Question
Moulana ,
Please comment on this article.
Permissibility of Music in Islam
by Imām Dr. A. Rashied Omar
Friday, 24 October 2008
������������ ���������� ���� ������
In the Name of Allah, the Most Compassionate, the Dispenser of Grace
Allah, the Sublime, declares in the Glorious Qurʾān in
sūrah al-ʿArāf (The Heights), chapter 7, verses 32 and 33:
Say (to them O Muḥammad [pbuh]): Who has
forbidden the beautiful (gifts) which God has
brought forth for his servants, and the good
things from among the means of sustenance.
Say: They are lawful in the life of this world
for believers especially on the Day of Resurrection.
Thus do we clearly spell out our
messages for those people of knowledge.
Say: What my Lord has indeed prohibited
are! Shameful deeds, whether open or secret,
sinning and unjustifi ed envy and the
ascribing of divinity to others beside Allah
since he has given no such authority. And attributing
unto God that about which you do not know.
Background
The world renowned Muslim musician, Sami Yusuf,
recently (17-25 October) toured South Africa, and
thousands of people attended his live performances
in Cape Town, Durban and Johannesburg.
For once, both our local Muslim community radio
stations, Voice of the Cape and Radio 786, were
united in celebrating the music of Sami Yusuf.
Unlike local Muslim nasheed artists, such as Zain
Bhikha of Johannesburg, who is cautious about using
musical instruments, Sami Yusuf plays no less than
five classical instruments from the Muslim world
during his shows, mainly, as a means of reintroducing
them to his audience.
Not surprisingly, Sami Yusuf’s South African
tour has reignited and rekindled the longstanding local
debate on the permissibility of music in Islam.
The purpose of the Friday khuṭbah is to guide
Muslims with regard to current events. It is with this
context in mind that I would like to share with you
my views on the contentious topic of the permissibility
of music in Islam.
I do so in the magnanimous spirit of the great
Imām Idrīs al-Shāfi ʿī (d.744), the founder of one of the
leading schools of law in Cape Town, who taught us
to hold onto our own interpretive positions and legal
opinions with great humility and to be open to the
perspectives of others:
“My opinion is correct with the possibility of
its being in error. An opinion diff erent from
mine is in error with the likelihood of its being
correct.â€
Lack of Consensus
It is important to acknowledge that there exists no
consensus (ijmāʿ) among scholars on the question of
the permissibility of music in Islam. It is regrettable,
however, that often those who hold one or other position
on the question do not acknowledge this fact,
and proceed to present their views without any reference
to the alternative positions. Stating one’s view
on the non-permissibility of music in Islam as if it is
the only legal position on the matter is intellectually
dishonest and disingenuous.
Ethics of Disagreement
It is imperative for Muslim leaders to cultivate an
ethic of disagreement (technically known as adab alikhtilāf)
on issues such as music on which there exist
two or more scholarly opinions. This implies that
all sides in the debate need to be provided a fair opportunity
to present their positions without fear or
prejudice. Moreover, all protagonists need to make
their audience aware of the lack of consensus of the
issue and to restrain themselves against engaging in
extreme polemics.
All Things Permissible
One of the well-known principles of Islamic jurisprudence
(uṣūl al-fi qh) is that the essence of all things is
permissibility (al-aṣlu fi ʾl ashya al-ibahatu). This essentially
means that those who advocate that music is
permissible do not require any evidence to support
their position. The onus rests on those who declare
music to be prohibited (ḥarām) to provide clear and
unequivocal evidence from the primary sources of Islamic
guidance to substantiate their position.
Music is Ḥarām!
In my humble view, the evidence (adillah) of those
scholars who hold music to be prohibited are not unequivocal,
but rather insubstantial and unconvincing.
The most primary source of Islamic guidance,
the Glorious Qurʾān, is silent on the subject of music.
Yet, those who argue against music, cite two verses of
the Glorious Qurʾān to substantiate their arguments.
They read an indirect reference to music in verse 6 of
sūrah Luqmān (chapter 31) and verse 64 of sūrah al-Isrāʾ
(chapter 17).
