DISCOURSES OF QUR’ANIC CHANTING (TARANNUM) AND TAJWÎD
CHAPTER 4 DISCOURSES OF QUR’ANIC CHANTING (TARANNUM) AND TAJWÎD
In chapter four, the writer tackles a quite deep arguments, that of differentiating between tarannum and tajwîd. While this distinction is not meant to diminish the broad and universal understanding of other scholars towards chanting, somehow it is important to underline it. This will help us to locate the real knowledge and teachings within their proper boundaries and establish them on genuine fundamentals. 142 For that reason, the
writer will continue to explain the knowledge of tajwîd and tarannum widely and analytically as well as to argue the statement of Denny in clarifying tajwid as a quamusical activities and also recite melodiously, which actually is not the characteristic of tajwid rather it is the characteristics of tarannum. The are differences of several points related to both aspects, for instance from its types of recitation, principles, requirements, methods of teaching, arrangement, stage of voices and rules of Fiqh according to ‘Ulama’
A. Debates on Tajwîd and Tarannum In The Oxford Encyclopedia of the World Modern Islamic, the definition is
known in Arabic as ‘Ilm al-tajwîd, “the science of embellishment” by means of correct innotation, pronunciation, and rhythm. The term tajwîd most often means the entire science of Qur’anic recitation as performance, although it sometimes is taken to mean, more narrowly, the highly embellished, dramatically moving, quamusical chanting performed by the most advanced reciters. The latter is more often called the mujawwad style. The rules of tajwîd can be traced back to the prophet Muhammad in
their rudiments, although it was some time before tajwîd 143 manuals began to appear. What is tajwîd? The word tajweêd or tajwîd means to improve, make better.
Tajwîd of the holy Qur’an is the knowledge and application of the rules of recitation
142 Francis Robinson, Knowledge, Its Transmission, and the Making of Muslim Societies, in The Cambridge Illustrated History of the Islamic World , ( Hong Kong: Cambridge University Press, 1998), p-
208-210
Frederick M.Denny , The Oxford Encyclopedia of the World Modern Islamic, (New York:Oxford University,1995)p.397-399, see also
But when the Qur’an was revealed, the Prophet (peace and blessings of Allaah
be upon him) wanted to make them focus on the Qur’an and raise their voices and make them beautiful when reciting it. He wanted that to take the place of singing, whilst paying attention to the correctness of the recitation. So in place of the pleasure of singing, they were given the pleasure of reciting Qur’an, just as everything forbidden was replaced with something that was better for them.
1 – It may be that what is meant by taghanni is that which resembles singing and music, and impressing others with the tune, without understanding and without any humility, as mentioned in the hadeeth which describes the Signs of the Hour.
2 – It is unlikely that taghanni means being content with the Qur’an alone and having no need of people, because the meaning is different and is linguistically unacceptable.
This making the voice melodious in recitation should be done in a natural manner, not by means of teaching and training according to the rules of music.
Ibn al-Qayyim mentioned that reciting Qur’aan with a tune and in a melodious voice, if it is done naturally with no exaggeration or special teaching or training, then it is permissible. If extra effort is added to the natural tone to make it more beautiful, such as when Abu Musa al-Ash’ari said to the Prophet SAWS (peace and blessings of Allaah be upon him), “If I had known (you were listening), I would have made it more beautiful for you,”.
Another applied definition: articulating every letter from its articulation point and giving the letter its rights and dues of characteristics. Right of the letter is its required characteristics thet never leave it. The dues of the letter are its presented characteristics that are present in it some of the time, and not present at other times.
i.e. the madd, idgham and other.
In clarifying the recitation, the process and practices related to this aspect, data should be simplified into diagram which illustrated the use of terminologies in Qur’anic recitation. The main important here is the idea of applying the correct terminologies with the correct activities. Below, is the diagram consists of many
related subjects of Qur’anic recitation including tarannum, Qira’at as Sab’ah 144 ,
memorization 147 , Rasm Uthmanî and tafsir ( exegesis) .
144 The seven readings were standardized in the second/eight century. Ibn Mujahid, a ninth century Muslim scholar, wrote a book entitiled The Seven Readings, in which he selected seven of prevailing
modes of recitation as the best transmitted and most reliable. Another best summary of this matter is perhaps cointained in the word of the scholar Abu’l Khair bin al Jazârî ( d.833/1429), who wrote: “ Every reading in accordance with the Arabic(grammar) even if (only) in some way, and in accordance with the one of the masahîf of Uthman, even if only probable, and with sound chain of transmission, is a correct (sahîh) reading, which must not be rejected, and may not be denied, but it belongs to the seven modes (ahruf) according to which the Qur’an was revealed, and the people are obliged to accept it, no matter wether it is from the seven Imams, or the ten or from other accepted Imams, but when one of these three conditions is not fulfilled, it must be rejected as weak (da’îf) or exceptional ( shâdh) or void ( batîl), no matter wether it is from the seven or from one who is older than them”.
145 Memorization ( hifz,tahfiz) of the Qur’an was the earliest form of transmission of the text and has been practiced by Muslims since the revelation began. The Qur’an is perhaps the only book in human
history that has such an outstanding tradition of oral transmission which can be traced back to the Prophet Muhammad himself. Although many Muslims known as hafiz (pl. huffaz) have memorized the complete Qur’an, it is obligation for each Muslim to memorise as much of it as he is capable of doing. It is reported from Ibnu ‘Abbas that Allah’s messenger said: “ He in whose heart there is no part of the Qur’an is like unto a deserted house”.
146 Rasm Uthmanî is a way of grammatical writing of Qur’an based on the Uthmanî’s system. This version of text, also known as ‘Mushaf Uthmanî’ in fact constitutes the ijmâ’ ( consensus) of the sahaba, all
of whom agreed that it cointained what Muhammad had brought as revelation from Allah.
The word ‘tafsîr’ is derived from the root ‘fassara’- to explain, to expound. It means ‘explanation’ or ‘interpretation’. In technical language the word tafsîr is used for explanation, interpretation and commentary on the Qur’an, comprising all ways of obtaining knowledge, which contributes to the proper understanding of it, explains its meanings and clarifies its legal implications. The word mufassir ( pl. mufassirun) is the term used for the person doing the tafsîr, i.e. the ‘exegete’ or commentor’.
Diagram 1 148 : The Process of Qur’anic Recitation
This diagram shows the flows of Qur’anic recitation practice by Muslim’s all over the world. The numbers place at these practices does not represent the stage of exercises, rather it is to show the quantity of exercises belongs under on roof that is the further studies in Qur’anic recitation.
Muslim starts to know Al Qur’an, will be taught with how to pronounce the letters or huruf. The sound of letters is called as Makhârij al Huruf. This is the beginning of primary knowledge of tajwîd. Then, at the same time, student or reciter learn about Sifât al Huruf (Characteristics of the letters), rules of the letter nun and tanwîn , rules of the letter mim; rules of prolongation [mad] rules of the letter Lam and thickness and thinness of the letters while reading. Normally the teacher or trainer will guide and explain the student about these main knowledge ( tajwîd).
According to Abdul Qadir Leong al Azhari, tajwîd means to pronounce the characteristics of the letter ( siffâtul hurf) and fulfil the emission point of letters(
This diagram emphasizes on Qur’anic recitation conceptualized by the writer after plenty of observations and studies upon the process and practices of this subject. The main source of this concept is own experience as the practitioner, teacher, trainer and judge since 1986 – until 2009- the time of writing this thesis).
and techniques of reciting the Qur’an 150 , following its real characteristics, emission and other. Furthermore, someone will learn how to identify the way to recite certain
letters at different positions. The significant objective of tajwîd is to keep the tongue from the wrong pronunciation while reciting the Qur’an. Throughout the years, tajwîd system had followed the rules of Arabic grammar, therefore the performative aesthetics of Qur’anic and vocalization and its technical artistry based on its syntax in
a natural way. 151 She added, the science of tajwid is written out, and quantified. But you will never be able to see it; it is not an abstract theory or set of rules as
systematized by a “teaching curriculum” but a practice to be perfected only through learning and to be fully internalized through applied strategies of feeling. 152
Frederick M.Denny 153 is actually inappropriate to describe the way of the art in reciting the Qur’an is just like ‘Ilm tajwîd especially to relate it to the chanting.
149 The meaning of the original ( asli ) sounds of the letters are the typical characteristics of the letters itself, which cannot separate from certain aspects, such as Ghunnah ( in the letter nun and mim),
Jahr, Syiddah, Isti’la’ and other. 150 Each of its verses is an overflowing source of guidance and a mine of teaching and of mercy.
