract the public and push their political agendas, all while undermining collective resistance.

Chapter Three: Forbidden Music

Factors Leading to the Prohibition of Music

It has been stated that music, in and of itself, is permissible. However, if music is accompanied by certain sins, its production and listening become forbidden. These sins include promoting oppressive regimes, reviving false symbols and styles associated with the agents of tyranny, spreading obscenity, inciting violence, excessive indulgence in worldly music, and the lack of substantial harmony.

Belief in an Oppressive Regime

If music and song become the “voice of the forces of falsehood” and are used in the service of a tyrannical government, then the production and consumption of such music becomes forbidden. By “falsehood” here, we refer to anything that leads to the suppression of the word of monotheism, the corruption of religion, the spread of obscenity and immorality, the promotion of injustice or violence, and the violation of divine prohibitions. The highest manifestation of falsehood is the belief in an unjust regime, the promotion of its objectives, and service to such a government.

Many aspects of life can be in the service of the righteous cause, just as skills such as marksmanship are directly related to the jihad of the righteous (lesser jihad). However, the greater jihad is in supporting righteousness, opposing falsehood, and confronting the enemies of the rightful authority. One of the most effective tools for aligning the masses with either the righteous or false camps is music and song, which stir the emotions of the people.

The Emergence of Islam and the Need for Severe Opposition to Corrupt Music

When Islam emerged, it did so at a time when the pre-Islamic Arabs were deeply involved in practices such as drinking alcohol, gambling, dancing, and music, which were central to their culture. Islam’s mission to combat these intertwined practices, especially the use of alcohol, was a gradual process. At that time, no legitimate use for music or song was seen, and no instrument was played without some association with sin. During the Prophet Muhammad’s (PBUH) decade of leadership in Medina, the socio-political situation, which included war and the martyrdom of many of his close companions, left little room for considering lawful music or song. Only martial music that inspired people for religious purposes was allowed to exist.

The battle against gambling, alcohol, and the accompanying practices, such as music and song, required a strong and direct response. The influence of these vices on the Arab spirit was so profound that even the mention of permissible music could easily lead people into forbidden practices. The context, timing, and characteristics of when and how a ruling is issued play a significant role in understanding its application, and this must not be overlooked.

The Rule of the False Caliphs and the Corruption of Music

After the coup at Saqifah, falsehood became the source of authority in the Islamic world, and the Umayyads and Abbasids seized control of everything. Naturally, with the world of music and song under the control of the forces of falsehood, the true followers of Islam distanced themselves from music, dance, and song. Music and musical instruments became tainted as they were controlled by the oppressive government. During the time of the infallible Imams, musical instruments were only used for forbidden purposes, as there was no Shiite government to turn the instruments towards religious and righteous goals.

The Umayyads and Abbasids, having tightly restricted the actions of the true followers of Islam, felt emboldened to impose their desires and preferences upon religion. This prompted scholars to issue rulings prohibiting music and song, a ruling which is entirely justifiable given the circumstances at the time. However, this ruling only applies to periods where there is no Islamic government, particularly one that is based on the leadership of the Ahl al-Bayt (the family of the Prophet). Should the political situation change, and if the government is capable of using music for the promotion of the Shariah and to inspire the people towards spirituality, there is no legitimate legal reason to prohibit it.

At that time, music in all cities served the oppressive government, while the Shiites lived in exile, fear, and weakness. They could neither own a drum nor a tambourine, nor could they keep their poetry or religious books in the open, as they were often buried to prevent them from falling into the hands of their enemies. In such a society, it is evident that instruments like the tambourine, which could arouse the emotions of the people against the oppressive regime, could not be used for religious or legitimate purposes. Hence, any use of these instruments in the service of the oppressive government was considered to promote the tyranny and was forbidden.

The Authority of Infallible Imams and the Absence of Music in Their Service

The authority of the infallible Imams during their time of exile and repression, when they were unable to establish an Islamic government, meant they could not direct the use of music for the promotion of religious purposes. In their time, music, poetry, and performances were almost always associated with the corrupt courts of the Umayyads and Abbasids. These regimes used music to keep people entertained and distracted from the greater issues of justice and the true leadership of the Ahl al-Bayt.

The instruments and artists associated with music were seen as part of the corrupt, sinful, and morally degenerate groups who supported the false caliphates. At this time, there was little opportunity for someone in the Shiite community to use music to promote the teachings of the Imams. Those who had the ability to express their beliefs through art, such as poets, often faced extreme repression, and music was simply not a tool available to the true followers of the Imams for promoting their beliefs.

Systematic Oppression and Organised Corruption

During the time of the early caliphates, the Umayyads and Abbasids used music as a political tool to maintain control over the population. They encouraged public gatherings centred around music, dance, and debauchery to keep the people distracted and to prevent them from focusing on the true leaders of Islam. The Shiite community, however, had to engage in a strategy of taqiyyah (dissimulation) to avoid the wrath of these oppressive regimes.

The hadiths that strongly condemn music and song reflect the misuse of these practices by the forces of falsehood. The Umayyads and Abbasids used music as a means of controlling the masses, drawing them closer to the caliph’s cause, and preventing any thought of rebellion or the recognition of the true leadership of the Ahl al-Bayt. They used music as a tool to sedate the people, preventing them from realising the importance of the Imams and their rightful place as the true leaders of the Muslim community.

The Deception of Music and Society

Deception is not only present in courts of law but can also be seen within society at large. Some individuals accuse one another of immorality and lack of faith, even providing false testimony to support such claims. Though this may lead to them being deemed unclean, it does not seem to garner significant concern or condemnation. However, when it comes to music and singing, these are met with such intense opposition as though they are the most terrifying sins. Yet, the most horrifying sin is anything that shuts the door to the truth, elevates the oppressive and unjust ruler to power, and leads society toward impure and demonic goals, thus depriving them of the blessings of a just and gracious government. Indeed, music and singing used to promote falsehood is forbidden because serving the unjust ruler and the tyrant is a grave sin, and arguably the gravest of all major sins.

The criminal rebels and those who seek to deceive Islamic nations and societies have always exaggerated certain issues, muddying the waters to downplay the significance of minor matters in order to belittle the influential figures in the Islamic community.

Religious scholars and clerics, who serve as the leaders of the community, should act as the healers of society. They must rank the sins in terms of their harmful effects on individuals and society, addressing them accordingly. If they fail to do so, the severity of certain sins may be overshadowed by lesser transgressions, leading to widespread harm in society. Thus, “sinology” or “criminology” must find its rightful place within religious sciences. The major sins that threaten humanity, human perfection, and the innate purity of the human soul must first be identified, and then efforts should be made to eliminate them from Islamic society. For every poison, there is an antidote. Until the major sins are removed from society, efforts to address smaller sins on a large scale are unlikely to be effective, as they may only diminish the importance of the larger sins.

The Difference in the Ultimate Purpose of Individuals

Since no act is without purpose, one must determine which ends and actions are forbidden and which are permissible. A jurist should not expect that every action performed by individuals has a rational, higher, spiritual, divine, and worshipful purpose. It is true that God says: “And they were not commanded except to worship Allah, [being] sincere to Him in religion” (Quran 98:5), and “And I did not create the jinn and mankind except to worship Me” (Quran 51:56); but it should be noted that God’s command for sincere worship is one thing, and whether an individual obeys that command is another matter. God intends that the true purpose of all actions should be worship, not that all actions should be worshipful in nature. Only the saints of God have no actions other than worship and obedience. Everything they do is either obedience or devotion, and their very existence is devoted to the Divine. This is not something that should be expected from ordinary people, and jurisprudence provides rulings for ordinary individuals, not for the saints of God who themselves are the sources of rulings and are regarded as jurists and scholars.

The Scholarly and Aspirational Agents

An agent of action can be immediate, intermediate, or distant. Every act also has an intellectual origin. Knowledge brings about desire, but in the case of an ill person, this desire may be blind. Desire causes a person to seek out an action. For example, a thirsty person knows they need water and desires to drink it. The intellectual agent, in this case, is the awareness of thirst, the intermediate agent is the desire to drink, and the immediate agent is the act of drinking itself.

The immediate agent has power embedded within the individual and organizes the act. Desire, as the intermediate agent, may not always be strong. For instance, if fresh bread is baked, the desire to eat it is very strong, but if the same bread becomes stale, despite knowing it is there, the desire to eat it diminishes. Desire in paradise is ever strong.

This philosophical issue concerning the types of agents is vast, but we will limit the discussion here.

When the intellectual origin of an immoral act is desired, and someone strives to commit a sin, the act is performed even if hindered by obstacles. The intellectual agent aligns with theoretical wisdom, while the aspirational agent aligns with practical wisdom. Both are unique to humans, and the immediate agent is shared by humans and animals. The act, from these two agents, can be described as either futile, frivolous, or meaningless. The difference between the human agent, who is volitional, and the natural agent lies in knowledge and desire. Without these, humans would be akin to animals in terms of immediate action, as both are subject to commands and are excused from blame.

The distant intellectual origin of a divine action, the intellectual agent, has a real essence that corresponds to its nature. Such actions rarely appear from ordinary people, as the Quran clearly states: “But most of them do not understand” (Quran 10:92), or “And most of them are hostile to the truth” (Quran 41:25). The Quran further explains: “And you have not been given of knowledge except a little” (Quran 17:85). This reflects that our knowledge is very limited, and most of our actions — even good deeds and worship — are driven by desire, imagination, or illusion. The number of intellectual agents is limited, and only the saints and divinely-inspired individuals, whose actions manifest only by God’s permission, embody the true essence of worship.

The Meaning and Formal Actions

Some actions are inherently true, and their distant origin is knowledge — knowledge that aligns with reality. This is the criterion for evaluating human actions, and a person’s worth is determined by their intellectual and cognitive origin. An action has no inherent value by itself; it is only the form. The evaluation of a thousand prayers differs not by the quantity, but by the intentions, the soul of the person performing them. Thus, humans can be divided into three categories: the high, the medium, and the low. The high are those who perform actions of truth, though very few in number. These individuals are capable of dedicating their life, death, love, and hate to God.

The second and third groups, however, are driven not by intellectual pursuits but by fantasy, imagination, or conjecture. Conjecture is a form of imagined meaning, while imagination is that form, an entity, such as the love for a child, which differs from the love for humanity in general. This imaginative form is what creates desire and raises questions about whether someone is “excused for their sins.” These elements can be mixed in various ways.

The Prohibition of Promoting Falsehood and Violence

There should be no falsehood in songs and musical compositions that would render music and singing forbidden. Music should not propagate violence. The use of music styles like American pop and rock, which primarily promote immorality and violence, is forbidden. Even if such styles were to be recited from the Quran, they would remain forbidden. Currently, in Russia, harsh American music is widely popular, and people engage with it primarily for its sound, its rhythm, and its visual elements.

Today, American pop music dominates the global scene, with its influence extending to dance halls and centers of immorality. Fortunately, it has not yet spread widely in Iran, only appearing in underground parties or among the wealthy in large homes. Pop music with its beats and tempo injects tension into the listener, much like the rhythms found in certain Iranian music today, which mirrors American beats and creates societal stress.

Western countries are now attempting to spread their aggressive and harsh music, which promotes immorality and societal tension, and transform the peaceful and loving nature of Eastern music into something harsh and chaotic, driving Asia toward rebellion. There is a vast contrast between the gentle, tender Eastern music and the aggressive, rough, and violent rhythms of the West. Unfortunately, Western pop music now dominates cultures worldwide. Music is a universal language, and even people who do not understand the language of the singers still benefit from it. If music has such harmful effects, it is forbidden. However, if the music is of a righteous nature, such as the songs of Prophet Dawud (David) or the sacred melodies of Sajad, which leave an elevated impact on the soul, then it is permissible.

For decades, imperialist governments have waged war against underdeveloped and backward nations using violence and sexuality as their weapons. This is a truth that can easily be acknowledged. Do we have young people who are capable of transcending their desires and not becoming absorbed in passions? America first brought its strike force—namely sex and music—into the Middle Eastern countries, and only later did it deploy its military forces there. This policy was pursued among the youth in Syria since the time of Bashar al-Assad.

Nowadays, war with cannons and tanks has become laughable, and those who instigate it are likened to savages. The modern wars today have a much more complex cultural dimension, in which music plays a significant role. If we ignore this weapon, not only will we fall behind in the world today, but we will also lose the effectiveness of religion and faith. In a few decades, we will have young people whose hearts and faces reflect nothing but foreign, non-religious imported cultures. They will become puppets whose strings are pulled up and down in the political puppet show.

The progress of Islamic countries depends on the nurturing of committed religious forces who, armed with football, ping pong, basketball, chess, and music, will engage in the battle against infidelity. They will carry the message of purity and sincerity of Shi’ism, love for the guardianship, and bring it to all inhabitants of the Earth, with the intention of waging a jihad against imperialism, colonialism, oppression, and all falsehoods, both pure and disguised as truth, to triumph over them. For this, they will seek guidance from the prominent religious scholars.

The Sanctity of Reviving False Symbols

Religion and Sharia aim to eliminate the customs of the infidels, which have their roots in their disbelief. Thus, reviving the symbols of false and infidel groups is considered forbidden. If music revives the symbols of falsehood and tyranny, it becomes prohibited. Accordingly, both singing and reciting the Qur’an in the style of renowned corrupt singers are problematic, as they belong to the forces of tyranny, and their style recalls falsehood. However, if these singers did not ignore religious matters and their recitations reminded one of mystical stations and the paradise and divine kingdom, their singing would not be problematic. Yet, if any of them taints their style with corruption or supports the forces of oppression, even the recitation of the Qur’an in such a style is prohibited. Qur’anic reciters must be careful not to adopt such styles in their recitations.

Unfortunately, today we have singers who revive the songs and music from the era of the tyrannical Pahlavi regime. The difference is that the singers back then were women, while now men are performing them, using the same rhythm and melodies. This is indeed a revival of the customs of falsehood, and it is the responsibility of the supervisory authorities to address this issue.

The Islamic community must develop its own music and song industry, not copying the false examples, so that such practices do not lead to the revival of falsehood. This is not an indication that religion is strict or difficult, but rather that Sharia is aiming to cultivate creative and innovative minds, encouraging individuals to rely on their own creativity and use the instruments that are naturally aligned with religious teachings. Most importantly, they are to obliterate the forces of falsehood and infidelity. Religion teaches that many musical styles can be discovered, but we must not imitate the instruments of the infidels. Sadly, from the market of Muslims and religious people, no suitable product has emerged; otherwise, the market of faith could easily render all the music of the world stagnant and attract people from various societies.

The thinkers within the religious community have not designed various kinds of halal music, nor have they created types of halal beverages or games that are referenced in the Qur’an. Although this may be hard for the reactionaries who lack understanding of religion but are full of claims, it is an area in which religious thinkers must advance.

What we heard during the time of the Pahlavi regime, from some singers, was all aimed at ingraining false thoughts in the minds of society. For instance, when Marzieh sang: “On the road, I saw a girl… with her tight skirt,” she was promoting the idea of tight skirts as a fashion and a role model for the women and girls of this country, which was one of the clearest examples of implanting the culture of falsehood in society. Such singing is prohibited.

Shouts or songs promoting the exclusive slogans of the infidels, Zionism, or American imperialism, or spreading their culture and beliefs, are also examples of what is false and prohibited.

This matter is not limited to music and singing; it applies to anything like badges, logos, or other items, whether they appear on clothing, cars, or homes, they are also prohibited.

Even some films today revive and recall the traditions of falsehood. Some actors from the past, who were banned from acting in films for their involvement in corrupt works, sometimes create such films inside the country. These creations, before the day of reckoning, must be addressed to avoid the cultural harms they may bring. Negative portrayals and attempts to vent personal frustrations also appear in some films and songs.

