Jurisprudence of Ghina and Music (Volume 3)

The Jurisprudence of Singing and Music (Volume 3)

Singing and Music from the Perspective of Narrations

(Narrations Concerning the Prohibition and Permissibility of Music and Singing, and those Discussing the Consequential Effects and Philosophical Insights on Music and Singing)

The Jurisprudence of Singing and Music / Volume 3

May his secret be sanctified

By: Ayatollah Mohammad-Reza Nekounam

Main Author: Nekounam, Mohammad-Reza, b. 1327 (1948).

Title: The Jurisprudence of Singing and Music: Singing and Music from the Perspective of Narrations (Narrations Concerning the Prohibition and Permissibility and those Discussing the Consequential Effects and Philosophical Insights on Music and Singing) / Mohammad-Reza Nekounam.

Publisher: Sobhe Farda Publications, Islamshahr, 1393 (2014).

Physical Description: 7 volumes, Volume 3, 205 pages.

ISBN:

• For the complete set: ISBN: 978-600-6435-19-0
• For Volume 3: ISBN: 978-600-6435-28-2

Classification:

• Library of Congress Classification: 6/194/N8 F7 1391
• Dewey Decimal Classification: 374/297

Publisher: Sobhe Farda Print Location: Naqsh Gostar

Price: 330,000 Toman Distribution Center: Qom – Amin Boulevard – 24th Alley, Left Side – Building 76 Contact Number: +9825 0329 901578 Website: www.nekounam.ir

Chapter Five: List and History of Narrations on Singing and Music

Narrations Condemning Singing and Musical Instruments

The narrations concerning singing and music fall into three main categories: Narrations of prohibition, narrations of permissibility, and narrations discussing the consequential and psychological effects of music and singing.

The narrations on the prohibition of music can be divided into five categories:

1. Prohibition of singing.
2. Prohibition of singing in the recitation of the Holy Qur’an.
3. Prohibition of music and instrumental performance.
4. Prohibition of women singing and mourning.
5. Prohibition of payment for singing.

The narrations regarding the permissibility of singing can be categorized as follows:

1. Permissibility of singing in the context of vocal performance.
2. Permissibility of singing in the recitation of the Holy Qur’an.
3. Narrations permitting the use of musical instruments.
4. Permissibility of women singing and mourning.
5. Permissibility of earnings for female singers and mourners.

Initially, we list all narrations of prohibition so that the reader can study the history and context of these narrations. Following that, we present narrations of permissibility, supporting the view that the ruling on singing and music is context-dependent. Then, we discuss the third group of narrations, which examine the consequential effects of using singing and music, intersecting with fields such as “music therapy” and “the philosophy of rulings.” These narrations are also divided into two categories:

1. Narrations addressing the negative effects of excessive involvement in music and singing or using them in prohibited ways.
2. Passages from the narration of Mufaddal analyzing the philosophy behind the permissibility of vocal music and the use of musical instruments.

We will analyze and explore each narration separately, seeking to understand their precise meaning and intention. Additionally, we will examine the historical and temporal context of these narrations in detail. Following is the list of the categories of narrations concerning the prohibition of music.

Category One: Prohibition of Singing

1. “And from them, from Sahl, from Ali ibn al-Rayan, from Yunus, who said: I asked the Khurasani about singing and said: ‘The Abbasid caliph claims that you permit singing.’ He replied: ‘The heretic is lying. I never said that. He asked me about singing, and I said: A man came to Imam Baqir and asked him about singing, and he said: ‘O so-and-so, when Allah distinguishes between truth and falsehood, where does singing lie?’ The man replied: ‘With falsehood.’ Imam said: ‘You have made the judgment.'”
2. Imam Sadiq (a.s.) said: “The worst of sounds is the sound of singing.”
3. “From Ahmad ibn Yusuf ibn Aqil, from his father, from Musa ibn Habib, from Ali ibn Husayn (Imam Zayn al-Abidin) who said: ‘Allah does not purify a nation in which the lute clinks and the lamentation rises.'”
4. Imam Sadiq (a.s.) said: “When I was a young boy, I was standing and listening to the sound of flutes and drummers, and my father passed by, took my hand, and said: ‘Walk on, perhaps you are from those who mock Adam.’ I asked: ‘How is that, Father?’ He replied: ‘What you see is all amusement and singing. It was created by Satan in mockery of Adam when he was expelled from Paradise.'”
5. “In Al-Lubb al-Lubbab, al-Qutub al-Rawandi narrates from the Prophet (PBUH): ‘Five people Allah will not look at on the Day of Resurrection…’ and among them is the singer.”
6. “In another narration: Allah says on the Day of Resurrection: ‘O my angels, those who preserved their hearing and their tongue from singing, let them hear my praise and glorify me.'”
7. “In Al-Ja’farayat, it is narrated from Imam Ali ibn Husayn (a.s.) that when a group of Israelites was punished one night, the next morning they found that four professions were gone: drummers, singers, those who hoarded food, and usurers.”

Fourth Section: The Prohibition of Singing and Mourning by Women

1. According to an isnad from Shu’ayb bin Waqid, from Husayn bin Zayd, from Ja’far ibn Muhammad, from his forefathers, from the Prophet (PBUH) – in the Hadith of the Prohibited Actions – the Prophet (PBUH) prohibited lamentation at the time of a calamity, mourning, listening to it, and striking one’s face.

In the Hadith of Prohibitions, which enumerates sinful actions, the Prophet (PBUH) forbade the utterance of mournful wails at the time of a tragedy, mourning, listening to such mourning, and striking the face.

1. Ali bin Ibrahim, from his father, from al-Hasan bin Abi al-Husayn al-Farsi, from Sulayman bin Hafs al-Basri, from Abd Allah bin al-Husayn bin Zayd bin Ali bin Husayn bin Ali bin Abi Talib, from his father, from Ja’far bin Muhammad, from his ancestors: from Ali (AS) who said: The Messenger of Allah (PBUH) said: “Four things will persist in my Ummah until the Day of Judgment: pride in lineage, disparaging of genealogies, seeking rain through astrology, and mourning. Indeed, the mourning woman, if she does not repent before her death, will be resurrected on the Day of Judgment wearing a garment of tar and a coat of scabies.”

Four things will remain in my Ummah until the Day of Judgment: boasting of ancestry, insulting lineages, seeking rain through the stars, and mourning.

As for the mourning woman who does not repent before her death, she will be resurrected on the Day of Judgment with a garment of molten tar and a covering of leprosy.

Fifth Section: The Prohibition of Earning from Singing and Mourning by Women

1. Muhammad bin al-Husayn from Ibrahim bin Abi al-Balad said: I asked Imam al-Kazim (AS): “A man from your followers has female singers whose value amounts to fourteen thousand dinars, and he has designated one-third of this for you.” The Imam replied: “I have no need for it. The price of a dog or a female singer is unlawful.”

I asked Imam al-Kazim (AS) about a man among his followers who had female singers worth fourteen thousand dinars, and had designated one-third for him. Imam said: “I do not need it. The price of a dog or a singer is unlawful.”

1. Several of our companions, from Sahl bin Ziyad, from al-Hasan bin Ali al-Washa, said: I asked Imam al-Ridha (AS) about buying a female singer. He said: “A man may have a slave girl to amuse him, but her price is nothing but the price of a dog, and the price of a dog is unlawful, and the unlawful is in the fire.”

I asked Imam al-Ridha (AS) about purchasing a singer. He replied: “A man may have a slave girl who entertains him, but her price is merely the price of a dog, and the price of a dog is unlawful, and unlawful things are destined for the fire.”

1. Abu Ali al-Ash’ari, from al-Hasan bin Ali, from Is’haq bin Ibrahim, from Nadr bin Qabus said: I heard Abu Abd Allah (AS) say: “The female singer is cursed, and cursed is the one who consumes her earnings.”

The female singer is cursed, and the one who consumes her earnings is also cursed.

1. Is’haq bin Ya’qub in the written responses sent to him by Muhammad bin ‘Uthman al-‘Amiri, in the handwriting of the Imam al-Zamana (may Allah hasten his reappearance), stated: “As for what you have asked about, may Allah guide and strengthen you regarding the matter of those who reject me, and as for what you have sent us, we do not accept anything except what is pure and clean, and the price of a female singer is unlawful.”

In a written response from Imam al-Zamana (may Allah hasten his reappearance) to Muhammad bin ‘Uthman al-‘Amiri, it is mentioned that nothing is accepted except what is pure and clean, and the price of a female singer is unlawful.

1. Muhammad bin Yahya from some of his companions, from Muhammad bin Isma’il, from Ibrahim bin Abi al-Balad said: Is’haq bin Umar, at the time of his death, instructed that his female singers be sold, and their price be brought to Imam al-Kazim (AS). Ibrahim said: “I sold the slave girls for three hundred thousand dirhams and brought the money to him, saying: ‘One of your supporters, Is’haq bin Umar, instructed me to sell his female singers and bring you the price.’ The Imam replied: ‘I have no need for this money. It is unlawful, teaching them is disbelief, listening to them is hypocrisy, and their price is unlawful.'”

Ibrahim bin Abi al-Balad said: “Is’haq bin Umar instructed that his female singers be sold, and the price brought to Imam al-Kazim (AS). I sold them for three hundred thousand dirhams and brought the money to him. The Imam replied: ‘I have no need for this. It is unlawful, teaching them is disbelief, listening to them is hypocrisy, and their price is unlawful.'”