Whoever desires eternal bliss and success in the ways of religion and the world should heed the Book of God day and night, and memorize its verses and blend them with his thoughts. Thereby, he would tread in the light of the ‘wise remembrance’ [Q.3:58] toward a success which has no end, and an “imperishable gain” [ Q.35:29]. Numerous traditions have been transmitted from the Imams of guidance and from their noble grandfather (peace be upon him and his progeny) on the merits of reciting the Qur’an. Among these are the following:
The Imam al-Bâqir said:The messenger of God( peace be upon him and his progeny) said:”Whoever recites ten verses at night will not recorded among those who are neglectful. Whoever recites fifty will recorded among those who are mindful; whoever recites one hundred verses will be recorded among the obedient; whoever recites two hundred will be recorded among the humble; whoever recites three hundred will be recorded among the triumphant; whoever recites five hundred will be recorded among the diligent; and whoever recites a thousand, for him there will be quantities of gold nuggets.”, read Muhammad b. al Hassan al-Hurr al’Amîlî, Wasâ’il al-Shîa ila Tahsil al-Shari’a, ed. Mirzâ ‘Abd al Rahîm al Rabbânî, (Tehran: Al-Maktabat al Islamiyya, 1969), p-33-35
Abdul Qadir Leong al Azhari, Tajwid Al Qur’an, Rasm Uthmani, (Shah Alam: Pustaka Salam, 1998), p-7
Her explanation based on her field study on tajwid,in Indonesia. Indonesian system for mastering tajwid were not only understood in terms of “rules” but more salient for the learners’ practice was their own situational competence and the affect conveyed through context of pedagogy. See Anna M. Gade, p-130-132
Frederick Mathewson Denny is Emeritus Profesor of Islamic Studies and the History of Religious at The Muslim World and served for many years as a member of the Editorial board of the Muslim World and served for many years as a member of the Board of Directors of the American Academy of Religion. Surf www.colorado.edu/faculty/staff on 23 September 2009.
This confuse statement will lead to the misinterpretation towards the real meaning of tajwîd . Tajwîd is the way to recite and say the letters, phrase, ayah and verses of
kalam Allah with the correct pronunciation and grammar. 154 On the other hand, he himself states that:
“The Arabic word tajwîd is a verbal noun ( masdar) of the active verb jawwada, which literally means to “do well,”but takes on the richer connotation of “to embellish,” in the case of recitation, by means of the voice. Tajwîd does not occur in the Qur’an, but came later to mean the art of recitation in the sense of the phonetic rules and other related aspects. The term is used to mean more than one thing.”
Furthermore, he added about the definition of tajwîd as:” A terse definition of tajwîd is “rendering the recitation beautifully,” and that requires some skill in matching rhythm and melody to the recitation, by means of at least a rudimentary training in the standard forms of Oriental music, known in Arabic as maqam(-at) , for mode(s), and naghma ( naghamat), for melodies.” Meanwhile, Sumin in his thesis stated that recitation of the Qur’an with tajwîd needs unique style and it is one of the arts of voice. This statement is lying under one roof. Sumin said; “ Membaca Al Qur’an sesuai dengan ketentuan tajwid memerlukan teknik tersendiri dan karenanya merupakan salah satu bentuk seni suara.”
Then, at the same time, he also accepted that another opininon on the art of voice is reciting Qur’an with melodies and rhythm;
“ Di lain pihak karena ia seni suara, maka dapat pula disertai dengan irama atau lagu. Irama bacaan al-Qur’an yang khas telah popular di kalangan ummat Islam terutama bagi qari yang memiliki suara yang baik. Akan menjadi lengkap dan sempurnalah apabila Al Qur’an dibaca dengan suara yang baik dan disertai irama
yang menarik.” 155
154 Muhammad Shadiq Qamhawi, Al-Burhân fî Tajwîd al-Qur’an, (Beirut:Dar al-Fikr,1981),p.9
Syar’i Sumin, Tesis Seni Baca Al Qur’an dan Qiraat Tujuh,( Jakarta, UIN , 2006), p-15
When we look forward into these statements considerately, we are confronted to two important points. Firstly, Denny does not use a single experience, reference and assumption. Its writing on Qur’anic recitation and chanting activities, together in discussing tajwid, uses many references, articles, experiences, field analysis and so on without clarifying the principles and methodologies related to both exercises. He had been studying Qur’anic recitation for a long time, attending the related occasions of tilawah al Qur’an and he has plenty of sources to rely on. However, the fact remains that his argument on tajwid as a quamusical activity does not utilize the principles of tajwid itself, he stands to identify it according the word ‘jawwada’ means to
embellish and beautify. 156 Second opinion, William A. Graham in his writing, Qur’an as Spoken Word,
states that tajwîd has encompass many traditions and types of recitation, the most “ornamented”(mujawwad-from the same root as tajwîd) of which involve sophisticated knowledge of musical artistry as well as complete memorization, knowledgable technique, careful comprehension, and sensitive interpretation of the whole Qur’an. 157
According to many other scholars in tajwîd, the meaning of tajwîd refers to a rigorous system of rules that establish the proper vocalization of the Qur’an, thereby
determining its actual rhthym 158 and sound. According to al-Suyuti(d. 911/1505) in
156 Frederick M.Denny, “Qur’an Recitation : A Tradition of Oral Tradition of Oral Performance and Transmission .” Oral Tradition 4, no. 1-2 ( 1989),p-10-17, see also, Denny, “Qur’an Recitation
Training in Indonesia: A Survey of Contexts and Handbooks,” In Approaches to the History of Interpretation of the Qur’an , Ed. By Andrew Rippin, ( Oxford: Clarendon Press,1988),p-288-306
157 William A.Graham, Qur’an as Spoken Word, ed Richard C. Martin in Approaches to Islam in Religious Studies, (USA: The University of Arizona Press, 1985), p-35, see Muhammad al Ghazali, Âdab
Tilâwat al-Qur’an, Ihya’ Ulum al Dîn, ( Beirut: n.p,n.d), vol 8, p- 272
158 Rhythm here the same as Rhymes, which occur at the end of the verses, we can occasionally
detect rhymes, different from the end-rhymes, occurring in the middle of verses. These give the impression of a varied arrangement of rhymes. Rudolf Geyer pointed out some of these, and argued that stanzas with such varied rhymes were sometimes deliberately intended in the Qur’an. In going through Geyer’s examples, however we do not get the impression that any pre-existing forms of stanza were being reproduced, or indeed that any fixed forms of stanza were being used. There is no fixed pattern.
his writing, al Itqan fi Ulumil Qur’an 159 , tajwîd is often defined in the sources by some variant of the phrase, ‘ giving each sound its correct weight and measure.”
Therefore, this statement, from the earlier scholar in Qur’an sciences, indicated the real meaning and function of tajwîd which declined the definition given from the several other scholars who claimed that tajwîd is also a quasi musical system of recitation and sometimes relates to the recitation with melodies or tarannum or chanting.
The term tajwîd 160 does not occur straightly in Qur’an; however it has been stressed by the Prophet. Furthermore, the practice of recitation according to such
guidelines is understood to have been a central dimension of Islamic piety since the beginning of Prophet’s mission. Systematic treatises on tajwîd claimed by the scholars appeared in the fourth century, A.H and were circulated widely. After that, tajwîd was fully developed and qualified as both term and practice. One of the main characters in developing tajwîd is Ibn al-Jazari. Most of the works after this period tends to follow the system and rules made by al Jazari. 161
B. Aspects in Tarannum and Tajwîd In the following discussion, there will be several explanations on the
differences of aspects in Tarannum and Tajwîd. This diagram will proof and argue with the statement of Denny, about the terminology of tajwîd and after that known as
159 Jalal al Dîn ‘Abd el Rahman al Suyûtî, Al Itqan fi Ûlûmil Qur’an, Juz 1, p-70
The science of tajwîd, buttressed by that of the qiraât and tafsir, has been the guardian and normative mediator of the Qur’anic text as living scripture in the Muslim community. Because of its predominantly oral character, tajwîd has received even less modern scholarly attention than qirâât, which themselves have hardly been dealt exhaustively. The writer does not come out with any topic on qirâât as Sab’ah because to make a specific idea focusing on tajwîd and tarannum understanding. It is encouraging to note, however, that recent years several scholars, most notably Labîb al Sa’îd, Louis Lamya al Faruqi, Kristina Nelson, Frederick M. Denny and others, have done much to redress this deficiency. They demonstrate through their consideration of both the classical literature on qirâ’ât and tajwîd and the living tradition of Qur’an recitation in its contemporary center.
Anna M.Gade, Perfection Makes Practice,Learning,Emotion, and the Recited Qur’an in Indonesia , (Honolulu; University of Hawai’I Press, 2004) p-28-29, see also Al Hâfîz Abû al-Khair Muhammad bin Muhammad Ibn al Jazârî, Al Nasyr fi al Qirâ’ât al ‘Asyr, Juz 1(Kairo: Dar al Misriyyah),p- 20-25, Anne M. Gade, History of Religions: Taste, talent and the problem of Internalization: A Quranic Study in Religious Musicality from Southeast asia, Vol.41,p-2
Qur’anic chanting. 162 Comparison between two terminologies: chanting ( tarannum ) and reciting with correct pronunciation ( tajwîd) shows that there is a vast difference
between them, but it is difficult to define them. In fact, tajwîd is fixed and grammatically define in one’s recitation, where as tarannum 163 or chanting is made
up from various songs, melodies, traditions, level of voices and cultures. 164 Diagram 2: The Differeces among tarannum and tajwîd 165
Tajwîd
Tarannum
1) Types of recitation
Hadr 1) Tartil with melodies
Tadwir 2) Tahqiq with melodies 2) Principles
1) Makhrâj Huruf
1)Divide into two types
2) Sifâtul Huruf
3) Rules of the letter
a) Tarannum Misri
nun and tanwîn
b) Tarannum Hijazi
4) Rules of the letter
mim a) Tarannum Misri-consists
5) Rules
of of 7 songs/melodies
prolongation [mad] 6) Rules of the letter -Bayyati, Nahwand, Rast,
LAM
Hijaz, Soba, Sikah, Jiharkah
7) Thickness
and
b) Tarannum Hijazi-consists
Thinness of the letters ( tarqiq and
John Wansbrough, Qur’anic Studies, Sources and Methods of Scriptual Interpretation, New York: Prometheus Books, 2004), p-111
In this chapter, the writer will use the word tarannum to describe Qur’anic chanting . 164 Ahmad Nuruddin Mat Yunoh, Tesis Seni Lagu Qur’an:Kajian Terhadap Sumbangan Haji Nik
Ja’afar Nik Ismail , p.6, see also Muhammad Soleh bin Ahmad al ‘Abidin, Sirâjul Qari, (Kota Bharu: Al Ma’arif, n.d), p- 1, read ‘Ali bin Usman Ibn Muhammad Ibn Ahmad al-Mubtadî al-Baghdadî, Sirâj al-Qârî, ( Beirut: Dâr al-Fikr, n.d), First printed, p-48
