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MY REPLY TO ALL THOSE WHO THINK MUSIC IS HARAAM:


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MY REPLY TO ALL THOSE WHO THINK MUSIC IS HARAAM:
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Shahzaibkhan
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Joined: 17 Jul 2007
Posts: 488
Location: Lahore, Pakistan

MY REPLY TO ALL THOSE WHO THINK MUSIC IS HARAAM:
THIS SHOULD HAVE BEEN POSTED IN THE ISLAM SECTION BUT I FEEL MORE POEPLE WILL READ THIS HERE:
I ACKNOLEDEGE THE AUTHOR OF THIS TEXT AND ALL THOSE INVOLVED IN THIS:


In the Name of Allah. The Most Beneficient.The Most Merciful





SUFI ORDER - TARIQAT GUL NUR JIHANIYYA


RADIANT VALLEY ASSOCIATION

EDUCATION-DAWAH



HISTORY OF MUSIC IN ISLAM
CULTURAL INFLUENCES ON ISLAMIC CIVILIZATION

In history of civilizations,Islam stands as a pinacle culturally between the Dark Ages and the Renaisance period.Although "Islamic Civilization" conotes a purely sociological implication, in spite of its pristine religious insularity, Islam spread over a quarter of the then known geographic world, gave rise to a specific mode of lifestyle, and became a cynosure for all observers beyond its boundaries.
The cause was simple: When the Prophet Mohammad's (swas) revelations were heralded to the world in the seventh century of the Christian era, the "message" could not be confined to the Hijaz or the Arabian peninsula. Within three quarters of a century the banner of Islam"s Prophet migrated eastward to ends of Transoxiana, southward to the banks of the Indus river in India, northward to the shores of the Black Sea in Asia Minor, and westward into Spain onto the Pyrenees.

Islam's newly won empire's civilization out shone rest of the world. From Samarkand in Central Asia to Cordova in Spain, famed institutions of learning, the arts, sciences, literature, musical arts, and techinical discoveries, inventions and improvements, brought exciting wonderment to all peoples. Islam's sociological trend was produced with sublime surrender in religion as the basis, and taught universal brotherhood without racial, national, or geographic boundaries.

In Islam's empirical dominions it was inevitable that all other nations would subsume themselves into the culture of their Arabian Muslim conquerors, incorporating an adulterated Arabic, which then became modified and tempered by those cultures. This fusion of cultural ideas gave greater mobility to the newer civilization which still has a vital influence on the western world.

Many of the world's peoples contributed to Islamic civilization: Arab, Turk, Kurd, Persian, Aramean, Syrian, Egyptian, Greek and Goth. "Two lands" culture especially played a prominent role in the music of this new civilization, from the east, and from the west. Greek music was more theoretical, dominated by works of ancient authors centuries deceased.

The visible signs of music and religion in ancient Arabia, confirms that the Arabs of the peninsula had indeed inherited and were conservators of the Mesopotamian cultural heritage. Music was, in practice,was then largely delegated to women, especially in the upper elite class. Those people who were attached to upper class households, were employed as 'qainat'(singing women) for purpose of entertainment. The male 'mughani'(singing men)and 'mitrib"(musicians) and the 'alati' (instrumentalists) were written about by Ibn Musa al-Nasibi (d.circa.860) in his Kitab al-Aghani (book of songs).

In ancient Arabia, the Holy Ka'aba wa a place of pilgrimage. In the Hijaz, mecca was the centers for fairs, where musicians and poets met in contest for being the best in their arts, and treasured poems, like the Mu'allaqat, were sung and recited entire as qasa'id (odes). Ghina (singing) came from huda (cravan song); out of this developed biqa (lamentation), nauh (elegies), and nasb (secular songs), Two types of songs were used, the Himyaria and Hanifiya; all tell of joy in then happy Arabia.

The Gassanids employed singing-girls of Mecca in their capitol al-Hira and Byzantium, who sang with accompaniment of barabat (lute). The reed-pipe came from their region, and the Arabs borrowed it, calling it zambaq, as it was made from sambucus wood. The Arabic harp is called zannaj or wannaj, a loose phonectical prounciation from Syriac-Greek dialect. word for phoenix..

The other great influence to the north-east was Persia, then the font of culture. The origins of Persian music began in misty Mahabad, at the beginning time (Dabistan). Firdausi is his great epic, the Shaha Nama, tells of rud (resplendent music) and sarwad(singing), strings of chang (harps), tanbur (pandore),barabat or rubab (lutes), ruyin (pipes) and ney (reed-flute), which gave out delightful notes. Processions resounded with blasts of karranay, shaipur, and buq (horns-trumpets), tabira and kus (kettledrums), and the noise from hindi, daray, zang, and sinj (tininabulating throngs), chang (upper-chested harp),von (lower-chested harp), kannar and shisak-cousins of ghoshaka (Sitar Sanscrit instrument), and tumbak, dumbalak (drums). Many of these instruments are shown in reliefs at Taqi Bustan. (A.D.590-628).

The scientific theory of music in those days in Persia was present in treatise on music of pre-Islamic times. Practical theory is evident; in the Dastanat of Barabad, seven modes and 360 melodies are mentioned; relating to the numerical metaphysics of Ancient Mesopotamia. From al-Hira, the capitol of the Lakhmids, Persian musical practices filtered into Arabian lands, and those people were great lovers of musical arts.

At the emergence of Islam in Hijaz, the first year of Hegira-flight, 622 A.D., spiritual newness dawned on the world. The religion of Islam prospered, and nothing else mattered. At first all was aesthic happiness and austerity. When Prophet Mohammad (sws) passed into greater glory year 632 A.D., his Companions sought, like their holy Prophet, to keep the minds of men only, away from the malahi or forbidden pleasures of old, including wine, women, and song.

Although the Quran neither contained nor mentioned specifically any words against music, the purists of Islam began to collect a'hadith (sayings) of the Prophet Mohammad (swas) which supposedly condemned listening and singing to music. Hard-core purist fuqaha legists used these proported sayings of the Prophet with considerable effect. These fuqaha forbade any kind of music save what was tolerated by the Prophet and according to their own specific interpretations. Eventually the four legal schools of Sunni Muslim's thought, Hanbali, Maliki, Shafi, Hanafi,and with the Shia Jafari and Zaydi who had their own fuqaha-legists who also decided more or less against listening to music; and the subject developed a controversial literature on permissability. It grew on, and still is a topic of heated debate by conservative fundamentalists on into comtemporary times.