31:6 reads, “there is the sort of person who pays
for distracting tales, intending, without any knowledge,
to lead others from God’s way, and to hold it up
to ridicule.†In this verse, the Qurʾānic words: lahw al-
ḥadīth, literally means “idle talk,†and which I translate
as “distracting tales,†are interpreted by some
scholars to mean music.
17:64 reads, “entice whichever you can with your
voice.†Here, the Qurʾānic word, “ṣawt†literally meaning
“voice†and is interpreted by some commentators
as singing and music, and it is associated with the work
of Satan. Such interpretations are not supported by the
literal meaning of the texts, and are tortured.
Moreover, in the view of most commentators, the
first verse refers to those who mock the Qurʾān with
word play. The second verse occurs in a passage where
Satan is refusing to submit to Prophet Adam (pbuh) –
“Shall I submit to whom you have created out of dustâ€
(17:61) – and refers to the voice of Satan. The “voiceâ€
here signifies all kinds of desire and temptation and
has no reference to music whatsoever.
More importantly, those who argue against music
cite a few prophetic traditions (aḥadīth) in which
the Prophet Muhammad (pbuh) ostensibly warned
about the dangers of music and musical instruments.
I will quote two aḥadīth that are mentioned by the detractors
of music. The first one states that:
“Music causes hypocrisy to grow in the
hearts, just like water causes the crops to
grow.â€(Mishkat al-Masabih)
Read carefully, the ḥadīth refers to one who is already
a hypocrite, and thus can safely be assumed
to be listening to music that is in confl ict with Islamic
values. It does not appear to be referring to
one who has a sound heart, who would by nature
not be inclined to listen to unacceptable music.
The second ḥadīth often quoted reads as follows:
“Verily Allah, the Most High, sent me as a
mercy and as a guide unto the worlds. And
Allah, the Most High, commanded me to destroy
musical instruments.â€(Musnad Ahmad)
Now we know for certain that the Prophet (pbuh)
countenanced the playing of the tambourine (diff )
and so this ḥadīth cannot be taken as barring musical
instruments altogether.
Some scholars such as the Andalusian Muslim
scholar, Abū Muḥammad Ibn Ḥazm (d.1064) have declared
the above prophetic traditions to be unsound
and weak. Contemporary Muslim scholars such as
Shaykh Yusuf Al-Qaradawi, Head of the Faculty of
Sharīʿah at the Islamic University in Qatar, agree with
the views of Ibn Ḥazm (see his book: Al-Ḥalal waʾl
Ḥarām fi ʾl Islām).
Permissibility of Music
More significantly, there exists strong evidence that
suggests that music is permissible and wholesome.
I would like to share two such prophetic traditions.
Both of these prophetic traditions come from the two
most authentic compendiums of ḥadīth literature,
Ṣaḥiḥ al-Bukhāri and Ṣaḥiḥ Muslim, and both of them
are attributed to the wife of the Prophet (saw) Sayyidatina
ʿĀʾisha (ra).
In the fi rst ḥadīth, ʿĀʾisha reports that it was the
days of ʿĪd al-Aḍḥā and she was at home. The Prophet
Muhammad (pbuh) was resting with his head covered
by some clothes. Two young girls from the Ansar of
Madina were beating the tambourine and singing a
traditional Ansari song. Even though it is never explicitly
mentioned in the ḥadīth, it is plausible that
the Prophet himself might have been quietly enjoying
the lively music. At this time her father, the illustrious
companion of the Prophet, Abubakr (ra), entered
the house and on hearing the music immediately reprimanded
her by saying: Musical instruments of the
devil in the house of the Messenger of Allah?
When the Prophet (pbuh) heard this he uncovered
his face and said to Abu Bakr: “Leave them, O
Abu Bakr. Indeed every community has celebratory
days, and this is our day of our ʿĪd.â€
The Prophet Muhammad (pbuh) basically told
Abu Bakr that ʿĪd was a joyous occasion and that singing
was a means of enjoyment.