165 This diagram is conceptualized by the writer to specify the differences of tajwîd and tarannum .
tafkhim) of many songs such as:
- Nikriz, Ramal, Bajankah, Kurd, Ragbi, Kard Kurd
3) Requirement No Specific Requirement to Priority given to the person learn this ‘ilm
who has : 1) Beatiful voice 2) Luhûnul ‘Arab
4) Techniques applied
1)Baghdâdî
1) Traditional
2)Iqra’
2) Contemporer ; 1) tawshîh 2) melodies of maqâmât 3) graf notes
5) Stage of voices
Divided into 4 stages: ( in reading)
Not specific
1)Qarar,2)Nawa3)Jawab, 4) Jawabul Jawab
6) Hukm/ Rules
Learn tajwîd: Fardhu Ain
Learn tarannum: Fardhu Kifayah
Recite
with
tajwîd :
Compulsory
Recite
with tarannum : Mandûb
7) Arrangement on the Fixed and follow the tajwid Depends on the qari to verses
system- of Ibnu al Jazari
arrange songs or melodies on the verses.
1) The Difference in Types of Qur’anic Recitation Tajwîd and Qira’a is the knowledge of recitation (‘ilm al qira’a), discourse
was initially by Ahmad Von Denffer, through his ‘Ulûm al Qur’an, An Introduction to the Sciences of the Qur’an . In this book, Von Denffer includes three main branches of recitation according to his interpretation, first is the knowledge of tajwîd,i.e. correct and good pronunciation, second is the knowledge of the various readings or it is known as Qirâ’at as Sab’ah, third is the knowledge about the various modes of recitation, among them: hard,i.e at normal talking speed, tartil, i.e. slow, for reading and reflection, tajwîd tahqiq, i.e.like tartil, but with greatest care, for the purpose of teaching and learning, tajwîd (also known as tadwîr), between hard and tartîl.
He added that tajwîd is vital since it is a basic part of knowledge of qira’a, its importance is obvious. One of its excellent advantages, return is that proper knowledge about tajwîd, which is not difficult to acquire, will leads and guides
people to recite Qur’an 166 correctly irrespective of whether one knows the language
and meanings of the verses 169 or not. Qur’anic recitation provides not only an
166 Saying about understanding verses of al Qur’an, there is a scholar, Christoph Luxenberg, on the other hand remarks that the Qur’an contains much ambigious and even inexplicable language, and esserts
that even Muslim scholars find some passages difficult and written reams of Qur’anic commentary attempting to explain the passages. However, the assumption behind their endeavors has always been that any difficult passage not true and meaningful. Luxenberg added that he proppsed to expand the number of languages to be consulted. He then argues that the Qur’an is based on earlier texts, namely from other language of Christian churches in Syria, and that it was the work of several generations to adapt these texts into the Qur’an today. See, Christoph Luxenberg, The Syro-Aramaic Reading of the Koran-a Contribution to the Decoding of the Koran, (Berlin: Verlag Hans Schiler, 2007),p-1, therefore in this details explanation about Qur’anic recitation, at the same time, we definitely decline the Luxenberg arguments on Qur’an, with all the tajwîd, methods of teaching and several other proofs of Qur’an to show that it is the Holy book of Muslims, ever and ever from the Almighty God ( Allah) without any doubt.
For today many Muslims do not understand the Arabic of the qur’an, and even the average Arab of today has little access to the Qur’anic language. Hence, the great need to encourage all muslims, especially the youger generation, to attempt to learn the language of the Qur’an and to constantly refer to reliable translations of the Qur’an in one’s mother tongue as long as one has not yet progressed in Qur’anic Arabic. See further discussion, in Ahmad Von Denffer, ‘Ulûm al Qur’an, An Introduction to the Sciences of the Qur’an , ( Great Britain; The Crowwhell Press, Revised 1994), 164, Read Mannâ’ al Qattân, Mabâhith fi ‘Ulûmil Qur’an , ( Cairo: Maktabah Wahbah, n.d), p-44-45, Compare to the education since yound, the discussion can be explore in Fadhal Hunâ, al La’ab ‘inda al Itfâl, ( Damsyiq: Dâr al Masyriq, 1998) , p-1-3, p-120-124.
168 Ahmad Von Denffer, ‘Ulûm al Qur’an, An Introduction to the Sciences of the Qur’an, p-167 169 The great scholar Abû Hamid Al Ghazalî ( d.1111) employs the categories of “internal” and
“external” in his description of proper recitation. Through his writing, Ihya’ Ulum al Dîn, volume 8, His ideational bifurcation of “inner” and”outer” experience and their implied synthesis in practice demonstrate “external” in his description of proper recitation. Through his writing, Ihya’ Ulum al Dîn, volume 8, His ideational bifurcation of “inner” and”outer” experience and their implied synthesis in practice demonstrate
learning, etiquette 170 and memorization. The exact methods of reciting the Qur’an is actually divided into these
categories;, Tahqiq Tartil, Hadr and Tadwir. Jalal al Dîn al Suyuti mentions in his book, Al-Itqan fi Ulumil Quran 171 as follows;
1. Tahqiq, namely reading in accordance with the proper, each letter mad, be read in accordance with the length of the correct reading, the complete harakat, obviously in agreement with the tajwîd. This is such an exercise to get the correct pronunciation in recitation. Another definition is, tahqiq is a slow, precisely enunciated form of recitation, in which absolute clarity in the oral rendering of the text is paramount. Tahqiq is not the kind of recitation that is offered up for public listening; rather. It is intended for full aural analysis of the text as it should be articulated. Tahqiq is the basis for the best melodic chanting, because it provides a complete performance map, as it were. It is not the familiar or normal style of recitation and it is rarely heard outside teaching or practice contexts.
the ideal, intimate relation of types feeling in the practical performance of recitation. Al Ghazali’s External Rules are ten. The first rule concerns the condition of the recite, should state in purity. The second and third rules provide an acceptable range of options for the amount of readingto be done. The fourth task concerns the orthography of the Qur’an. The fifth task is that the recite read the Qur’an with tarttîl; al Ghazali writes that it is better to read one surah slowly than to “bable” the entire text. The sixth rule is weep means praised in the Qur’an, and writes that both listener and recite weeps as an effect of the content of the Qur’an, especially its threats and warnings. The seventh and eight rules concern the prostrations to be performed at various moments of the recited Qur’an as well as the proper prostrations to be made before and after recitation ( including formulas to recite). With the ninth rule calls on the reciter to read the text aloud without disturbing others. The tenth task is to read beautifully and with control; al Ghazali writes that the rewards for rememberance of God through beautiful recitation are great, unless the recite engages the art as an “affectation.” Notice that in al Ghazali’s “external” system, objective and quantitative instructions elide into subjective and qualitative instructions. Read al Ghazali, Abû Hamîd Muhammad ibn Muhammad al Tûsi, Kitâb al adhkaâr wa adda’wât, Ihya’ Ulûm ad Dîn, (Cairo;n.p,n.d) , p-105
170 The etiquette of reading and reciting are: keep the Qur’an in a clean place, seek only Allah’s pleasure not any worldly gain, concentrate fully and leave aside all other preoccupations, be ritually clean,
and sit on clean ground, preferably sit facing the Qiblâ, ibn Mas’ûd read the Qur’an in the mosque while kneeling on both knees, ( see Kamal, Ahmad ‘adil, ‘Ulûm al Qur’an, ( Cairo : al Mukhtar al Islamî, 1974), p-114, observe humility, tranquility and respect, begin with ta’awwudh, and basmala, read with a good voice, ask Allah’s blessing when reading a verse which contains a promise, and ask allah’s help when reading a verse which contains a threat, repeat important verses many times, say sadaqa-llâhu-l-‘âzîm, at the end of the recitation and close with du’â that Allah may accept it from you.