Glorifying criminals who manipulate the police force and presenting them as weak are instances of reviving falsehood and a kind of betrayal to the blood that the people have invested in their forces, ensuring that those symbols of faith remain proud. Additionally, the proliferation of terminology associated with thugs is another example of reviving the traditions of falsehood. Gangster and criminal films are specific examples of this.

The sin of such works is compounded by the fact that public funds are being used to create or purchase such films.

Music should not revive the traditions of falsehood from past eras, just as this statement: “O youth of the Hashemite, come forth, and bring Ali to the door of the tent,” is a source of inspiration for the bravery of Hazrat Ali Akbar to the grieving youth.

If music revives the symbols of falsehood, it becomes subversive, akin to the music of the Umayyads and Abbasids. The unjust rulers of those eras sought to direct people’s attention to worldly pleasures and promote falsehood, leading them away from spirituality, truthfulness, piety, chastity, and seeking the guidance of the believers. Unfortunately, this policy and inclination is visible today not only in our society but also in other Islamic societies. One of the factors causing people to turn away from spirituality, religious scholars, mosques, and spiritual gatherings is the sheer number of entertainment programs on television and media. These programs have engrossed the people to such an extent that no one is thinking about reading prayers, supplications, night vigils, or remembering the divine and seeking knowledge from religious scholars.

In some of these shows, ridiculous movements and cries can be seen that are not even present in “houses of entertainment” or “houses of singing,” and sometimes they come close to the old cabarets, dance halls, and cinemas. Such films are examples of falsehood that diminish the quality of prayer and religion. However, it is possible to create beneficial works using talented artists and films and series suitable for the society of a religiously committed Iran, at the right times, which would bring about spiritual and moral growth rather than dismantling the soul.

Subversive Religious Chanting

Chanting by religious leaders must also avoid using the styles of recognized corrupt and sinful individuals. Some chanters possess such skill that they imbue their voices with a mournful charm, immersing the listener in profound sadness, leading them to tear off their clothes, beat their chest, and sometimes faint, while others become restless and ecstatic. Such actions bring a feeling of lightness and satisfaction. However, using the styles of those from the camp of falsehood, both in music and in religious chanting, is forbidden.

It is necessary to examine the current situation in our society regarding religious chanting, evaluating whether it serves the cause of truth and guardianship or whether it inadvertently opens the door to falsehood. Looking at the work of religious leaders and scholars during Muharram and other mourning occasions reveals that today, religious knowledge is often overshadowed by the emotional performances of chanters, and the public’s enthusiasm for them exceeds that for religious lectures. Despite the deficiencies in the educational system of clerics, this trend largely reflects the influence of the chanters. Those who claim to defend and promote the true religion with their actions are inadvertently contributing to the erosion and decline of religious values. Today, it is common for a chanter to manage several sessions a day, while the scholars who should possess the true understanding of religion are often sidelined. A chanter who knows only a few verses of poetry has taken the place of religious scholars, and it is they who stir the emotions of the masses with shallow expressions.

This form of religious chanting is a clear example of the erosion of faith and support for falsehood. Clerics, however, should enhance their knowledge, including understanding the musical structures used in religious mourning, which soften even the hardest hearts and bring tears to the eyes. They should, above all, have true religious knowledge, which we have discussed in our work, “Sociology of Religious Scholars.”

While this is not the case today, perhaps, due to the current situation and the weaknesses of some religious figures, one day it may be declared that chanting by non-scholars becomes forbidden, as their actions would sideline the true defenders of the family of the Prophet.

The Relationship Between the Believer’s Disposition and the Divine Command

As previously mentioned, believers are categorized into three main groups: the perfect and virtuous individuals, the average believers, and ordinary people. Their actions are likewise categorized into three types, corresponding to their respective groups, and each action is appropriate for a specific group. Human beings, by nature, tend to fall into trivialities, and this can be beneficial for them. A deficiency in trivial matters may lead them to become self-righteous, arrogant, hypocritical, or boastful. Each person has a certain capacity, and overloading them may cause a rupture. An ordinary person, if overly focused on religious duties and striving to rid themselves of any trivialities, may lose their sense of balance and become susceptible to self-righteousness, hypocrisy, and arrogance. Such individuals may even begin to see themselves as superior, much like figures such as Nimrod or Shaddad, who believed themselves to be powerful, pure, and exalted, though their inner essence was filled with corruption and malice.

Trivialities serve as a safeguard against disbelief, polytheism, arrogance, and pride. They are akin to the anchor of a ship, stabilizing both the soul of the servant and their existence.

Ordinary people are judged not for their trivial actions but for what their hearts have attained, which refers to more serious matters, not playful trivialities. The Almighty frequently overlooks the actions of ordinary people and does not hold them accountable for many of their behaviors. Leaders in society should not impose harsh measures on ordinary people or instill fear in them, as much of their behavior is not intentional or serious but rather happens inadvertently. Serious matters like polytheism, disbelief, murder, and corruption should not be overlooked, as they cannot be reconciled with leniency. However, trivial matters are more adaptable, and God, in His great mercy, overlooks them. This is an important principle in social interaction: when dealing with others, one must determine whether their actions were intentional or accidental. Of course, as long as there is no inappropriate suspicion, one should try to understand that the majority of people’s actions are unintentional, without hastily labeling them as deliberate and serious.

Beliefs and internal convictions can be questioned in ordinary people, but trivialities are overlooked. God does not neglect important matters like monotheism, and He shows His sharp sword when necessary. On the other hand, He is not strict when it comes to everyday actions of weak individuals, those who lack intent and will. These individuals are given leniency, and God does not become angry with them for their inadvertent actions.

Many actions that are permissible for ordinary people are not permissible for average or higher-level believers; rather, they are disliked or even forbidden. People, depending on their level and status, are subject to different rules. For instance, the verse (وَالَّذِينَ هُمْ عَنِ اللَّغْوِ مُعْرِضُونَ) applies to average believers, but this description does not imply their complete purity from engaging with trivialities. However, for the higher-level believers or “servants of the Merciful,” the Quran describes them as those who are untouched by trivialities even when they pass through them: (وَإِذَا مَرُّوا بِاللَّغْوِ مَرُّوا كِرَامًا). Rejecting trivialities is not simply turning away from them, but rather passing by them without being affected or disturbed by them. Servants of the Merciful are not swayed by trivialities; rather, they influence others by reminding them of the remembrance of God. This is a very high level of spiritual attainment that is not easily achieved.

Excessive Engagement with Trivialities

Those who constantly seek to accumulate wealth and expand their material possessions and resources are suffering from a form of excessive engagement with trivialities. Encouraging moderation in wealth and critiquing excessive materialism is an attempt to curb this disease that is naturally embedded in humanity. Not all trivialities are harmful, but as mentioned, excessive engagement with them can be damaging. A person who consumes excessively to the point of overindulgence, leaving their body incapable of processing the excess, is trapped in an imagined pleasure. A wise individual understands that their body needs only a certain amount of energy each day and adjusts their consumption accordingly to maintain balance. However, a person driven solely by desire or imagination does not consider their body’s needs but consumes for the sake of enjoyment, much like one who takes pleasure in scratching an open wound.

Human nature is inclined to engage in trivial matters, and this is a natural part of existence. The Quran acknowledges this tendency, as it says: (إِنَّ الاِْنْسَانَ لَفِي خُسْرٍ), for human beings are naturally inclined toward such behavior. Only a few individuals fall into the category of average or higher believers, as mentioned in the Quran (إِلَّا الَّذِينَ آمَنُوا وَعَمِلُوا الصَّالِحَاتِ وَتَوَاصَوْا بِالْحَقِّ وَتَوَاصَوْا بِالصَّبْرِ), who are those that believe and perform righteous deeds.

The Quran points out that ordinary human beings, compared to these two higher groups, are in a state of loss, deprived of the benefits that the others enjoy. For ordinary people, engaging in trivialities is not condemned. Trivialities are embedded in the very nature of ordinary human beings, and revealing this is not only harmless but often necessary given the sheer number of people involved. As is the case with trivialities in life, the world is structured in a way that (وَمَا هَذِهِ الْحَيَاةُ الدُّنْيَا إِلَّا لَهْوٌ وَلَعِبٌ). However, for average or higher-level believers, engaging in some trivialities is forbidden.

This principle should be applied in a way that recognizes individuals’ capacity and understanding. It is not practical or effective to impose the standards of higher believers on ordinary people. As such, we must be careful in applying religious duties and expectations, as people’s spiritual maturity and potential vary greatly. This approach and guidance from the Quran offer the best example for educational and social practices.

Excessive Engagement with Music

Music, like any form of entertainment, can serve as a distraction from duty. In Islam, only when entertainment leads to neglecting religious duties or engaging in prohibited actions does it become problematic. For example, football, as a pastime, is not inherently harmful unless it leads individuals away from their obligations, such as missing obligatory prayers or neglecting knowledge acquisition. Similarly, if music or entertainment prevents individuals from fulfilling their duties, such as praying, it becomes sinful.

In general, leisure is not condemned in Islam, as long as it does not interfere with obligations. The issue arises when entertainment becomes an obsession, especially when it promotes sinful behavior, such as indulgence in vice or immoral acts. Similarly, excessive pride and materialism, when they lead to neglecting the remembrance of God, are also condemned.

Thus, it is not entertainment itself that is inherently bad, but how it is approached. Music or leisure that leads to spiritual distractions or promotes evil becomes unacceptable. However, when balanced appropriately, it can be permissible, as it does not interfere with one’s religious obligations. Even activities like studying, socializing, or participating in sports can be considered permissible as long as they do not lead to neglecting one’s duties or engaging in sinful actions.

Some contemporary reciters and religious singers in the Arab community, who are often invited to Iran at significant expense, sing in the style of figures like “Umm Kulthum.” In the Arab world, Umm Kulthum held a similar position to that of singers like “Zabihiy” or “Golpa” in Iran. Zabihiy was distinguished among Iranian singers in religious matters, and even individuals such as Bahari and Moadenzadeh could not be compared to him. Unfortunately, Zabihiy ended up, much like Golpa, becoming a singer of the classical Persian music tradition. While Golpa’s voice was excellent, pure, and beautiful, he lacked mastery in the complex systems of Iranian classical music. The opium addiction tainted Zabihiy’s voice, yet he never lost his religious identity. He was someone who could conduct the Ramadan evening gatherings in a way that even a thousand contemporary singers would not reach in terms of vocal beauty. His voice was so beautiful that when he sang “Rabbana,” it seemed as though Prophet David was singing with seven notes. However, it is unfortunate that his association with indulgence, opium, and his involvement in a kind of “flute-playing” approach to the Qur’an tainted the beauty in his voice, and thus he passed away in this state.

Golpa, on the other hand, had a noble father who was regarded as one of the finest religious singers. The Golpa family, in general, were known for their beautiful voices, though Golpa’s father did not allow his sister to sing. Umm Kulthum had a position similar to Zabihiy. A proficient music teacher who has listened to Umm Kulthum’s songs would easily recognise that a particular Qur’anic reciter is singing in a style similar to one of her songs. Such reciters repeatedly listen to her songs to adapt her style in reciting the Qur’an with a melodic, almost musical voice, thus creating a beautiful recitation that brings joy to their audience. Unfortunately, they are unaware that the Qur’an has its own distinctive language, style, notation, and tone, which should be followed. Even though mastering it is extremely difficult, discerning between a musical recitation and a religious recitation is a challenge that only a select few are capable of achieving.

This argument becomes clearer when considering the behaviour of Arabs. Pleasure through dance and song has been a part of Arab tradition and an aspect of their distraction from spiritual matters. Arabs, known for their eloquence, would often indulge in poetry, songs, and dance during social gatherings. Even today, Arabs still maintain their position as the leaders in rhetoric and eloquence, surpassing the West in this regard. While Indians lead in dance, Arabs remain the vanguard in song, poetry, and singing, especially in their specific Arab styles. Those who wish to refine their voices often seek inspiration from Arab styles. Some pleasant Iranian music, such as the soundtrack of the film Khosh Rekab, is based on the Arabic Hijaz mode, which adds to its allure.

The Qur’an was revealed to Arabs who lived in such a cultural environment. As previously mentioned, a singer like Umm Kulthum is an example of such a figure. Imitating Umm Kulthum, it became possible to perform songs in cabarets and dance halls in the most beautiful styles, ultimately transforming the divine book into the music of such musicians. This is similar to the actions of Aisha in the early years of the Prophet’s mission when she, as a child, sang the verses of Surah At-Tin with dancing, which astonished the eloquent Arabs of the time. She later slapped someone who had shown disrespect to the Prophet, but when the polytheists saw she was just a child, they laid down their swords (we have discussed Aisha’s role in the decline of music in our Analytical History of Music).

The Arabic reciters (e.g., Al-Qari’a in the Hijaaz and Zabal modes) often sing in such a manner that even the works of Persian poets such as Hafiz and Sa’adi, sometimes sung by the corrupt in the dance halls, seem shameful in comparison. Often, the poetry of these renowned Persian poets is performed in places of indulgence to such an extent that their spiritual essence is overshadowed, turning their works into mere entertainment, not holding their authentic mystic value. To prevent the Qur’an from suffering a similar fate and to preserve its divine law, it has been prohibited to recite it in the manner of the frivolous and decadent, and we deem such recitations as forbidden.

The word of God must be recited in a way that preserves its sanctity. It should not be recited in the tones or styles associated with Persian music, foreign intonations, or the bee-like sounds of the Jews, but should instead be read with Tartil (proper, deliberate recitation). The Qur’an is a divine book with its own inherent rhythm, tone, and structure, as God says in the Qur’an: “Indeed, it is We who have sent down the Qur’an, and indeed, We will be its guardian” (Quran 15:9). The Qur’an is an “ocean” that contains both the deep and the shallow, the rich and the poor. It cannot lose its own tone or style.

In modern times, some Qur’anic reciters recite in a manner akin to mourning, similar to the way some women mourners sing with exaggerated gestures, and their actions, claiming to encourage the reciter, disrupt the solemnity of the recitation. Yet, the Qur’an instructs us to remain silent when it is recited and to contemplate, not to create noise in celebration. Such behaviour distracts from the true reflection and contemplation of the message of the Qur’an. Even speeches that are loud and tumultuous contradict the spirit of religion, as true wisdom is expressed with calmness and composure.

Some reciters try to perform multiple verses in a single breath, but this approach often leads to physical strain. It would be better to recite each verse calmly and beautifully, taking time for proper breaths, allowing the reciter to focus on the clarity and serenity of the words. If such a person were to see their reflection while struggling, they would likely be disturbed by their appearance, which would undoubtedly distract from the audience’s ability to focus on the sacred message.

Regarding lahw (idle amusement), Islam does not oppose recreation or joy. Going to the countryside, engaging in sports, or hunting for sustenance is permissible. However, it forbids killing animals for sport, as it leads to cruelty. Hunting for amusement fosters callousness in the heart unless the animal is harmful or dangerous. Similarly, butchering animals without necessity, for example, for entertainment, is considered unethical.

Islam allows for hunting if done for legitimate needs, such as providing food for oneself or one’s family. However, unnecessary killing or hunting for sport is forbidden, as it not only causes cruelty but also disturbs the natural balance and the harmony of the environment.

Thus, while amusement or diversion itself is not inherently wrong, when it involves cruelty, exploitation, or serves no productive purpose, it becomes sinful. Lahw (idle amusement) that distracts from spiritual and intellectual growth is discouraged.

