- THE QUESTION OF MUSIC AND SINGING
- THE ARGUMENTS OF THE MODERNIST JUHHAAL
- THE STATEMENTS AND PRACTICES OF SOME AULIYA
- THE ARGUMENTS OF THE LEGALIZERS
- THE MODERNIST ATTITUDE
- A SUMMARY OF THE NARRATIONS OF PERMISSIBILITY
- THE EVIDENCE OF THE QUR’AAN
- THE EVIDENCE OF THE HADITH
- THE STATEMENTS OF THE SAHAABAH
- THE SALF-E-SAALIHEEN, MUSIC AND SINGING
- THE RULINGS OF THE FUQAHA
- MORE RULINGS OF THE FUQAHA
- THE DUFF
- THE YARAA’
- DUFF, MIZHAR AND GHIRBAAL
- SUMMARY OF THE FOUR MATH-HABS
- THE SAMA’ (SINGING) OF SOME OF THE AULIYA
- THE SAMA’ OF THE AULIYA IS NOT DALEEL
- THE SAMA’ OF THE SUFIYA
- THE ARBITRATOR
- THE TAUBAH OF THE AULIYA
- THE SHAAFI PERMISSIBILITY
- THE HANAFI MATH-HAB
- ABROGATION OF THE DUFF’S PERMISSIBILITY
- SINGING AND THE AHAADITH
- THE ONE WHO LISTENS TO SAMA’
- THE SPIRITUAL DANGERS OF SAMA’
- THE DECEPTION OF DHAEEF AHAADITH
- RATIONAL ARGUMENTS
- THE FINAL WORD
- THE WAY IN A CONFLICT
- THE SUMMARY OF THIS DISCUSSION
It will be abundantly and conclusively clear to every searcher of the Haqq who has read the aforegoing discussion with an open and an honest mind and heart that according to all four Math-habs, music and singing are forbidden. Some exceptions have been discussed. According to the Math-habs the only instrument which has permissibility on certain occasions is a particular kind of a primitive duff – not all types of primitive drums. This permissibility totally excludes the modern-day musical drums and the tablahs of the qawwaals.
Notwithstanding the permissibility of the duff, the Fuqaha of all Math-habs have not issued an unrestricted licence for playing the duff at any time and for just any occasion as the discussion in this treatise has already explained and established.
A very significant and important factor is the unanimous abstention by all the Fuqaha of all the Math-habs from extension of the limited permissibility of the duff to other musical instruments. No one has ever ventured to cite the duff as a basis of deduction (Maqees Alayh) for formulation of a ruling of permissibility for any other musical instruments. Only the modernist, deviate juhhaal are guilty of perpetrating such a haraam aberration.
As far as singing is concerned, a little impromptu singing of morally good and invigorating qaseedahs/nazams/poetry, occasionally to banish loneliness, or tiredness on a journey or as naseehat in a lecture, will be permissible. It is definitely not permissible to sing for an audience on an organised basis or to make it an occupation (mashghalah) or to devote considerable time to it. And, this permissibility of singing a little is without musical instruments.
The Math-habs have listed for prohibition all the musical instruments by name, and to cover every kind of new instrument which will be invented from time to time, the words mazaameer and ma-aazif are stated. In otherwords, not only the instruments listed by name, but all and every kind of musical instruments are haraam. All the Duqaha of all the Math-habs are the Students of the Aimmah-e-Mujtahideen, directly or via links in an authoritative Chain connected to Rasulullah (sallallahu alayhi wasallam). Many of the Aimmah Mujtahideen were the direct Students of the Sahaabah, while the majority were the Students of the Fuqaha and Aimmah of the Taabieen era. The Rulings of these Aimmah and Fuqaha constitute the inviolable Shariah of the Qur’aan and Sunnah.
The practices and utterances of some Auliya centuries after the era of Khairul Quroon (the first three sacred eras of Islam) are devoid of substance when in contradiction of the Rulings of the Fuqaha of the Math-haab. In fact, all the Auliya were Muqallideen (Followers) of the Math-habs. They all have to submit, and they did submit to the Rulings of their respective Math-habs. Declaring with utmost emphasis and profound unambiguity this stand of the Auliya and Sufiya-e-Kiraam, Hadhrat Imaam Suharwardi (rahmatullah alayh), who was among the very senior Shaafi Ulama and the Founder of the Suharwardiyyah Sufi Silsilah, and who had expounded the restrictive permissibility of sama’ (the spiritual singing of some Sufis), states in his Kitaab, Awaariful Ma-aarif:“We have already explained the specific form of sama’ which is valid and the limits to be observed for appropriateness of sama’ for the Ahl-e-Sidq (Auliya). Now that fitnah has become rampant via the agency of sama’ – goodness has disappeared from people, time is being squandered in this act, the pleasure of ibaadat has decreased (in consequence of addiction to sama’), the desire for gatherings become ingrained, the desire for repeatedly organising sama’ sessions to gratify carnal lust and satisfy singers and dancers – these sessions are unlawful and accursed by the Sufiyah. It is precisely for these reasons thatit is said that besides for an Aarif-e-Makeen, sama’ is not permissible for anyone.
For the mureed-e-mubtadi’ (beginner in the spiritual path) sama’ is never permissible.” This is the verdict of one of the most illustrious Chiefs of the Sufis. And, this type of verdict is not restricted to Hadhrat Suharwardi as shall be shown later in this treatise, Insha’Allah. The Sufiyah who had practised sama’, themselves say that this singing is not permissible, yet the modernist ignoramuses cite these self-same Auliya to justify haraam musical instruments and haraam kuffaar (eastern and western) music and songs.
All the Auliya, including Imaam Ghazaali (rahmatullah alayh), in total subservience to their illustrious seniors, the Aimmah-e-Mujtahideen and Fuqaha of the Math-habs, are unanimous in the proclamation of the prohibition of the music and singing of the masses. Insha’Allah, the sama’ of some Sufiya will be discussed in greater detail further in this treatise. Here it will suffice to say that there is complete unanimity of the Ummah – consensus of all its authorities from the age of the Sahaabah – in upholding the ban on musical instruments and music which Rasulullah (sallallahu alayhi wasallam) had announced in the following Hadith: “Verily, I have been sent as a Rahmat for the worlds, and my Rabb has commanded me with the destruction of musical instruments.”