171 Jalal al Dîn ‘Abd el Rahman al Suyûtî, Al Itqan fi Ûlûmil Qur’an, Juz 1, (Kairo:Maktabah wa Matba’ah al Masyhad al-Husainî, 1967),p-70-76
2. Tartil denotes a specific style¸ characterized by slow, rhythmic, non-melodic recitation, emphasizing clear and distinct enunciation according to the phonetic rules of tajwîd. Tartil is plain, unadorned, non-“musical” recitation. As often being said that all tahqiq is tartil, but not all tartil is tahqiq. Tartil attainable and should be attempted by as many minimally equipped Muslims as possible. It is also a recommended style since past. Tartil should not be too slow or too fast as it is the clearest and least adorned recitation, and giving the opportunity for the reciters to understand the message and meanings of the verses. According to Muhammad Shamlûl in I’jaz Rasm al Qur’an wa I’jaz al Tilâwah, tartil is one of the way to recite Qur’an which at the same time, keeping and preventing the whole verses from any mistakes. Normally, if someone recites Qur’an in a tartil method, he manages to pronunciation the letters nicely, saying the verses
correctly, slowly, systematically and carefully. 172
3. Hadr is a stage of velocity readings. This method is to ease reading by shortening, breadfruit, badal, and ease of reading idghâm glottal stop and so on, as it is true in history with respect to the truth i'rab and recite and pronounce correctly without ignoring tajwid. Moreover,it includes separation by abbreviate reading. In addition, hard is a rapid form of recitation that proceeds more quickly than the untrained ear can follow. Hadr recitation still follow the tajwîd system but not in
a very fine points. Nevertheless, it is considered adequate, especially for individual or private.
4. Tadwir means reading halfway speed between Tahqiq and Hadr followed by most experts’ reciters. Namely, those who read the mad, has to be careful about it, reciting it can be long but not as the same as insha '. It is not a separate style, because it pertains to speed, falling between the speed of tahqiq and hadr style.
172 Muhammad Shamlûl, I’jaz Rasm al Qur’an wa I’jaz al Tilâwah, ( Cairo: Dâr al Salâm, 2006), p-3-5, read Ahmad Von Denffer, ‘Ulûm al Qur’an, An Introduction to the Sciences of the Qur’an, p-167-8,
One of the famous ulama’ in Al Qur’an, Ibn al Jazari explains in his writing, Matn al Jazariyah 173 as below: “ The main part before reading Qur’an is to learn
about the makhârij al-Hurûf and Sifât al Hurûf, so that one can pronounces fluently in Qur’anic letters (2) Master in tajwîd (3) Know about the Waqf place (4) know the
knowledge of Rasm Uthmanî.” 174 Ibn al Jazârî’s 175 statement shows us the important of learning tajwîd before
reciting the Qur’an. Thus, showing it is a compulsory rule in recitation together with other disciplines in it. If it is compulsory to recite Qur’an with tajwîd, hence the learning about this knowledge is obligatory ‘wâjib’ too. This statement is parallel to the ‘fiqh’ theory 176 : “Something which has to be the perfect rules of obligatory aspect, thus it becomes obligatory too.” 177
Beginning with the types of Qur’anic recitation, the principles of tajwid, the principle of tarannum, the comparison to one another in order to build the arguments on these matters, the writer emphasizes on the principles a lot, consecutively to let the community knows better in that subjects. Many people claim they know what they are ( tajwid and tarannum), but most of them do not familiar with the principles, systems, practices, methods and values. Therefore, the explanations are needed before the arguments and analysis of the scholars.
In defining the recitation of tajwid and tarannum, the terminology used is Qira’at al Mujawwad . In understanding the term mujawwad, the or sometimes is called as ‘tartil’ is reciting al Qur’an with nice voice and follow by musical artistry.
Hayah ‘Ali al Husainî, Mulhaq al-Mufîd fî ‘Ilm al-Tajwîd, ( n.p,n.p, 1997),p.1, see also Sobir Hassan Muhammad Abu Sulaiman, Hidayah al-Ma’rid fi Bayânî Humi al-Tajwid, ( Cairo: Dar al-Mariah, 2003), p-23
Ibn al Jazârî, is Muhammad ibn Muhammad ibn Muhammad ibn Muhammad ibn ‘Alî ibn Yûsuf Abû al Khair Syamsuddîn. He was the most famous teacher of Qira’at during his period. His famous book entitled al-Nasyr fî al-Qirâ’at al-Asyr, and also Gâyât al Nihâyah, fi Tâbaqât al-Qurra’ and Ma’rifat al-Qurra’ . He died in 833H. Read, Ibn al Jazârî, Gâyât al-Nihâyah fi Tabâqât al-Qurra’,(Makkah:Dâr al- Bâz,n.d),I, p-14,
Ahmad al Burnû Muhammad Sidqî, Al Wajîz fî Idafî Qawâ’id al-Fiqh al-Kulliyah ( Beirut: Mu’assasah al Risâlah, 1983), p-269
TI C1 : L TI L$
However, mujawwad here does not means tartil, and far to define as Qur’anic chanting. Muslims practice reciting the Qur’an, uses the tartil method, which is slow and keep the system of tajwîd well, at the same time, they also follow some mujawwad style which is little bit intone in voice but does not means the musical artistry like the specific chanting does.
From the tajwîd lesson, the individual will continue to recite the Qur’an, at the same time, they proceed with the way or tartîl, which leads to the murattal readings, some of the students recite verses with their own intone voice which is cannot be say it is the Qur’anic chanting elements. Somehow, they also read it in term of mujawwad style, this is the misconception of many scholars, saying that it relates to a beautiful recitation with some melodies in the voice. Actually, mujawwad is the process of reciting the Qur’an using the tajwîd system, and in tajwîd, there are multiple grammatical rules and sound which look likes the rhythm and rhymes for the recitation. It is more to the way of reciting it in term of ritual expression, with some melodies naturally comes out from the recite, but again, it is not the one that we called as tarannum, nagham or in the world term, Qur’anic chanting. Chanting on the other hand, contain various principles, traditions and practices of reciting Qur’an with certain melodies.
Another opinion, M.Gade said that there are two principal styles of recitation, both called tilâwah and both conforming to the rules of tajwîd: murattal and mujawwad . Mujawwad is a more melodious and ornate style of recitation, where as murattal is straightforward, often rapid in a pace. She added that these are the style that the Muslim children learn to recite the Qur’an. However, she did mention the word mujawwad was not widely known, She realized that the usage of Qur’anic recitation is more to tilâwah and sometimes among nonspecialists, tajwid ( at time
somewhat confusingly) often denoted the slower, more ornamental style. 178 Tarannum on the other hand is a melodious recitation of Al Qur’an.
178 Anna M. Gade, Perfection Makes Practice, p-30
While the chanting of the Quran (tajwid) is unquestionably a Muslim religious practice with very early beginnings, it is important to note its resemblances to Sephardic, Armenian, and Eastern Orthodox chanting traditions. It is likely that Quranic chant began in efforts to imitate the sound of other liturgies. Be that as it may, the chanting of the Quran became one of the few standardized artistic expressions of Islam across linguistic and ethnic boundaries. While there are several recognized schools or styles, all require classical Arabic pronunciation, and there are fixed rules for how specific letters are to be pronounced.
Though it is true that most of the world’s Muslims, who are not Arabic speakers, do not understand all of the words of the Quran when they are chanted, the same thing holds true for the
Latin, Sanskrit, or Hebrew chants in the rituals of other faiths. Thus it is necessary to regard chant-listening as a spiritual and social experience, and not primarily a means of communicating precise meaning. Today, Quranic chant can be commonly heard on radio and television, especially during religious festivals or holidays, and in some countries, such as the Islamic Republic of Iran, official government events often open with some chanted passages. Chant instruction -- both voice training and interpretation of cantillation marks – has experienced a modern revival across the Muslim world, particularly in non-Arabic-speaking lands, which testifies to its function as a pan-Muslim experience.
Other sciences in the advance knowledge of Qur’anic recitation, is nagham, tarannum ( Qur’anic chanting), second until fifth points are well known to the community, they discussed and analyze them in the wider theories, arguments; all over the world. From the lists of the diagram, obviously, the arguments, conversation, dialogues and exchange ideas on the matter is very modest. Whereas, there are plenty books, references and journals on Qira’at as sab’ah, Rasm Uthmani, Tafsir and Hafiz ( memorization) done by many scholars either Muslims or non Muslims. By following the rest of the study and explanation, we can get the clear picture of
tarannum th as what had been practiced by the Muslims’ societies since 18 century.
2) The Difference in principles
a) Tajwid Recital or reading of the Holy qur’an is technically known as ‘tilawah’. This statement of Syed Anwar Ali, convinced that it has its own unique principles. ‘Tilawah’ has, down the ages, developed into an independent science known as ‘Ilm al Tajwîd ’ which consist in the knowledge of the peculiarities of the spelling and pronunciation of the words and phrases, difference in various readings, ejaculations, responses and supplications, divisions, punctuations, marginal instructions, and the
correct intonation of the verses. 179 According to Ahmad Von Denffer, principles of Tajwîd consist of four major
aspects, first the knowledge of the articulation points of the letters(makhrâj al hurûf), second, the characteristics of the letters (sifât al hurûf), third, the system of what rules change in the pronunciation of the letters due to the order and the encounter to the other letters (mâd and idghâm), finally, how to apply the measured grammar (tartil,
tadwir, tahqiq, hadr 180 of the letters with their marks(harakât). However, in many other sources, the knowledge of tajwîd, is discuss widely and consists of various
discipline, the major skill to grab for the Muslim are as follows; as stated and systemized by ibn al Jazârî:
i. Emission points of the letters; the emission points of the letters, or Makhârijul Huruf , is the study of where the sounds of the different letters are emitted from. There are 17 places, in various regions of the throat, tongue, lips, nose, as well as the mouth as a whole for the prolonged (Mad) letters.