The ordinary person sometimes enjoys reading, listening to someone’s voice, or dancing; all of these activities relate to the inherent nature of the world, which is created by God, the Creator of its essence and nature. However, what should be considered is the need to avoid becoming involved in the game with religion and not being deceived by worldly life or becoming heedless of God.

If amusement becomes so pervasive that it penetrates the heart and soul, it becomes problematic. A heart engaged in amusement loses its religious beliefs and leads the individual toward the false front. Such amusement, arising from constant involvement, turns people into followers of falsehood, making it problematic. In any case, whatever is minimal but sufficient, such as a small amount of wealth that brings peace, is better than abundant wealth that causes anxiety and heedlessness. In other words, whatever provides tranquillity to a person in a balanced manner is better than excessive things that bring confusion. With this description, each person can find their own place.

Amusement, in its nature, is not forbidden. However, if it leads to negligence of the truth, causes one to become one-dimensional, or serves the false front and leads to sins and prohibitions, distancing the individual from the possessors of authority, it becomes problematic. Such amusement is corruptive, but it is not the case that every person indulging in trivialities is corrupt. Not all trivialities and amusements are reprehensible. The amusement or trivial pursuit of a corrupt person is not simply engaging in ordinary activities, but rather in things that distract them from the remembrance of God, such as committing sins. The key issue in amusement and play is the avoidance of neglect and forgetfulness, ensuring it does not lead to disobedience or degradation and does not entail addiction.

Excessive indulgence in amusements can be harmful, much like overconsumption of saffron, walnuts, or dates, which can be detrimental, but moderate consumption is permissible. This is understood by examining the universe and reflecting on the verses of the Holy Qur’an, which is the blueprint of the universe.

God, in His grace, makes the night prayer obligatory for His servant, such as the infallibles, not for the common people. Some actions are reprehensible for certain individuals, while they may be permissible for others. Ordinary people should be left to live as they do, without expecting them to live like saints, as this is the nature and reality of the world. One should not close the doors that God has opened for people. This is the culture that religion teaches us, and if a system seeks to have a society and a nation, it must adopt this model, avoiding creating a stifling environment and allowing people to live freely.

It should be noted that destroying concepts and realities that religion does not oppose amounts to disregarding religious boundaries and leads to the destruction of faith. In the early days of the revolution, some created a dangerous wave, considering those who celebrated the Nowruz festival as unbelievers and heretics. Meanwhile, during Nowruz, nature rejoices, and flowers and plants bloom joyfully. What is wrong with people also rejoicing within the framework of religious rules during these times? Indeed, the boundaries of Sharia should always be respected, avoiding sin and negligence.

The presence of such activities in society is natural, and there should be no pressure on people. However, implementing this requires a strong ideologue and theorist, a skilled surgeon who can operate based on comprehensive checks and tests. This is not a responsibility that the state or parliament alone can handle. It requires a thinker and a capable leader who can design appropriate societal functions, someone who can embed religious culture through plans in society. This will allow everyone, based on their abilities, preferences, and talents, to choose their own path and indulge in amusements and games that suit them. However, care must be taken to ensure that negligence and sin do not pollute society. Unfortunately, our society today does not have such a healthy structure, and there is no designer capable of providing amusement and trivialities suitable for each person and taste. This designer must come from scholarly circles, and academic institutions must prepare themselves for such a goal in the near future, or else they will not be safe from the consequences of underestimating this matter, and the number of believers and the depth of faith will continue to diminish.

Play, trivialities, amusement, and vanity are all necessary aspects of ordinary human life, and humans live with these activities. The kinds of tasks performed often fall into these categories, tasks for which there is no reward in the afterlife, and the structure of creation is in line with this: “And the life of this world is nothing but play and amusement.” However, this reality does not mean that all people need such trivialities. The divine saints are distant from these matters and do not sell themselves for less than the truth. While this level is for a select few, the general rule is that the more knowledge one has, the less one becomes engaged in these things. Consequently, the lack of knowledge or its deficiency results in more involvement in such activities.

An ordinary person sometimes desires to read, listen to someone’s voice, or engage in a dance. All these activities are related to the inherent nature and essence of the world, and God is the creator of the very disposition and nature of that essence. However, what needs to be emphasised is the avoidance of playing with religion, not being deceived by worldly life, and remaining vigilant in remembering God.

When amusement or entertainment becomes so pervasive that it penetrates the heart and mind, it becomes problematic. A heart preoccupied with amusement loses its religious convictions and leads a person towards the forces of falsehood. Such amusement, as it stems from continuous engagement, transforms individuals into followers of the forces of falsehood, thus making it problematic. Nevertheless, a small amount of enjoyment or amusement that is sufficient is better than an abundance of worldly pleasures that lead to anxiety and neglect. In other words, anything moderate that brings peace to the individual is better than an excessive amount that causes distress. With this explanation, anyone can understand their own position.

“Amusement” in itself is not prohibited, but when it leads to negligence of the truth, makes a person one-dimensional, serves the forces of falsehood, or becomes an occupation in sin or forbidden acts, it becomes problematic. Such amusement can lead to sin. However, it is not the case that every trivial or foolish activity makes someone sinful, for not all amusements and distractions are condemned. The foolishness and distractions of a sinful person are not engaged in ordinary affairs, but in things that divert them from remembering God, such as engaging in sinful activities. What is crucial in the case of amusement and diversion is the absence of negligence and forgetfulness, as well as the prevention of sin, degradation, or addiction.

Excessive use of amusement is harmful, just like excessive use of saffron, walnuts, and dates, which can be detrimental. However, moderate use of such things is permissible. This idea aligns with a perspective on the universe and careful reflection on the verses of the Qur’an, which serve as the blueprint of the universe.

God has made the night prayer obligatory for the devoted servants, like the infallibles, and not for the average person. Some actions are reprehensible for certain individuals while permissible for others. Ordinary people should be allowed to live as they do, without the expectation that they should be like saints, as this is the nature of the world. One should not close the doors that God has kept open for the people. This is the culture that religion teaches us, and if the system aims to have a society and a community, it must adopt this model and avoid creating a stifling environment, leaving people free to live as they are.

It must be noted that undermining concepts and realities that religion does not oppose results in disregarding the religious boundaries, leading to the destruction of faith. In the early years of the revolution, some created a dangerous wave, considering those who celebrated Nowruz as infidels or idolaters. This is while, on Nowruz, nature itself dances and flowers and plants bloom joyously. What harm is there if people also feel joy within the framework of religious laws during this time? Indeed, religious boundaries must always be respected, keeping away from sin and negligence.

The existence of such matters in society is natural and should not cause pressure on people. However, the implementation of this requires a strong ideologue and skilled practitioner who can operationalise it through careful assessment. This significant responsibility cannot be borne by the government and parliament alone. It requires a capable thinker and leader who can design appropriate functions for society, embedding religious culture through their plans. This way, everyone, based on their own capacities, talents, and interests, can choose a form of recreation, amusement, or diversion that suits them. However, one must be cautious not to let negligence and sin infect society. Unfortunately, our society currently lacks such a healthy structure, and there is no designer who can provide appropriate recreation and amusement for every individual and their taste. This designer can only come from the scientific fields, and the academic institutions must prepare themselves for such a purpose in the not-too-distant future. Otherwise, they will not be safe from the consequences of negligence in this matter, and over time, the number of religious individuals and the depth of the quality of believers will diminish.

Amusement, trivial pursuits, and distractions are inherent aspects of ordinary human life. People live with these activities, which do not hold any eternal reward. The creation of the world itself is designed in this way: “And the life of this world is nothing but play and amusement” (Qur’an 47:36). However, this reality does not imply that all humans require such things, for the saints of God are distant from these activities, as they do not sell themselves for anything less than the truth. Of course, this state is for the few among God’s servants. The general rule, however, is that the more knowledge a person has, the less they engage in such activities. As a result, a lack of knowledge or insufficient knowledge leads to greater involvement in such matters.

Inappropriate Music

Music, when not in tune with the individual, becomes a source of amusement. Singing has many types, and depending on the capacity and potential of individuals, there are different rulings for listeners. Sometimes singing in a sad mode, even with a pleasant voice, can provoke a young person to commit immoral acts, such as masturbation. The question arises: Does singing in a sad mode present an issue for the singer, or is it only problematic when the listener is weak, alone, and indulges in forbidden acts? The answer is that the singer, as long as they do not fall into error, does not face any prohibition. It is the weak individual who must avoid listening to such a sad tune, and the ruling is dependent on their circumstances.

Sound has different effects on different people, creating various reactions and emotional responses in the listener. This is provided that the words do not contain forbidden or frivolous content. For example, if someone recites a poem to a non-mahram woman with a line such as “I saw no one who isn’t in your grasp,” his words are erroneous and fall into the realm of what is forbidden. On the other hand, if the words are addressed to God or one of the infallible Imams, the words would carry knowledge and spirituality. Therefore, one must not confuse the pleasantness of sound and voice with universal rulings, as what might be offensive to one person may be encouraged for another. For instance, watching certain films may be a source of temptation and sin for one individual but not for another, making it permissible for one but not for the other. Just as medical prescriptions are specific to each patient, so too should individuals be “visited” to determine the appropriate approach to music and amusement. The academic institutions must be sufficiently advanced to address such needs in detail, otherwise, people will feel alienated from religious guidance.

One of the factors that drive people away from religion or spirituality is giving generalised verdicts that fail to consider the individual circumstances, capacities, and faith of the people. Such rulings are not practical for the majority to adhere to, as they do not feel relevant to their own struggles. It is for this reason that the teachings and sayings of the Imams of the Ahlul Bayt are not standardised, as they would be for someone of a lower spiritual rank. The statement that “Shia jurisprudence is based on understanding the benefits and harms” reflects this idea, for benefits and harms are not the same everywhere.

Sleeping habits, too, differ depending on the individual, and if it is harmful for someone, they should avoid sleeping alone. But if there is benefit in doing so, and it is directed by a guide or someone with knowledge, then it is permissible for the individual to sleep alone to receive spiritual benefits.

Music may be necessary to treat certain illnesses, but it is not prescribed for everyone universally, just as some types of prayers are for specific individuals, not the general public. For instance, the prayer of “Salawat” is for everyone, but the prayer of “Subhan Allah” is specific and should not be used without guidance from a knowledgeable guide.

The ruling on singing and music changes depending on the individual and their status. Therefore, what may be suitable for ordinary individuals may not be suitable for those with greater moral strength. Jurisprudential rulings must take into account the individual’s situation, as prescriptions must be tailored to each person.

Just as excessive indulgence in listening to singing and music can be harmful, neglecting music also has its negative effects. A deficiency in music leads to hardness of the heart, dryness of the soul, and obsession. Plato says:

“Anyone who does not fall in love with beautiful forms and does not appreciate beautiful sounds has a temperamental disorder and is in need of treatment.”

However, a skilled teacher is required to determine the necessary balance, as being overly restrictive in this matter can also lead to dryness and carelessness.

Religion requires a skilled teacher who can prescribe music in a manner suited to each individual, with an understanding of the different types of music and their impacts. In this regard, it is crucial to avoid giving advice on this matter by those who lack knowledge of music and are unaware of the effects of different musical scales on the human soul. Such issues, especially the relativity of the permissibility of music, make the role of scholars in Islamic jurisprudence extremely challenging. A jurist speaking on this matter must be well-versed in both music and the jurisprudential knowledge and principles. They should be able to perceive the spiritual and psychological well-being of a person and their spiritual journey with sharp insight. Otherwise, they may be addressing an issue outside their area of expertise, and today’s academic community strongly disapproves of speaking outside one’s area of specialization, often imposing penalties or fines, particularly in medical matters, for such actions. This research argues that music cannot be absolutely forbidden, just as it cannot be absolutely permitted. Rather, the ruling on music is relative, depending on individuals, times, and places, and the potential effects it may have. The ruling can range from forbidden and disliked to permissible, recommended, or obligatory.

The Prohibition of Music that Promotes Vice and Degradation

Music must never promote indecency or degradation. The reproduction of music that spreads vice or degradation is also forbidden, similar to drinking water from a wine bottle or holding an empty wine bottle. In such cases, the mind, upon seeing the bottle, is reminded of wine. Therefore, using it to drink water is forbidden because it promotes vice (drinking alcohol). The propagation of vice is forbidden according to the following Quranic verse:

“Indeed, those who love that immorality should be spread among those who have believed will have a painful punishment in this world and the Hereafter. And Allah knows and you do not know.” (24:19)

The mere “emulation of sinners” is an issue of concern in Islamic law, and it is considered forbidden as it promotes vice. Islam pays great attention to terminology, and in this regard, it advises: “O you who have believed, do not say ‘Ra’ina’ but say ‘Unzurna'” (2:104), which means “Do not use the term ‘Ra’ina’ as it was a term used by the Jews; instead, use ‘Unzurna'”. Similarly, in the case of music, emulating certain groups of sinners and debauchery is forbidden.

The propagation of vice and the corrupting of public morality are not overlooked by Islam. Music that promotes vice and sin is similar to wine bottles currently in circulation. Despite their beauty and clarity, washing or disinfecting them does not remove the impurity associated with them. Similarly, music that fosters immorality or sin cannot be considered “clean” just because it is aesthetically pleasing.

Islam strongly emphasizes the importance of accurate terminology and fights against anything that carries sinful or immoral connotations. Music that promotes immoral lifestyles or supports oppressive regimes is classified as forbidden, even if no other sin is directly associated with it.

The Harmful Effects of Forbidden Music and the Creation of Hypocrisy

If a person, through reckless behaviour, engages in the production or listening to forbidden music, over time, this behavior becomes entrenched in their personality. Such individuals continuously consume a form of poison that gradually takes root in their being, leading them to an insatiable hunger for further forbidden acts. Unfortunately, in our society, some religious individuals insist on the inherent prohibition of singing and music, while others—especially officials—use such music in student celebrations or national festivities. This double standard can be dangerously misleading to the public, encouraging them to engage in sinful behaviour.

According to some juristic opinions, such as those from a prominent scholar who passed away in 1410 AH, any use of music outside of its purpose for moral instruction or edification is forbidden. This includes any entertainment or distractions that are not in line with religious teachings. The use of music in the media, particularly through television or radio, is to be avoided.

It must be noted that in the case of forbidden music, the act of hearing itself is what is prohibited, not the mere transmission of sound. Therefore, if music is playing involuntarily in a public space, such as a bus, it does not pose an issue as long as the listener did not actively seek out or choose to listen to it.

The issue of music that incites sin, promotes vice, or mimics the styles of immoral or corrupt groups—particularly those associated with political movements or moral degradation—is an important aspect of understanding the harmful effects of music. Additionally, the development of hypocrisy in individuals who engage with such music, or whose families have been exposed to it, is a psychological and spiritual consequence that must not be ignored.

Social and Psychological Impact of Mixed Gender Parties and Music Events

Social and psychological studies highlight that mixed-gender parties and musical concerts that feature violent or sexually explicit styles of music, especially American music, cause significant harm. These events often promote a sense of alienation and mental disturbance. They contribute to the breakdown of social morals, making it easier for individuals to abandon their principles.

In these cases, the forces of corruption have formed a sort of mafia network, comprised of nightclubs, dancing halls, gambling establishments, and orchestras. These venues often function as a tool to desensitize individuals and manipulate their thoughts and actions. The music, particularly when mixed with themes of violence or sexual promiscuity, is used to deprive people of their ability to think clearly and make independent decisions. Instead, they are pushed to accept the agenda of those who hold power and influence.

In certain cases, gatherings like these may even involve supernatural entities, such as jinn (spirits), which are believed to influence and manipulate the attendees. However, it is important to note that, in Islamic belief, jinn are bound by strict rules and laws, and their interference is not to be feared as long as one is aware of their existence and operates within the boundaries of faith.