1. And Muhammad bin Yahya, from Ahmad bin Muhammad, from Ma’mar bin Khalad, from Abu al-Hasan al-Ridha (AS), said: “I went out intending to see Dawud bin Isa bin Ali, who lived in Bir Maimun, and I was wearing two coarse garments. I saw an old woman with two slave girls. I said to her: ‘Old woman, are you selling these two slave girls?’ She replied: ‘Yes, but not to someone like you.’ I asked: ‘Why?’ She said: ‘One of them is a singer and the other is a tambourine player.'”

Imam al-Ridha (AS) said: “I went out to see Dawud bin Isa bin Ali, and I was wearing two coarse garments. I saw an old woman with two slave girls. I asked her if she was selling them, and she replied: ‘Yes, but not to someone like you.’ When I asked why, she said: ‘Because one is a singer and the other plays the tambourine.'”

The Negative Consequences of Listening to Music and Singing

1. Muhammad bin Yahya from Ahmad bin Muhammad, from al-Husayn bin Sa’id, from Ibrahim bin Abi al-Balad, from Zayd al-Shahham, said: Abu Abd Allah (AS) said: “A house of music does not offer safety from sudden death, nor are prayers answered in it, nor do angels enter it.”

Imam Sadiq (AS) said: “A house of music is not free from sudden death, nor are prayers accepted there, nor do angels enter it.”

1. He (PBUH) said: “Angels do not enter a house where there is wine, a tambourine, a lute, or a chessboard. Their prayers are not answered, and blessings are removed from them.”

Angels do not enter a house containing wine, tambourines, lutes, or chessboards, and their prayers are not accepted, and blessings are removed from them.

1. Sahl from Ibrahim bin Muhammad al-Madani, from someone he mentioned, from Abu Abd Allah (AS), said: He was asked about singing in my presence. He replied: “Do not enter houses that Allah has turned away from their inhabitants.”

Imam Sadiq (AS) was asked about singing while I was present, and he replied: “Do not enter houses that Allah has turned away from.”

1. Ja’far bin Muhammad (AS) said to one of his companions: “Where were you yesterday?” The man replied: “I thought you knew where I was. I said: ‘May I be sacrificed for you, I passed by such and such a person who invited me into his house and brought out a slave girl who sang.'” He (AS) replied: “Did you trust Allah with your family and wealth? This is a gathering in which Allah does not look upon its people.”

Imam Sadiq (AS) said: “Did you fear for your family and wealth, as you were present in a gathering where Allah does not look upon its people?”

The Logical Process of Discussion

The logical sequence of the discussion dictates that one should first address the question of “what is it?” and the methodology of subject matter analysis, then proceed to “does it exist?” and the question of judicial analysis, and finally move on to “why is it?” and the exploration of the wisdom behind it. Until this sequence is followed, the presented argument remains incomplete. For example, we must first understand what “human beings” are. Once we establish that “human beings are rational animals,” we can proceed to the next question and ask, “does it exist?” Does the human being exist or not? Once we establish that humans exist, the question becomes: “why do they exist?” What is the essence of the subject, its existence, and its cause are the three fundamental pillars of every scientific inquiry, including the study of jurisprudence. Unfortunately, our jurisprudence lacks the important discussions of “what is it?” and “why is it?” As a result, it fails to achieve success and meaningful outcomes in the judgment of “does it exist?”

It must be noted that the wisdom of jurisprudence is distinct from the philosophical quest for causality and should not be conflated. The path to discovering wisdom remains open for the researcher, whereas the complete causality of a ruling may elude human reason. If the subject is not understood, one is simply shooting arrows in the dark.

The Necessity of Understanding the History of the Subject and Judgment

From what has been stated, it is clear that in order to understand a ruling, one must first fully comprehend the subject of that ruling. To understand the subject, its history must be known. To understand the judgment and the subject, and to ascertain the appropriate context that forms the basis of the ruling, it is essential to examine the time of issuance of the ruling. Only then can we understand what the subject was and how it was considered lawful or unlawful. The discussion of music is no exception. Our aim is to avoid being influenced by various opinions and perspectives, and first to discuss the primary sources of rulings and fatwas—namely the Qur’an and Sunnah. Through in-depth research and study of the transmitted evidence regarding music and singing, we will derive the ruling on it. Therefore, in the following sections, we will examine the context in which the traditions related to music and singing were issued.

The Impact of Music on Jurisprudence: The Tunes and Songs of the Arabs

Military tunes and melodies were prevalent among the Arabs even before the advent of Islam, particularly among their soldiers. These tunes were used to stir the emotions of warriors, and in battle, they would engage in “raging” (a type of chanting), which is considered a form of music. The Arabs also had another tune, which was sung quickly, called “Nasib.” Prior to Islam, they only used instruments like drums and horns. Among their recreational music, they had melodies known as “ghina” which were sung with poetry. The era of pre-Islamic Arab poetry, on the cusp of Islam’s rise, was a period of great prominence for Arabic literature, and poetry was closely intertwined with music. Additionally, as the Arabs traversed the harsh deserts of Arabia with camels, they would sing to their camels, a practice called “Huda.” The galloping of horses was also accompanied by a tune called “Habba.” “Ghināʾ al-Rukbān” referred to the songs sung by travelers on horseback. The Arabs did not have what could be called formal entertainment music. Any minimal singing they did was in keeping with their rough and rugged lifestyle as desert dwellers. Men and women would also participate in mourning and festive celebrations, singing appropriate tunes to match the occasion, clapping, and sometimes dancing.

The first Arab known for his knowledge of music and singing and for introducing musical instruments like the harp, flute, and lute was ‘Ashā bin Qays. He used the names of these instruments in his poetry, and through his connections with the court of the kings of Hira and Iran, he became familiar with Iranian music and instruments. His acquaintance with Iranian music is evident through the poetry he composed. From this introduction, it is clear that the Arabs were first exposed to musical instruments and the art of music through the Iranians. The term “barbat” (lute) is first mentioned in the poetry of ‘Ashā. Some believe that al-Nadr bin Harith was the first Arab to sing to the tunes of Iranian music and teach the playing of the lute in Mecca.

Music and the Approach of the Caliphs

With the advent of Islam, music and singing found themselves in a precarious position. After the death of the Prophet Muhammad (PBUH), the oppressive caliphs took over leadership. They, especially Caliph Umar, distanced themselves from luxuries. In Islamic law, music was forbidden, and only the recitation of the Qur’an in melodious tones and the chanting of poetry was considered permissible. The new Arab Muslims, zealous and fanatical in their faith, distanced themselves from the simple music that had existed in the pre-Islamic period and took no interest in it. As a result, the music scene fell into stagnation. Umar despised music, and this sentiment was deeply ingrained in his followers. However, the Umayyads, who had been firmly entrenched in the Islamic caliphate since the reign of Uthman, officially transformed the caliphate into a monarchy. The Umayyads, under the leadership of Mu’awiya, became the first Arab dynasty, and they embraced luxurious living, supporting musicians, singers, and entertainers. The caliphs and the people around them immersed themselves in lavish and indulgent lives, leading to the flourishing of music and entertainment.

Music and the Umayyads

During the Umayyad era, the Arabs, much like the elites of Iran and Rome, began constructing magnificent palaces and indulging in a life of excess. The Iranians and Romans, referred to by the Arabs as “mawālī” (clients), introduced the Arabs to the pleasures of refined living, including the art of musical entertainment. The easy city life, which became available to the Arabs through the conquests of Iran and other lands, coupled with the abundance of Iranian and Roman slaves who were skilled in singing and dancing, piqued the Arabs’ interest in music. Those who could play musical instruments or sing found their way into the courts of the caliphs, gaining high status among the rulers. The caliphs’ growing familiarity with music led them to spend more of their time enjoying indulgent pleasures, including listening to music, often disregarding many of the Islamic legal rulings in the process.

The interest of the Umayyad caliphs in luxury and pleasure opened the door for musicians and performers from Iran and Rome to enter the Muslim court. Various musical instruments, such as the harp, tambour, and lute, became popular within the Muslim culture.

[The translation continues into further details about the Abbasid caliphs, their relationship with music, and the political and social developments in the caliphate as they relate to music and entertainment.]

The Legality of Singing in Religious Celebrations and Festivities

1. Narrated by Abdullah ibn al-Hasan, from Ali ibn Ja’far, from his brother: He asked him about singing, whether it is permissible during the religious festivals of Eid al-Fitr and Eid al-Adha, and during times of joy. He replied: “There is no harm in it as long as it does not involve disobedience.” This narration was also reported by Ali ibn Ja’far in his book, but he added: “as long as it is not commanded” (to do so).

• This is from Imam Kazim (A.S), who, when asked about singing during the religious festivals of Fitr and Qurban (Eid al-Adha), as well as during times of celebration, stated that it is permissible as long as it is not mixed with sin. Another narration suggests that it is permissible if it is not accompanied by sin.

1. Narrated from him that the Prophet (PBUH) prohibited singing and the purchase of female singers: He said that their earnings are considered unlawful (haram). Singing is only permissible in certain cases, such as during mourning for the deceased (as long as it does not involve falsehood), during camel herding songs (known as “haddā’”), and at weddings, provided that the voices are not heard by non-mahram men, and no false or improper songs are sung.

• The Prophet Muhammad (PBUH) prohibited singing, the purchasing of female singers, and attending such gatherings. He stated that the earnings of these singers are haram. Singing is permissible only in specific instances, such as mourning the dead (if not in vain), during camel herding, and at weddings, as long as non-mahram men do not hear them and no false content is involved.

