What is the relationship between Islam and music, and is music permissible?

■ What is the relationship between Islam and music, and is music permissible?

🎙 Prof. Dr. Hussain Mohi-ud-Din Qadri

When we talk about music, often scholars do not provide a clear answer. Sometimes, there are issues where the answer is not clear, and we must accept them as they are. For example, in the case of music, the question arises whether it is permissible or not. I am not an authority to give a definitive answer on this, but I can share the wisdom of Hazrat Khwaja Nizamuddin Aulia ق, a revered Sufi saint from Delhi, India.

People once asked Hazrat Khwaja Nizamuddin Aulia about the permissibility of music, whether it is permissible or not. He gave a beautiful and wise response, saying, “Do not ask me whether music is permissible or not. Ask me, for whom is music permissible, and for whom is it not?”

This statement carries a profound message: things are not inherently wrong in their essence, but it is how they are used that may cause harm. If we were to explore the concept of music and its foundations, we can find evidence even during the time of the Prophet ﷺ and even before in the Qur’an, with solid arguments about music and its presence in the lives of people. In the Hadiths, scholars who reject music as permissible will bring arguments from the Sunnah of the Prophet ﷺ, and those who accept it will do the same.

Understanding this requires us to reflect on Hazrat Nizamuddin Aulia’s words: it depends on the individual and the purpose. For some, it may be prohibited, and for others, it may not be. The key point here is that music can have a profound effect on a person’s emotions. It can be a motivational tool, stirring up strong feelings. If the emotions stirred are for the sake of Allah and His Messenger ﷺ, then it can become an act of worship. However, if it is used to fuel desires, temptations, or encourage sinful behavior, it becomes a grave sin.

So, the permissibility of music ultimately depends on its use and the intentions behind it.

Hazrat Mawlana Jalaluddin Rumi, a renowned Sufi saint, is famous for the practice of the Whirling Dervishes, a spiritual dance performance that has become known worldwide and is associated with the Mevlevi Order. Interestingly, this practice was not a part of Mawlana Rumi’s family tradition. His father, a great scholar and a member of the Ahl Allah (the People of Allah), did not practice or endorse the Whirling Dervish tradition. Instead, this practice was introduced to him by his spiritual mentor, Hazrat Shah Shams Tabriz.

According to historical records, Hazrat Shams Tabriz advised Hazrat Mawlana Rumi to engage in the practice of whirling. He told him that it would benefit him but may harm others. The reason he said this was that Mawlana Rumi’s heart was pure and already filled with the love of Allah ﷻ. His soul was free from worldly desires, and when he would whirl, he would be detached from the world and immersed in Allah’s love. This love would take him into a state of complete selflessness and ecstasy, to the point where it would feel as if he was spinning purely for the sake of Allah.

However, Hazrat Shams also cautioned that others who are not in the same state of purity might misinterpret the practice, turning it into a worldly form of dance or entertainment. This is similar to the debate on music in Islam. Both sides can find evidence in the Qur’an and Hadith to support their views, but the important factor is how and where it is applied. The key lies in intention and context.

As I have discussed in my book, specifically in a chapter on music, in the context of the Indo-Pakistani subcontinent, the concept of Raag (musical modes) was introduced. For example, Raags like “Sa Re Ga Ma Pa Dha Ni” are used in traditional music in the region. Just as with the Whirling Dervishes, where the practice can be either a deeply spiritual act or misused as a worldly dance, music similarly can either be a tool for spiritual elevation or lead to worldly distractions.

Thus, the connection between the Whirling Dervishes and music is rooted in intention, context, and the purity of the heart.

The practice of music and its science, as it is commonly understood today, is largely based on the Raags (musical modes) introduced in the Indo-Pakistani subcontinent. You might be surprised to learn that the recitation of the Qur’an itself is a form of music. The principles underlying Qur’anic recitation, known as Tajweed, are based on the same principles that govern music. However, in Arabic, these principles have different names, such as Do, Re, Mi etc, which are essentially Raags in musical terms. The sequence of these sounds and their delivery, as I have elaborated on in my work, are based on these musical principles.

The six main Raags in music can be mapped onto the principles of Qur’anic recitation. These Raags have specific meanings that align with the delivery and expression of Qur’anic verses. For example, in Raag Sa, there is a sense of tranquility and balance. In Re, there is refinement and delicacy; in Ga, there is the notion of rejecting harshness; Ma represents beauty and eloquence; Ni reflects the structure and descending order of words in Qur’anic recitation, symbolizing harmony.

In the Qur’an, there are eight key Maqamat (musical modes or tonalities), which are analogous to these Raags. These Maqamat are part of the science of recitation and include terms like Beyat, Sigha, Hijaz, and Kurd, each carrying distinct tones that enhance the meaning of the words being recited. This means that when you listen to the Qur’an, you experience melody and rhythm, which are the very principles of music.

If there were something inherently wrong with the foundation of music, why would Allah ﷻ structure His Qur’an with such musical principles? The issue, therefore, is not in the principles themselves, but rather in their application. If music is used to fuel worldly desires and distractions, it becomes sinful. However, if it is used in the service of Allah and His Messenger ﷺ, to inspire love for the religion and motivate people in times of struggle—like the recitations during battles or celebrations—then it can be a source of great spiritual benefit.

For example, when Sayyida Aisha (رضي الله عنها) was hosting a gathering with women in the house of the Prophet ﷺ during a festival, she and the women were reciting songs of joy. When Abu Bakr (رضي الله عنه) entered and expressed disapproval, the Prophet ﷺ reassured him, saying, “Let them sing, they are celebrating.” This incident can serve as a precedent for the permissible use of music in certain contexts, such as during joyful occasions or to uplift spirits for a good cause.

Thus, the best approach to music in Islam is to understand its application: Which music is appropriate and which is not, depending on its intention and context. If it serves Allah ﷻ, it is blessed; if it serves worldly desires, it becomes harmful.

Muhammad Farhan Jamil 4.1.25