The second ḥadīth is also narrated by Sayyidatina
Āʾisha (may Allah be pleased with her). A similar and
more detailed report is also attributed to the famous
ḥadīth narrator, Abu Hurayra (may Allah be pleased
with him). Abu Hurayra recalls that it was the days of
ʿĪd al-Aḍḥā and some Abyssinian Muslims (currently
Ethiopia) decided to celebrate this joyous occasion in
the African way by performing a cultural dance with
spears to the rhythm of their leather beating drums.
Abu Hurayra (ra) furthermore informs us that
all of this was taking place in Al-Masjid Al-Nabawi,
the Prophet’s Mosque in Madina, the second most sacred
sanctuary in Islam after Al-Masjid Al-Haram in
Makkah. According to the report of ʿĀʾisha (ra) she
says: “that either I requested to watch the African
spear dancing or the Prophet Muhammad (pbuh) himself
asked me if I would like to watch. And I said yes.â€
The Prophet Muhammad (pbuh) then took
ʿĀʾisha into the crowd and placed her on his back so
that she had a better view, and she fondly remembered
that her cheek touched his cheek while they
keenly watched the African spear dance and drumming.
Shortly thereafter the illustrious companion
of the Prophet, Umar ibn Al-Khattab (ra), entered
the Prophet’s Mosque and on seeing the dancing
and drumming was so incensed that he immediately
picked up some stones and began throwing the dancers
with it to get them to stop. As soon as the Prophet
Muhammad (saw) became aware of Umar’s protests
he reprimanded him by saying to him: “Leave them
alone, Ya Umarâ€
In another report, most probably in deference
to Umar’s intrusion, the Prophet felt compelled to
encourage the African dancers by saying: “Carry on
with your drumming and dancing, O Bani Arfi da! So
that the Jews and Christians know that there is latitude
in our religion†(Bani Arfi da was the endearing
nickname with which the Abyssinians were known
among the Arabs.)
ʿĀʾisha concludes her narration by informing us
that the Prophet allowed her to continue watching
the Abysinnian dancing in the Mosque until she had
enough.
The great classical scholar of Islam, Abū Ḥāmid
Al-Ghazālī (d.1111), in his magnum opus, Iḥyāʾ ʿUlūm
al-Dīn, employed these prophetic traditions as evidences
in substantiating his view that music was
both a permissible and a wholesome activity. Many
great philosophers of Islam, including al-Kindi, al-
Farabi and Ibn Sina, did not interpret the prophetic
traditions nor the Qurʾān as banning music, and thus
wrote profusely on the theory of music and encouraged
its performance. Al-Kindi, for example, argued
that music can change our ethical qualities and turn
anger into calm, grief into joy, depression into a state
of relaxation, rage into friendliness, avarice into generosity
and cowardice into bravery.
Wholesomeness of Islam
It is vital to remember that Islam is a positive and life affirming way of life. As such we have a moral responsibility
to produce wholesome and healthy recreation
for especially our youth. It is no secret that many if not
most of our young people, and indeed not so young,
are listening to music. We also know that many of the
lyrics and messages promoted by contemporary music
are not wholesome and morally sound. Unfortunately
there are hardly any wholesome alternatives
on the music market these days. There is no doubt in
my mind that the delinquency seen in much of contemporary
music culture (and these days in the East
as well as the West) embodies hardship for the Muslim
youth who are inundated with it wherever they
go. In my view it is a social obligation (farḍ kifāyah) to
produce wholesome alternatives for our youth. Cultural
artists such as Sami Yusuf are filling this need
and as such they need to be commended.
Let me refer to two concrete examples of the
positive impact that Sami Yusuf’s South African tour
have already had on our youth. I found the following
two interesting reflections on the blogs of these two
young Muslims who attended the Sami Yusuf shows.