Section Two: Permissibility of Singing in the Qur’an

1. Narrated from Ali ibn Ibrahim, from his father, from Ali ibn Ma’bad, from Abdullah ibn al-Qasim, from Abdullah ibn Sinan, from Abu Abdullah (A.S): The Prophet (PBUH) said: “For every thing, there is a decoration, and the decoration of the Qur’an is a beautiful voice.”

• The Prophet Muhammad (PBUH) said: “For everything, there is a form of adornment, and the adornment of the Qur’an is a beautiful voice.”

1. Narrated from Abu Abdullah (A.S): The Prophet (PBUH) said: “My Ummah has been given no less than three things: beauty, a pleasant voice, and the ability to memorize.”

• The Prophet (PBUH) stated: “My community has been granted no less than three things: beauty, a pleasant voice, and the ability to retain and memorize.”

1. Narrated from Abu Abdullah (A.S): Allah Almighty revealed to Prophet Musa (A.S): “When you stand before Me, stand in the position of the humble, poor servant, and when you recite the Torah, recite it with a sorrowful voice.”

• Imam Sadiq (A.S) narrated that Allah revealed to Prophet Musa (A.S) that when he stands before Him, he should stand as a humble and poor servant, and when reciting the Torah, he should recite it in a mournful and sorrowful tone.

1. It is said that Allah does not send any prophet except that he possesses a beautiful voice.

• Allah does not send any prophet except that he is endowed with a beautiful voice.

1. Narrated from Ali ibn Muhammad al-Nufali, from Abu al-Hasan (A.S): I mentioned the voice in his presence, and he said: “Ali ibn al-Husayn (A.S) used to recite, and sometimes those passing by would faint from the beauty of his voice. If he had revealed more of his voice’s beauty, no one could have borne it.” I asked: “Did not the Prophet (PBUH) raise his voice while praying and reciting the Qur’an?” He replied: “Indeed, the Prophet (PBUH) would raise his voice only as much as the people behind him could bear.”

• Imam Reza (A.S) explained that Imam Zayn al-Abidin (A.S), while reciting the Qur’an, had such a beautiful voice that even those passing by would become faint due to its beauty. He added that if Imam Zayn al-Abidin (A.S) revealed more of his voice’s beauty, no one could have endured it. When asked if the Prophet Muhammad (PBUH) did not raise his voice while praying and reciting the Qur’an, Imam Reza (A.S) clarified that the Prophet (PBUH) only raised his voice as much as the people behind him could tolerate.

Section Three: The Legality of Using Musical Instruments

1. Narrated from the Prophet (PBUH): He prohibited playing the tambourine (duff), dancing, all types of games, attending such gatherings, and listening to them. He permitted the playing of the tambourine only at weddings, on the condition that it be for virgin girls and that non-mahram men do not enter upon them.

• The Prophet Muhammad (PBUH) prohibited the playing of the tambourine, dancing, games, and attending or listening to such events. He allowed the playing of the tambourine only during weddings for virgin girls, provided that non-mahram men do not enter upon them.

Section Four: The Legality of Female Singers and Mourners

1. Muhammad ibn Ali ibn al-Husayn said: A man asked Ali ibn al-Husayn (A.S) about buying a slave girl who has a good voice. He replied: “What harm is there if you buy her, as long as she reminds you of Paradise?”

• A person asked Imam Zayn al-Abidin (A.S) about buying a slave girl with a good voice, and the Imam replied that there is no harm in doing so, as long as she serves to remind him of Paradise.

1. Narrated from Ali ibn al-Hakam, from Malik ibn Atiyyah, from Abu Hamza, from Abu Ja’far (A.S): When the death of al-Walid ibn al-Mughira occurred, Umm Salama said to the Prophet (PBUH): “The family of al-Mughira has begun mourning. Should I go to them?” He gave her permission. She dressed up, adorned herself with beauty as though she were a jinn, and upon standing, she let her hair fall down and adorned herself with anklets. She then mourned her cousin in the presence of the Prophet (PBUH), and she recited the following:

“I mourn the death of al-Walid ibn al-Walid, father of al-Walid, the noble of the tribe, the defender of the truth, a man of greatness…”

• When al-Walid ibn al-Mughira passed away, Umm Salama sought permission from the Prophet Muhammad (PBUH) to go and mourn with the family. The Prophet (PBUH) gave her permission. She dressed beautifully and, in her mourning, recited poetry in his honor. The Prophet (PBUH) did not criticize her action and remained silent.

Section Five: The Legality of Earnings for Female Singers and Mourners

1. Narrated from Ahmad ibn Muhammad, from al-Burqi, from Abdullah ibn al-Hasan al-Dinuri: I asked Abu al-Hasan (A.S) about buying and selling a Christian female slave. He replied: “Buy and sell her.” I asked, “Can I marry her?” He remained silent for a moment, then looked at me and said quietly: “She is lawful for you.” I asked, “Is it permissible to buy a singer or a female slave who can sing beautifully, and to earn a livelihood through her, with no other intentions?” He replied: “Buy and sell her.”

• Imam Reza (A.S) was asked about buying a Christian slave and whether it was permissible to marry her. He affirmed it was lawful. When asked about purchasing a female singer and earning a living through her, he simply replied that it was permissible.

1. Narrated from Ahmad, from al-Hukm al-Hannat, from Abu Basir, from Abu Abdullah (A.S): He said: “There is no harm in the earnings of a singer who performs at weddings.”

• Imam Sadiq (A.S) stated that the earnings of a female singer who sings at weddings are permissible.

1. Narrated from Ahmad ibn Muhammad, from al-Husayn, from al-Nadr ibn Suwayd, from Yahya al-Halabi, from Ayub ibn al-Hurr, from Abu Basir: Imam Sadiq (A.S) stated: “The earnings of a female singer who sings at weddings and does not allow non-mahram men to enter upon her are permissible.”

• Imam Sadiq (A.S) clarified that the earnings of a female singer who performs at weddings and does not let non-mahram men enter are permissible.

Final Notes on Earnings from Mourning and Singing

• The scholars have narrated that there is no objection to the earnings of a female mourner, as long as her mourning is sincere and truthful. Additionally, it is acceptable if a female mourner recites or sings for a deceased person, as it was done in the time of the Prophet (PBUH).
• The Forbidden Nature of Music in the Context of Falsehood
• In this narration, Imam Ali (as) responds to a question about music and singing. He explains that a man had asked Imam al-Baqir (as) about music, and the Imam replied, saying, “When Allah distinguishes between truth and falsehood, where would music stand?” The man answered, “With falsehood,” and the Imam declared, “You have judged correctly.”
• This narration highlights a clear distinction between truth and falsehood, with music being categorised under falsehood. This implies that the type of music in question is the kind associated with the corrupt and decadent practices of the Abbasid era, which were considered sinful and corrupt.
• In the context of the time, where the political environment and societal constraints were intense, Imam Ali (as) was cautious in his speech, merely conveying the narration from Imam al-Baqir (as). The question surrounding music at that time was clear and self-evident. It was as if one were to ask whether water is cold or fire is hot—the answer would be obvious. Music during the time of Imam al-Baqir (as), much like the music of the Abbasid court, was associated with licentiousness, immorality, and sin. As such, the person asking about it concluded that it was indeed part of falsehood.
• Imam al-Ridha (as) did not speak directly on the matter, likely due to the political pressures he faced. However, he did refer to the teachings of Imam al-Baqir (as). This illustrates that in those times, the issue of music was well-known, and Imam al-Ridha (as) refrained from directly addressing it, not because it was unclear, but due to the delicate political circumstances in which he lived. This story emphasizes that the Shi’a Imams were often unable to speak openly about certain issues due to the oppression they faced from the Abbasid rulers.
• The usage of music during that period, especially by the ruling class, was seen as part of a broader system of oppression. The rulers, who misused even the Quran for their own purposes, distorted sacred symbols and practices to maintain their power. Music and entertainment were exploited by the rulers to pacify the people, which is why such practices were seen as forms of falsehood.
• The Sound of Music and the Corruption of the Soul
• Imam al-Sadiq (as) is reported to have said, “The worst of sounds is the sound of music.” This narration speaks to the harmful nature of music, particularly when it is used to distract and corrupt the soul. The specific term “al-ghina” (music or singing) does not define its prohibition explicitly in this context. The use of the definite article “al-” in Arabic can refer to a specific type or a general category, but in this case, the prohibition is implied in the context of falsehood and corruption, which is frequently associated with the type of music prevalent in corrupt societies.
• The idea presented in this narration is that the sound of music—especially when it serves as an instrument of distraction or indulgence—corrupts the soul, as it is often used for immoral purposes. It is important to understand that this refers specifically to the types of music and singing that lead people away from moral and spiritual discipline. The Imams did not broadly condemn all forms of music, but they focused on the kind that was associated with vice and indulgence.
• The Prohibition of Using Musical Instruments in the Recitation of the Quran
• A narration from Imam al-Ridha (as) warns against using instruments of falsehood in the recitation of the Quran. The Prophet Muhammad (pbuh) is reported to have said: “I fear for you the trivialization of religion, the selling of rulings, the cutting off of family ties, and the making of the Quran into an instrument of music.” The Prophet expressed concern that the Quran might be used for entertainment purposes, turning its sacred recitation into something akin to a musical performance. The association of the Quran with entertainment or musical instruments in this context is viewed as deeply disrespectful, as it diminishes the sacredness and reverence that should be shown to the holy text.
• This narration indicates a prohibition on mixing the Quran’s recitation with musical instruments, particularly those that are associated with sinful or distracting behaviors. This connection underscores the seriousness with which the Prophet viewed the potential misuse of the Quran for worldly pleasures. It also shows the deep concern for the sanctity of the Quran, which should not be reduced to mere entertainment or a performance for the sake of amusement.
• The Danger of Mixing Music with Quranic Recitation
• Some modern practices, particularly in the Arab world, mix Quranic recitation with musical styles or rhythms typically found in entertainment venues. This is considered highly problematic because it turns the sacred recitation of the Quran into something akin to a form of entertainment or worldly amusement, which is a serious breach of the Quran’s sanctity. The mixing of the Quran with music in such a way can be seen as an act of falsehood, as it distracts from the spiritual and sacred purpose of the Quran.
• The fundamental difference between the recitation of the Quran and singing or music lies in their intent and effect. Music often serves to incite emotional and physical responses, leading to indulgence and distraction, whereas Quranic recitation is meant to elevate the soul and focus one’s heart on prayer and contemplation. The danger lies in blurring these lines, where the recitation of the Quran may be treated with the same casualness and indifference as entertainment music.
• Conclusion
• The issue of music and its role in society is complex, but the key teachings from the Imams make it clear that music associated with corruption and immorality—especially as part of a system that distorts spiritual practices—is to be avoided. The Imams did not leave room for ambiguity regarding the types of music and singing that lead people away from righteousness and towards indulgence. Music, in this sense, becomes a tool of falsehood, distracting people from the true path of devotion, spirituality, and moral discipline.
• In light of this, the modern mixing of music and religious practices, such as Quranic recitation, must be approached with caution, as it may compromise the sacredness of these practices. The Imams, though restrained by the oppressive circumstances of their time, nonetheless provided clear guidance on these issues, emphasizing the importance of protecting the sanctity of sacred texts and practices from the corrupting influences of worldly distractions.