© © © copyright RVA 1998




In The Name Of Allah, The Most Beneficent, The Most Merciful



SUFI ORDER - TARIQAT GUL NUR JIHANIYA
RADIANT VALLEY ASSOCIATION

SUFIS MUSIC OF ECSTACY







"SUFI DERVISHES"


Utilization and conception of music, song,trance,dance is an intrinscic aid to their religious lifestyle. It is of the utmost importance to the developemnt of the soul in two ways:(1) physically on account of musical structure (2) spiritually, in structural similarity to the soul. Sufi masters such as al-Hujwiri (11.c) and al-Ghazali (d.111) separated people influenced by music into two groups: (a) those who hear material sounds,(b)those who hear spiritual meaning. Sufis doctrine per sae does not hear notes or beats, melodies or rythums of music. Hujwiri quotes prophet Mohammad's (sws) saying: "O Allah, let us see things as they are." The "listening (sema-sama)" to music only,and alone will acconplish that requirement.

Thus Sufis teachings reaveals the meaning of music in the Schopenhaurian sense as eternal will itself. The great Arab mystic, Abu Sa'id ibn al-Arabi (d.952) believed ultimate truth could be caught only through Divine ecstasy, as the lifting of a curtain-veil, and witnessing the Watcher Allahu. An epitome of potent means for attainment of ecstasy to achieve is "listening (sema-sama)" of sacred music. Dhu'l-en Nun Misiri, the Egyptian mystic said: "We have in this "listening (sema-sama)" a power that creates a Divine influence which stirs the heart to seek Allah, and leads one to find the existence of the Truth behind the spiritual curtain-veil", as did Abu'l-Husein al-Darraj who also having previously testified (p.719)- 1909).

It was from these strong beliefs and practices that spiritually sprang the numerous Sufi Dervish orders (tariqats), with which music and dancing are used to create a spiritual hypnosis-trance for attainment of higher religious sublimation to Allah. Almost all these Sufi religious orders (tariqats) have set laws and rules governing their particular order (tariqat) or "pathways",they have their chosen Sufi masters they follow, who passed down their succession (Khalifat) the teachings to the various seekers of the Truth, those who have not been taught the aesthetic, spiritual esoteric ways, thus perpetuating lines (silsilas) of succession of their particular "Sufi orders (tariqats)."

Religious sacred music in Islam does not begin nor end in pious edifices as such, since in every Islamic land, religious cantillation(talhins) has been an integeral part of social life. Muslims in their Islamic festivals religious, and also social events all recieve the pleasure in religious music. Where ever one travels in Muslim lands, the universality of hymns (nasha'ids-Illahis) and cantillation (talhin) is very apparent indeed. In some regions it has been a part of formal education, and has prevailed in spite of the vehement opposition of some powerful legal patriarchs. Music at that time was considered a diversion,and was taken as unpraisworthy, and "frowned upon (makruh)" by some legist-puritans,as with some others strenously with constancy did oppose music in any form as being sinful and "not allowed" (haram) because of their own specific puritan interpretations.

SUFI DERVISHES - SEMA/SAMA :- MUSIC, TRANCE, DANCE, ECSTASY.

Prophet Mohammad (sws) announced: "In Islam their is no monkery" in Quran V:89. In 632 C.E. Higra, forty-five men during the time of holy prophet (sws) in Mecca joined themselves to as many in Medina, and took oath of fidelity from the Holy prophet Mohammad (sws)himself,and pledged too his teachings, thusly forming the very first Islamic Sufi paternal- fraternal order. This fist Sufi order intended was to establish community property, and reform daily religious practices through penitence with patience. These initial members of the newly formed fraternity wore rough wool clothes for more penitence with patience,kept in honor for their master prophet Muhammad (sws),they called themselves Sufis from a word "Suf" meaning wool. This word also meant wise, pure, purity as well as refering to the suffah, the platform on which the Holy prophet (sws) and his companions all sat upon discoursed,recited spiritual meditative prayers and sang sacred songs together.

Abu Bakr father in-law, and Ali ibn Talib (b.599 - d.661) son-inlaw of prophet Mohammad (sws) also established assemblies (jama'at-majalis) wherein vows were taken with religious excersises were practiced. In 657 C.E Uwais Qarani (d.657) established the second Sufi paternal/fraternal religious order (tariqat) in honor of prophet Mohammad (sws). The holy Prophet had lost several teeth in battle of Uhud (625 C.E), and Uwais broke out his own front teeth, and he also required his followers to do the same. The very first "House of Unity (tekke-kanegah-dergah)" was built by Syrian Zahid (d.780 C.E) to provide a house for any and all those Sufi dervishes who followed the Holy Prophet's (sws)given Sufi doctrine(tassawuf),and as a place of sanctury for those weary dervish travelers,for the impoverished, hungry,and also for the unwanted, forgotten, dregs of societal misfortune, for all to come and be safe, and rest in Allah's Light(Nur),and learn to recite the 99 names of Almighy Allahu in Rememberance-Ziker-Dhiker.

SUFIS CREED

Sufis believe souls differ in degree but not in kind from Divine spirit, their particles ultimately will be absorbed, the spirit of Allah pervades the universe, ever Omnipresent Allahu alone is the Perfect Benevolence, Perfect Truth, Perfect Beauty, Perfect True Love (eshq-en-haqqiqa). The material love is objectivity, an illusory love (eshq-en-majazi). All beauties of nature are faint resemblences, images in a mirror of The Divine charms, eternity without end, supreme bestowed happiness. All humankind can attain to this only by performing their part in the primal covenent between themselves and The One Creator. Nothing is pure or has absolute existence but with mind and spirit. Material substances are no more than lovely pictures sent to the mind by the Sempiternal Artist. Beware of attachments, except that to Allahu exclusively, soley and truly. Remain in a forlorn state of Remeberance of Allahu. Sweetest music with gentle dance, glorious singing are as myriad fragrant flowers, perpetually refreshing a fading memory, melting them with tender affections that cherish the flames of love by abstracting their souls from all vanity. Proximity to Allahu's Essence (Dhat) in final union too and from Allahu who will form their supreme spiritual beatitude.