The first comes from a young man who attended the
4
Published by
© Claremont Main Road Mosque
Durban concert and the second is from a young woman
in Cape Town. The young man described his experience
as follows:
“… some people will say that this is haraam,
and concerts are imitating the West and we
are all going to turn into swines and monkeys
but I felt more spiritual tonight than
I have felt since coming out of Itikaf. It really
was magical. As soon as Sami walked
off the stage I hugged my dad. It was that
powerful. (http://concerningmjk.blogspot.
com/2008/10/concerning-sami.html)
The young lady was courageous to compare her experience
of attending a rock concert to that of Sami
Yusuf’s concert. She wrote the following on her blog:
“I’m still sitting in awe of Friday night’s concert.
Sami Yusuf had me close to tears with
his humble and emotional performance.
He’s entire show was superb, although many
may have felt uncomfortable with the rock
concert ambience, given the lighting and
accompanying musicians. That said I’d like
to give my opinion in favour thereof. I have,
regretfully, been to an actual rock concert
before and can honestly say that there is a
big difference. Beside the clear absence of
alcohol and sexual intermingling, at Sami
Yusuf’s peformance the conscious awareness
of the Almighty was tangibly apparent.
On Friday night, with the beat of his tombak
(goblet drum), I had the name of Allah reverberating
in my heart and his rendition of
Free reflected my feelings to some people’s
reactions of me wearing hijab.
Throughout the performance, I did not once
forget that I am a Muslimah, with La ilaha illa
Allah Muhammadu Rasulu Allah, as my theme...
While in retrospect, at the rock concert I previously
went to, my God consciousness was sadly,
completely non-existent. (http://blog.essenceofcapetown.
co.za/2008/10/encore.html
Cape Musical Talent
Whilst listening to the great talents of Sami Yusuf
I could not help thinking about our many local talented
musicians who are being marginalized by our
ambivalent attitudes towards music. Cape Town and
in particular the Muslim community has been blessed
with a great musical tradition. It is a part of our long
history and our deep culture. Given the necessary
support and encouragement I have no doubt our local
musicians would not only equal the great talents
of Sami Yusuf but exceed him.
In conclusion, not only should cultural artists
such as Sami Yusuf be commended for their witnessing
to Islam among our youth but our very own local
musician, Yusuf, son of al-marḥūm Boeta Cassiem and
Aunty Fatima Ganief, needs our encouragement and
support. Yusuf has established a modest company
called Desert Rose Music and together with the expertise
of his wife they have already produced a popular
musical CD for healing and relaxation titled, The
Prayer. So perhaps the next time you go out to buy
a music CD for yourself or your children consider
whether the music you or your children are going to
listen to will heighten or lessen your God consciousness.
I make duʿā: that Allah helps us to foster a sense of
respect for diff ering positions on music and other issues;
that Allah, the Most Compassionate, blesses and
inspires those talented musicians and cultural activists
in our community to continue to produce healthy
alternatives for our youth; that Allah, the Most Compassionate,
protects our youth from all kinds of vice
and moral debauchery.
Ismail Wadee
DCES: Examination Irregularities
Answer
I have read the article.
It has been reputed numerous times. See on Site "Music in Islaam" and also the work of Majlis ul Ulema ''Music and Musical intruments''
Some comments
1.) Sami Yusuf and the likes are not authorities in Islaam.
2.) By airing on'Voice of Cape' and 'Radio 786' does NOT make it permissable.
3.) The usul that the essence of all things is permissable is not the correct view - see our translation 'The Sunni Path' by Moulana Sarfraaz Khan - thus all that follows falls away.
4.) The interpretation of the Hadith about 'hypocrisy' is erroneous, any non- scholar can see that.
5.) 'Al Halal Wal Haraam fil Islaam' by Yusuf Al Qaradani is full or errors.
6.) The Ahaadith of/ for 'Music' are related to and subjected to abbrogation.
7.) Who does not know that one cannot quote 'Farabi' and 'Ibn Sina' in pure Deeni matters.
8.) By quoting the experiences of youth, let alone music many other 'things' can be 'legalised' - What proof making ?
Kindly also forward to various Ifta Departments for thier inputs.
And Allah Knows Best

Mufti Elias (May Allah Protect him)
Category:Fiqh