Reading for Pleasure

Among the Arab singers before the revolution, Umm Kulthum was the only woman who sang beautifully, and no one has been able to surpass her to this day. Some of the contemporary Arab religious singers and reciters, who are often invited to Iran at great expense, sing in styles inspired by the songs of figures like Umm Kulthum.

In the Arab world, Umm Kulthum was akin to the Iranian singers like Shams al-Din Zibayi or Golpa. Zibayi, among the Iranian singers, stood out in religious music, and even individuals like Bahari and Muezzin Zadeh could not be compared to him. Unfortunately, Zibayi, like Golpa, ended up as a singer in the popular music scene, as opposed to being a master of classical Iranian music. Golpa’s voice was excellent and had a perfect range, but he lacked mastery in the Iranian music system and its modes. Zibayi’s voice was marred by opium use, but he never lost his religious identity. He was someone who would lead the night gatherings of the month of Ramadan in such a way that a thousand current singers would not even come close to his vocal beauty. His rendition of “Rabna” (Our Lord) would evoke the sense of King David (PBUH) singing. However, unfortunately, his association with secular music, opium, and other distractions tarnished the beauty of his voice, and he left this world in that state. Golpa, on the other hand, came from a noble family of great religious singers. However, his father did not allow his sister to sing. Umm Kulthum had a similar position to Zibayi. A skilled music expert who has listened to Umm Kulthum’s songs would easily identify when a reciter adopts the style of one of her songs while reciting the Qur’an, captivating listeners with a beautiful voice full of emotion and musicality. Such reciters listen to her songs repeatedly to blend her style with their Qur’anic recitation, creating a beautiful recitation that moves their audience to delight and joy. However, they are unaware that the Qur’an has its own special language, tone, and rhythm, distinct from that of musical styles. Although learning and performing the Qur’an’s recitation is challenging, distinguishing between musical recitation and religious recitation is similarly difficult and beyond the capability of many. This distinction can be as difficult as differentiating between usury and permissible transactions. In the end times, distinguishing between interest and trade becomes so challenging that many jurists, especially those without expertise in economics, fail to recognize the differences, resulting in diverse and conflicting legal opinions. For instance, is selling a cheque or banknote for a higher or lower amount an instance of usury or not?

To further understand this, we must consider the significance of pronunciation in recitation. This narration is particularly relevant to those Arab speakers who have mastered the Arabic language. It takes into account the cultural context of the Arabs. Enjoyment through dance and song was a typical behaviour of the Arabs, a characteristic of their indulgence in various pleasures. The Arabs were known for their eloquence and rhetorical skill, and in their gatherings, they used poetry and song, along with beautiful voices and dance. Even today, Arabs still hold the leading position in eloquence and rhetoric, surpassing even the Western world. However, while the Indians excel in dance, in poetry and song, especially in their distinctive Arab styles, the Arabs remain the pioneers. Those wishing to refine and beautify their voices often turn to Arabic styles. Some Iranian music that is highly appreciated, such as the soundtrack of the film “Khosh Rekaab,” is influenced by the Arabic Hegaz scale, which adds to its charm.

The Qur’an was revealed to Arabs who had this cultural heritage. As we have mentioned, a singer like Umm Kulthum is an example of such artists. Imitating Umm Kulthum allowed singers to perform in the most beautiful ways in cabarets and dance halls, making her style a model for musicians. The aforementioned narration advises against such practices. Aisha had previously engaged in a similar act during the early years of the Prophet’s mission, singing verses from Surah At-Tin in front of the polytheists.

The Arabic reciters of “Al-Qari’ah” (The Striking Calamity) [100] sing in the Hegaz and Zabeel modes in such a way that the poetry of Hafiz and Saadi, which is sometimes sung in the sinful dance halls, would feel ashamed to show itself in comparison. Sometimes the verses of these two famous Persian poets are sung in the “House of Song,” making them sound like they are merely songs of amusement, stripping them of their true mystical meaning. This narration aims to prevent such harm from reaching the Qur’an, ensuring that the Divine Lawbook remains intact. Thus, it forbids the Qur’an from being recited in the same manner as the songs associated with sinful conduct, something we interpret as forbidden.

Unfortunately, in the modern media and in the morally corrupt music venues of the Arabs, songs are often heard without invoking “Rabbi” (Our Lord) or “Ya Allah” (O God), in an attempt to cover up the ugliness of their actions with sacred utterances.

The Special Mode of Qur’anic Recitation

It must be emphasized that we assert the Qur’an should not be recited in the typical modes of Arabic music, as the Qur’an has its own unique language, rhythm, tone, and specific notes. It should not be read in foreign styles, and the narration cautions against all such practices.

God Almighty says, “Indeed, it is We who have sent down the Qur’an, and indeed, We will be its guardian” (Qur’an 15:9), meaning that even the tone of the Qur’an will be preserved, and the Qur’an should not be contaminated with the melodies of other genres. The Qur’an is like an “immense sea” encompassing everything, and would it not have its own distinct tone? Certainly, it must.

If society progresses, then discussions might arise in scholarly works about reciting the Qur’an in modes such as Bayat Turk, which although not considered musical indulgence, could still be regarded as impermissible. However, at present, our society does not have the cultural maturity to entertain such discussions, as we still live in a traditional society. Many things that are clearly forbidden cannot be openly discussed, for doing so would disrupt the fabric of the community.

The Prohibition of Using Musical Instruments

This section examines whether it is permissible to use musical instruments such as drums. In the time when the narrations were issued, drums were instruments used by court musicians and also in warfare.

Conditions of Jihad and Exile

• Al-Ja’farīyāt: With a chain of narrators from Ja’far ibn Muhammad, from his father, from his grandfather, from Ali ibn Husayn, from his father, from Ali ibn Abi Talib, who reported that the Messenger of God (PBUH) said: “I have forbidden my Ummah from the use of flutes, drums, tambourines, and similar instruments” (102).

The Prophet Muhammad (PBUH) forbade the use of flutes, drums, and other instruments used for entertainment, as these were symbols of the pre-Islamic Arab culture, including drinking, gambling, dancing, and music. Islam emerged at a time when these practices were deeply ingrained in Arab society. To combat these, and especially to oppose the culture of drinking alcohol, Islam sought to prohibit such practices altogether. During the Prophet’s ten years in Medina, despite being involved in warfare and witnessing the martyrdom of many of his companions, there was no space for discussing permissible forms of music or entertainment. Only martial music had its place in those times, and it was used for religious purposes.

The Prohibition of Musical Instruments

• Al-Qutb al-Rawandi in Lub al-Lubab narrated from the Prophet Muhammad (PBUH): “God has forbidden flutes, drums, and other instruments of amusement” (103).

The Prohibition of the Tambour

• And it is narrated: that the Commander of the Faithful (Imam Ali) (7) heard a man playing the tambour, causing him to be amused. He forbade him and broke his tambour. Then he made him repent, and the man repented. Afterward, the Imam asked him: “Do you know what the tambour says when it is played?” The man replied: “The successor of the Messenger of Allah is most knowledgeable about this.” The Imam said: “It says:

You will regret, you will regret, O my companion,
You will enter Hell, O my player.” [107]

• Imam Ali (7) heard a man playing his tambour to the beat of music. He prohibited him and broke his tambour, then ordered him to repent, and the man repented. The Imam then asked, “Do you know what the tambour says when it plays?” The man replied, “The successor of the Messenger of Allah (9) is the one who knows.” The Imam said: “The tambour says: You will regret, you will regret, O my companion,
  You will enter Hell, O my player!“

The message of the tambour in the Imam’s words is a poem with musical notes, with each line consisting of thirteen notes. The tambour speaks directly to the person currently playing it, not to someone who may play it in the future. Therefore, if a tambour were to produce a sound affirming the truth and the authority of Imam Ali’s (7) rule, would the player of such an instrument be praised or admonished?