ii. Characteristics of the letters; the characteristics of the letters, or Siffat al Huruf , refer to the different attributes of the letters. Some of the characteristics
179 Syed Anwar Ali, Introduction to the Study of Qur’an, in Qur’an, the Fundamental Law of Human Life, vol.1, ( Pakistan: Hamdard Foundation Press, 1987),p-98-99
180 Muhammad Makki Nashr, Nihayah al-Qaul al-Mufid fi Ilm al Tajwid, ( Cairo: Mustafa al-Babi wauladih,t.th), p-7 180 Muhammad Makki Nashr, Nihayah al-Qaul al-Mufid fi Ilm al Tajwid, ( Cairo: Mustafa al-Babi wauladih,t.th), p-7
be the whistling (Safeer), which is an attribute sound of air escaping from a tube. 181
iii. Rules of the letter nun and tanwîn ; the nun sakînah and tanwîn (vowels that produces a "nnn" sound immediately after it) can be pronounced in four different ways: Clear (Idhar))(V<,<% \<]<F<), Merged with the next letter (Idgham), Hidden (Ikhfa), and changed from a "nnn" sound to a "mmm" sound is (Iqlab). 182
iv. Rules of the letter mim; the mim sakînah can be pronounced in three different ways, clear (Idhar), prolonged nasalization (Ghunnah), and uncloselipped (ikhfa shafawî ).
v. Rules of prolongation [mad] ; these rules refer to the number of beats that are pronounced when vowel letter is followed by a Mad letter. The Mad letters are Alif, Yaah , and Waw. The number of beats can range from 2 counts ordinarily. 4 or 5 counts when there is a Hamzah (%), and the maximum six counts when it is followed by a shaddah.
vi. Rules of the letter LAM ; the Arabic word for "the" is al- (the letters alif and lam ). The lam in al- is pronounced if the letter after is "qamariyya" (lunar), but silent if the letter after is "shamsiyya" (solar).
v. Thickness and Thinness of the letters ; some of the Arabic letters are always pronounced thick with a heavy accent (Tafkhîm) 183 . Some letters are pronounced
thin with a light accent (Tarqeeq). The first category of letters is called "mufakham", the latter "muraqqaq". Some letters depend on the scenario, and are sometimes pronounced thick, and sometimes thin.
181 Further elaboration about Siffât al Huruf can be seen in the insert section. The writer chooses to show this characteristics in the form of picture. Thus, it helps other to really understand with the correct
characteristics of each letter. 182 Shamlûl says it is important to learn and memorize the rules of letter nun and tanwin, as well as
other rules because, without them, we are unable to recite Qur’an as what had been taught by Jibrîl to our Prophet SAW. See Muhammad Shamlûl, I’jaz Rasm al Qur’an wa I’jaz al Tilâwah, p- 4
183 There are two letters, relate to tafkhîm and tarqiq, letter lam ^ and the letter ra’ (*).
Tajwîd also requires mastery of the many notations in the Qur’anic text. The stipulated optionality of the system of tajwîd makes orthopraxy reading of the Qur’an the continual application of impeccable judgments as well as good habit. To be a good practitioner of tajwîd, someone must possess some knowledge of the meaning of the Arabic text; therefore, he meets the challenge of exercising the choices in vocalization
according to the rules of tajwîd. 184 This further elaboration and discussion will improve the analysis of tajwîd
according to the writer. Coincidently, the writer will argue with the misperception or misunderstanding or any confusion towards the subject. Below are the details principles of this subject. One of the main elements of learning to read the Qur’an is to study the makhârij , or “points of articulation” of letters.
i. Emission points of the letters: Makhrâj Huruf. There are 29 basic letters in Qur’anic recitation. These letters are known as Hija’iyah letters of Arabic language and this usage will continue in the discussion.
Makhraj is a placed of the flows and the stops of breathe while sounding the Qur’anic
letters. According to Ibnu al Jazari 187 , these makrâj is divided into 5 sections/ parts:
184 Proof of the obligatory to recite Qur’an with tajwîd and tartîl reading is the hadith : “ Warattilil Qur’ana Tartîlâ”, Recite Qur’an with tartîl ”, ‘Muttafaqun ‘Alaih”, narrated in Sahih Muslim. Another
hadith, is : “ Ta’allamu al Qur’ân Waqrauûhu, Fainna Masalul Qur’an Liman Ta’allamahu Faqaraahû Kamasalili Jirâbin Mahshû Miskan Yafûhû Rîhuhû Fi Kulli Makân, Waman Ta’allamahû Fayarquu Wahuwa Fi Jaufihî Famasaluhû Kamasali Jirin Ûkiâ ‘Ala Miskin , narrated by Tirmidhî.
185 Subhi as Salih, Mabâhith fi ‘Ulumil Qur’an, ( Beirut: Dâr al ‘Ilmi Lil Malayîn, 1988), p- 90-95, read also Subhi as Salih, Membahas Ilmu-ilmu Al Qur’an, translated by; Tim Pustaka Firdaus, ( Jakarta:
Pustaka Firdaus, 1999), p-105-110
Ibn al-Jazari, Munjid al-Muqri’în wa Mursyid al-Thâlibîn ( Beirut: Dâr al-Kutub al- ‘Ilmiyyah,1980),p-19-20
187 Syar’I Sumin claims that there are several qari whom have excellent voice and pronunciation of makhârij al huruf , they are Syekh Mahmud Khalil al Khusyairi, Syeikh Mustafa Isma’il, Syeikh Abdul
Basith Muhamad Abdus Samad and Syeikh al Mutawalli from Egypt. See Syar’I Sumin, Pengenalan Qari- qari, Bunga Rampai dan Mutiara Al Qur’an, ( Jakarta:PP. Jam’iyatul Qurra’ Wal Huffazh, 2006), p- 55-57
1.Part of the mouth / airstream of mouth and airstream of throat ( = ) , 2. Part of throat ( W 8 ) , 3. Part of tounge (
) , 4. Part of lips ( >& ) , 5. Part of nose / nasalization ( Khaisyum) ,(3 & + ).
From the above five parts, they are divided into 17 smaller parts of makhrâj 188 First makhrâj : from airstream of mouth and airstream of throat, Comes out the mad letters, Alif ( ), wau
,ya’ 5 , and called as G 1 I)(in the circle of airstream). Second makhrâj: inner throat, comes out the letters , ha’ and hamzah % . Third makhrâj: central of tongue, comes out the letters ‘ain V and ha’ (F). Fourth makhrâj : upper throat ( near to the tongue), comes out the letter ghain (]) and kha’ (\) . Fifth makhrâj: lowest tongue, when the lowest tongue touch the upper ‘langit-langit’ , comes out the letter qaf (_). Sixth makhrâj : mid lower tongue, outer from the letter qaf, comes out the letter kaf (`) , both kaf and qaf are called ‘lahwiah’ G C , because they come out from that area.
Seventh makhrâj: central of tongue, press to the upper part in the mouth ‘langit- langit’, will come out the letter jim (a), syin b , and ya’ (5). These three letters are called ‘syajariah’ because they come out from the central of tongue. Eighth makhrâj: Tongue side left or right , being pressed to the upper teeth, comes out the letter dâd (c), it is also called as ‘janbiah’ (G !"I). Ninth makhrâj: tip of tongue being press to the front gum and the airstream of mouth, comes out the letter lam (^) . Tenth makhrâj: tip of tongue being press to the front gum and sound ‘nnn’ , comes out the letter nun . 189 Eleventh makhrâj: end of tongue, and open an airstream of mouth, comes out the letter
ra’ * . These three letters, lam,nun and ra’ are known as ‘zalqiah’ , because they come out from the end of tongue.Twelfth makhrâj: touching the end of tongue to the back of in front teeth, come out the letters,ta’ d , dal Q , ta’ ( ). These three letters are called ‘nit’iyyah’ G 6 .
The examples of makhrâj and the picture can be read in the insert section at the end of this thesis. 189 Abdul Qadir Leong al Azhari, Tajwîd al Qur’an, ( Kuala Lumpur: Pustaka Salam, 1998),p-18-
40, see Muhammad Sôlih bin Zainal ‘Abidin, Sirâjul Qâri, ( Kelantan, Dâr al Ma’arif, n.d), 2-68, see also Ibn al Jazâri, Munjid al-Muqri’’in wa Mursyid al-Thâlibîn, ( Beirut: Dâr al Kutûb al ‘Ilmiyyah, 1980),p-3
Thirteenth makhrâj: touching the end of tongue to the back of lower front teeth, come out the letters, sad (e), sin f , and zay (K). But, the air pressure of the makhrâj for these letters are differ from each other, either light or strong, thus the result of the sound for the letters become differ to one another. These three letters are called ‘asaliah’ ,(G 9 ) . Fourteenth makhrâj : touching the tip of tongue in between the upper teeth and lower teeth. Comes out the letters za’ (g), zal # and tha’ (h). These three letters are called also as ‘lisawiah’ (G i ) . Fifteenth makhrâj: lower lip touch the end of upper teeth, comes out the letter fa’ W . Sixteenth makhrâj: the meeting of both upper and lower lips, when pronouncing a letter while open, comes out the letter wau ( ) and when while closely touch and say, comes out the letter ba’ (D), and mim (3). The four letters are also called as ‘syafawiah’ G >J .
