{[Islamic Art –] Music [continued (3)]}[15th April 1991]

[Redbook9:118-119][19910415:0840m]{[Islamic Art –] Music [continued (3)]}[15th April 1991]

19910415.0840

[continued]

‘After the advent of Islam a deep change occurred in the social function of music. Emphasis was laid on music as entertainment * and sensual pleasure, rather than as a source of high spiritual emotion, a change mainly resulting from Persian influence.** Knowledge of music was obligatory for the cultured person. Skilled professional musicians were highly paid and were admitted to the caliph’s palaces as courtesans and trusted companions. The term tarab, which designated a whole scale of emotions, characterises the musical conception of the time and even came to mean music itself.

‘Fashionable secular music – and its clear association with erotic dancing and drinking – stimulated hostile reactions from religious authorities. As Muslim doctrine does not sanction permitting or prohibiting a given practice by personal decision, the antagonists relied on forced interpretations of a few unclear passages in the Quran… or the Hadith. Thus both supporters and adversaries of music found arguments for their theses.

‘In the controversy, four main groups emerged:

(1) uncompromising purists opposed to any musical expression;

(2) religious authorities admitting only the cantillation of the Quran and the call to prayer, or adhan;

(3) scholars and musicians favouring music, believing there to be no musical difference between secular and religious music; and

(4) important mystical fraternities, for whom music and dance were a means towards unity with God.***

‘Except in the Sufi brotherhoods, Muslim religious music is relatively curtailed because of the opposition of religious leaders.’

****

*{cf [?] 65}

**NB: A pattern emerges, throughout, of Persian G~ to Arabic Muslim M~.

[Hmm....]

***

**** – ibid [Encyclopaedia Britannica 22:65]

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