Chapter Four:

Joyful Expressions Accompanied by Music
(Dancing, Clapping, Whistling, Snapping, Playing, and Expressing Joy)

Thematic and Semantic Understanding of Dance

In dictionaries, “dance” is described as meaning a surge, an acceleration (khabb), and a shine. “Dance in speech” refers to speaking quickly or becoming fast in speech. “Raqqas al-saa’a” refers to the pendulum of a clock. Dance is considered a type of play, and it is understood as the act of stamping the feet. Initially, dance involves the feet, followed by the hands, and subsequently, other limbs. In most dictionary definitions, dance refers to moving in a rhythmic and coordinated manner.

Surging, shining, quickening, striking, and hitting are all positive actions, and none of these definitions imply stagnation or death. All these meanings are associated with beauty and positive actions, and there is no connotation of negativity, disorder, or harmfulness; as each meaning implies a movement, emergence, or expression of vitality and passion.

The Extent of Dance

Dance is not a mysterious or strange phenomenon for humanity or other beings. It encompasses any form of coordinated movement or rotation, whether by humans, animals, plants, clouds, or even waves in the sea. Among all beings, “women” possess the greatest aptitude for dance. Women inherently embody the nature of dance, even when seen as sacred in religious contexts.

From a philosophical perspective, there is no phenomenon without movement, nor movement without sound. If movement is natural, the sound it produces is harmonious. Thus, there is no phenomenon devoid of a musical note. Here, we can assert that when movement is coordinated and structured, it becomes dance. All natural phenomena are in motion, and each movement has its own inherent order; hence, no phenomenon is without a “dance” or rhythmic movement.

How can one see the dance of objects? There is no stone that does not attract another stone, or without some form of rhythm or dance to reach it. The origin of dance is the love for existence and phenomena. As we have discussed in the books “The Face of Love,” “The Beloved of Love,” and “Lovers and Loved Ones,” existence itself is in dance, and this dance arises from love. Everyone dances in love, and love itself dances and makes everything dance; from the Earth to the heavens, from the celestial to the mundane, from the Divine to the created — all dance in the heart of love. The Earth and the sky dance in love, the water flows in love, the air moves in love, the wind blows in love, and even the willow constantly dances in love. Sound emerges from love, calls are made in love, and all movements—whether pulsating, turning, blowing, or creeping—are all part of the dance of love, and dance itself is born from love.

Anyone who understands the verse “Every day He is in a new affair” (Quran 55:29) truly knows the dance of love. Anyone who understands the dance of love sees themselves as aware of their own dance and the dance of creation. Such a person is on the path of truth. One who sees the dance of existence has witnessed the action of the Divine. Whoever perceives the dance of action, perceives the Divine will manifestly. One who is in love cannot be without ecstasy, and the ecstatic is always in motion. One filled with the heat of love’s movement cannot remain still or cease dancing.

Dance and rhythmic movement are not unique to humans; all phenomena partake in this. Dance is an art of creation. As Sayyid Razi mentioned about the day of Ashura, which is the university of love:
“O Day of Ashura, how much of the fire of love you bear, everything dances in your flame.”
Here, he refers to the dance of objects, or in another version, the movements of the internal organs.

Dance exists naturally in the sun, the moon, the cosmic system, and also in humans through coordinated and voluntary movements. Dance is not merely an expression of intoxication due to sexual excitement, nor is it limited to the irrational state of a sick person or the dominance of lust. Dance has its own natural system, and for this reason, it is crucial in theological studies to consider whether natural systems, embedded within creation, can be deemed unlawful. Can something inherently aligned with nature be intrinsically negative or reprehensible?

In humans, dance reveals the beauty, subtleties, and marvels of their outward form, especially in women, inviting one to study the hidden secrets and the wonderful mysteries found in the infinite twists and coordinated movements. Dance, with its ups and downs, expresses love, passion, moods, excitement, and the mysteries of the heart, while distancing the heart from the dullness, despair, fear, and stagnation that plague the soul. It creates a clear space for the heart’s memories. If dance is gentle, it expresses “love,” and if it is elaborate, it conveys the rhythm and grace of “charm.” Vigorous movements represent “majesty.” We have discussed “love” and “charm” in our book The Science of Spiritual Wayfaring, where “charm” is coupled with the mysteries of prayer.

From fast-paced dances to those of joy, spiritual, mystical, and academic types, each dance expresses a different aspect of the human journey.

The divine beauty of creation, and the heart facing the Divine, has always been an instrument exploited by the forces of falsehood to provoke unchecked lust, debauchery, and a state of oblivion, leading people astray from the Truth. In the modern age, with the dominance of the West, dance is largely devoid of its spiritual significance and is instead associated with an unrestrained, morally degraded form of lust. In our book Sociology of Religious Knowledge, we have discussed how the forces of falsehood, under the guidance of Iblis, create false imitations of every divine tool to distort the realities of existence and lead humanity away from the Truth. We explore the strategies of these forces in The Science of Life, where it becomes evident that we are speaking from a space where the Divine kingdom is manipulated by false faces, and how the battlefield of humanity has been transformed into a “slaughterhouse of human souls.”

Types of Dance

Dance has a wide variety of forms, and researching it would require an entire independent study. Today, physical education examines the effects of dance on the body and incorporates certain forms of exercise with dance. Some morning exercises, as taught by various media outlets, are examples of dances. Proper breathing techniques and the coordination of hand and foot movements are often taught as part of dance education.

Television adverts often feature dance, as it is an activity that is beloved by people and brings them joy. Dance can also be a therapeutic tool for treating certain physical or mental illnesses. Dance is not restricted to movements performed at mixed parties or in morally questionable settings, nor to what is seen at weddings. Dance has many diverse forms, some of which have therapeutic properties akin to “music therapy,” which is prescribed in some cases. In “dance therapy,” it is claimed that many cases of arthritis can be treated through dance. Certain rhythmic exercises are also recommended in physiotherapy. Considering the human skeletal structure, it becomes clear that maintaining it requires rhythmic movements. The essence of dance is present in all of these aspects. Dance is generally divided into two types: continuous and discrete.

This division is also found in the “nawafil” prayers. It is recommended that the night prayer (nawafil) be performed in discrete intervals. Some other voluntary prayers are also continuous. If viewed through the lens of dance and devotion, no mistake occurs in performing the prayer, nor is there confusion in the number of units or other phrases. Therefore, it is crucial not to overlook the positive qualities inherent in human nature and religious texts.

Nowhere in the Holy Quran is dance condemned; rather, one can find instances where dance, in its varied forms, is positively referenced. Dance encompasses a vast range of experiences, from the dance of the soul and spirit to the cosmic dance and manifestations of the Divine, as indicated by the verse: “Every day He is in a new affair.” The Divine affair, which is a rhythmic progression, is a dance, and we have discussed this in detail in our advanced philosophical lectures on movement. However, the Quran does mention one instance where clapping and whistling are condemned, and we will address this in the discussion on clapping and whistling. In Hadiths, only a few instances of positive dance and several of negative dance are mentioned. In none of the negative cases is the essence or natural quality of dance itself condemned.

Natural Dance of Freedom

All phenomena manifest through “contraction” and confinement, and begin their movement through “expansion” and liberation. The inclination towards freedom is evident in the smallest known unit, the atom. The atoms, each moving at a very high speed, exhibit a gravitational force that causes them to orbit one another. This movement, in turn, provides a framework for the liberation of the atoms. When this movement is harmonious and orderly, it transforms into “dance.” We have stated that all corporeal phenomena are in motion, and each phenomenon possesses order within its movement. Hence, there is no phenomenon that does not “dance,” a dance for freedom and for self-realization. Freedom is the manifestation of something that was previously closed and confined, much like a door that must be hinged, implying that freedom must exist within a specific framework. The dance of natural phenomena, as movement along a specific orbit, brings forth freedom and liberation.

All phenomena are authentic in their “confinement” and strive for freedom, for expansion and the unveiling of their hidden perfections. Their movement is specific, natural, and structured, guided by a rhythm and order. The movement aimed at the display of hidden potential is dance. Cosmic scientists regard the Earth as a result of an explosion—an explosion of something that was dense and confined, which then opened up. Biologists also regard the life of any living organism as stemming from a single particle, which contains everything and gradually opens up in an orderly fashion, to such an extent that it can be replicated. Liberation along an orbiting path of harmonious movement is the action of phenomena themselves and is in accordance with their nature and inherent inclinations, which is why they seek and pursue the dance of freedom, despite the great difficulty and significant costs involved.

The dance of human freedom is shaped by his will and choice. This choice, however, is controlled by a selfish self, which recognizes no limits in its selfishness and may even lead to sin. Often, in the pursuit of opening and dancing their freedom—something that is aligned with their nature and desirable—people ignore the boundaries of freedom’s dance. Thus, under the mistaken belief that they are blossoming and dancing towards their liberation, they may take a wrong path, which only further binds them to the unjust desires of the self. What they perceive as freedom’s dance, is not freedom at all; instead, it leads to the destruction of their potential rather than the flourishing of it.

Sharia, through its laws, shows the natural path of the dance of freedom and liberation for humans. Religion exists for this very reason: it is considered the blueprint for life. However, this blueprint must be sought individually from a qualified and true jurist, not in a general form. Since dance is a natural movement, it unfolds gradually and proportionally, without causing conflict, unless, secondarily, selfishness and negative human desires trap it and restrict the natural dance of freedom. The dance of human freedom signifies the harmonious movement of an individual in their own nature. A person who has the dance of freedom is one who opens up their own nature.

The dance of freedom for a human is not about accumulating energy and force for oneself, but rather about releasing the energy and heat that one already possesses. Human freedom, through harmonious movement and natural dance, is about being oneself and displaying the natural perfection that one has within.

We begin our discussion of natural dance and the dance for freedom with human life. In the names of the Lord, the name “Alive” (Hayy) precedes all other names and is the mother and leader of all of them. Anything that has existence or manifestation possesses life. The life of a phenomenon is its divine direction and the way it manifests. This direction, in terms of the Divine, is called “Sari Identity” and in terms of the phenomenon’s description, “Essential Subsistence.” Accordingly, the nature of life, which remains unknown to empirical science, cannot be understood without considering the divine aspect of phenomena and the divine reality.

Anyone who possesses life also has consciousness and awareness. Consciousness is the manifestation of life. A person who is alive and conscious, upon observing their own perfections, falls in love and moves to express and display them. Movement and progression are the results of life and awareness. One who moves must follow a natural, systematic path, and movement in harmony is nothing other than the display of their possessions and perfections through dance.

A woman, who is highly skilled in dance, seeks to display the circular motion of her body and the beauty of her physical form. Dance is an effort to liberate oneself and show what one possesses. There is no phenomenon that does not become enamoured with its own perfection, because everything is in motion, and that motion is harmonious. There is no stillness in the world. Accordingly, no one or nothing exists without a dance to liberate itself, and everyone will seek to express that dance in a way that is compatible with their nature.

Now, since all phenomena, through their dance, seek to reveal and display their attributes, and in doing so, pursue their own liberation, they often end up sharing a display of certain things, and competition arises over them. Sometimes the movements become uneven, leading to conflict and collisions between those who wish to dance for freedom. All such collisions and harm are for the sake of freedom. Freedom brings harm because everything is in motion, and the one who runs with speed, caution, and wisdom, under the guidance of true knowledge—which can only be gained through religion—has the most visible and perfect dance, arriving at their liberation faster and more effectively. Beneath the sword of sorrow, they will continue their dance in prostration.

Sinful and unnatural movements, along with the pursuit of freedom in a manner that is inconsistent with nature, no longer represent the dance of love and liberation. Those who fall into desires and engage in unlawful, exploitative actions create evils that deprive others of their natural dance of freedom. A person who is naturally a dancer and moves harmoniously within their natural orbit reaches freedom, becomes more simplified, and is freed from contraction. They open up, remain unaffected by limitations, become clear, and free from darkness. They become sweet rather than bitter, cheerful, open-hearted, and free from tightness or ill-temper.

Such a person develops a broader capacity and a more expansive heart, becoming comfortable and unpretentious. Most importantly, they attain sincerity, becoming natural in their essence, and then they reach love. Sincerity is the root of love. Love means purity and clarity; it means being true to oneself. This person, in performing any task that aligns with their sincerity—i.e., one that suits them—has motivation and joy, because they have a natural dance. As long as they maintain their natural dance, their motivation and joy remain intact. Someone who has not achieved their knowledge, wealth, or other possessions through this natural dance of sincerity will eventually grow weary of them, because they cannot carry something that is not suited to their essence, and they cannot sustain it through natural harmonious movement.

Dance in the View of Traditions

In considering the legal perspective on dance, it is necessary first to determine whether the act of dancing, in itself, is forbidden or not. What is the primary ruling on dance when there is doubt about its permissibility? The primary ruling must be understood from the perspective of the sharia.

While dance can display the authority and beauty of a person, it is important to assess whether the sharia seeks to reject it entirely. If something is predominantly associated with sin and the forces of evil dominate it, it becomes forbidden. However, if society is healthy, striving for purity, devotion, and worship of the Divine, and if the forces of evil do not have dominance, many activities can maintain their original permissibility and even stimulate people to engage in the holy acts of worship.

In Islamic jurisprudence, there is no overwhelming prohibition against dance, except for a few narrations. Some scholars have classified dance as an activity of entertainment and excessive joy and thus have declared it forbidden. Others have labeled it as a form of play, futile activity, or idle amusement. There is a difference between something that is inherently corrupt and something that is corrupted by the forces of evil. For example, gambling is inherently corrupt, while music, singing, and dance are not inherently evil, but the forces of evil have monopolized them.

The dominant legal approach, influenced by outward jurisprudence, often issues a blanket prohibition against dance, a view which ignores the natural and permissible nature of the act. However, dance in itself is not necessarily sinful unless it is associated with evil influences, such as drunkenness, immorality, or other forms of corruption.

In a healthy society where gender sensitivity is not an issue, there is no harm in a man dancing for a man, or a woman dancing for a woman. Women can maintain their modesty while dancing, and it is not problematic to observe a woman’s body in this context, as we will discuss later. However, in societies with deep gender sensitivities, even if a woman maintains proper covering and does not mix her dance with sin, her dancing for unrelated men may be problematic.

Theological and Jurisprudential Reflections on Pleasure, Dance, and Their Role in Religious and Social Contexts

Great joy, regardless of its intensity, is not inherently objectionable provided it remains within the boundaries of Islamic law and religious injunctions. The act of ejaculation, for instance, often results in profound pleasure—so intense, in some cases, that individuals may experience a loss of consciousness. For individuals possessing a particularly strong sexual drive, the sensation of ejaculation can be one of immense delight, wherein they become entirely immersed in the moment, with the pleasure potentially lasting an extended period. Reports from Islamic traditions suggest that the pleasure of ejaculation in paradise could persist for up to forty years, and each instance contributes to an ever-increasing state of bliss. This indicates that intense joy, in and of itself, is not problematic; rather, those devoid of certain pleasures are, in a sense, incomplete. The Prophet Muhammad (peace be upon him) is cited as having attained perfection in all aspects, including physical pleasure, reportedly possessing the strength of forty men.

In contrast, many individuals, despite experiencing sexual acts, derive little satisfaction, potentially remaining unaware of the intense pleasure associated with ejaculation.

Dance, too, has historically been associated with contextual attributes and secondary factors, evolving over time into a sophisticated discipline. Today, dance is taught in various institutions across Iran, and it continues to develop as an art form.

It is essential to underscore that divine rulings are immutable, as only God, the Prophet, and the infallible Imams possess legislative authority. Others, including jurists and religious scholars, are followers and interpreters of the law rather than originators. However, the circumstances to which these rulings apply may change, even though the rulings themselves remain constant.