Diagram: 3, Makhârij al Hurf. 190 The seventeenth makhrâj : the nasal part, the tip of the tongue touch to the upper part
of mouth ‘ langit-langit’, with the sound ‘nnn’ , comes out, the letter nun ( ). But when
190 Badrawi Zahran, Fî ‘Ilm al Aswâtill Lughâwiah Wa ‘Uyûbun Nutq, ( Cairo; Dâr al Ma’arif, 1994), p-79-105 190 Badrawi Zahran, Fî ‘Ilm al Aswâtill Lughâwiah Wa ‘Uyûbun Nutq, ( Cairo; Dâr al Ma’arif, 1994), p-79-105
important to recite Qur’an with good pronunciations and makhrâj huruf. 191 However, Muslims should not only know about tajwid but, they must fluently memorize all the
knowledge of this subject. Without these skills, one cannot recite Qur’an as what is demand by the religion. 192
According to Muammar Z.A, reciter should give the letters of Qur’an with their correct rights of makhârij al huruf. But in tarannum, we have to be wise in pronouncing the letters. The reason is to make sure that the reciter will not lack of the energy in saying the letters heavily or exaggeratedly. 193 Badrawi Zahran in his book, Fî ‘Ilm al Aswâtill
Lughâwiah Wa ‘Uyûbun Nutq clarifies the important of makhrâj huruf as part of saying and reciting something. He also accepted the parts of makhrâj huruf are 17 places as what had been implemented by Ibn al Jazarî.
Furthermore, in discussing this matter, he identifies these parts with detail pictures and elaborations with some scientific terms; syafatânî as ‘bilabial’ for the place of two lips upper and lower, syafawî asnânî as ‘labiodental’ for the lower lip with upper teeth, asnânî as ‘dental’ for the tongue and upper teeth, lathawî as ‘alveolar’ for the tongue and hard palate, attawâî as ‘vetroflex’ for the palate and tongue, ghârî as ‘palatal’ for the tongue and soft palate, layyin as ‘velar’ for the tip of tongue, lahwî as ‘uvular’ for the tip of tongue, halqî as ‘pharyngal’ for the part of larynx and hanjârî as ‘glottal’ for the
glottis of sound. 194
ii. Characteristics of the letters/ Sifât al Huruf 195
Misbahul Munir, Ilmu dan Seni Qiro’atil Qur’an,Pedoman bagi Qari-Qari’ah, Hafidh- Hafidhoh dan Hakim dalam MTQ , (Semarang: Binawan, 2005), p-141-170, see also Muhammad Shamlul, I’jaz Rasm Al Qur’an wa I’jaz al Tilâwah, ( Cairo: Dar al Salâm, 2006), p-1-3
Muammar Z.A, Pembinaan Suara dan Teknik Pernafasan, Bunga Rampai dan Mutiara Al Qur’an , ( Jakarta:PP. Jam’iyatul Qurra’ Wal Huffazh, 2006), p-54
Muammar Z.A, Pembinaan Suara dan Teknik Pernafasan, p-54
Badrawi Zahran, Fî ‘Ilm al Aswâtill Lughâwiah Wa ‘Uyûbun Nutq, p-81 195 The two most common tajwîd mistakes made by non-Arabs are the timings of the vowels, and
madd letters, and in the articulation points of the letters. At the outset, the letters that occur in Arabic that madd letters, and in the articulation points of the letters. At the outset, the letters that occur in Arabic that
3^_]VgdcK*#QaD% . Opposite of this characteristic is the Hams, weak and breathe sound of vowel. The letters are 10 e \ b , h F W `f .
b) Isti’la’ and Istifal, Isti’la means high, there are 7 letters g _ d ] c e \ in this category while Istifal means to low, and the related letters are 21 f K * # Q F a D%
5 ,3^`WVb .
c) Ithbaq and Infitah; Ithbaq means to close shout of the tongue , it has 4 letters e gdc . While Infitah, loosen the tongue of the soft palate when saying the vowel. There are 24 of themj other than the 4 letters.
d) Ishmat and Idzlaq ; Ishmat is the heavy letter which need to be pronounce slowly because it far from the edge of the tongue. There are 22 letters; b f K # Q \ F a h % 5,`_]Vgdce . Idzlâq is the light letters, easily to sound seems its makhrâj is at the tip of tongue. There are 6 all of them D ^ 3 * W .
are not common in other languages would be what one would imagine to be a problem, but in fact, there are letters in Arabic that are similar to other languages, but do not share the same articulation points with their counterparts. The letters that occur in Arabic, that are not common in other languages are: F \ V ] e c
gd . Letters that have similar sounds in other languages, but in fact have different articulation points are: ^ * ` _ Q .The first two (starting from the right), use the tip of the tongue from the top side and what lies opposite from the tip of the tongue from the gum line of the two top front incisors. Many different languages have similar letters, as in English there is “d” and “t”, but they articulate these letters at
a posterior position in the mouth from what the Arabs use as an articulation point. The result is an incorrect pronunciation of these letters when reading Qur’an. The ra’ and lam are two letters that non-Arabs have some difficulty in pronouncing correctly. The ra’ uses the tip of the tongue and the top of the tip and the gums of the two top incisors, but the trick to the ra’ is actually hitting the gum. Many Muslims try to pronounce the ra’ without touching the tongue to the gum. Some mistakenly use the throat, like the French do in the French “r”. The Arabic lam has the widest use of the tongue of any other letters, but uses only the end of the sides of the tongue until it ends at the tip, which then hits the gums of the front upper eight teeth. Another mistake incurred by Arabs and non-Arabs alike is in making proper stops and starts. There is more than one aspect to this mistake. The first aspect is that the proper way to stop on a word is by putting a sukûn, or absence of a vowel on the last letter of the word. It is not allowed to stop using the harakah, or vowel on the last letter of the word. The second aspect if someone stops at the wrong phrase and meanings, intended by Allah, the Exalted. The same mistake can occur when starting up after stopping and taking a breath. Reading a transliteration can lead to changing the meaning of the Arabic Qur’an by mispronouncing letters. See Syed Anwar Ali, Introduction to the Study of Qur’an, in Qur’an, the Fundamental Law of Human Life, vol.1, ( Pakistan: Hamdard Foundation Press, 1987),p-98 a posterior position in the mouth from what the Arabs use as an articulation point. The result is an incorrect pronunciation of these letters when reading Qur’an. The ra’ and lam are two letters that non-Arabs have some difficulty in pronouncing correctly. The ra’ uses the tip of the tongue and the top of the tip and the gums of the two top incisors, but the trick to the ra’ is actually hitting the gum. Many Muslims try to pronounce the ra’ without touching the tongue to the gum. Some mistakenly use the throat, like the French do in the French “r”. The Arabic lam has the widest use of the tongue of any other letters, but uses only the end of the sides of the tongue until it ends at the tip, which then hits the gums of the front upper eight teeth. Another mistake incurred by Arabs and non-Arabs alike is in making proper stops and starts. There is more than one aspect to this mistake. The first aspect is that the proper way to stop on a word is by putting a sukûn, or absence of a vowel on the last letter of the word. It is not allowed to stop using the harakah, or vowel on the last letter of the word. The second aspect if someone stops at the wrong phrase and meanings, intended by Allah, the Exalted. The same mistake can occur when starting up after stopping and taking a breath. Reading a transliteration can lead to changing the meaning of the Arabic Qur’an by mispronouncing letters. See Syed Anwar Ali, Introduction to the Study of Qur’an, in Qur’an, the Fundamental Law of Human Life, vol.1, ( Pakistan: Hamdard Foundation Press, 1987),p-98
`D , while Rakhawah sound of the voice weak , consists of 15 letters ] g c e b f K # a F h
5,W 196 . In between these characteristics, there is Mutawasitah caracteristics, the letters are * 3 V ^ . Other than these characteristics, we will discuss the singular
characteristics, which do not have their opposite. The first one is as Safîr, a breathe pressure comes out from the mouth slowly ( Bersiul). The letters are f K e. While the second one is al Qalqalah, to pronounce the letter strongly when stop, divided into two parts; Qalqalah Kubra and Qalqalah Sughra. They are a Q _ d D. Thirdly, al Lîn, means weak and soft, the letters ; 5 . Fourthly, al Inhirâf, to amend into something, * ^ are soft in saying them. For the conclusion, all these seventeen letters discussed above can be divided into two parts; A) Strong ; consists of 11 characteristics: 1) Jahr, 2) Syiddah 3) Isti’la 4) Ithbaq 5) Ismat 6) Safir 7) Qalqalah
8) Inhiraf 9) Takrir 10) Tafasysyi 11) Istitalah, and Ghunnah. B) Weak ; consists of 6 letters : 1) Hams 2) Rakhawah 3) Istifal 4) Infitah 5) Izlaq 6) Lin 197
iii. Rules of the letter nun and tanwîn Ahmad Von Denffer, explains Nûn Sâkin and Tanwin as the letter nûn with sukûn
is called nûn sakin e.g. in the word min $ , while the symbols for an , in , un are called tanwîn, as e.g. in the word ghafûrun * >k. 198 There are divided into 5 sections;
namely Iqlab, Idgham; Ma’al Ghunnah and Bilâ Ghunnah, Izhar Halqî and Ikhfa’ Haqiqî . Below are the diagram of the principles of Nûn and Tanwîn.