SUFIS REMEMBERANCE-(ZIKR-DHIKR) ALLAHU!

The statutes of nearly all the orders (tariqats) require them to repeat the following names of Allah on daily basis praising with reciting in remembrance as follows:

Bismillah ir Rahman ir Rahim

(In the name of Allah the Most Merciful, Most Compassionate)

La ilaha ill Allah!

(No god but The One God)

Ya Allah (O God)

A Hu (A Presence)

Ya Nur (O Light)

Ya Hayy (O Living)

Ya Haqq (O Truth)

Ya Kerime (O Genrous One)

Ya Gafoor(O Forgiving)

Ya Qayyum (O Self-Subisting)

Ya Majid (O Glorious)

Ya Wedud (O Loving)

Ya Quddus(O Holy One)

Ya Sabur (O Patient

Ya Samad (O Eternal)

Ya Qahar (O Dominant)

These exercises of awe-filled contemplation (muraqibah) and Divine Unity (tawhid) are practised as follows:(1) The Sufi dervishes kneeling sit back on their heels, elbows touching lightly in a circle with simultaneous movement carefully balanced, slowly turning heads first to right shoulder, with head pause in center,and then to left shoulder with head return to center.(2) All seated as they begin these motions in measured cadence, with fixed countenance, eyes are closed or fixed looking downward to the ground or floor, then slowly stand up on their feet raising eyes up to sky or ceiling, and heads comes back down in bowed position as they sit back down again.(3) The Sufi dervishes,sit nine to thirteen in number in circles or in one big circle, all are sitting on sheepskin/rugs on the floor at equal distances from eachother, for half an hour arms folded on chest, eyes closed, heads bowed,in this position they will remain in an motionless, and quiet, absolute, profound, reverant meditation.

The Sheykhs/Sheykhas, are sitting at their head of circle, they sit on red or black wool rug or a small carpet,and will break the silence with a hymn (nasha'id) in honor of Allahu,then they invite the assembly (majalis) to recite with with him/her the first Verse (Sura) of Quran. After that the respective sheykhs/sheykhas chant (qi'ra) paying honor to Allahu, to all the prophets, especially Mohammad (sws) and his family, to his first wife Khadija, his daugher Fatema, his grandsons Hassan and Hussein, all his other wives and departed kin, all of Allah's followers,and the prophet's (svs) companions-(auliya). To all the holy women and men saints of Islam, to the founder/s of the order/s, to all the many Sheykhs/sheykhas past and present, their long line of successors-(sililas), to all Sufi dervishes, and the seekers of "pathway of Truth" (tariqat), for Islam and all it's adherents,for prosperity, peace, and compassionate mercy for all the non-believers from every cultural society existing upon this planet earth.

The Sufi muscians (mitribs) now start to play their sacred lilting music with vibrancy and sweetness, dipicting The Most Beloved Allahu. The sounds of the instruments escalate in volume, and the throbing of drums keeping steady rythum simulating heart-beats, as the rest of the instruments used play in perfect harmony, making all the many participants in this sacred, spiritual, dance, ecstatic in trance as the Sufi dervishes sway, and turn smoothly in unison in time with the lilting, spiritual music, and with this loving ecstatic experience unlocking the very Essence (Dhat) of Allahu's presence in their minds, hearts,and souls, oblivious to all who are present. Now the sacred, spiritual Divine ecstacy dance ceremony starts as follows:

All the Sufi dervishes stand in line to the Sheykhs/Sheykhas left side, with arms folded on chest, head bowed, and slowly approach the right side of Sheykhs/Sheykhas and bow in salute, then with two steps foward stand opposite facing the right side of sheikhs/sheikhas, once again turning to them and bowing in salute. The rotary/turn dance (daur-raqs) now begins. The sacred dance consists in turning on left heel to toe, simultaneously followed by the right foot, then rotating around the hall or courtyard with eyes closed, arms stetched outward on each side of their body, hands held open with right palm facing up and left palm facing down so the blessings of Allahu flow trough them while they rotate/turn (daur-raqs). The dervishes intermittantly stop their turns (raqs), stand still for short pauses, while their repective Sheykhs/Sheykhas recite more prayers (duas) as the dance of Divine ecstasy lasts about two hours. Then returning to their seats the Sheykhs/sheykhas recites (qi'ra)the first Verse (Sura) of Quran with more short prayers (duas). The dance is now concluded all dervishes leave in single file for the dining hall into "House of Unity"(tekke-kanegah-dergah)for refreshments and light socializing. The Sufi dervishes then depart to their repective duties in life until the next sacred, spiritual, session of "listening (sema-sama)" with the blessings of Almighty Allahu carried within their minds, hearts and souls.

The Sufi musicians (mitribs) their task well done, now leave carrying their instruments as the assembly disperses, where each listener holds within them the fullness of a world of sacred tunes of spiriutal melody of sounds heard, that still lingers over the now silent hall/courtyard. With this Divine Essence (Dhat) power of The Divine love (eshq), permeating sounds of spiritual music speaks, is most welcome sound to all ears with a familiar sweet message, while revealing to the "seekers of the Truth " of the realms beyond their human knowledge,leading them each on their own personal spiritual pathway, and yet joining all together in revered fervor of shared sacred, spiritual, mystical music experience. May The Great One Creator Omnipresence of A HU!, bring all participants the many countless,sweet, enlightened blessings,and to all who those who seek the "pathway of Truth!"

copywrite © © © 1998 R.V.A.




Quran: Ayat 63, Sura Al-Furqan

And the servants of the Most Beneficent (Allâh) are those who walk on the earth in humility and sedateness, and when the foolish address them (with bad words) they reply back with mild words of gentleness.


Hadith-(Saying):by-Sahih Bukhari

Prophet Mohammad (sws) said: "This world is forbidden to those of the next world. Life in the next world is forbidden to those of this world. Both are forbidden to the servants of Allahu!"(All who are believers on earth are the servants of Allah!)