Following the political deviation known as the Saqifah conspiracy, the Shia community found itself in a state of isolation. In such a context, dance—with all its forms—was appropriated by corrupt rulers for illicit purposes. These rulers exploited music, song, dance, and gambling as means to distract the public from the household of the infallible Imams. Consequently, the practice of dance was historically associated with moral and spiritual decline. This perception continues today, where Western media—via satellite television, the internet, and other visual platforms—pose similar cultural threats.

Understanding the phenomenon of dance is no simple matter, as contemporary dance forms are often accompanied by acts of immorality and obscenity. Therefore, many recent fatwas deem dance impermissible. While this legal position is valid, within the framework of an Islamic government, such mediums—including dance, music, painting, and the arts—can be repurposed for legitimate and constructive ends. Indeed, cultural influence is of paramount importance, often superseding economic or political priorities.

Permissible and Recommended Forms of Dance

It must be noted that Islamic law does not explicitly prohibit the act of dancing per se. Rather, the prohibition applies to specific contexts, particularly those involving sin, intoxicants, or association with satanic elements. Much like the jurisprudential history of music and song, the narrative of dance reveals a trajectory whereby it was co-opted by illegitimate powers. Nevertheless, teaching dance to children, especially girls, is deemed necessary so they may one day better engage with their spouses. A wife dancing for her husband is not only permissible but, in some views, obligatory—a position we affirm as a legal opinion (fatwa).

Children ought to be raised with joy and emotional warmth, just as servitude to God is ideally borne of love and ecstasy. In our book Beloved of Love, we discuss the notion of existential worship. Parents should avoid raising their children in a rigid and depressive atmosphere, as harsh and austere upbringings often lead to psychological damage and inferiority complexes in adulthood. The principle of joy and fulfilment must be preserved in parenting, with homes infused with divine love and happiness.

Excessive dogmatism and authoritarian religious behaviour often drive people away from religion. Importantly, they flee not from divine religion, but from a distorted interpretation of it. Therefore, religious rulings must be presented as they are, without personal tastes or aversions masquerading as divine law.

Dance Among Mahram Relations

Permissible forms of dance include dancing among mahram (non-marriageable kin), such as a wife for her husband, or a daughter or sister in front of her father, uncle, or brother. If a sister dances and her brother is aroused—so long as there is no sinful intent and the arousal leads him to desire lawful intimacy with his spouse—then such stimulation is not impermissible, nor is the dance itself.

If, however, a girl dances and her father or brother experience unlawful thoughts, both her dancing and their gaze are forbidden. Otherwise, if the arousal is channelled towards lawful sexual activity within marriage, such dance and viewing are legally permissible.

This situation is comparable to inadvertently seeing an attractive woman in public: a healthy individual is naturally affected, but he may either succumb to temptation or control himself through patience and piety. The same hypothetical applies to familial dance—permissible only in the absence of sinful incitement.

Dance in Celebratory Gatherings

Dance, in and of itself, is not impermissible. Its performance during weddings or celebratory events is lawful. It is also permissible, in our view, to offer money (as a token of appreciation) to a woman dancing in accordance with Islamic guidelines, or to place money in the bride’s mouth as a congratulatory gesture (shabash), provided it does not involve excessive display or arrogance.

Dance instruction is also permissible, so long as it adheres to religious boundaries and avoids the six forms of prohibited dance (detailed below).

When offering shabash, one must avoid extravagance. For example, displaying large quantities of gold in impoverished communities may constitute arrogance and social corruption. In such cases, the excess may rightfully be reclaimed by the public treasury.

Therapeutic Applications of Dance

Certain rhythmic bodily movements, which bear no intrinsic religious prohibition, can alleviate psychological distress. For instance, individuals plagued by pride or hypocrisy may benefit from humble gestures—such as crawling on all fours—to subdue their ego. Dance, similarly, may serve therapeutic purposes for some individuals with emotional or psychological disturbances.

Sexual Repression and Social Health

Islamic law provides lawful outlets for sexual needs—through permanent or temporary marriage—prior to forbidding fornication. This prevents the development of psychological complexes or illicit behaviour. As Western influences and impermissible dance practices increase, it is necessary to reintroduce the concept of lawful and healthy dance into society, gradually distancing the public from impermissible practices.

Rebutting Misconceptions

Dance is not a Western innovation, nor is it inherently impure. Historically, Islam has not condemned it outright. The harsh interpretations that later prevailed were largely due to cultural distortions stemming from illegitimate political powers.

Anyone wishing to declare dance prohibited must provide clear scriptural evidence. The mere classification of dance as lahw (vain activity) is not sufficient grounds for prohibition.

Permissible in Healthy Societies

In a morally upright society, dance cannot be deemed prohibited. If certain individuals are overly sensitive or prone to temptation, secondary rulings may apply to them—but not to the society at large. A general prohibition based on the reactions of a few is unjustified, just as obsessive-compulsive behaviour does not define the norm.

Prohibited Forms of Dance

In a healthy society, the following categories of dance remain impermissible:

1. Mixed-gender dance gatherings that provoke sin.
2. Dance motivated by impure or base desires.
3. Dance intended to promote indecency or immorality.
4. Dance resembling the behaviour of sinners or morally corrupt individuals.
5. Dance characterised by excess and distraction from virtue.
6. Dance used to endorse oppressive regimes or unjust causes.

1. Mixed and Provocative Dancing as a Path to Sin

Participating in mixed-gender dance gatherings, where unrelated men and women physically interact in ways that incite sexual arousal, is considered impermissible in Islamic jurisprudence. Therefore, dancing events where men and women hold each other’s hands or waists, or embrace while rotating together—especially when strangers or non-mahrams are involved—are categorically forbidden. The prohibition, however, arises not from the act of dancing itself but from the inappropriate interaction between non-mahram individuals.

Even in cases where no physical contact occurs, if one participant’s dance is sexually provocative or causes sinful temptation in another, such dancing is deemed haram (forbidden). For example, if a dancer harbours lustful intentions or desires physical intimacy with a non-mahram individual, their act of dancing is also impermissible.

Moreover, individuals who have suffered from a lack of proper upbringing or who are afflicted by severe psychological or emotional needs—especially those with unregulated sexual urges—must first address these deficiencies. One must cultivate spiritual discipline and moral refinement so that witnessing permissible forms of dance does not provoke inappropriate desires.

2. Sufi Whirling and Spiritual Dance

The concept of sama‘ refers to the spiritual capacity to hear divine or metaphysical melodies. Spiritual dance (raqṣ-e ma‘nawī) entails orderly, inward movement toward God, as part of a broader mystical journey. Unfortunately, certain Sufi practices have been distorted, often reduced to drum-accompanied, mixed-gender dancing in ways that contradict Islamic moral guidelines. The form of “whirling” seen in some modern Sufi rituals, where men and women intermingle while chanting names such as ‘Ali, represents a clear religious deviation and is deemed impermissible.

Merely invoking the name of Imam ‘Ali (peace be upon him) does not legitimise behaviours that violate clear ethical or juridical boundaries. Regardless of whether such practices occur in a mosque, a tavern, or a Sufi lodge, unlawful gender interaction remains forbidden. This condemnation applies equally to distorted mourning ceremonies or religious commemorations that serve personal interests or misrepresent the legacy of Karbala.

The legitimate sama‘ of God’s saints was based on spiritual ecstasy and inward illumination—not physical movement or gender mingling. True mystics experienced divine connection through sacred melodies in states of reverence and detachment. In contrast, the distorted versions involve rhythmic shouting and physical entanglement, often in mixed company—acts fundamentally incompatible with Islamic ethics.

Similar distortions are visible in celebrations such as Eid al-Zahra, which some falsely believe lift religious obligations. Such beliefs are groundless and undermine Islamic values. Genuine celebration of the Ahl al-Bayt’s joy must stem from understanding, righteousness, and moral refinement—not through the dilution of truth.

These misrepresentations not only harm the image of Shi‘ism but are also exploited by anti-revolutionary forces to sow discord between Sunni and Shia communities. It is incumbent upon religious authorities and believers to ensure that the practices they adopt reflect the noble conduct of the Imams, rather than caricatures that distort religious identity.

3. Promoting Immorality (Fahsha) Through Dance

A third category of impermissible dancing includes forms that contribute to the spread of public indecency or immorality (fahsha). Many Western-style dance routines aim to erode cultural and moral values under the guise of entertainment, and when such dances serve to propagate lewdness, they are unequivocally forbidden.

Certain dances are not merely artistic expressions; they are branded symbols of cultural subversion and spiritual decay. These styles carry political undertones aimed at undermining religious identity through the normalisation of illicit behaviour.

By contrast, dances that express human dignity, emotional depth, and spiritual joy—without violating ethical principles—are not inherently problematic. These must be differentiated from culturally invasive styles which promote vice and undermine public morality.

4. Dance Styles Associated with Sinful or Impious Groups

Another type of prohibited dance involves styles associated with impious or non-believing groups. The principle “man tashabbaha bi-qawmin fa-huwa minhum” (“He who imitates a people is one of them”) underscores the importance of maintaining distinct moral and cultural identity. Engaging in dances that are symbolic of sinful communities or carry specific non-Islamic connotations is forbidden.

This includes mimicry of specific fashions, musical forms, or dance styles linked to groups known for immorality. Islam places great emphasis on the implications of symbolic behaviour. As the Qur’an instructs believers not to use words like “ra‘ina” (used mockingly by Jews) and instead to say “unzurna” (“look upon us”), symbolic purity extends beyond mere language to actions and appearances.

Thus, imitating styles historically identified with sinful cultures—regardless of their artistic merit—is impermissible until the symbolic connection to those groups is lost. For example, the wearing of Western suits was once controversial due to their association with colonial powers. But as the cultural link faded, the ruling changed. The same reasoning applies to other items like neckties or brimmed hats, which no longer represent specific ideological affiliations.

5. Excessive Engagement in Dancing and Frivolous Entertainment

Lastly, indulgence in dance purely for idle amusement or in an excessive, compulsive manner is also impermissible. Individuals who constantly seek movement—even during prayer—or who elevate dance above religious duties exhibit signs of spiritual and psychological disorder.

While not all amusement is forbidden, excess and obsession with frivolity transform permitted actions into sin. When musical instruments or dancing become a replacement for prayer and piety, such behaviour becomes a transgression.

Dancing in settings marked by alcohol, nudity, or debauchery renders both the act and the environment sinful, much like the act of prayer in such contexts would also be spiritually compromised.

6. The Ruling on Watching Dance

The permissibility of observing dance aligns with the ruling on dancing itself. Dance, like music, is not inherently forbidden. It becomes impermissible when accompanied by sinful elements. A key concern here is the issue of gaze. Watching women dance, especially with lust or in public contexts, violates Islamic norms related to modesty and visual restraint.

The Qur’an’s guidance in Surah al-Nur (verses 30–31) instructs believing men and women to lower their gaze and maintain chastity. The directive emphasises not only external behaviour but the cultivation of inward modesty.

The term used in the verse, “ghadd al-basar” (lowering the gaze), does not imply complete visual avoidance but rather encourages modest, respectful interaction. Harsh or lustful staring is prohibited, though incidental or neutral glances are not necessarily sinful unless repeated or sexually motivated.

Modesty, the Gaze, and Islamic Rulings:

In Islamic law, the concept of modesty is not merely about prohibiting the act of looking, but rather about commanding the lowering of the gaze. “Ghaddu al-basar” (lowering the gaze) refers to the act of shortening one’s gaze, not closing the eyes or making them blind. This is akin to how “ghassu as-sawt” (lowering one’s voice) means refraining from shouting, not remaining completely silent.

True liberty dictates that individuals should not hide themselves away but walk confidently and with dignity, whether male or female. However, caution must be taken in how one looks at others to avoid sharp and inappropriate gazes that may lead to corruption or temptation. A sharp gaze represents an intrusion, and such behavior contradicts piety. While it is not the act of looking that is problematic, but rather the intention behind it, the gaze must remain tempered and free from ill intentions.

There are two types of prohibited gazes: one that is corrupt, likely to lead to temptation and immorality, which we call a “diseased” and “covetous” gaze, and the other, which involves any kind of infringement on someone’s dignity, even if no pleasure is sought from the gaze.

The gaze, in itself, is not simply about seeing but involves the element of intention. If there is an intention for wrongdoing or corruption, even the first look becomes forbidden. An example can be made of a hunting dog: when it captures prey with its mouth, it does so without ill intent, making its catch lawful, whereas a stray dog with malicious intent makes its hunt unlawful.

Someone with a pure heart, even if they look multiple times, remains free from fault as long as there is no intention of corruption. The Islamic legal code exempts the face and hands up to the wrists from obligatory covering to differentiate between the teacher and the student, urging people to assess themselves to determine whether they are correct in their actions.

If a person has a tainted soul and intends corruption from the start, their first look is also considered impure and unlawful. Conversely, a person with pure intentions may look multiple times, and none of their gazes are unlawful. Islamic law allows for a natural, free gaze, as long as it does not intrude on someone’s private space or bring harm. This is similar to the example of someone looking at someone else’s belongings, such as a bank clerk, who looks at things without any desire to steal.

Women, Gaze, and Interaction in Islamic Society:

In an Islamic society, interactions, speech, and gestures must be respectful, with one refraining from invading another’s personal space without permission. However, in non-Islamic societies, the default is that one may look at anyone or speak freely without requiring permission from non-believers.

Regarding the attire of women, the Islamic dress code emphasizes that women should cover their entire body, with the exception of their face and hands up to the wrists. This includes covering their hair and other bodily areas, except where permitted by Islamic rulings. A woman’s attire should not be transparent, revealing the shape of the body. Wearing revealing or suggestive clothing is strictly prohibited.

The discussion around women in Islamic dress codes points to the need for covering the body fully, not just for modesty, but also to maintain dignity and the moral fabric of society. While some may argue that a woman can wear garments that reveal her body shape (such as those used in certain social settings), the clothing must not be seductive or overtly revealing. Transparent or excessively tight clothes are seen as improper.

Islam does not mandate specific forms of covering (e.g., hijab, chador, etc.) but emphasizes the importance of covering the skin, not merely the physical body contours. This distinction is crucial in understanding the difference between what is permissible and what is not. For example, in some societies, it is common for women to wear clothing that reveals body shape but does not reveal the skin or other parts of the body that must be covered. As long as the clothing does not lead to the violation of Islamic principles, such as creating temptation or inappropriate attraction, it is permissible.

The Islamic View on Gender and Modesty:

Islamic principles surrounding modesty are nuanced, focusing not only on the act of covering the body but also on the intent and behavior behind gazes, speech, and actions. The law emphasizes maintaining the dignity of individuals, respecting personal boundaries, and ensuring that one’s actions are free from corruption or temptation.

The distinction between covering the body (as in the requirement for modest dress) and the more specific concept of “hijab” (which involves a physical barrier between individuals) is significant. Islamic law does not seek to enforce rigid standards of appearance but rather focuses on the underlying ethical and moral considerations that ensure the preservation of public and private dignity.

Conclusion:

Ultimately, the laws surrounding modesty in Islam are intended to protect individuals’ dignity, avoid the corruption of the soul, and maintain moral integrity within society. The application of these laws, however, requires careful attention to context, intention, and the broader social dynamics at play, particularly in a world where cultural norms around modesty can vary widely. The principles of modesty, gaze, and interaction are not just about external appearances but are deeply connected to an individual’s character, respect for others, and the overall moral fabric of the community.