196 Abdul Qadir Leong al Azhari, Tajwîd al Qur’an,p-19, 197 Refer to textbook of Kemahiran al Qur’an, Tingkatan 4 dan 5, Kementerian Pelajaran Malaysia,
( Kuala Lumpur: JAPIM, 2004), p-2-14, 198 Ahmad Von Denffer, ‘Ulûm al Qur’an, An Introduction to the Sciences of the Qur’an, p-168
199 Diagram 4 : Principles of Nun and Tanwin
The full assimilation is when either of the two letters ra * or lam ^ follow nun sakin or tanwin, there occurs full assimilation (idgham) of the n-sound to the letter after it, e.g.:(mir-rabbihim ) and (wa lam yakun lahu kufuwaan ahad) . Another one is the nasal assimilation. When one of the letters ya 5 nun mim 3 wow follow a nun sakin or tanwin, there occurs assimilation with nasalization (idgham bi-ghunna) of the n-sound to the letter after it, e.g.:
(man-ya’mal
5 ?P6 $
(yauma idhin-na’imatun)
GPS [l$
(rasulun-min qabli)
Those three main discussions in Makhrâj explain the genuine of Ilm Tajwîd, the rules and system and the wide discussion of recitation structure. The discussion of tajwîd with all its components might need huge explanation and elaboration. The writer comes out with several examples only. The first elements of learning to read the Qur’an are to study the makhrâj, or point of “articulation” of the letters. The second of discussion is the “attributes” (sifât) that determine degrees of sound assimilation. These include qualities such as elevation ( isti’la’), depression (istifâl), softness (tarqîq) and heaviness(tafkhîm).
199 The example can be seen in the insert page at the end of the thesis.
Another important aspects on tajwîd is rumuz al auqaf, There are many marks and symbols written between the verses of the holy Quran which guide the reader where
he should stop, take breath, pause, or not to stop, during the recital. One cannot just start on the next word arbitrarily, instead the meaning needs to be considered, and the start should be on a word that portrays the correct and complete meaning, even if the reciter needs to go back two or three words. It is vital that the Muslim learn the Arabic letters and vowels and recite the Qur’an using them, not a transliteration. Transliterations do not take into account the various letters that sound similar to the untrained ear, but are very different in pronunciation. The Qur’an is the word of Allah, revealed to man as guidance, and we have to be extremely careful to read it, as best we can, with proper pronunciation.
Contrast to the principles and rules of tarannum, more discussion relates to intone and melodies. Actually, in the tarannum, one could not access the beautiful recitation and chanting before he learns the basic of tajwîd. Without tajwîd, one cannot chant the Qur’an well, but without chanting or tarannum, one always recites Qur’an with tajwîd well if he knows and practices them finely. There is tajwîd in all ways to recitation and tarannum . Whereas, we can say that, there is no tarannum in the tajwîd.
b) Tarannum ( its primary principles) Another important part to know is the terminologies use in tarannum. To be qâri
or qâriah, the individual learn and practice the terminologies on the verses. In the tarannum syllabus in ‘Kelas Kemahiran Al Qur’an’ ( Special Qur’anic Class) in Malaysia, the usual terms for these melodies are :
1) Harakat : each line of melody consists of several ‘qit’ah’(submelody) and followed by certain ‘mahattah’ (ending of each melodies)
2) Qit’ah : the shortest submelody for each song ( lagu) without any ‘mahattah’ ( ending of each melodies)
3) Mahattah : the ending of melodies for each harkat (lagu)
4) Wuslah Mumâsalah : there are two definition relates to this term: 4) Wuslah Mumâsalah : there are two definition relates to this term:
b) One approach of two harkat tarannum which are transferred to one another.
5) Burdah : It is the flowering voice or the waves of the voice. Consists of two categories: Burdah Aslî ( the genuine burdah) and Burdah Sinâ’i ( made / arranged Burdah)- arranged beautifully to follow the melodies of harkat.
6) Salâlim Tulu’
: ascending voice with melodies
7) Salâlim Nuzul
: descending voice with melodies
8) Ihtilâl Lahn : the mismatching melodies (make up) by the reciters which sound nice and special in the harkat.
9) Luhûn al ‘Arab : the Arabic vowel pronunciation and sound (letters and words), or imitate the sound of Arab people pronunciation for the Qur’anic
verses. 200
i. The melodies ( lagu) in tarannum Focusing in this discipline, Ja’afar in his writing, Qawa’id al Tarannum
elaborates an example of melodies or songs accepted in the Asia, especially in Malaysia; Bayyati, Nahwand, Hijaz, Shoba, Rast, Sikah and Jiharkah. These songs are practice by qari and qariah in Malaysia, Indonesia, Singapore and other Asian countries. Parallel with this idea, Muhammad ‘Arabi al Qabbani in his book Kifayah al mustafid fi ‘ilm al Qira’ah wa al Tajwîd states the famous melodies are also the same as Ja’afar.
Javier Alejandro Garavaglia comes out with several questions on the relations of the melodies (lagu) to the listener and also the one who recite it. How does the relationship "creator - listener" function in a musical and melodies work? How does a
Ahmad Syahid, M.A, Sejarah dan Pengantar Ilmu Nagham; Bunga Rampai Mutiara Al Qur’an , (Jakarta: PP Jam’iyyatul Qurra’ Wal Huffazh, 2006), p-18-19, different definitions of tarannum and nagham found in several books such as in Qawâ’idh At-Tarannum, written by Nik Ja’afar Nik Ismail, 1997, see also Misbahul Munir, Ilmu dan Seni Qiro’atil Qur’an dalam MTQ, (Semarang:Penerbit Binawan, 2005)p 69-71, another book written by him, Pedoman Lagu-lagu Tilawatil Qur’an dilengkapi dengan Tajwid dan Qasidah , (Surabaya:Apollo, 1997),p 26-28
specifically in the case of interactive music? 201 The theory of music, studied by the early Islamic scholars and today remains one
of the most studied art forms in the Islamic world. A number of scientific and philosophical treatises by ancient greek scholars like Plato, Aristotle, and Archimedes were translated into Arabic starting with the second and third centuries of Islam (700-800 B.C.E.). These works provided a model for later studies by Islamic scholars with associations of music, the healing affects of music, instruments, and other technical specifies such as tuning systems and melodic ( maqâm) and rhythmic modes. Melody theory in general, provides a shared concepts and technical aspects of music for communication. Through tarannum, we can say that the reciter is communicate with then verses from Almighty God. How does it work? The feelings of the music and rhythm, melodies in Bayâtî, Rast, Nahwand, Hijaz, Soba, Sikah and Jiharkah, bring marvelous impressions towards the listeners, moreover the recite feels very much affected when he recites the verses with wholeheartedly and understanding the messages convey by the God.
Further elaborations of lagu, will somehow give the answers of Garavaglia’s questions. The characteristic of Bayati is soft but steady melodies, suitable for the low voice (qarar) and moderate voice (nawa), or the stages of voice are always called as ‘tabaqat’ (the stage / level) of voice. It has the harmonious melodies which is suitable for the opening and closing of the recitation. Sometimes, it can be combining with Husayni melodies, normally at the level 6 or 7 of harakat (lagu). Husaynî means good or beautiful; it has been popularized by the Hijâzi qâri, and after that improved by qâri from Egypt. The model of its melody is more strenghful and suitable to the high voice. The significant of it is to give motivation to the verses. Thus, this kind of melody will convince the listeners with his recitation.
201 Javier Alejandro Garavaglia, compare to the article in journal, Herbert braun, The Listener’s Interpretation of Music; AnExperience Between Cause and Effect, ( Ohio: Ohio State University,n.d) ,p-1-5
After some observation, some of the tawshîh in Bayâtî leads to a slow and instrumental melodies just like what we have in the classical music. The softness of the lagu is appropriate with the meanings of the verses, suite the forms of classical musical traditions of the Middle East. No doubt, Bayâtî has been chosen as the first lagu to recite in any occasions, especially as the beginning and the closing lagu for the performance. Maybe, some said that in the nineteenth century, the adoption of the Western system of musical notation in certain parts of Islamic world changed the nature of music education in the classical genres, and consequently, sheet music replaced memory for many in the younger generation of musicians.
Nevertheless, in the maqâmat and lagu of Qur’an, there are several musicians and activists in ethnomusicology such as Kristina Nelson and Anne K.Rasmussen, 202 try to
discover these techniques of musicology towards the tarannum or nagham practices. The high intention made them curious in finding the puzzle and questions, about the skills and practices of Muslims’ chanting with Qur’an 203 , which we can see, without any musical notes, graph picture, instrument or other in continuing the lessons and traditions of tarannum in the societies. It is now, that the Islamic countries oral transmission between master and pupil was broadened with the advancement of the recording technologies during the twentieth century, and recordings of masters on radio, television, cassettes, compact dics, videos and even CD-Roms became virtual teachers for young performers. Consequently, regardless of whether it is sacred or secular, the communities get to accept the listening to the great performers remains the principal way to reach the level of mastery.