In The Name Of Allah The Most Beneficent The Most Merciful


SUFI ORDER-TARIQAT GUL NUR JIHANIYYA
RADIANT VALLEY ASSOCIATION

MUSIC ART SCIENCES

WHAT IS MUSIC ART SCIENCES? It is an exact science of sounds, rythums, tones,forms and beats. It is the Divine created, melody and harmony of life itself. Allah created the universe, the earth and all its in habitants therein, andd all for Allah's own pleasures! As we humankind read and know before there was anything in existance, there was absolutely Nothing...NO...Light, dark, sound,ojects nor any movements...Like complete blank void! Then Allah spoke in many actions and so commanded...BE! And all things came into existance! AWESOME!
There was not one part of this great universal creation that is not an symphonic orchestra nor is without sound, motion, rythum, tones, beats and forms. All of them are syncronized for perfect melodious harmony in unison, pricisely, and perfectly composed, directed, and conducted by its Creator Almighty Allahu! The beautiful, melodious symphony of new birth of life, was entirely composed by its Creator Allah,and with many sounds, movements, rythums, and beats in specific arrangements in the various forms of nature, and the sounds are melodious harmonies which soothes one's soul. Music transcends; it does not shut out the very essence of Allahu's spirit-(dhat) The-Light-(en-Nur!) As The "Creator-Allahu" most infinite and very eternal existence.It is The Most Magnificent of any musical compositions,and is composed as a gift of Allahu's Great Love for mankind from Allahu Most Generous.

During the holy prophet Mohammad's (sws) time and after his death, there developed new Islamic art of musical styles in the Hijaz in the holy cities of Mecca and Medina, which were the centers of Islamic religious and political power. The activities of a rich art and musical foundation in regligious and secular life came into being, a tradition associated with celebrating life and it's given religious,and spiritual mystical dimensions. This occurred despite vehement attacks from strict " puritanical theologians". Envisage the transformation of explicit and systematic inference of the Great Traditions, as applicable to urban and non-urban cultures, emerging and meeting in new centers under new religion of Islam during prophet Mohammad's (sws)time and the succeeding caliphs. This synthesis, effected in sprited compromise, it resulted in an agreed successful arrangement of old and new, a representative of orthogenesis. A most important manifestation was a quest for linguistic purity, a concern shared equally by all reciters and chanters of the Holy Quran, grammarians,poets, and musicians alike,all for proper recitation of Quranic verses (suras) and stanzas (ayats).

The necessity of explaining the sacred Quranic text gave birth to the art of music science of grammar, musical modes,styles and lexicography. Philogists actually discovered that the best material was found in Islamic poetry; the same was found by musicians,poets, and specialist reciters-chanters (qir'at) of Quran, they made rules of solemn recitation-cantillation based on poetic musical language and its renditions. The ruling-authorities-(Alemas)accepted these musical recitations-cantillations. The poetic rythumic modes of phonic and tonal accentuation, and intensity of equlibrium between emotional values, became the models for both experts in Quranic cantillation (talhin), and also for the composers of poetic songs(gazels). They underlined the expressive , artistic manner of rythumic speech in many ways as a chant "combined recitation-cantillation" and emotional exression of song, sacred music and rhetoric.

No legist nor religious authority can either prohibit or authorize something a priori by a persoanl decision; as all or any authority are obligated to base arguments but, only from direct references in sacred writings, or by closely reasoned analogy. The first most sacred source is the Quran both for those opposed to music and those who are not. Although nothing specific in Quran is concerning music explicitly. Holy prophet Mohammad (sws) who liked to listened to his young wife Aisha(ra) and her friends while playing music and singing, he did favor some music, and he twice rebuked the reactions of his young wife's father Abu Bakr in two incidences. The holy prophet (sws) then declared that art, music, singing and playing of some specific instruments were permissable on occaisions of: birth, marriages, cultural folk festivites, funerals, and most of all for religious,spiritual occasions. (Transmitted by hazret Aisha(ra) in the "Sahih" collection of al-Bukhari).

There were three things the prophet Mohammad (sws) did not like or approve of at all: (1) was clapping of hands in public performances, of either religious or secular nature; however, (*he did allow artistic hand clappers.*) (2) He dissaproved of the "sensual" singing which was combined with "sensual" dancing in public taverns, by males and females alike.(Ahadith-"Sahih" collection of al-Bukhari and Muslim).(3) Holy prophet (sws) also declared that the selling , buying or teaching of performing girls (qaynat) is also unlawfull:-(transmitted by hazret Aisha(ra) in the( "Sahih collection of al-Bukhari).The great theologian Abu Hamid al-Ghazali , stated that : "those particular ahadith refers only to the girls dancing and singing in the taverns." Whereas, the traditional ahadith of the holy prophet Mohammad(sws)did approve of singing in one of his pertinent sayings: "Allah has not sent me as prophet except with a beautiful voice, and Allah listens more intently to one with a beautiful voice reciting Quran as dose the master of a singing girl (qayna) listens to her beautiful singing voice." Transmitted from ("Sahih" collections of al-Bukhari).

The Importance of correct, careful and solemn recitation-(Qir'a)of Quran, from Islamic teachings established were of an urgent task. The term for ebellishment (tajwid) in recitation of Quran became the art of music science. A remarkable system regulated cantillation (talhin) with respect to the law of phonetics and prefered diction of musical aspects in recitation-(Qir'a) of sacred texts. Prophet Mohammad (sws) recommended reciting/cantillation of Quran in musical melodies of the the people from Nejd reagion of Arabia,as he prefered the pre-Islamic simple musical forms of huda and rakbani, with pauses which became a major trait of Quranic cantillation (talhin). Holy prophet(sws) had recourse to old Arabic tunes used in classical recitation/cantillation of poetry,together with classical poetic rules of parosody which was a transvaluation expressed by Ibn al-Arabi: "The prophet Mohammad (sws) wanted Quran to be an exclusive passion to replace styles that all chanters were accustomed to singing during that period in time.

The call to prayer (adhan-azan), was instituted by prophet Mohammad himself between (622-624), and the first muezzin who was Bilal an Abyssinian maula, also one of the first martyrs in Islam. Originally the call to prayer (adhan-azan) was a simple anouncement in the streets or from roof tops. It quickly grew ornate, as a moving chant issued five times per day from height of a mineret of a mosque. Call to prayer (adhan-azan) was composed of short phrases sung in chanting tunes that varied in all countries, and in some regions the melodic tunes beacame archlike, with maximum densities at its peak. These two types of musical cantillation (talhin) effectively made it known as "compulsory" religious mosque music known as hymns. Many hymns were and are used on festive occaisons and one in particular on celebration of : "Maulid-en Nabavi/Milad-en Nabi", the birthday aniversry of holy prophet(sws). All mysitcal dimensions in art and music stem from sacred Quranic spiritual mysticism, which was adhered too and are follwed by many mystical orders-(tariqats)which was instituted originally by prophet Muhammad (sws) to his companions (awliya), and was used and known at that period in time as spiritual mystical devotional music.