It is not necessary for a person to cover themselves in front of close relatives (mahrams) to such an extent that a woman becomes tired of her femininity and a man regrets his masculinity. God has permitted a woman to be bare-footed in front of her own children, so that their eyes and minds can be opened, preventing any potential deviation when exposed to the smallest of external sights. However, we deem it inappropriate for a mother or sister to live like this in the presence of her close relatives, let alone an aunt or a maternal aunt. Religion aims to practically elevate the awareness and understanding of its followers, to reduce restrictions and prohibitions. Yet, religious individuals have imposed harshness upon themselves and held themselves back.

When it comes to looking at close relatives, even at one’s mother or sister, if there is a suspicion or possibility of corruption and sin, it becomes forbidden to look at them, and covering them becomes necessary. However, the upbringing of society and the elevation of the public’s awareness cannot be solely the responsibility of the mother. It is also the duty of religious scholars, thinkers, and philosophers, as well as the system and authorities, to establish such a culture. Yes, if they fail to fulfil this task, they may be forced to add more prohibitions. Elevated understanding is something beyond mere literacy; one may spend decades studying and still lack true insight. True insight is a practical, educational operation in which the most significant role is played by the jurist, theorists, and the mother of the family—roles emphasised in the book The Knowledge of Life.

The Role of Childhood Observations in Avoiding Sin

In contemporary society, there are numerous restrictions placed within families, and the result is that children who grow up in such an environment have never seen certain things. Consequently, when they enter the outside world, they lose themselves. Had they, from a young age, seen their mother’s or sister’s legs, or their father’s or brother’s hands, such sights would have become natural to them, and they would have been less vulnerable to masturbation and self-indulgence.

One of the problems facing universities today is that some young people are turning away from religion. This has various causes, one of which is the lack of exposure they had in childhood, leading to numerous restrictions. These individuals have grown up with desires unfulfilled, such as the longing to once wear their hair down to school, but instead, their hair has been shaved down to the roots. In our health-conscious society, there is no need for such restrictions, which may later lead to students, once they reach university, experiencing a sense of freedom so intense that they may engage in any number of unrestrained actions.

It is essential to maintain the purity of the heart and avoid any kind of complex or regret from building up, and to keep away from feelings of lack and deprivation, as they are fundamental to Islamic upbringing. Unfortunately, in many cases, authorities have shown little concern for the deficits and regrets of the people, to the point where advertisements featuring something as trivial as a dancing wall or a can of preserved fruit or jam may sometimes lead someone to sinful behaviour. This issue arises not because of human nature or being followers of Islamic law, but because such individuals lacked proper upbringing, which left their needs unmet. A hungry person, given moldy bread, would not hesitate to eat it, just as a thirsty person would drink sewage or foul water. One must remedy the hunger and nourish the soul so that desires can be controlled and the individual does not fall prey to every temptation.

If a person, struggling with poverty, is given a basket of apples, they may eat the whole thing, skin and core included, filling their stomach to the brim without ever feeling full. Similarly, many of the hunger we see today is not physical, but spiritual, as the heart and mind are still famished.

If deprivation and loss are not removed from society, even if someone is given fifty houris (celestial beings in paradise), they would still fall into sin. Such a person is like someone who may be a billionaire but still feels unsatisfied with their wealth, constantly seeking to add more. The existence of such problems and psychological harm, regrets, and complexes in society places an even heavier responsibility on the religious scholars, as they must play a crucial role in nurturing society, ensuring that people’s spiritual hunger is addressed, and then guide them about what is lawful and unlawful.

Clapping and Whistling in the Quran

“They did not prevent what God had commanded them to protect, and they closed the way to the sacred mosque to the servants of God. They are unworthy of being its guardians. Its guardians are only those who have piety, but most of the people do not know. Their prayers at the Kaaba are nothing but whistling and clapping, which prevent others from the house of God. So in the hereafter, they will taste the punishment for their disbelief.” (Quran, 8:35)

This verse clearly condemns clapping and whistling. A group of people near the House of God (the Kaaba) were clapping and whistling, attempting to cause commotion and hinder the worship of the Muslims in the sacred mosque. Given this context, it must be acknowledged that if such individuals, even with the recitation of the Quran or salutations (salawat), sought to disrupt the prayer of the Prophet (PBUH), their recitations would be deemed invalid. The meaning is clear: these individuals were not truly praying; their prayers were nothing but noise and disturbance.

If, however, these individuals, not seeking to disturb others, engage in clapping or whistling without causing harm or committing any sin, there is no evidence suggesting that this would be problematic. The verse in question refers to those who were “hindering others from the sacred mosque,” indicating that they were engaged in disruption and rebellion.

Playing is not inherently disreputable, and it is not objectionable to engage in play or seek enjoyment, and sometimes it is even commendable; for instance, participating in beneficial sports that invigorate, entertain, and bring joy. Play is not bad; on the contrary, it is good, and one should engage in “play” and be smooth in manner, not quick-tempered or harsh. Those who exhibit such traits often have internal deficiencies they attempt to compensate for by being stern with themselves. A pure gold does not need soil to mix with. However, plays that become an obsession or mock religious beliefs and values are condemned. Outside of such cases, there is no evidence to suggest prohibition; rather, for children, it is a necessary practice:

Imam Sadiq (peace be upon him) states: “Let your child play freely until the age of seven, and after that, keep an eye on them for another seven years. If they grow righteous, then happiness is theirs; otherwise, they are in misfortune.”

Children should be allowed to play until the age of seven to relieve their energies. Unfortunately, modern lifestyles often prevent children from playing freely up to this age, leading to the release of pent-up energy in unhealthy ways as they grow older. The recommendation from the Imam is to ensure monitoring during the second period because this is when the foundational structure of the child’s character is shaped, and their success is determined at this stage.

When playing with a child, it is important to engage seriously in play. There is a psychological principle called “pretending to play” that creates feelings of resentment in children. If someone pretends to play and the child realizes they are being humoured, the child will become upset. Therefore, one must engage seriously in play. Furthermore, children should not be isolated from other children; they should grow up among others. A child who grows up isolated will not develop the necessary social skills and experiences to face the world and will be easily deceived once they enter society.

The Engineering of Humor and Playfulness

Imam Kazim (peace be upon him) was once asked about a person who drew a spear or knife on their friend, and he replied: “If they are playing or joking, then there is no issue. However, if it is serious, it becomes corrupting.”

The distinction between humor and seriousness is very subtle. For instance, if someone were to “play” by drawing a knife or spear on their friend, it is acceptable as long as the intention is playful. However, one must be cautious about the readiness of the person on whom the knife is drawn. If the person has a weak heart and might be frightened or suffer a stroke, such an act would be considered dangerous, not playful. The key criterion for humor is the impact it has on the individuals involved. As such, one cannot throw someone off a roof and claim they were only joking. Humor is only acceptable if it does not lead to harm. A society that can joke in such a manner, using weapons like guns or knives without causing harm, would be a society of great wisdom. Imam Kazim aims to elevate the social intelligence of the individual with this remark, showing that such jokes are acceptable when conducted with wisdom. It is not implied that a person who engages in such humor lacks intelligence. Indeed, humor must be practiced carefully, for without proper understanding, it can become harmful and dangerous.

Success and Playfulness with One’s Spouse

One example of play is the affectionate interaction between spouses. Islam does not oppose the success or fulfillment of any individual. A lack of fulfillment leads to ill temper and a poverty of both thought and material wealth. What Islam opposes is neglecting one’s rights and the hardness of the heart, neither of which are present in the sexual fulfillment and playfulness between spouses. Sociologically, many deviations and disorders in Islamic countries arise from deficiencies, not excesses. A young person near thirty who is unable to marry cannot claim to be leading a healthy life. If they have not fallen into sin, they at least suffer from mental or emotional disorders.

Parents who themselves fail to fulfill their needs cannot advise their children to abstain from marriage or sexual fulfillment. Instead, they must focus on finding solutions for the young person. Thought leaders and societal leaders must consider what needs to be done to ensure that young individuals are not led into sin and moral depravity. If a young person cannot satisfy their sexual urges, they will suffer mentally and emotionally. If their desires are repressed, their modesty will be shattered. The task is to prevent both the harm of abstinence and the harm of indulgence.

Islam not only does not disapprove of sexual fulfillment but praises it and considers it a virtuous act. It provides teachings on sexual matters and the proper conduct between spouses, emphasizing that such acts, when done in accordance with Islamic principles, are neither problematic nor discouraged. Avoiding these natural needs leads to regret, frustration, and emotional deficiency. The root cause of this issue lies in poverty, and it is the responsibility of those in authority to prioritize the elimination of poverty, not merely the eradication of the poor. Poverty is a key element in the creation of immorality, and if poverty is eliminated, many psychological issues will also vanish from the Islamic community.

Some believe that the pursuit of sexual fulfillment itself is reprehensible and argue that if Allah had not placed pleasure in sexual relations, no animal would engage in such acts. Such a belief is an insult to the great scholars, nature, and human instinct. The Prophet Muhammad (peace be upon him) married more than twenty wives to counter such misguided thoughts. It is not sexual fulfillment that is condemned, but rather sin and vice, which are always condemned. We should not confuse the two. Such beliefs paralyze society, leading to the absurd situation where a great scholar proudly states that no woman has entered his library! If religion is presented in this way, it will leave a frightening image of the faith in the minds of youth. However, God’s way is different, as evidenced by the Church being the center of devotion to the Virgin Mary, a woman. Allah Himself places women in high regard, and instead of saying “the female is not like the male,” He says, “And the male is not like the female” (Quran 3:36). In fact, this is the truth. Historically, seventy prophets have been born from women.

In matters of sexual fulfillment, we must avoid sin, neglect, oppression, and deviance. Otherwise, the act itself is not problematic. Therefore, we should not impose pressure on people in this matter, but rather allow them to act within the bounds of Islamic law. As indicated in the following narration:

Imam Sadiq (peace be upon him) states: “If you approach your wife without preparation and then abandon her, she will become like a slave to someone else. When you approach your wife, you must engage in playful interaction and enjoy each other’s company.”

This narration clearly explains the proper etiquette for marital relations, emphasizing the importance of playful interaction between spouses. Those who engage in intercourse without preparation harm both their own health and that of their partner. When a man wishes to expel his semen, it must first be gently expressed, just like squeezing a pomegranate to release its juice. Otherwise, the act will be wasteful and harmful. Playfulness prepares the body for the release of semen without causing harm, and if intercourse is not fully completed, it is like forcing something from the body or soul, causing harm.

The matter addressed in this noble verse is not related to the worldly, but rather to religion. Taking religion as a game is different from playing itself. What has been prohibited and condemned is playing with religious teachings, while there is no objection to playing simply because it is a game.

In some cases, Islamic law prohibits certain games, often providing reasoning behind such prohibitions. A prime example is the prohibition of hunting for recreation, aimed at preserving the lives of animals. When hunting is not necessary for food, there is no reason to hunt. However, whenever there is a legitimate need, hunting is not an issue. This, of course, is different from football, and one cannot equate the two. For example, someone travelling to another city to participate in a football match is not engaged in idle diversion, and one cannot consider their journey unlawful. Unfortunately, the importance of such healthy leisure activities has not been fully explored in legal scholarship, and as a result, many believers are discouraged from engaging in activities that are both morally sound and sanctioned by the law, such as sports and approved entertainment. At the very least, sports are essential for the well-being of themselves and their children. We have elaborated on leisure and joy in our book Fiqh of Joy and Happiness, and thus conclude the discussion here. This book thoroughly explores the subject (as per the existing circumstances).

The Necessity of Engineering Happiness, Success, and Entertainment

Happiness and success are key factors in health and well-being. Those who are unable to achieve success for any reason often fall into psychological and emotional disorders, becoming individuals filled with regret, complexes, and psychological distress, deviating from their natural state. A significant portion of mental illnesses is attributed to those suffering from psychological complexes, the bitterness of unfulfilled desires, and a lack of joy and vitality. Just as most crimes, thefts, and social corruptions arise from psychological complexes and the frustration stemming from these unfulfilled needs, most crimes do not directly result from poverty or hunger. However, poverty and hunger, when they lead to emotional deprivation, can lead to social corruption. A person who is poor but retains their faith and does not fall into psychological complexes will never resort to crime or sin, even if they suffer severely. Poverty itself cannot lead to deviation, but when it creates an internal complex, it can cause external harm. Thus, it is said in a hadith: “Poverty may almost lead to disbelief.” The use of the verb “almost” in this narration highlights the cautious and precise nature of the statement. Poverty, initially, makes a person psychologically disturbed, which may eventually lead to disbelief, theft, or even murder. It is therefore a cause, but not the direct cause of these evils.

Happiness is a crucial factor in alleviating complexes and unfulfilled desires, and it is therefore difficult to argue that the pleasures of the soul, such as those derived from music, dancing, clapping, or sound, are inherently problematic. Fatwas that ignore human nature and introduce unnecessary embellishments into religious rulings can create widespread psychological problems in Islamic societies, particularly among devout followers of religion. This leads to a hypocritical culture, where even seemingly innocuous forms of entertainment are dismissed in the name of religious orthodoxy. Social issues, particularly those among the youth, should be addressed through permissible, healthy avenues of enjoyment, not through a blanket prescription of austerity or fasting alone. Indeed, fasting itself, while beneficial in certain contexts, can sometimes be harmful to an individual’s psychological health. The hadith “Fast, and you will become healthy” does not imply that fasting is the only or the most complete remedy, but rather that it is one among many ways to maintain health. In some cases, fasting can be counterproductive, especially when it is practiced in a way that undermines mental and emotional well-being.

Sectarian Zealotry and Further Distance from Truth

Any free-thinking scholar knows that finding the truth is only possible by avoiding any form of sectarianism. Zealousness and dogmatic thinking always lead one away from the truth. In scholarly inquiry, one must seek the opinions of knowledgeable experts and set aside traditional, ethnic, or sectarian biases. What matters in research is a careful consideration of the reasons presented and the ability to critically evaluate their validity. We must refrain from issuing hasty and unfounded judgments, such as labeling someone as “disbeliever” or “heretic,” and instead follow the example of Imam Sadiq in dealing with opponents and engaging in respectful, wise discussions.

Wisdom and reason dictate that we should not view anyone with disdain or ill will. A true scholar is one who views all of God’s creations with kindness, and never hastily judges or assumes the role of the lawgiver. Love and hatred for others must be divinely inspired; if they are driven by personal or factional feelings, they lead only to enmity and bitterness. Each person, according to their understanding, is a Muslim. In the past, some scholars hastily declared certain individuals to be disbelievers, but nowadays, although such declarations are rare, accusations are still frequently made in media or private discussions. These unjust attacks violate the dignity of others and fail to uphold the sanctity of a Muslim’s reputation. No one has the right to unjustly infringe upon the honour of another person. If someone does so without a legitimate religious basis, they are committing an offence and should be subject to legal and religious accountability.

Scholarly discussions must be conducted with the utmost respect, and the dignity of all individuals must be preserved. In modern sports, such as wrestling, boxing, and karate, opponents may strike one another in the heat of the competition, but they still show respect, even after the match, by embracing one another. This demonstrates the importance of maintaining respect and decorum, even in intense competition.

Witnessing and Exile

Another point to consider with regard to matters such as music, dancing, clapping, and similar activities is the historical context in which these religious rulings were revealed. During the time of the Prophet, particularly after his death, the Shia faced extreme persecution. Historical records show that during the life of the Prophet and Imam Ali, there was room for leisure, humor, and joy, just as the Prophet and his companions lived joyously. However, after the martyrdom of the Prophet, the Shia experienced a period of immense hardship and oppression, during which the true significance of the Prophet’s teachings was often obscured. The atrocities committed against the family of the Prophet are too numerous to recount fully, and this period of sorrow and loss marked a significant chapter in Islamic history. Despite this, religious leaders did not exhibit sorrow in their personal lives, nor did they demonstrate political conformity; rather, they stood against unjust rulers, which led to their alienation and eventual exile.