Considering the totality of Hadiths, especially those explaining and interpreting the Holy Qur’an, the prohibition of the tambour applies when it leads to the decline of religion and strengthens the forces of falsehood. When such an influence is removed, the prohibition no longer applies. For example, if a bird were trained to sing “no truth, no truth,” it would not be permissible to buy or sell it; although the bird itself remains the same, its role has changed due to its connection with falsehood. As a result, the ruling on its permissibility also changes.

The Impurity of the Earnings from Musical Instruments

• And it is narrated from Ali (7) that a man had broken a lute, and he nullified it without imposing any penalty on the man. [108]
• The Commander of the Faithful (7) received a report that a man had broken a lute and destroyed it. The Imam did not impose any penalty on the man.

The notion of forbidden earnings from singing, as discussed earlier, is applicable to earnings from musical instruments that serve the forces of falsehood and contradict the culture of the followers of the Imam (7). These earnings are impure.

Mockery of Prophethood

• From Sulayman ibn Sama’ah, from Abdullah ibn al-Qasim, from Sama’ah: Imam Abu Abdullah (7) said: “When Adam (7) passed away, Iblis and Qabil mocked him. So, they came together and took up instruments of music and amusement in mockery of Adam. Therefore, everything of this sort, which people delight in, is derived from that (mockery).” [109]
• Sama’ah narrates that Imam Sadiq (7) said: When Adam (7) died, Iblis and Qabil took joy in mocking him. They gathered and used musical instruments and amusements as a form of mockery. Thus, anything that brings pleasure to people through such means is derived from this origin.

If we examine this event more carefully, aside from the fact that Qabil committed such a heinous act against his father, who was a Prophet of God, this betrayal, wherever it occurs, and for any father and son—even without musical instruments—remains an atrocious act and a grave sin. This is because the son has allied with Iblis, mocking his father and showing no mercy even towards the deceased father, engaging in dancing and playing music after his death. Even if he were to read the Qur’an at that moment, mocking his father, it would still be considered a highly disrespectful and sinful act. The prohibition on the tambour and stringed instruments does not stem from the mere presence of the instrument but from the context of mocking religion and sacred figures. Thus, if these instruments are not used to mock or ridicule the faith and instead are used to support the religion, the prohibition no longer applies.

The Question of Women Singing and Their Earnings

In this section, we will explore the issue of the permissibility of women singing, considering the complex issues involved, in detail in the sixth volume of this book. The focus will be on the independent discussion of “women’s singing” as it relates to the broader context.

Analysis and Review of the Hadiths Permitting Singing

• From Abdullah ibn al-Hasan, from Ali ibn Ja’far, from his brother (7), it is narrated: “I asked him about the permissibility of singing during the religious festivals of Eid al-Fitr and Eid al-Adha, and during moments of joy. He replied: ‘There is no harm in it as long as it does not lead to sin.'” [110]
• I asked Imam Kazim (7) whether singing is permissible during religious festivals like Eid al-Fitr and Eid al-Adha or during moments of joy. He said: “There is no harm as long as it is not associated with sin.”

In another narration, it states: If the singer does not invite to sin, it is permissible. This narration extends beyond wedding ceremonies, allowing singing during religious festivals, as long as it does not lead to sinful behavior. This general principle, taught by the Imam (7), allows music and singing during religious and national celebrations.

This translation reflects the academic nature of the original Arabic text, maintaining its detailed references to religious practices, interpretations of hadith, and their implications for modern theological discussions.

The Voice of Imam Ali ibn al-Husayn (Imam Zain al-Abidin)

It has been narrated through several sources, including Sahl, al-Hajjāl, and Ali ibn ‘Uqba, that Imam Ali ibn al-Husayn (A.S.) possessed the most beautiful voice when reciting the Qur’an. The water carriers (Saqa’) would pass by his house, stop, and listen to the beauty of his recitation.

Imam al-Sadiq (A.S.) said: “The best of all reciters of the Qur’an was Imam Zayn al-Abidin (A.S.). The water carriers would stop outside his house to listen to his beautiful voice.”

Moreover, in another narration, several of our companions, through Sahl ibn Ziyad, narrated from Muhammad ibn Hasan ibn Shumun, who said: “Ali ibn Muhammad al-Nufali narrated to me from Abu al-Hasan (A.S.), who mentioned that the sound of Imam Zayn al-Abidin’s recitation was so beautiful that it would leave those who passed by in awe.”

Once, the same topic of voice was raised in the presence of Imam al-Ridha (A.S.), and he affirmed: “Imam Zayn al-Abidin (A.S.) was one of the finest reciters, and many passersby, when they heard his voice, would stop in admiration and be moved to such an extent that they would lose their composure.”

What is significant in these narrations is the phrase “Ahsan Sautan Bil-Qur’an” (the best voice in the Qur’an). This can be explained through the example of poets. A poet, who is adept at composing beautiful poetry, often focuses on their own work and rarely pays attention to others’ poetry. Similarly, Imam Zayn al-Abidin (A.S.) was always engaged in reading or supplicating with the Qur’an, and his focus was never diverted to worldly matters.

His voice was so captivating that even the water carriers, burdened with their heavy loads in the harsh heat of the Hijaz, would stop and stand outside his house just to listen to his Qur’anic recitation.

This narration not only speaks of the beauty of his voice but also highlights that it was not just beautiful in a casual way. His recitation was so powerful that even before it was formally heard by listeners, Imam Zayn al-Abidin (A.S.) would take care not to overtly display the beauty of his voice, respecting the listeners.

Raising the Voice in Recitation

Imam al-Baqir (A.S.) narrated: “I asked Abu Abdullah (A.S.) whether a person should raise their voice when making supplications or reciting the Qur’an. He replied that it was not a problem, for Imam Ali ibn al-Husayn (A.S.) would always raise his voice when reciting the Qur’an so that even the people in the house could hear it.”

The narration further elaborates that when Imam Muhammad al-Baqir (A.S.) would recite the Qur’an in the middle of the night, his voice would resonate so clearly that passersby would stop to listen.

Raising one’s voice while reciting the Qur’an adds an element of joy and creates a more heartfelt experience for the person reading. Imam Zayn al-Abidin (A.S.) would often raise his voice so that everyone in his household could hear the beautiful recitation. This act was not only for his own benefit but also to ensure the spiritual benefit of his family.

The Impact of Modern Technology

In the past, the sound of the muezzin’s call to prayer or the Qur’anic recitation could be heard from every house. However, today, with the dominance of the radio and television, the traditional sounds that once filled homes with spirituality are no longer present. These modern media have effectively replaced the voices of the muezzins and Qur’anic reciters, who were once a source of awakening and connection with the divine.

It is crucial for the national media to recognise the importance of preserving such traditions and not to let technology undermine the spiritual and cultural practices that connect people to their faith and heritage. The absence of these traditional sounds—whether it be the call to prayer or Qur’anic recitation—has led to a spiritual decline, with many people even sleeping through their morning prayers, affected by the overpowering presence of modern media.

In light of this, we should strive to return to practices that have a more positive influence on the community, including revitalising the recitation of the Qur’an and ensuring it continues to be a central part of everyday life.

The Rhythmic Recitation (Tajweed and Tarteel)

Imam al-Sadiq (A.S.) once stated: “When you recite the Qur’an, raise your voice slightly so that your family can hear you. Recite in a moderate tone and enhance your voice by giving it a rhythmic cadence. For Allah, the Almighty, loves a beautiful voice with rhythm and flow.”

This narration emphasises the importance of reciting the Qur’an in a beautiful and rhythmic manner, enhancing its impact and allowing the listener to engage with its meaning. The proper way of reciting is not to shout nor whisper, but to find a balance that invites reflection and spiritual connection.

Musical Aesthetics and Divine Sound

The Prophet Muhammad (P.B.U.H.) said: “Among the most beautiful forms of beauty are good poetry and the pleasantness of one’s voice.”

This saying stresses that a good voice, just like beautiful poetry, is a form of beauty that should be appreciated. The aesthetic of the voice, particularly when used in recitation, is valued not only for its sound but for its spiritual significance. A beautiful voice in reciting the Qur’an is a reflection of divine beauty.

The Emotional Power of Recitation

The Qur’an, as revealed to Prophet Muhammad (P.B.U.H.), descended with an inherent sadness, and when we recite it, we are advised to reflect this sadness in our tone. The Prophet (P.B.U.H.) encouraged believers to cry when reciting the Qur’an, or at the very least, to evoke the sensation of crying. This emotional connection, referred to as “taghanni,” is an important aspect of the recitation, allowing the reciter to truly connect with the Qur’an.

The Prophet (P.B.U.H.) stated: “The Qur’an was revealed with sorrow, and when you recite it, cry. If you cannot, then feign crying. Those who do not recite the Qur’an with emotion are not from us.”

This narration illustrates the importance of reciting the Qur’an with a sense of mourning and connection to its message. It urges us to avoid reading it in a dry or mechanical manner, which might resemble the recitation practices of other religious communities that read their scriptures with little emotional depth.