In Islam's art of music sciences, include some aspects in Islam which are in accordance with the teachings of a great theologian Abu Hamid al-Ghazali (1058-1111), an exceptional religious reformer, and a devout spiritual mystic. In his great authoritative work: "The Rivival of Religious Sciences"-"Ihya ulum al -Din", he integrated mystical Sufism and Orthodoxy. Ghazali's importance dealing with laws of "listening- Sama/Sema" and the music of ecstasy analysed the main cruz of controversiality. Ghazali came to an important conclusion that both statuatory and analgous evidence indicatively shows the admissability of art and music science in Islam. A major point in Ghazali's findings is that music and singing are a spiritual evoking of the truth in one's heart and soul. It influences the heart and soul which reveals itself and its contents to only Allah. This elaboration was also a prouncement made by another famous authority also a devout spiritual mystic al-Darani who said:"Music does not provoke in the heart or soul that which is not there." In those words the nature of music's influence on mankind very much depends on the basic intentions of the listener, and the purpose for which music is used. Ghazali clearly defines seven purposes for which music is allowed-(halal)and five cases in which it is forbidden-(haram) as follows:


MUSIC ALLOWED - HALAL

1)To evoke and invoke the love of Allah.

2)To elicit love and longing for Allah in circumatances that permit singing, playing of permittied instruments

3)To evoke lamentation and sorrow-the latter being of two kinds: (a) blameworthy (b) praisworthy.

4) to arouse joy.

5)To encourage pilgrimage, and only for those it is permissable

6)To incite for battle

7)To inspire courage on the day of battle


MUSIC FORBIDDEN-HARAM

1) When music is produced by singing and dancing of men and women in taverns and in other public places.

2) If certain instruments are used for only"secular" purposes, they are strictly forbidden for use for only"religious" purposes.

3) When the song's contents are not compatible with spiritual concepts and precepts of religion.

4) When the listener is ruled by thoughts of lust and lustful actions.

5) When a person listens to music for inviting sensuality for sexual reasons only.

The relations in dicussion between music and religious doctrine in the course of those controversies an ideological system or systems evolved, and has been the focus of numerous debates on technicalities of lexicography in texts. Music and religious doctrine consider the fact of concept of art and music are integrated into relavant system of thought. The inference is that music does not act independantly of its own fundamentals, nor is art and music to pursue the dictates of imagination. Religous art and music are subordinate too, and interacts with legitimate mankind's orientation to the universe of The Creator and to various wordly goals in life.

For the first time in Islamic history, the language , sound, and form was known as music art science, and it became its vehicle as Islamic music art science which was born in Arabia, and became an universal art, and has an intrinsic persona of its own esthetics. The sciences of art and beautiful music, did not exist in Orthodox Islam's concepts. The main reason was that ancient legists-puritan believers put great trust in the doctrine of influence (tahir)instead of Allah's creation. In the musical dogma of art and music,so theses beliefs is in an acretion of anthrophorphism which is supreme. Music is a part of the macrocosmic system of creation accepted by many Islamic philosophers, astronomers, mathematicians, and physcians. And by metaphysical reasoning melodic modes -(maqmat) and rythumic modes (iqa'at) were closely linked to the universe and so recognized by the holy prophet Mohammad (sws) himself.

The that was music practiced in religious ceremonials in ancient Arabia were practiced by believers who where encirling the (Ka'ba)"house of worship" and the "Black Stone"-"Seat Of Mankind" housed therein, and chanted a musical cantillation (talhin) as used a transmitted-(talbiyya) from Adam and Noah. These modes of musical chant were practiced during pilgrimage-(hajj) accompanied with fife/flute (shahin) and drum (bandir/tablah) during circumnabulation (raqs) around the "Ka'ba" and the "Black Stone" therein. Islam thus has its own specific religious art of music, incomparable to the smililarity of Christianity's church chants which have originally been borrowed from the religious chants of Islam's music art sciences.

The music hymns are in forms called praises (Illahis-nasha'ids) and has its place both inside and outside mosques, and along with recitation (Qira'a) of Quran and cantillation (talhin) , call to prayer (adhan-azan),and listening -(Sama/Sema) music of the Sufi-Dervishes fraternal/Maternal orders-(tariqats) with their many varied spiritual religious chants and ecstatic spiritual dances. The mode of recitation (Qir'a) and cantillation (talhin) lent itself to Quran because of its prosodic structure, it's content consists of rhymed prose (saj-gazal) making the voice modulate in recitation and cantillation-(talhin). Ibn Qutaiba (d.889) relates of an early chanter who practiced melodies for 'call to prayer'-(adhan-azan) as related by Ubaidallah b.Abu Bakr (559).Defitions of modes of Islamic art and music sciences: Cantillation was (lahn)- a dirge-like melody,and the lamentation is incomparable to any ordinary secular singing (ghina).

The "puritan legists"(fuqaha) who were in opposition to any music and looked upon all chanters and singers as "improper"- "(makruh)," so they discriminated between holy Quran's "cantillation (talhin)"religious chants, and the "secular" singng voice-(ghina), and so banned all music of that period in time. However, by the 9th.,century many melodies of popular ballads were being used in recitation- (Qir'a) and cantillation-(talhin)of Quran, despite the vehement opposition of some of the "puritan- legists." Recitation (Qir'a)and cantillation-(talhin) of Quran became one of Islam's most elite art of music science, and the greatest religious and cultural accomplishments, in its prosodic vocalization, perfect grammar, punctuation, with strictly governed rules laid down by Ibn al-Jazari (d.1429). Cantillation (talhin) was not confined to any fixed melodic sounds , it is found from Morroco to the Oxus, with many patterns and syles as there are mosques in the world.

During the time of the Orthodox Caliphs (A.D.632-61) at the close of the reign of caliph Othman (d.646), male musicians (mughanis) and instrumentalists (mitribs) came to the forefront in the person of one man Tuwais (d.710), who was acclaimed the first male musician under the banner of Islam. This musician copied from Nasht a Persian musician, who was compelled to include Arabian melodies in their music repertory. The Arabian music became well known, and a century later Ibahim al-Mausil an Arabian musician came to Persia, and he studied Persian styles of music there.