Chapter Five:

Fallacies in the Jurisprudential Understanding of Music

Fallacy 1: The Wrongful Classification of an Unknown Subject as a Sin

Some jurists consider music (ghina) as a sin and unlawful. Some have categorized it as a major sin. They argue that the promise of punishment for music in religious texts is evidence of its grave nature. While this is partly correct, the real issue is determining which specific type of music is condemned and which is prohibited. Therefore, this topic requires further clarification. Some claim that there is no disagreement on the prohibition of music, while, in reality, jurists not only disagree on the definition and subject of music, but also on the ruling concerning it. Some argue that the prohibition of listening to music is unanimous, which should be understood to apply to forbidden music, not music in general—an area where there is no uniform definition or consensus among jurists.

Some view music as a major sin, but it is important to note that this refers specifically to forbidden music, not all music in general. The question arises as to whether music itself is inherently sinful, and if it is, whether it is a major or minor sin.

The term “al-ghina” used in narrations is not defined by the definite article (al), but rather serves as a general term. A general term requires contextual clarification to specify a type and meaning, and cannot be assumed to apply universally without further context.

One treatise on music addresses the ambiguity surrounding this issue as follows: “It is evident that music is generally prohibited and among the major sins. However, the ambiguity lies in determining which form of music is considered sinful and which type of beautiful voice is praised in narrations. This is further complicated by some people considering the recitation of the Quran with a beautiful voice as praiseworthy, even resembling music in some interpretations.”

In logic, the result follows the least certain premises. In jurisprudence, if the presented arguments are ambiguous, it is only valid to argue based on the most certain and clear points. Claims regarding the inherent prohibition of music should be examined from all angles, and only if the arguments for its prohibition are proven to be valid can the prohibition be established. However, narrations about the prohibition of music, whether interpretative or otherwise, are not conclusive and may suffer from ambiguity. Therefore, only the most certain form of music—such as that used by the corrupt and oppressive regimes—can be definitively identified as prohibited. Music linked to these regimes, such as that of the Umayyads or Abbasids, was designed to distract people from religious duties and support falsehood, and this form of music is the one that is condemned.

Before identifying the nature of music and clarifying the subject, some argue about its inherent prohibition and whether it is a major sin. These scholars approach the subject with the presumption that the prohibition of music is self-evident, without conducting a detailed jurisprudential analysis.

Fallacy 2: Confusing the Ruling of the Benefactor with the Beneficiary

Some assert that the prohibition of music is essential to the religion. However, it should be clarified that what is essential in the Shia faith is the prohibition of usurping authority and the promotion of sin by oppressive rulers, not the prohibition of music simply because it is music. It is important to examine whether the narrations that prohibit music refer to music in general, or to music that accompanies sins and is used to further oppressive regimes. If the prohibition of music were indeed an essential tenet of the religion, notable jurists like Sheikh Ansari, Sheikh Tusi, al-Muhaqqiq al-Sabzawari, and al-Fayz al-Kashani would not have overlooked this point. Therefore, claims of consensus or religious necessity have no substantial basis.

Fallacy 3: Confusing an Invalid Consensus with a Valid One

Some claim that there is a consensus on the prohibition of music, but they fail to specify what type of music is considered unlawful. This supposed consensus is flawed. While there may be some consensus on certain forms of music, a consensus based on invalid or unsubstantiated premises cannot be considered authoritative. Moreover, consensus on a matter with available supporting evidence is not in itself a decisive argument; true consensus must be based on sound principles and evidence.

Fallacy 4: Confusing Literalism with Jurisprudence

Some assert that the ruling on music and its prohibition should strictly follow the text of religious narrations. This view holds that aside from the religious texts, such as the Quran and narrations, no other field of knowledge, including the science of principles of jurisprudence (usul al-fiqh), should be consulted. This approach is limiting, as jurisprudence aims to understand the true meaning intended by the religious texts, which may involve deeper interpretations beyond the literal meanings. Jurisprudence involves discerning the intent of the texts, considering factors like metaphor, context, and underlying implications.

Fallacy 5: Confusing Caution with the Violation of Caution

Some argue that the permissibility of music contradicts the cautious approach in jurisprudence. However, the prohibition of something requires independent proof, and the presumption of caution should not be equated with a formal legal ruling. Caution should apply when the evidence for a ruling is unclear, not as a substitute for a formal prohibition.

Fallacy 6: Confusing Compatibility with Correct Jurisprudential Distinction

Some argue that allowing music aligns with Sunni teachings. While there may be similarities in certain legal rulings, the Shia jurisprudential system is not committed to opposing Sunni views for the sake of contradiction. The two schools share many common beliefs and practices, and disagreement on specific issues does not mean that every ruling must be contrary to Sunni interpretations.

Fallacy 7: Confusing Concept with Meaning

In logic, it is essential to distinguish between concept and meaning. Some scholars have focused only on the conceptual understanding of music and have not fully comprehended its true meaning. They might be familiar with the term from linguistic sources but have not engaged with the subject in depth. For a musician, examining these opinions reveals that they are far removed from the actual understanding of sound and music, which is why these views can seem ungrounded.

Fallacy 8: Confusing Practical Knowledge with Pure Knowledge

Some assert that learning music theory is permissible, but playing music is forbidden. This view is incorrect, as practical engagement with music is necessary for learning. A musician must practice their craft—whether it be playing an instrument or learning vocal techniques—before they can truly understand and master it. Music is not just a theoretical subject; it requires practical application and skill development.

Fallacy 9: Confusing a Universal with an Exceptional Case

Once the prohibition of something is established, it applies universally unless a specific exception is proven. The claim that there are “exceptions” to the prohibition of music is inaccurate if no valid reason or exception can be demonstrated. When something is universally prohibited, it should remain prohibited unless justified by specific conditions or evidence.

Fallacy 10: Confusing the Usage of a Term Across Different Contexts

Some refer to linguistic sources to define music. However, linguists merely report on the usage of terms and are not concerned with the legal or moral implications of those terms. Jurists and scholars of religious law must focus on the specific context in which the term “music” is used, including the cultural and historical factors that shape its meaning. The concept of music condemned in religious narrations corresponds to a specific type of music known in the cultural context of the time, and it is this type of music that is prohibited.

The essential point of this discussion is understanding the nature of music within the context of religious rulings. Music, as defined in the narrations, was familiar to people in a particular cultural setting, and the prohibition refers specifically to music associated with falsehood and oppression. If similar conditions arise today, where music is used to promote oppression, the prohibition would apply.

Fallacy: Assuming Without Evidence that a Phenomenon is Linked to a Specific Quality

The beauty of a voice is not limited to its melancholic nature and pleasant recitation. A person who is in a state of supplication, prayer, or sorrow may, while reciting, produce a mournful sound. The beauty of a voice can stem from the resonance, full range, and richness of the voice, as well as the absence of tonal flaws, or from a deep knowledge of acoustics and the skillful application of voice techniques, producing a harmonious and powerful voice. Therefore, it is not possible to categorically attribute the beauty of a voice to a specific emotional state without evidence.

Fallacy: Confusing Sound with Speech

Melody is a characteristic of sound, not of speech. It is the sound itself that can remind the listener of the Divine, not the words or recitations; for in the context of melody, speech is irrelevant. It is the sound and its quality that are impactful, yet some individuals have wrongly associated melody with the material of speech.

Furthermore, which types of melodies can remind listeners of the divine realm, and which musical scales might bring forth truths or take one away from them, have not been sufficiently researched. Since melody pertains to sound or the quality of sound and not to the material of speech, reciting the Qur’anic verses or lamenting the martyrdom of Imam Hussain (AS) has no bearing on the issue of melody.

Fallacy: Confusing Consequences with Causes

Some people classify different kinds of sadness, laughter, grief, or sleep as forms of melody, claiming that all of them constitute melody. However, while melodies may induce a state of sadness or sleep, it is the intense sorrow that leads to weeping, just as excessive joy leads to laughter. The actual crying or laughing does not directly result from the melody.

Fallacy: Confusing Different Aspects of a Single Phenomenon

There is no real distinction between melody and a beautiful voice; one cannot differentiate between their judgments when the subject is the same. A beautiful voice is always pleasant, and the more its beauty is enhanced, the better it becomes, remaining within the bounds of being pleasant, even when it is of the highest quality. Some, however, deem lower-quality voices as permissible and more beautiful voices as impermissible, without providing any supporting reasoning for such a distinction.

Certainly, the enhanced beauty of a voice can be stimulating and might even prompt one to dance. However, dancing is not intrinsically forbidden merely because it involves movement, nor can it be taken as evidence to prohibit melody or music.

Fallacy: Confusing the Composition and the Components

Some scholars have deemed the elements of melody, such as its modulation and ornamentation, forbidden because they form part of the overall composition of a melody. However, we argue that melody, as a beautiful sound, is not intrinsically forbidden, even though it is pleasurable, delightful, and has ornamentation. The prohibition of ornamentation and modulation is not found in our sources but was imposed by scholars who, without justification, declared these elements forbidden based on their composition in melody.

Fallacy: Substituting a Consequence for a Cause

Some scholars issue a ruling forbidding any sound that is pleasurable or stimulating. According to them, if a nightingale sings or the sound of flowing water is pleasant to the listener, resulting in an ecstatic state, listening to these sounds is forbidden. They distinguish between melody and ornamentation, only considering pleasurable sounds to be melodies. However, it is impossible to have a melody without ornamentation. These scholars confuse the consequence, such as the pleasurable feeling, with the cause, which is the ornamentation or modulation in the sound.

They claim that any sound that brings pleasure to the listener is forbidden, yet this pleasurable reaction is not the result of the ornamentation but is simply a natural effect. If this is the case, why should pleasure itself be deemed sinful when there is no evidence to support the claim that pleasurable experiences are inherently forbidden?

Fallacy: Confusing the Active Role with the Passive Role

Some scholars fail to distinguish between ecstasy, agitation, and the act of inducing ecstasy. They consider modulation and ornamentation of the voice to be responsible for inducing ecstasy, not taking into account the active role of the person performing the action. However, ecstasy (or “tarab”) is an effect, and agitation (“atraab”) is the act of inducing it. Ecstasy refers to the emotional state it brings about, while agitation refers to the action taken to bring about that state.

If ecstasy is understood as a feeling of deep emotional rapture, this same concept applies to the act of agitation. The derived meaning cannot differ from its origin.

Fallacy: Dividing a Single Phenomenon into Different Categories Without a Clear Basis

Some individuals divide ecstasy into different types, such as joy or sorrow, yet ecstasy is a singular phenomenon and cannot be classified into distinct categories with varying meanings. Ecstasy simply refers to pleasure or delight, and there is no basis for categorising it into different types.

They argue that ecstasy resulting from listening to the Qur’an is not problematic, while ecstasy from other sources is. Ecstasy, however, is a single, consistent phenomenon, and it cannot be seen as permissible in one case and impermissible in another based on its source.

Fallacy: Incomplete Definition

Some scholars define melody as simply the sound produced, without accounting for the specific context of its pleasurable nature. According to this view, the recitation of the adhan in a beautiful voice would be forbidden because the sound is elongated. These individuals claim that a sound is only permissible if it does not include ornamentation or modulation, but this definition overlooks the broader nature of sound and the diversity of tonal qualities that exist, such as the modulation found in “wala-dhallin.” This definition reflects a misunderstanding of the nature of Arabic modulation and sound, leading to a broad and unwarranted restriction on all sounds.

Fallacy: Misunderstanding the Subject of the Debate and Oversight in Defining the Terms

Some scholars argue that the prohibition of melody arises from the fact that it belongs to the category of “play” (lahw). According to this argument, if melody is a form of play, it is forbidden. However, this introduces confusion by not fully addressing the central question of whether melody is forbidden by its own nature or because it falls under the category of “play.” They wrongly conflate the nature of the melody with its associations to play, without clearly differentiating between the essence of melody and its potential negative consequences.

Moreover, they argue that if play is inherently corrupt, then the music associated with corruption must also be forbidden. However, their argument lacks clarity as to whether the melodious sound itself or the people performing it are the focus of prohibition. Can a person who sings at the death of a loved one, devoid of any lewdness or immorality, still be considered to have committed a forbidden act by singing? The confusion between the nature of the person and the nature of the sound is a core issue.

Fallacy: Confusing Result with the Instrument for its Realisation

A key distinction must be made between the prohibition of play and the tools that facilitate it. The use of a tool for play does not inherently render the act forbidden. For instance, hunting for sport is not prohibited because the animal is a tool for pleasure, but because the killing of a living being for no justifiable reason is considered sinful. Thus, the fact that an act, such as listening to music, may be related to pleasure does not automatically make it forbidden.

Fallacy: Using a General Term in a Specific Context

Some scholars claim that melody can be divided into two types: legitimate and illegitimate. They assume that when the term “illegitimate” is used, it refers to the nature of the melody itself. However, the term “illegitimate” can also refer to the context in which the melody is performed, which introduces ambiguity. They also fail to clarify whether an “illegitimate” melody refers to one that is inherently sinful or simply associated with sin.

Fallacy: Exaggerating and Creating Value through Imitation

Many legal texts in Islamic jurisprudence repeat traditional rulings and do not offer deep, original analysis. This repetition creates a sense of authority, but it often lacks the value of independent scholarly work. This has led to a legal culture in which the value of a fatwa is based not on its intellectual merit but on its widespread acceptance. Critics of traditional fatwas argue that these rulings, while popular, should be carefully re-examined and critically assessed, just as scholars like Sheikh Ansari have done in the past, elevating the quality of Islamic jurisprudence through logical and reasoned analysis.

Unfortunately, reliance on invalid consensuses and the widespread popularity of fatwas is often evident in most jurisprudential research. Some of these studies, even when they possess evidence, are unable to choose options contrary to the established opinions. Others choose a consensus-based opinion for which the supporting documents are available, despite the fact that these opinions lack solid religious evidence from the Qur’an and Sunnah. Some even criticize jurists who do not consider non-classical or non-evidenced consensus and the established opinions to be binding, accusing them of offering views contrary to the majority. This is while researchers in various academic fields present their theories with great effort and dedication, leaving no room for doubt and subjecting the views of other scholars to thorough examination. The greatness of the past does not prevent the scholarly research and critique of their perspectives. This becomes even more crucial in the seminary sciences, which deal with matters that have fundamental significance for people both in this world and the hereafter.

In scientific research, both empirical and human sciences do not regard consensus among scholars or the popularity of a theory as evidence of its validity, and they follow the scientific method in their investigations. This is not the case in jurisprudence, where many scholars, in imitation of their predecessors, issue fatwas based solely on claims of consensus — especially those based on undocumented or popularly accepted opinions. However, non-documented classical consensus, which suggests the existence of evidence for the jurists of the first era of the Greater Occultation, is considered valid, but beyond that, no valid consensus exists.

Furthermore, a jurist should not let personal biases and subjective preferences influence the extraction of rulings from Shariah. There is a need for comprehensive research into how the data of different jurisprudential schools and cultures may have been influenced by their respective environments. A jurist should have the ability to make choices that align with Shariah, translating the culture of the Qur’an and the infallible Sunnah into their fatwas. Otherwise, their opinions lack legitimate religious authority.