Conclusion

In the past, Muslims were encouraged to live in harmony with the rhythms of life, including a lifestyle that valued early rising, reflection, and Qur’anic recitation. The loud, clear recitation of the Qur’an was a key part of the community’s spiritual life. However, in today’s world, this practice has been overshadowed by the distractions of modern media, which have altered the way we engage with our faith and culture. As a community, it is essential to reclaim these practices to ensure that the spiritual health of our society is not undermined.

The Use of Musical Instruments in Forbidden Contexts

During the time when the Hadiths on music and singing were issued, singers who engaged in prohibited activities, as well as parties and music gatherings, were widespread, and it was difficult to find any legitimate instances associated with them. This situation caused anyone who played musical instruments—such as the harp, lute, flute, and rebec—to be associated with this dissolute group, as well as with those who served the oppressive regimes of the caliphs and fought for falsehood and injustice. There was no precedent for someone to sing poetry or play a musical instrument in the presence of the Imams, who were always in a state of persecution and concealment, with no room for such activities. It was unthinkable for anyone among them to rise as a musician in service of the Ahl al-Bayt’s authority, just as renowned Arab poets rarely showed allegiance or affection for the family of the Prophet Muhammad (PBUH). History recalls only a few examples, such as Farazdaq, Tawus al-Yamani, and the woman from Hamadan.

Holding musical instruments in those times was not like holding a mobile phone in today’s society, which is considered an ordinary item. Rather, it was akin to holding a radio, symbolising one’s affiliation with the ruling oppressive power. At that time, possessing musical instruments meant affiliation with sin, corruption, and debauchery. Therefore, the followers of truth and the Imams kept themselves away from such instruments and tools. Some of the Hadiths explicitly mentioned that a narrator was rebuked for approaching a place where music and singing were present, and they were advised to live with dignity and nobility.

The people of sin and corruption, who were supported by the Umayyad and Abbasid courts, freely held music sessions and parties in public and turned their homes into music houses. In contrast, the people of truth and the Imams could not hold even the smallest meeting, let alone promote their ideology through cultural tools such as establishing music houses. They were persecuted in the alleyways of Medina and Kufa or in the deserts of Hijaz and Iraq. Figures like Hujr ibn Adi, Maytham al-Tammar, Zararah, and Abd al-Azim exemplify the loyal companions of the Imams who, due to their loyalty and love for the Ahl al-Bayt (AS), were exiled or persecuted.

Given this context, how could these people express their grief over the martyrdom of Imam Hussain (AS) through music or sing a joyful melody to celebrate the occasion of Ghadir? Their exile and the need for taqiyyah (precautionary dissimulation) deprived them of such opportunities, and thus, there was no situation for such a ruling to be issued. However, today, if a sound can be raised in a manner that is both faithful and revolutionary, there is no issue with it, especially if none of the Hadiths that prohibit music or singing are directly relevant to such a context.

Condemnation of Music and Musical Instruments

The Hadiths that condemn singing, music, and instruments such as the lute and harp criticize those who were aligned with the forces of falsehood and oppression. These individuals were involved in sin without hesitation, weaving together their actions with corruption, and striving to promote moral decay in society. They aimed to distract young minds from the purity and fragrance of the teachings of the Ahl al-Bayt, preventing them from even thinking about the Imam’s house. The followers of the Imams were warned against the female singers of the courts, as even their presence was seen as a potential source of moral corruption.

Clearly, the Hadiths that issued such prohibitions were in response to specific situations where music and singing were tools used by those promoting corruption. In contrast, music, if not accompanied by immoral themes, would not be inherently prohibited. For example, in some contexts such as weddings, using musical instruments like the daf (a kind of frame drum) was deemed permissible.

The Permissibility of Music and Singing in Some Contexts

It must be emphasized that a permitted action is always permitted, and similarly, a forbidden action remains forbidden regardless of the context. However, secondary considerations might prevent a ruling from applying to certain situations. For example, one cannot beat a tambourine by the grave of a deceased person, as it would be disrespectful to their sanctity.

Singing in a way that does not involve sin and falsehood is allowed. For instance, it is not forbidden to sing a melody in an innocent and non-sinful manner. The use of music in forms such as American pop or rock music, which is often associated with promoting immorality and violence, is clearly forbidden. Likewise, singing the Qur’an in the style of corrupt singers who support oppressive regimes also raises issues, as their style represents the falsehood of those they support.

The Role of Music in Modern Culture

Some modern music productions have a positive influence, stimulating spiritual and emotional states. However, other forms of music that imitate harsh American styles or the corrupt influences from the times of oppression remain prohibited due to their association with harmful and aggressive energy, not the content of the lyrics themselves.

It is also worth noting that music and lyrics become forbidden when they serve to encourage immoral behavior, especially in young people who lack proper channels for satisfying their desires in a lawful manner.

Conclusion and Reflection

In the context of the time when the Hadiths about the prohibition of music were issued, the followers of the Ahl al-Bayt were persecuted and could not publicly engage in any form of musical activity. They were involved in the pursuit of survival and the preservation of the Imam’s teachings, and thus had no opportunity to hold public musical gatherings. The context of these Hadiths needs to be understood in this light. However, today, it is possible to produce music that is aligned with religious and revolutionary values, calling the youth back to their faith and inviting them to the Islamic culture.

The research indicates that there is a general rule in the context of music and singing, which remains lawful unless it is associated with sinful activities. The challenge is to distinguish between contexts that involve immoral themes and those that do not. Musical expression, if used for noble and righteous causes, is not inherently forbidden. However, it is essential to consider the appropriateness and context of its use to avoid crossing into prohibited territories.

The Consequences of Singing and Music

The present narrations highlight the harmful effects resulting from unlawful singing, music, or excessive indulgence in them.

Music Halls

• Muhammad ibn Yahya from Ahmad ibn Muhammad, from Hussain ibn Said, from Ibrahim ibn Abi al-Balad, from Zayd al-Shiham, who said: Abu Abdullah (A.S.) said: “A house of singing is not safe from sudden death, its invitations are not accepted, and the angels do not enter it.”
• Imam Sadiq (A.S.) said: “A house of singing, a music hall, or a place of music is not free from sudden deaths, prayers are not accepted in it, and angels do not enter it.”
• He (A.S.) also said: “Angels do not enter a house where there is alcohol, a drum, a tambourine, or dice, and their prayers are not answered. Blessings are removed from them.”

It is important to note that these narrations do not focus on the general concept of music itself, but rather on the specific term “house of singing” (Bayt al-Ghina). Just as there are specific spaces for cooking (the kitchen) or eating (the dining room), this narration is specifically about places like cabarets, dancing halls, or hotels where orchestras perform regularly. The focus is not on the permissibility or prohibition of music but on the effects and consequences of being in such places.

A “house of singing” is a place where musicians, singers, and dancers gather, and music and singing are continuously held. The narrations discuss the effects of such places, without stating that listening to music in general is prohibited. The key point when analyzing these narrations is to consider the context and environment in which they were made. The prohibition on listening to music is specifically aimed at places like this.

Threat of Sudden Death

• From them, from Sahl, from Ibrahim ibn Muhammad al-Madini, from one of those mentioned, from Abu Abdullah (A.S.) who said: “I was asked about singing while I was present, and he (A.S.) said: Do not enter houses where Allah’s wrath has turned away from its people.”

This narration suggests: “A house of singing is not safe from sudden death.” Imam Sadiq (A.S.) looks at this matter from a psychological perspective and, without making any direct legal judgment on the permissibility of music, points out the risks associated with living constantly in a “house of singing.” He mentions that such places are prone to sudden death, strokes, and seizures. This is likely due to the excessive noise created by musical instruments, which alters the blood circulation, speeding it up or slowing it down, which in turn may lead to a stroke. This is similar to electrical currents; if they fluctuate too much or are insufficient, they can damage electrical appliances.

Unanswered Prayers

The second harm of “the house of singing” is that prayers are not answered there. How can someone maintain a state of worship in a house filled with singing, music, dancing, and noise? Every action requires an appropriate environment, and worship demands a quiet and spiritual space, far removed from worldly distractions, which is not the case in a house of singing.

It is highly recommended to pray in a mosque, or at least in a designated place for worship, where the environment is calm and conducive to prayer. A prayer rug itself creates a personal space of solitude, symbolizing the separation from worldly distractions. Even in a mosque, although it is a place of gathering, the unity and collective prayer help maintain the quiet atmosphere, avoiding any disruption in the focus of the congregation. Prayers must be performed with tranquility, and in the absence of noise and distraction.

When a person prays in solitude and peace, their prayer has a greater chance of being answered. But in a noisy, crowded place, this tranquility is lost. Only a truly skilled mystic can pray with full devotion even in such chaos, maintaining focus amidst distractions.

Angels Not Entering

The third consequence of constant presence in music halls and houses of singing is that the divine angels, who are responsible for carrying out the duties of Allah on earth, do not enter such places.

It is important to recognize that angels carry prayers to Allah, and in a house where prayers are not answered or where there is no prayer being made, angels do not enter. This narration specifically concerns the angels of mercy, as it is clear from the context that it refers to the mercy of Allah and not necessarily the angels of punishment.

Some may argue that, since the narration is general, even the angels of death should not enter these places, and therefore no one should suffer a sudden death or stroke there. However, it is essential to understand that angels of mercy do not enter such places where no prayer is offered. It is not about the angels of death or punishment.