When the incomparable Zitiab peformed before Abd al-Rashman II (d.852), all who had proceeded him went into oblivion. There never was another male musician performer more admired. The Arabian school of music flourished in forms created by Ibn Mishah and Ishaq al-Masuli.The last periods of the Caliphate(1045-1258) heralded the decline of greatness. Political control went to the Turkish Seljuqs in (1037)and then Ottomans in(1453),and they became the new masters and brought a fresh cultural environment into the aforementioned lands.

Islamic art and music were born in Arabia, and was nurtured under Persian, Syrian, Turkish and Greek tuteledge and became a universal art of music science. Its intrinsic persona was changed by Safi al-Din (d.1294) who composed the Korasani scale of music, under Mughal and Turkish influences, which were followed into the 14th., century by the Pyhthagorean music scale which then spread elsewhere in the world. Finally with the adoption of the modern scales from period of Islam's "Goldenage," and al-Andalus into the West,and there where those who did preserve their art and music, which is still played in Morroco and other parts of North Africa -(al-Magrib,) and farther on into the modern contemporary world times.

copywrite 1998 R.V.A.© © ©




In The Name Of Allah The Most Beneficent The Most Merciful
SUFI ORDER-TARIQAT GUL NUR JIHANIYYA

RADIANT VALLEY ASSOCIATION




MUSIC INSTRUMENTS



BUZUQ-SAZ-stringed instrument, the name of it comes from Turkish meaning "bashi" name given to the Ottoman troops literally meaning "burnt head or uprooted." This instrument is an essential one in Rakbani style of religious music, it is a hybrid instrument of it's larger relative the deeper-toned saz, and is compared to as viola/violin in modern Western instruments. A long-necked fretted string instrument, the buzuq-saz is made with two metal strings which are played with a plectrum-pick, having an metallic lyrical resonance of sounds.



MIZAR-DAFF-a name for a type of popular instrument called a tamborine. It consists of round wooden frame, covered on one side with tight fitting goat or fish skin. Pairs of brass metal discs that are set into niches carved in frame, to provide the jingle sound when struck by hand, The sounds of this percussion instrument set the rythum of the music, particularly in the religious performances of Islamic classical styles of Islamic religious music.



KANUN-QANUN is a decendent of old Egyptian harp and has played an integral part in Islamic religious music since 10th.,century. A kind of zither-dulcimer, its Arabic name which means 'rule' or 'law'. The qanun-kanun was introduced to Europe by the 12th., century and came to be known during 14th-16th., century as a psaltry. The form of a qanun-kanun consists of a trapezoid-shaped flat board, over it spread 81 strings which are attached in groups of three with 25 treble chords to each note. The instrument is placed flat on knees or small table in front of musician the strings are plucked with finger-plectra-picks, one plectrum attached to the forefinger of each hand. More than any other type of instruments of Islamic music, qanun-kanun is suitable for display of virtuosity, and execution of fioture and rapid scales. this traditional instrument had been replaced by less complex harpsichord, exchanged with zither's plectra-picks with hammers which grew into the piano a percussion instrument.


HARMONIUM- are hand made musical instruments of stained, polished wood akin to the early pump-organ with keyboard and is played with right or left hand fingers while pumping bellows with the other hand. These instruments give amazing good sound. Their mellow, warm sounding tones blend well with human voices. These wood hand-crafted instruments come in varied sizes, and with its own unique sounds and styles, with differences in volumes, tonations, playing charecteristics, and each has its own individual scales, stops, bellows, and octave couplers, and these instruments are also prized for thier harmonious blends of graduated sounds in Islamic devotional music.


BANDIR-TAR-is framed wood hand drum with goat skin stretched over one side,this drum has great resonance of graded sounds, loudest being close too rim of drum,with progression toward center of drum being dullest sound like a beating heart. Drums are various sizes,having niches cut into one side of wood-frame as tumb-rest,some have small hole for thumb-rest insert. One hand holds drum resting in palm of hand, leaving four fingers for secondary beats on surface of rim. The main beats come with other hand beating surface of drum. Each hand-beat on surface of drum keep tones simulating rythumic heart-beats in Islamic religous spiritual music.




OUD-UD-literally means 'branch of wood" from the sambucus tree, it wa used between 6th-10th.,centuries, the instrument had only four strings; a fifth was added by Zitiab a famous musician, a 6th, string was added later in 15th., century. Shaped like a half pear with a short neck, oud-ud is 6 sets of 2 stringed instrument played with a plectrum-pick, often a trimmed eagle's feather, producing a deep and mellow sound.Used by Virtuosos all across the Islamic countries. And is referred to as the 'king' of all fretted instruments in Islamic religious music. The English word for oud-ud is lute which is derived from Spanish word 'laud' which originally came from the Arabic word al-oud.




DURNEY-which literally means 'dual' in Arabic, is a double pipe-reed later became an clarinet which was popular instrument used in Islamic religious music, and its equivalent is known as the North African maqrum.
NEY-is a single reed-pipe with rich long mournfull sound,and comes in many lengths with octaves higher/lower, and are simple hand-made instruments by the Lakmids-Persians. Both these instruments are played by blowing gently through a circular opening at one end, and by manipulating the holes down front of pipe tubes in order to produce specific sounds. In good performance the sounds are well reflected by the musical dialogue between moods of modes. Another similar relative is the minjarah, an open-ended small reed-flute played in the same manner as these reed-pipes.





DUMBEK-TABLAH is a membranaphone with goat or fish skin stretched over top of a vase shaped form with hollow opening in smaller end, it is usually made of baked ceramic or metal with intricate designs or plain. When played it is put bewtween the legs or hung with strap to shoulder leaving both hands free to beat top of skin on drum. The hands beat the rythum with hard short with inbetween beats which keeps well blended in the Islamic spiritual music hymns. A is smaller version which is long and slender that is placed on top of shoulder and played with one hand.