In this book, we have addressed the ruling on music and singing based on the Qur’an and the Hadith, as the first and most appropriate approach is to seek the ruling from the legislator (i.e., Allah). We believe that a jurist’s effort in Ijtihad should be aimed at discovering the religious perspective, not simply expressing their own opinion. A jurist is a truthful interpreter of religion. They must swear to exert all their power and effort to uncover divine rulings, and if they make a mistake, it is beyond their capacity, and Allah will pardon them. If someone wishes to live a life that alternates between strictness and leniency, they portray themselves as a misleader of the people and will not have an answer before Allah on the Day of Judgment. A jurist must express their understanding of religion systematically, avoid deviating from the process of Ijtihad and the method of deriving rulings, and refrain from fanatical, narrow-minded, negligent, or eclectic approaches. Otherwise, they may render something unlawful lawful, or something lawful unlawful.

Fallacy: The Fallacy of Getting Angry Instead of Engaging in Academic Discussion

Some individuals adopt a political, superficial, and dogmatic approach by resorting to the fallacy of “getting angry” instead of engaging in academic discussion and presenting research findings. Instead of conducting a scholarly debate, they resort to wielding a metaphorical club, disrespecting their opponents, calling them ignorant and misguided, and claiming that religion itself is in danger due to these ideas. One of the characteristics of the simplicity of earlier scholars was that their religious zeal immediately showed when they became angry for the sake of religion. However, an angry individual is seldom in control of themselves to make sound decisions or consider academic nuances, and they merely speak out of sheer anger.

Some superficial thinkers claim that religion is under threat and believe they must fight anyone who holds contrary opinions by any means. However, such a defense of religion is not a true religious stance, and religion, in all its greatness, nobility, and grandeur, never harms anyone. Unfortunately, such authoritarian attitudes have been inherited from the unjust caliphs of the Arabs and the Persian rulers, affecting some scholars. However, we should pray to Allah for guidance and clarity, so that all are kept free from tyranny and oppression. Religious zeal must be reserved for the right circumstances, not against fellow believers and wise individuals.

Some have equated the fatwa for the permissibility of singing in the Qur’an with the fatwa of its permissibility leading to disbelief. They argue that the command for reciting the Qur’an in a sorrowful or melodious voice has no connection to music. It is strange that such individuals and fatwa-givers, if they mistakenly issue such a fatwa, attribute disbelief to their Muslim brothers. Many distinguished jurists, some of whom are highly respected Shia scholars with deep commitment to the authority of the Ahl al-Bayt, hold such fatwas. Such statements are far from the decorum of scholarly debate. Today, in sports like wrestling, boxing, karate, and the like, participants vigorously engage in competition, yet none disrespect the other. In the end, the loser and the winner embrace each other without any hard feelings, and the loser never blames the winner for their victory. Even two non-believers would behave similarly, as this is the decorum of competition and human dignity.

Unfortunately, in academic debates, sometimes accusations are made as though one is facing a sworn enemy. The correct approach is to refute an argument with evidence, just as one unlocks a lock with a key — it cannot be broken by force. Such behavior is unbecoming of a courageous person. In a discussion, one should view the opposing side as if they may have a greater reward for their errors than for our correct views, as actions are judged based on intention and purity of heart, and their value is assessed accordingly.

The existence of such attitudes in academic discussions not only prevents scholarly advancement but also limits the space for free-thinking scholars and knowledge creators. The worst outcome of dogmatic thinking and harsh speech is that many unnecessary embellishments are added to the already fragile body of religion. If religion is not cleansed of these superfluous elements, it may become so rigid and burdensome that people will become disillusioned with it. As science progresses, or as anti-religious cultural movements emerge, people may feel forced to follow their own understanding, leaving behind traditional religious practices. Presently, some contemporary jurists firmly hold to the prohibition of singing and music in general without a scientific approach, and the people continue to enjoy all forms of music, disregarding such fatwas. This behavior neither aligns with religious practice nor with the true mission of propagating religion, for such a religion is beyond the capacity of scholars, let alone the general public.

Unfortunately, the times are filled with political maneuvering and hypocritical treatment of free-thinking scholars, and colonial powers will not cease their interference with Muslims. As the news wars and doctrinal disputes have brought great misfortunes in the past, they will continue to bring more harm. We have detailed the scholarly conflict between the Akhbari and Usuli schools in our book “What Do Akhbari and Usuli Say?” The Akhbari and Usuli scholars themselves had no real issues with one another; it was external individuals who stoked the flames of conflict. A clear example of this is the fact that today, the Usuli seminaries publish the book “Hadā’iq” — written by an Akhbari scholar — with excellent quality. However, Muslims today must be vigilant and recognize that if a fire is lit somewhere, the fuel for this dispute is often provided by certain individuals, and the fire is stoked by external forces. But one must remain strong and not be provoked, discerning whether the cause of the conflict is internal arrogance or external colonialism. It is best not to let disputes escalate into something catastrophic and to resolve them at the outset.

Today, we must be cautious not to let the same fate that befell previous generations befall us again. The debate over music and singing must be separated from political games, and we should not allow some individuals to use this discussion as an excuse for personal vendettas and grudges. We hope for the day when the noble government of love, led by the Promised Savior, will guide all humanity.

Index of the Works of His Eminence Ayatollah Nokooyam (May God Protect Him)

Zoology

The Attraction of Gaze
Jalal Mokhlessan
Jamal Jalwa
His Excellency the Particle
Genus Studies
The War of Water
The War and Colour
The Knights of Honour
Imagination’s Horizon
The Disturbed World
Framework of Spiritual Perfection
The New Framework of Shia Jurisprudence
Why and How of the Islamic Revolution
The Eye of Hope
The Perspective of Religious Scholars
The Gaze
The Fountain of Life
The Fountains of the Pure Waters
The Fountain of Grace
The Fountain of Ruby
How to Live, How to Die
The Face to Face
The Face of Love
The Mysterious Incident
Notes on the Fundamentals and Benefits
Hajj: Abrahamic or Organisational
Spiritual Chambers
The Heat of Houri
The Sacred House
The Battle of Controversy
Presence of the Present and the Absence
Presence of the Beloved
Presence of the Creator
The New Found Rights (2 Volumes)
The Truth of Jurisprudence in the Context of the ‘Urwah (2 Volumes)
The Tale of Love
The Wisdom Treatises of Philosophy
Sweetness
The Wood Carrier
The Hour of Mount
The Seminary: Challenges and Proposals
The Astonishment of Essence
Memory: A Trace on the Face of the Mind
Atheism and the Principles of Heresy
God Worship and Innate Nature
Knowledge of God
The God I Worship
The Delusion of Chaos
The Qualities of Health and Prosperity
The Western Railway Tracks
Eternal Hell, Fire, and Everlasting Punishment
The Arch of the Brow
The Five Political Treatises
The Five Treasures of Purity
The Smile of Niosha
The Useless Pig
Sleep, Night, and Wakefulness
The Blood of Heart (Rubaiyat)
White Blood
The Tent of Perpetuity
The Tent of the Green Emergence
A Story of Disorder in the Cover of Religiousness
The Snare of Obstinacy
The Snare of Time
The Science of Divination (5 Volumes)
The Science of Etymology and Literary Excellence
The Study of Knowledge and Violence
Sufficient Knowledge
The Science of Interpretation and Exegesis
The Science of Remembrance
The Science of Spiritual Conduct
The Science of Seeking Knowledge
The Circle of Existence
An Introduction to the Science of Divination with the Holy Qur’an
An Introduction to Understanding the Holy Qur’an
An Introduction to the Science of Jurisprudence, Hadith Criticism, and Analysis
Social Illnesses and Struggles
The Pain of Separation
The Instrument of Tradition (Translation of Al-Mas’akah)
The Death Toll
The Beloved of the Lover
The Heart Torn Asunder
The Lover of the Wine
The Gentle Heart
The Breath of the Heart
The World of Jinn and Human Deception
The World of Colour
The Solitude of Power
The State of the Deliverer
The Two Appointments of Love
The Land Without Mark
The Land of Circles
The Final Gaze
The Shida’s Diwan (Couplets)
The Diwan of Love and Knowledge (4 Volumes)
The Diwan of the Beloved
The Diwan of Wilayah
The Book of Villainy
The Book of Hellish Dogs
The Humiliated Exposed
The Secret and the Beauty (Mathnavi)
The Driver and the Driving
The Strategic Principles of the Islamic System
The Radiant Face
The Face of Existence
The Face of Being
The Treatise of Explanation (2 Volumes)
The Dance of Heaven
The Dance of Autumn
The Dance of the Sword
The Dance of Grace
Psychology of Tyranny
Psychology of Arrogance
Psychology of Fear
Psychology of Ambition
Psychology of Anger
Psychology of Women
Psychology of Sadism
Psychology of Polytheism
Psychology of Nervous Weakness
Psychology of Weakness of Soul
Psychology of Greed
Psychology of Oppression
Psychology of Love
Psychology of Reason
Psychology of Knowledge
Psychology of Willpower
Psychology of Blasphemy
Psychology of Genius
Psychology of Delusion
Psychology of Rabid Soul
Narrative of the Tolerant Economy
Spirituality and Leadership
The Soul of the World (Rubaiyat)
The Method of Exegesis from the Perspective of the Holy Qur’an
The Method of the Infallible Ones and Revolutionary Movements
The Radiance of Worldliness and Worldly Life
The Prosperity of the Era
The Flourish of the Flower
The Shia Leaders in the Age of Occultation
The Silent Vision
The Dreamlike Vision
Body Language
The Strumming of the Tuning Fork (2 Volumes)
The Strumming of the Instrument
The Pure Water of Mysticism
The Tangled Locks
Women: The Paradise of Beauty and Upbringing
The Chain of Equality and the Circle of Tyranny
Life, Love, or Law
Alive for the Emergence
Women: The Perpetual Victims of History (4 Volumes)
Women and Religious Freedom
Women and Life

Apparent Beauty
Your Beauty
Aesthetics
Poetry Composition
Simple in the Colour of God
The Cup of Houri
The Shallow-Minded Dragon
The Star Without a Mark
The Prostration of the Body
The Mirage of Mysticism or the Dispersed Breeze
The Tall Cypress
The Song of the Beloved
The Patriarchy of Men or Women
The Path of Mourning
The Houri’s Feast
The Fire and the Craft (Odes)
Travelling the Earth
The Thought Journey
The Red Journey (3 Volumes)
The Journey of Love / Memories (3 Volumes)
The Image of the Seminary Student
The Devil’s Horn
The Night of Exile
The Witness of Solitude
The Witness of the Lover
Night, Solitude, and the Thunder of Silence
The Bitter Drink of Sorrow
The Bitter Drink of Deception
The New-Born Wolf
The Wonders of Physical Health
The Candle of Unity
The Candle of Life
The Playful One
The Passion of the Lover
The Poison of Rebellion
The City of Political Rituals
The Ecstasy of Existence
The Method of Implementing Punishments
The Landlord
The New Dawn
The Book of Love
The Seminary Writings
The Purity of the Heart
The Purity of Air
The Necessity of Knowledge of the Realm of Light
The Betraying Tyrant
The Drum of Chaos
The Tamed Nature
The Bait of Greed
The Rebellion of Desire
Seminary Studies and Work Commitment
The Dawn of Tomorrow
The Pure Blessed Tree
The Vessel of Appearance
The Pure Emergence
The Study of Appearance
The Manifestation of Grace
The Mystic and Perfection
The Agile Lover
Religious Scholars and Simple Living
The Mysticism of the Beloved and the Devoted Seekers
Mysticism and Its Stations
The Bride of Spring
The Pure Pleasure
Love and the Trap
Infallibility: A Divine Gift
The Fragrance of the Conclusion
The Deceiving Demon
The Science of Jurisprudence and Its Five Scholars
The True Scholars: The Successors of Prophets
The Science of Life
The Phoenix of Love
The Realms of the Wine Cup
Drowning in You
The Drowning Incident
The Unique Stranger
The Drowned Lover
The Drunken Gazelle
The Singing Women
The Deceptive Lover
The Hidden, Night, and Wakefulness
The Tumult of Oppression
Angelology
The Radiance of Joy
The Culture of Shariah and the Nature of the Body
The Culture of Mysticism
The Philosophy of Wisdom-Oriented Jurisprudence
Jurisprudence of Purity, Joy, and Ecstasy
Jurisprudence of Wealth and Music (7 Volumes)
Modern Philosophy
Philosophical Thinking
The Dissolution of Appearance
The Sudden Burst of Fear
The Overflow of Love
The List of Beauty and Majesty of God
The List of Masculine and Feminine Words in the Qur’an
The Blessed Sanctuary
The Height of Imagination
The Sacred Nature of Love
The Qur’an and Economic Foundations
The Nearness of Exile
The Nearness of Affliction
The Approach of the Beloved (Couplets)
The Tale of the Hair
The Gamble of Love
The Rules of Dream Interpretation
The Seven Principles of Divine Conduct
The House of Hope
The Cup of Pure Water (Rubaiyat)
A New Exploration of Miracles and Divine Grace
The Book of God
The Book of Friendship
The Book of Nature
The Book of Law (5 Volumes)
The Flirtation of Grace
The Deformed Hyena
The Hut in the Path
The Collected Poems of Niko (30 Volumes)
The Pure Water of the Divine
The Essence of Existence
The Passages and Escape Routes of Society
The Lowly Boar
The Whirlpool of Delusion
The Plundering Wolf
Anthropological Propositions
The Selected Glosses of Jurisprudence
Social Conversations
Intimate Dialogues
Discourse on Qur’anic Knowledge
The Pomegranate Blossom
The Rose of the Beloved
The Hidden Treasure
The Jewel of Servitude and Ownership
Botany
The Smile of the Beloved
The Drink of the Lips
The Delicacy of the Rain
The Graceful Conclusion
The Joyful Conclusion
The Soft Hearted
The Blaze of Poverty
The Heart’s Madness
The Bewitched Zuleikha
The Rising Moon
The Beloved and the Lovers
The Lover of Love
The Keeper of Secrets
The Presence of the Essence
The Ideal City or the Modern Jungle
The Levels of Spiritual Authority
Death and Life in Eternity
The Tidings of Purification
The Unmarked Drunkenness
The Drunk with the Beloved
The Drunken and the Sober
The Shattering Locks
The Physical Resurrection
Physical Resurrection: A Religious and Philosophical Truth
The Knowledge of the Beloved and the Path of Love
Spiritual Food
The Stations of the Mystics
The Rewards of Love
The Beggar’s Fly
The Unspoken Truths
The Deceptive Seductress
The Rites of Pilgrimage
The Logic of Music
I Am the Sea
The Covenant
The Mystic Realm of the Cup
The Lover’s Flirtation
The Narcotic Narcissus
The Recipe of Mysticism
The Burnt Generation
The Heavenly Breeze
The System of Dominion
The Political Viewpoints
The Melodies of Mysticism
The Curse of Anger
The Study of the Soul
The Call of Righteousness
The Call of Love
The Pure Critique / The Reception of the Divan of Hafez (4 Volumes)
The Role of the Father
The Simple ImageThe Image of Existence
The Gaze of the Beloved
The Jewel of Being
The Manifestation of the Mission
The Melody of the Devout
Light and Joy
Alcoholic Beverages
The Oneness of the Drunken
The Arrival of the Virgin
The Science of Spiritual Leadership
The Hardship of the Imamate of Ali (7)
The Careless Virus
Religious Guidance
The Thousand Hands of the Coffin
The Ambition of the Phoenix
Spouses and Efficient Managers
The Air of the Beloved
The Howling
The Night’s Air
The Uproar
The Majesty of Love
The Passion of Love
The Search for the Wild
The Memoirs of the Clergy
The Faithful Companion
The Companion of Everywhere
The Loyal Companion
One Body
Monotheism
The Knowledge of Oneness
The Single Gaze
The Lone Conqueror