Therefore, one cannot conclude that by keeping a dog in their house to ward off the angel of death, they can avoid death. Rather, the presence of angels, particularly the angels of mercy, is conditioned by the environment being conducive to prayer and spiritual connection. The concept of angels entering or not entering is based on the suitability of the atmosphere for prayers to be made and answered.

The Devil of “Qafandar”

• Muhammad ibn Ya’qub, from several of our companions, from Ahmad ibn Muhammad ibn Khalid, from Usman ibn Issa, from Ishaq ibn Jarir who said: “I heard Abu Abdullah (A.S.) say: There is a devil called Qafandar. If a house is struck by the tambourine for forty days, and men enter the house, this devil will place every part of his body onto the corresponding part of the homeowner’s body, and then he blows into him, and after that, the homeowner will no longer have jealousy, even when other men come to his wife.”
• From them, from Sahl ibn Ziyad, from Muhammad ibn Isa or someone else, from Abu Dawood al-Mistirq, who said: “If the tambourine is struck in a house for forty days, Allah will send a devil called Qafandar upon him. He will place every part of his body onto the corresponding part of the homeowner’s body, and after that, modesty will be removed from him, and he will no longer care about what is said about him or others.”

These narrations describe how the presence of music in a house, particularly the sound of a tambourine, can invite a devil named “Qafandar” to take control of the homeowner’s body. This devil removes the sense of modesty from the individual, making him indifferent to immoral actions, including infidelity. The house that is continuously filled with music and is the site of debauchery becomes a gateway for the devil’s influence, leading to moral degradation. This illustrates the severe consequences of living in an environment where immorality and excessive indulgence are present.

Music: A Secondary Need

Song, music, sound, and voice are secondary needs for human beings. The use of song and music is a necessity, but not a primary one; rather, it is a secondary need. Therefore, excessive consumption of it, or continuous daily engagement with it, depletes both the body and the soul. Sound, music, and song are essential for the human psyche, but if a person spends their entire life immersed in these, they will ultimately end up in a mental institution.

This is not only true for the consumption of song and music, but also applies to someone who excessively engages with the recitation of the Holy Qur’an. From a neurological perspective, too much recitation can harm the brain’s system.

The eloquent and clear expression of this narration indicates that if someone spends forty consecutive nights in their home playing the lute, preoccupying themselves solely with such matters, treating music and song as though they are primary needs, dedicating their time to these activities, and becoming addicted to them, then Satan will afflict all their faculties. Yes, excessive engagement with music, particularly forbidden music, causes such harm. However, moderate engagement, in accordance with one’s temperament and position in the cosmic order, is permissible. As we will present in future narrations, when asked about someone who has an inclination toward these matters, the Imam responds, asking whether it affects their prayers or worship. When it is reported that the person does perform their religious duties and assists others, the Imam prays for them. However, when it is reported that the person drinks alcohol, the Imam declares that they are no longer part of the faithful.

Harm of Overindulgence and Excess in Spiritual Matters

Excessiveness in any matter is harmful, and balance must be maintained in all aspects of life, even in spiritual matters. For instance, if someone were to spend hours in front of the Ka’bah reading the Qur’an, they would suffer from nervous strain and hardened hearts. As a result, they may neglect their religious duties and even fail to perform obligatory acts.

For Qur’anic recitation, it is appropriate to recite a few verses aloud and reflect on their meaning. Unfortunately, there are households today that resemble those of the Jews, with no recitation of the Qur’an to be found. In the past, believers would recite a few verses aloud at dawn, and the household members would wake to the beautiful sound of the Qur’an. Sadly, today such values are rarely seen, and people rely on broadcasts, such as those on the television, to hear Qur’anic recitation.

If a household does not recite a few verses of the Qur’an or call the adhan during the day, the house will be cursed. The work of the muezzin is even more esteemed than that of a martyr, and we are losing these values easily.

Similarly, people who constantly watch television or look at computer screens cannot open the Qur’an or prayer books and engage in recitation. Excessive consumption of television or computer programs robs them of the opportunity to engage in nightly prayers, and in reality, they become spiritually deformed. The analysis of this issue is independent of whether the activities are lawful or unlawful, as it pertains to the inevitable psychological effects of such indulgence. Excessive use of rosewater or saffron is also harmful, leading to psychological and mental disturbances. Therefore, when issuing a fatwa based on the passage “forty mornings,” the idea that excessive consumption of music and song is harmful and hence prohibited is sound.

When I observe my mother praying excessively, I feel regret; but I know that if I prayed like she did, I would neglect my obligatory duties. Since she is elderly and unable to perform other tasks, worship is very suitable for her. However, we, as soldiers of the Imam of the Age (May Allah hasten his reappearance), whose duty it is to defend the Divine faith in today’s pluralistic world, must engage with academic texts. If we intend to recite the Qur’an or prayer books, it suffices. Beyond this, a single individual cannot manage; everyone has their own limited capacity. This is not to suggest that scholars or anyone else should deprive themselves of Qur’anic recitation and prayer. The issue is about excessive engagement with these matters, not engagement according to the needs and circumstances of each individual.

Therefore, any seminary student who listens to the radio or television more than necessary will fall short in performing many of their religious obligations. The commanding self (nafs al-ammara) deceives such individuals into believing that listening to news every day, multiple times a day, is necessary to stay informed about the events of the world. This is the deception of the self, keeping them from achieving high intellectual potential. Constant viewing of television and studying it may be beneficial for art students or those interested in acting, but it is unreasonable to expect such individuals to understand and read complex academic works like “Al-Asfar al-Arba’a.” Excessive indulgence in anything prevents a person from attending to many necessary tasks.

The Hadith states that if a lute is played in a home for forty days, regardless of its legality, it will leave behind harmful effects. The number forty symbolizes excess. This meaning is explicitly found in the following narration.

Relative Nature of the Judgment on Music

– Narrated by Muhammad ibn Ali ibn Majiluyah, who said: “My uncle Muhammad ibn Abi al-Qasim narrated from Muhammad ibn Ali al-Qurashi al-Kufi, who narrated from Abu Ziyad Muhammad ibn Ziyad al-Basri, who narrated from Abdullah ibn Abdul Rahman al-Madani, who narrated from Thabit ibn Abi Safiyyah al-Thamali, who narrated from Thawri ibn Said, from his father Said ibn Alaqah, who said: I heard Amir al-Mu’minin Ali ibn Abi Talib (peace be upon him) say: ‘Leaving the spider’s web in the house leads to poverty, urinating in the bath leads to poverty, eating while in a state of ritual impurity leads to poverty, using the twigs of the tamarisk tree for cleaning leads to poverty, combing one’s hair while standing leads to poverty, leaving garbage in the house leads to poverty, swearing falsely leads to poverty, adultery leads to poverty, displaying greed leads to poverty, sleeping between the Maghrib and Isha prayers leads to poverty, sleeping before sunrise leads to poverty, neglecting budgeting in life leads to poverty, severing family ties leads to poverty, habitual lying leads to poverty, excessive listening to music leads to poverty, and rejecting the prayer of someone asking for help in the night leads to poverty.’”

This narration clearly identifies the negative consequences of excessive indulgence in various activities, including music.

The Prophet (PBUH) states:

Among the events that will take place before the Day of Judgement, and which are essential for its occurrence, are the neglecting of prayers, following base desires, and yielding to worldly whims. Similarly, the Imam enumerates these events one by one, until he mentions that in those times there will be individuals who learn the Qur’an for purposes other than for God, take musical instruments in their hands, and people who study the religion for purposes other than God’s sake. There will also be a rise in the number of children born out of wedlock, and the Qur’an will be recited in a way akin to singing. Instruments such as the tambourine (kubah) and drums will be seen as praiseworthy. Moreover, the practice of enjoining good and forbidding evil will be seen as undesirable, until the Imam concludes by stating that such individuals will be called “impure” in the heavens.

In this regard, Imam Ali (PBUH) states: The Day of Judgement will be brought forth for a people who testify to what they have not seen, for those who engage in the actions of the people of Lot, and for those who beat drums and play musical instruments.

These narrations highlight some of the signs of the end times, including the neglect of prayer. The disrespecting of prayer may occur due to imperfections in ablution, consuming unlawful food, or performing congregational prayers that are flawed.

Following one’s base desires and inclinations is another of these signs. The term hawā refers to the actualisation of desires. Sometimes a person desires something, but that desire does not come to fruition. The actualisation of this desire is what is referred to as hawā.

Additionally, there will be groups of people who learn the Qur’an for reasons other than for God, such as for commerce, politics, or self-aggrandisement. Moreover, some will recite the Qur’an in a manner akin to music. This narration emphasises that even when the Qur’an is recited in vain or for purposes other than the truth, it becomes a form of falsehood or vain speech, and this is what renders it invalid.

In the final days, instruments like the kubah (small drum) and gambling devices will be regarded as virtuous. It is important to note that in this narration, gambling instruments are mentioned alongside musical instruments.

At the end of the narration, the Imam states that these individuals will be called “impure” in the celestial realm. When one is called “impure,” it means they are devoid of any purity or state of worship, supplication, or prayer.

Some psychologists, if they visit certain mosques today, may observe that many worshippers during their four-unit prayers remain distracted, fidgeting with themselves. It is rare to find someone who is at ease and tranquil during their prayer. Such individuals become examples of “impure” as described in the narration. If the majority of people become accustomed to such behaviour, they may not feel anything wrong, and no one may notice a problem in themselves or others. Of course, this narration refers to the state of Muslims. If they become like this, what then would the condition of non-Muslims or non-believers be?