Many instruments used by Arabs, Persian and Turks were made in then Muslim Spain, were there were large factories that prided in craftmanship as works of art, as noted by Ibn Sa'id al-Maghribi (d.circa.1286). The many instruments made and used by religious and non-religious musicians entailed myriad variety. All these instruments shown here, were used for religious music only, were in use during prophet Muahmmad's (s.w.s) time and after as well. Some instruments utilized were from regional cultures.However, some other instruments were not permissable for religious music ceremonies, and are not listed here as those instruments are specifically used for only secular music.

copywrite 1998 R.V.A.© © ©







In the Name of Allah. Most Beneficient. Most Merciful








SUFI ORDER TARIQAT GUL NUR JIHANIYYA






BRIEF HISTORY OF SUFI MATRILINEAL ORDER




This particular matrilineal order has it’s lineage ties directly to prophet Mohammad (sws), his first wife Khatija (ra), and the seven paternal-fraternal orders at the earliest eras of Islam in Central Asian Sufism.During the soviet regime all the Sufi orders became inactive or suppressed in underground hiding to practice their spiritual beliefs. After the liberation of Central Asian countries, all the male orders became dominant assimilating many female orders into their branches. Many of the females Sufis who were liberated emerged into a new era,and were encompassed into the paternal-fraternal orders, excepting one matrilineal order which had remained active. Sufi matrilineal order “Nabi Gul Nur Jihaniyya” also known as "tariqat Gul Nur Jihanniya". This order still holds it’s many ties with the a few male dominated Sufi orders in Central Asia and else where in the world as listed here:










•Yessaviyya



•Qadriyya



•Kubraviyya



•Meleviyya



•Naqshbandiyya



•Khelvetiyya



•Chistiyya



Matrilineal Sufi order Gul Nur Jihaniyya had cell groups world wide, each having an grandmother Atin-Oy –apkaiys - murshidas - teacher who presides over the women members called murids-students.These Atin-Oy apkaiys - murshidas are independent cell groups from each other, and operate with their own duties towards their students, and touch bases with their spiritual grandmother grand sheykha-Piri head of the order once a year or as needed basis.

The first founding father was Prophet Mohammad (svs), and his first wife Khatija bint al- Kubra (ra), who was the mother of this particular order,and especially women’s orders, and all Sufi orders. In the early modern eras of Sufi matrilineal order “ Nabi Gul Nur Jihaniyya,” the spiritual head administrator of this order, was Es Sayed Grand sheykh-Pir Mustapha Nazim Razviy until his death in 1600s. The kalifat-line passed onto his eldest daughter Es Sayeda sheykha-Piri Mamouneh Gulnur bint Razviy, who became the head administrator until her death in 1800s. The kalifat-line then passed onto her young son Es Sayed sheykh-Pir Mohammad Kabir Razviy, whose premature death occurred during WW II. The kalifat-line was passed onto his eldest daughter Es Seyeda Kubra Nur Jihan bint Razviy, who was just a young child at that time, and her maternal grandmother was given charge of her young granddaughter’s spiritual care.

On the maternal side of young child, granddaughter of Es Seyeda Sheykh-Piri Margoubeh Khani Utush, who was then also was the spiritual administrator until her death in mid 20th century. The kalifat –line was passed onto her granddaughter then young woman Es Seyeda sheykha-Piri Kubra Nur Jihan bint Razviy. Who became the head spiritual administrator on into the present day matrilineal Sufi order Gul Nur Jihaniyya.

The head quarters for this matrilineal order were originally in Central Asian countries,of Tatarstan, Uzbekistan, Khazakistan and Tajikistan, with a small branch in China and Turkey. The original head quarters moved to the United States in the late 20th century; where young woman Es Seyeda sheykha-Piri Kubra Nur Jihan bint Razviy resides, and presided over her variety of duties. Es Seyeda sheykha-Piri Kubra Nur Jihan Razviy is known today by her given titled name: Es seyeda sheykha-Piri “Ane-Nuranem- Grandmother of Light”, a very appropriate,honorable title that was bestowed upon her by brother sheykh-Pir of Yessaviyya order in Uzbekistan.Presently she is affectionately known by all who know her as "Piri Nuranem," and is currently retired from her primary work, as professor-practioner of Alternative Medicine theraphies,Ethno-Botanical Nutrition, and Comparitive Religions in medicine.Upon her retirement it freed some more time,enabling her to concentrate on her varied duties consisting of: Sufi Spiritual Counseling. Education - Dawah. Eclectic writings. Research, and Natural Sufi healing. Radiant Valley Association was a Sufi oriented cottage entity within the umbrella of Tariqat Gul Nur Jihaniyya. All the products were handmade, designed, handcrafted, and were lovingly made for mostly women and children,and also included were many other free services.Currently sheykha -Piri Nuranem and entity R.V.A., are retired. A Hu!

1998 copywrite © © © R.V.A







FOR ALL THOSE WHO THINK MUSIC IS HARAAM, THINK AGAIN...............

_________________
Mein woh hoon jo kisi ne kaha:
HAM NAGHMA SARA KUCH GHAZLON KE HAM SOORAT GAR KUCH KHWAABON KE
BE JAZBA E SHOQ SUNAYEN KIYA KOI KHWAAB NA HO TO BATAYEN KIYA
Mon Nov 19, 2007 8:46 pm View user's profile Send private message Send e-mail
Shahzaibkhan
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Joined: 17 Jul 2007
Posts: 488
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COMMENTS ANYONE?

_________________
Mein woh hoon jo kisi ne kaha:
HAM NAGHMA SARA KUCH GHAZLON KE HAM SOORAT GAR KUCH KHWAABON KE
BE JAZBA E SHOQ SUNAYEN KIYA KOI KHWAAB NA HO TO BATAYEN KIYA
Mon Nov 19, 2007 9:38 pm View user's profile Send private message Send e-mail
Anne
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Joined: 17 Nov 2007
Posts: 3288
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Very Very Long but Enjoyed reading Shahzaibkhan.

I have got some good suggestions If you like......

How about if you skim the content of the post a little bit,
Make it shorter, More factfull and More Attractive....

It took me 37 Minutes to read and consume the content despite of my, then how about the average user? 1 Hour?
Its 550+ Lines Shahzaibkhan.

Most of the User will Run away by the very first look of this Huge Lengthy topic...

And those who will comment like "Great work" , "Good Job" , "Nice Post" are Mostly those who Never read your Post but post-up the Remarks...
Which is Not worth at all, then whats the point of posting if no ones read?
If they do Read, then lets see how many can figure out the Spelling mistakes that your post contains ... ???

Lets put yourself in the User seat, will you read someones else post which is 550+ Lines long..........???

Beleive me, If you Run a Poll: The Majority will be Agree to make it More Attractive, Shorter and Factfull.

Its always a Good Idea to have all the Information about the Topic in One post, but this only attracts 1 in 1000 people.
And if you are looking to Target the Majority, not the Minority of the Users then you have to Skim it...

I have worked on other Forums and also conduct a lot of Surveys and thats what ive comeup with so far....

Well thats Positive and Constructive comments from Me, dont take them Negative....

You are the Author of this post and its all upto you...!

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Mon Nov 19, 2007 10:06 pm View user's profile Send private message
Shahzaibkhan
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Posts: 488
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Anne wrote:
Very Very Long but Enjoyed reading Shahzaibkhan.

I have got some good suggestions If you like......

How about if you skim the content of the post a little bit,
Make it shorter, More factfull and More Attractive....

It took me 37 Minutes to read and consume the content despite of my, then how about the average user? 1 Hour?
Its 550+ Lines Shahzaibkhan.

Most of the User will Run away by the very first look of this Huge Lengthy topic...

And those who will comment like "Great work" , "Good Job" , "Nice Post" are Mostly those who Never read your Post but post-up the Remarks...
Which is Not worth at all, then whats the point of posting if no ones read?
If they do Read, then lets see how many can figure out the Spelling mistakes that your post contains ... ???

Lets put yourself in the User seat, will you read someones else post which is 550+ Lines long..........???

Beleive me, If you Run a Poll: The Majority will be Agree to make it More Attractive, Shorter and Factfull.

Its always a Good Idea to have all the Information about the Topic in One post, but this only attracts 1 in 1000 people.
And if you are looking to Target the Majority, not the Minority of the Users then you have to Skim it...

I have worked on other Forums and also conduct a lot of Surveys and thats what ive comeup with so far....

Well thats Positive and Constructive comments from Me, dont take them Negative....

You are the Author of this post and its all upto you...!

great comments, thanks a million!

_________________
Mein woh hoon jo kisi ne kaha:
HAM NAGHMA SARA KUCH GHAZLON KE HAM SOORAT GAR KUCH KHWAABON KE
BE JAZBA E SHOQ SUNAYEN KIYA KOI KHWAAB NA HO TO BATAYEN KIYA
Fri Nov 23, 2007 8:08 pm View user's profile Send private message Send e-mail
50centz
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Joined: 29 Nov 2007
Posts: 25

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wow dude dats long lolzzz
music aint haram as long as its done in an islamic way.. a perfect example is sami yusuf whose song's lyrics r related to Islam and wont make u think abt bad stuff when listenin to em....
Sat Dec 01, 2007 12:23 pm View user's profile Send private message
ugwaraich
Senior Proud Pakistani
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Joined: 22 May 2007
Posts: 1731
Location: uk

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Shahzaib,
Although I didnt have time to read all of your posts, but managed to get the juice of it by reading a few passages.
After all whatever I wrote in the other section about music as a reply to whatever you conceived, I believe you being a young mind and carrier of our beliefs and thinking are in a very dangerous situation.
You are confusing music with zikr and muraqabah, First of all I should tell you about the ethics of copying articles from the websites i-e please try to give references of the websites where you copied the articles from, if you dont give references then it means that you wrote them and then it is hard for readers to criticise or support your ideas. Secondly, where ever you read these articles from you should know the source of that material. i-e who wrote that material and if it is reliable orn ot.

Now throughout these articles the writer have been boasting about the musical and cultural power of Islamic era, which seems ridiculous because music is not the power of Islamic culture, its the values and the way of life that our Prophet (SAW) have opened upon us. Secondly on an on in these articles the author have been defending music by some Ahadeeths such as about maraqibah and zikr, which is absurd. It seems that you are trying to anchor your idea of justification of music by presenting the pro zikr and maraqibah ahadeeth. We need to know the differences between music and sufism.

As I said in one of my previous writings on the same topic, sufism never supported music as music was introduced into sufism by Hazrat Ameer khusro who later asked for pardon of doing so.
I would agree to some extent to 50 centz that it depends on the motive of the music, whatever the lyrics are. but again the guy he is talking about uses other modern music which have not been discussed or used in Islamic history.

Above all, as we talked about bida'at last time, if we couldnt find any signs of prohibition for music in Quran and ahadeeth and at the same time we couldnt find the support for music in Quran or sunnah, then adding up something which is not in Islam would be a bida'at such as relating sufism to music and etc.

As I previously said you are the carrier of our beliefs and thoughts you should know the delicate differences between the two.
Tue Dec 04, 2007 5:59 pm View user's profile Send private message Send e-mail
ahmet2910
Senior Member Pakistani
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Joined: 21 Jun 2008
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i am sorry i could not read the whole thing

however, i do ask one thing

is sufiism allowed in islam

i think not
Sat Sep 20, 2008 12:11 am View user's profile Send private message
Rumiya
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Joined: 19 Sep 2008
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Music Is HARAM................
Sat Sep 20, 2008 12:29 am View user's profile Send private message
ahmet2910
Senior Member Pakistani
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Joined: 21 Jun 2008
Posts: 909

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Rumiya wrote:
Music Is HARAM................



not all type of music
Sat Sep 20, 2008 12:15 pm View user's profile Send private message
loje
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can u give me what u understand from all this plz,,, in short sentences



i will wait for ur comment

thanks Wink

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Sun Sep 21, 2008 6:24 pm View user's profile Send private message
loje
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ahmet2910 wrote:
Rumiya wrote:
Music Is HARAM................



not all type of music


how is that ??? Rolling Eyes

can u explain more plz??????

and remember every thing u will say some people will take it as a fatwa and do it in thier life without return to the surces or even search by them selves

so be carfull in what u will say cos u will carry urs and thier sins

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Sun Sep 21, 2008 6:27 pm View user's profile Send private message
ultratronx
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Joined: 27 Apr 2008
Posts: 37

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Yes Sufism is an integral part of main stream Islam. Wahabis /Slafis deny it only. Certain Sufi Orders like Naqshbandi Order is very much against any sort of Music at all. Qadri and Chistia Silsila Support Sama but Naqshandi Sislsila does not promote Sama or Qawwali Either.
Sun Sep 21, 2008 7:32 pm View user's profile Send private message
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