Satanic Music

It is narrated from Abu Umama, who reported that the Prophet (PBUH) said: “When a person raises their voice in song, Allah sends two devils to sit on their shoulders, striking their chest with their heels until they stop singing.”

The Prophet (PBUH) further stated that music, like the act of committing adultery, brings about similar consequences and moral decay. This equivalence suggests that music, particularly when accompanied by corrupt environments, leads to social and spiritual degradation.

Moreover, a narration from Imam Ali (PBUH) in the context of musical instruments explains that it is forbidden to engage in them as they represent distractions that lead to hardening of the heart and the spread of hypocrisy. Instruments like the tambourine (pusalj) attract the company of devils and cause the angels to withdraw from the person involved.

Heavenly Sounds

Imam Al-Ridha (PBUH) narrated: “Whoever keeps themselves away from music, there is a tree in paradise that God commands the wind to shake, producing a sound like none heard before. But those who do not avoid it will never hear that sound.”

This narration describes the characteristics and effects of hearing music in a spiritual context. It also includes important points for understanding the ruling on music in Islam. For instance:

1. The sound in paradise from the tree is incomparable to anything heard in this world, meaning it is more beautiful than the music of the angels or the melody of Prophet David’s (PBUH) voice.
2. Anything considered universally forbidden in this world cannot be justified as permissible in the Hereafter. This reflects the necessity to seek lawful uses of music, which is in line with the principles of Islamic law.
3. Humans possess the ability to create experiences of heavenly pleasures in the material world through lawful means. For instance, they can invent or discover ways of producing music that provides uplifting, virtuous experiences, thereby contributing to the spiritual development of people.

The Voice of Satan’s Army

It is narrated from Imam Ja’far Al-Sadiq (PBUH): “Whoever listens attentively to a speaker has worshipped them. If the speaker is conveying the word of God, they have worshipped Allah; but if the speaker is conveying the word of Satan, they have worshipped Satan.”

The meaning here is that giving special attention to anyone’s words equates to worshipping them. Therefore, one should be cautious of who they listen to, as that determines the direction of their spiritual journey.

The Voice of Satan:

Another narration from Jaber ibn Abdullah relates that: “Iblis (Satan) was the first to sing, the first to lament, and the first to chant. When Adam ate from the forbidden tree, Iblis sang; and when he descended to earth, he chanted; and when he settled on earth and remembered what was in paradise, Iblis began to lament.”

In conclusion, while music and song are prohibited in certain contexts in Islam, there is a possibility that music, if used appropriately, could serve positive purposes, such as in healing therapies or in a way that supports the religious and spiritual growth of individuals. However, it remains the responsibility of scholars and jurists to determine the permissibility of music in light of Islamic jurisprudence, taking into account the context, use, and impact of its application.

Section Two: Excerpts from the Mufaddal Narration

The “Tawhid of Mufaddal” is a revered narration that serves as a guide for understanding the creation of the universe. This narration holds such a significant academic value that it could be used as a textbook in its own right, provided that the professors teaching it possess the ability to explain and extract its scientific insights. This Hadith was taught to Mufaddal, one of Imam Sadiq’s disciples, in order to respond to the objections of the disbelievers, who were proponents of philosophy and reason. A person who, had it not been for Imam Sadiq, would have had no capacity to counter the misguiding whispers of this skeptical and heretical individual.

Ibn Abi al-Awja was one of the thinkers of the materialists who sat in Medina, near the grave of the Prophet Muhammad (PBUH), where he would openly present his heretical thoughts and objections, often trying to make a name for himself among the people and religious scholars. One day, Mufaddal heard some of his remarks and was deeply angered. Instead of addressing the objections directly, he retorted harshly. Ibn Abi al-Awja responded by saying: “If you are one of the followers of Ja’far bin Muhammad (PBUH), then know that he would not speak to us in such an angry manner. But if you are not one of his followers, then we have no further business with you.” This kafir only speaks to Mufaddal based on the name of Imam Sadiq (PBUH), as he neither recognizes him nor considers him significant. Meanwhile, Mufaddal was a distinguished scholar of his time, demonstrating the strong logic of Ibn Abi al-Awja in his approach to argumentation, where he would only engage in discussion with Imam Sadiq, rejecting any debate with others. This highlights the differences between Mufaddal’s scholarly demeanor and that of Imam Sadiq in discussions and debates.

The narration in question is aimed at a thinker who harbors heretical views, making it profound, weighty, and intellectual. We studied this narration from a teacher, and later realized that this teacher himself had not fully grasped the depth of the text.

In this narration, Imam Sadiq (PBUH) emphasizes the significance of sound, music, and acoustics with great grandeur. The late Majlisi has elaborated on these points, but his interpretation falls short of the depth and vastness conveyed by the Imam’s words.

Imam Sadiq (PBUH) draws Mufaddal’s attention to the five senses of the human body, particularly hearing and speech, urging him to contemplate the benefits of sound and music.

An excerpt from this narration reads:

The Importance of the Auditory System

• Muhammad bin Sinan narrates: Mufaddal bin Umar told me: “I was sitting in the courtyard between the grave and the pulpit, reflecting on the honor and virtues that God bestowed upon our master, Prophet Muhammad (PBUH), and the various blessings, distinctions, and elevations granted to him—many of which are known to the masses and others are not. As I was contemplating, Ibn Abi al-Awja arrived and sat near me so I could hear his words. When he settled, one of his companions came and sat beside him. Ibn Abi al-Awja began speaking, saying: ‘The one who lies in this grave has reached the pinnacle of glory, possessing all noble qualities, and attaining prominence in every aspect of his life.’ His companion replied, ‘He was a philosopher who claimed the highest rank and position, and through his miracles, he astounded minds and confounded reasoning. Many entered his faith, his name became synonymous with his law, and his message spread throughout various lands.’ Ibn Abi al-Awja continued: ‘Enough about Muhammad (PBUH), for my mind is perplexed by him. Tell us instead about the origin of things.’ He then claimed that everything came into being spontaneously, without any design or purpose, and that the universe continues to exist in this manner, without any planner or guide.”

Mufaddal said: “I could not restrain my anger, and in response, I said: ‘O enemy of God, you have deviated from the faith of God, and you have denied the Creator who fashioned you in the most perfect form and guided you through various stages of development.'”

Ibn Abi al-Awja retorted: “If you are one of the followers of Ja’far bin Muhammad, then speak as he would, for he does not engage with us in this manner. If you are not one of his followers, we have no business with you.”

Mufaddal replied: “I was deeply troubled by what I had heard and went to my master (Imam Sadiq) to report the incident. When the Imam saw my distress, he asked what had happened. I recounted the conversation, and the Imam said: ‘Mufaddal, I will share with you the wisdom of God, which has been manifest in the creation of the world, the animals, the birds, the plants, and all beings. Reflect upon this and you will find signs that even the atheists cannot deny.'”

Mufaddal then describes the profound lessons and insights he received from Imam Sadiq, who encouraged him to contemplate the creation of the senses and the intricate design behind human faculties. Imam Sadiq (PBUH) emphasized that these faculties were created with precise intention and purpose, which counters the materialist view that denies the existence of a creator.

The narration further elaborates on the importance of the human sensory system and the subtlety of creation. Imam Sadiq explains how each sensory organ serves a unique and essential role in human life, such as the ears, which are essential for communication and understanding, and the eyes, which enable a person to navigate the world.

The Grand Pipe

The phrase “And the most similar thing to that grand pipe” is highly profound. We have yet to encounter a book on music that addresses this profound statement from a jurisprudential perspective. Have you ever heard of the term “Grand Pipe”? The Grand Pipe refers to the sound and voice of a person. Have you heard that one of the divine saints refers to the pipe (nay) as the greatest? The most similar thing to the human mouth, teeth, and sound system is the “Grand Pipe.” What is the Grand Pipe, and what is this great nay that the Holy figure refers to? Is the Grand Pipe similar to the “form of Israfil” (the angel of the trumpet)? It is said that the voice of Israfil is exceptionally beautiful. A narration from the Sunnis says:

“There is no sound in God’s creation more beautiful than the voice of Israfil, and when he listens to music, the inhabitants of the heavens cease their prayers and praises” [157].

Imam Sadiq (a.s.) says to Mufaddal: “The larynx is similar to a nay, and the lungs are like the bags in which air is blown, and the muscles that hold the lungs to expel the sound are like fingers placed on the bag to make the air pass through the nay.”

The sound of the nay is likewise. If the holes on the nay are not covered while playing, the air escapes without producing any sound, but if the holes are covered and uncovered as needed, the sound becomes thin, loud, high-pitched, and low-pitched.

While, in terms of definition and indication, the vocal apparatus is similar to a pipe, in reality, it is the pipe that resembles the vocal apparatus. It should not be said that the human sound system is like a pipe, but rather the pipe should be considered as resembling it, just as the eye should not be considered similar to a camera but rather the camera should be regarded as a product of the eye’s design; the former is a natural and real apparatus, while the latter, like the pipe and other similar objects, is secondary and artificial.

The Holy figure informs us of the existence of the “Grand Pipe,” a pipe that scientific institutions do not understand. It is something that he regards as the most similar thing to the human throat.

These passages emphasise the value of sound and voice. Imam Sadiq (a.s.) speaks of the nay and melody, indicating that discussing these matters is neither forbidden nor promotes falsehood, but rather it requires scientific research and investment to develop valid theories in the field.