Nahawand on the other hand, is a light melody, smooth, romantic and moderate. Because of that, these characteristics are suitable to show the sadness or pleasure or
Anne K.Rasmussen, The Qur’an in Indonesian daily life: The public project of musical oratory , Ethnomusicology Champaign: (Winter 2001), vol.45,Iss.1,p.30-57, see Mohd Ali bin Abu Bakar, Seni Lagu al-Qur’an di Malaysia , (Kuala Lumpur; Darul Fikr, 1997), p-23-27,
In accordance with the Islamic tradition the Qur’an, although highly poetical, is not considered poetry or shi’ir, and the Prophet admonished the poets of his day because they would compose poetry about any subject without moral scruple or spiritual discernment. Rûmi, like many other Muslim saints, disclaimed to be a poet while composing poetry. The meaning of such an assertion must be understood in the context of sacred history of Islamand not be confused with that indifference and even opposition to beauty which emanates today from certain quarters in the Islamic world in the name of ‘purified’ Islam.
green areas of Hamdan in Iran. 204 The other melody (lagu) in tarannum is Soba, originated from Egypt, and the
melody flows soft and persuading. Suitable for moderate tabaqat and also simply applied into persuade or happy verses. Frequently, qâri and qâriah will join Soba to Bayâti because they claim that Soba is the branch of Bayâti. Or even they say as wuslah for Bayâti. There are multiple maqam of Soba, among them Soba Asli, Jawab Soba and Jawab Soba Ma’al ‘Ajam. Many of the qari and qariah, sometimes used to show the beautifulness of lagu Soba by putting it into the songs of Hindustan. The writer as one of the students at that time was impressed to see that there is a similarity in chanting Soba with the Hindustan songs. For instance, in the Soba tawshîh, the one that popular with Arâ Toiran lyrics:
Mostly this melody or lagu is the same as in the Hindustan song, the one that famous in the Hindustan film acted by Shah Rukh Khan and Kajol, as the example, the lyric is :
“Hogaya hei tujko to pyar sajnaa* Lake kare le tu in nekar sajnaa * Ye dil Pyar Sajnaa” However, in the writer understanding, seems this song come after the Soba song,
therefore, it shows that, the Hindustani composer of this song, design the song with the melody which is similar to lagu Soba without notice. When we take a look to the history of the Persian and Iran and the migrated of people in Persian into the north Hindustani
204 Ahmad Nuruddin Mat Yunoh, Seni Lagu Qur’an:Kajian Terhadap Sumbangan Hj Nik Ja’afar bin Nik Ismail , Tesis, Jabatan Al-Qur’an dan Hadith, Akademi Pengajian Islam, (Kuala Lumpur:Universiti
Malaya, 2008),p-8,see also Khadijatus Shalihah, Perkembangan Seni Baca Al Qur’an dan Qira’at Tujuh di Indonesia, ( Jakarta:Pustaka Al Husna,1983),read Drs.S.Bahroin, Panduan Praktis Mempelajari Nagham ( Seni Baca Qur’an), (Jakarta:Lembaga Pengajaran Privat SMFT IAIN Syarif Hidayatullah, 1993),p-5 Malaya, 2008),p-8,see also Khadijatus Shalihah, Perkembangan Seni Baca Al Qur’an dan Qira’at Tujuh di Indonesia, ( Jakarta:Pustaka Al Husna,1983),read Drs.S.Bahroin, Panduan Praktis Mempelajari Nagham ( Seni Baca Qur’an), (Jakarta:Lembaga Pengajaran Privat SMFT IAIN Syarif Hidayatullah, 1993),p-5
the lyric shows someone who really happy because she falls in love with someone 205 . Rast also came from Farsi. It has been enhance by qâri from Hijaz. Its
characteristics are energetic but sound nice and appropriate with any stage of voice (tabaqât). Next, Hijaz, is also came from Farsi, modified by qâri from Egypt and categorized like Nahwand. However, it is not too soft and persuading like Nahwand. Sikah and Jiharkah are used almost every day, we can hear them in the call of prayer, and sholawat. Sikah has a strength and powerful nice melody where as Jiharkah is waving
intone with a multiple ‘qit’ah’. 206 In defining the history of lagu, Samim Shareef in his article, Popular Songs and
Music, states that the popular songs are of the same rank as folk songs which have become immortal because of the simple tone and word which chould be echoed by people everywhere and could be passed on from one generation to another. Thus it is the sacred legacy of the people from which lessons could be learnt about traditions, norms, ideology, ethics and arts. It is one of the elements that determined the personality of our people in this part of the world.
In addition, he continues by saying that the folklore is a word that encompasses all arts and sagas of the people. Hence popular songs are an integral part of folklore. It is
The writer learned this song from one of the Hindustan’s lecturer in International Islamic University, Prof.Dr.Abu Laith Khair Abadî, who taught the Qur’an Sunnah studies since 1995 until now, 2009. From that moment, we learn and accept that there are transmissions and adaptations in multiple knowledge in the world. Multiple approaches in the study of ritual share a recognition that rituals in some way align ideas and realities, bond parts and wholes, orient maps and theorities, and homologize universals and particulars.
Muhammad Sholih bin Zainal Abidin, Sirâju al- Qâri, (Kota Bharu:Percetakan Al-Mua’rif Sdn.Bhd, ), p-3-5, see Anna M.Gade, Perfection Makes Practice,Learning,Emotion, and the Recited Qur’an in Indonesia , (Honolulu:University of Hawai’I Press, 2004) , see also Haji Abdul Qadir Leong Al Azhari , Tajwid Al Qur’an, Rasm Uthmani (Kuala Lumpur: Pustaka Salam Sdn.Bhd,1998),p- 19-22
In the area of Arid and bare mountains gave rise to a different mode of singing from the mountains which are covered with forests. Each of those areas had its own melody, its own music and dancing. The slow movement of a melody in some cases is an indicator of an area with few olive trees, where as another song with a fast movement and dynamic rhythm reminds of the ghouta and its thick growth of trees. Vision here plays an active part, as the thick undergrowth blocks the long range of sight, thus the melody tends to be dynamic, fast moving and full of life.
In contrast to this, the plains of Horan are treeless and the vision has a long range, as far as eyes can see, so the popular song is closely affected by natural feature and the words of the song are dilated and the voice is drawn out over long vowels. Some said that the popular songs over the ages as choral singing are no longer so. It has become a song sung by a solo singer who performs the aghsan in solo but the mazhab is sung repeteadly by a chorus sometimes aided by the soloist himself and this is the feature which has overwhelmed popular songs in general, though chorus singing still characterizes many of
this rich legacies. 207 In tarannum, many of qari like to do just like the history said, the perform it
soloist and sometimes, they repeated the melodies again and agai, when it comes to the important verses and beautiful melodies (lagu) in emphasizing them. One of the famous qari of Indonesia who tend to perform with such ways is Muammar Z.A. He has been
207 Samim Shareef, Popular Songs and Music, in Damascus- Dimashq-esh-Sham, ( Dimashq: Damascus Governate: n.d), p- 170.
gifted by the God, to have a beautiful voice, long breathe and strength in the voice. Thus, his recitation and chanting, full of energy, lots of melodies, effect the listeners, to fall in love with the Qur’anic verses especially for those who understand the meanings from the verses that he read.
ii) Various types of melodies in qur’anic chanting ( tarannum) In the discussion above, the categories of qur’anic chanting has been placed under
two kinds; Misrî and Makawî. The classical system of Arabic musical modes (lagu Misri) has seven standard songs (lagu). These seven standard lagu in tarannum are named:
K8 (Hijaz)
In Indonesian Qur’anic recitation, the “melody’ may not be fixed in recitation, there is no such criteria or system to arrange the melody or songs. However, Bayyati will always be the beginning songs during recitation. According to Maria Ulfah, from these seven standard songs, qari and qariah enhance above songs into another beautiful modes, there are:
(Ajam) 2)
1) 5* J M
(Bayyati Syuri) 10) 8S
(Bustanikar) 3)
M" M
(Bayyati Khusaini) 11) .
. (Nikriz) 4)
&S 8S (Ajam Usyairan) 12)
*AK8 (Hijaz Kar) 13) _ &S (Usyaq) 5)
*@$ (Mahur) 6)
Q* A * A K 8 (Hijaz Kar Kurd) 14)
(Sabr) 7)
*8K (Zanjaran) 15) !9
9 (Salalim) 16) _ S :. 9 (Sikah I’raqi)
8) 208 MA* :. 9 (Sikah Turki) 17) 3 @ (Huzam) 9)
?$ * :. 9 (Sikah Ramal)
208 Maria Ulfah, Maqamat Arabiyah dalam Tilawatil Al Qur'an, Bunga Rampai Mutiara Al Qur'an, p- 39 208 Maria Ulfah, Maqamat Arabiyah dalam Tilawatil Al Qur'an, Bunga Rampai Mutiara Al Qur'an, p- 39
1) Syuri
: ----------------- Bayyati
2) Ajami Mahur
:------------------ Shoba
Bastanjar
3) Kard Kard Kurd
:------------------ Hijazi
Nakriz Kurd
4) Nuqrosy Murakkab
:------------------ Nahawand
5) Misri Turki
:------------------ Sika
Roml – Uroq
6) Usy-Syaq Zanjiron
:------------------ Rost ala nawa
Syabir alarros
7) Kurdi 209 :------------------ Jiharka
Why the songs are always given Arabic modes? The key point is because the Qur’an was revealed in Saudi Arabia, and so it must be given Arabic lagu, and to do anything else is abnormal or just weird. Tarannum requires Qari and Qariah the ability to have internalized all of these musical models and to have them available on “instant recall” as they recite any passage of the Qur’an while simultaneously following the rules of tajwîd.
M.Misbachul Munir, Pedoman Lagu-lagu Tilawatil Qur’an dilengkapi dengan tajwid dan qasidah, (Surabaya: Apollo, 1997), p- 30-32
For the Arabian people, the use of words tarannum or taghanni are not popular. But they use to call these songs as maq m t. Arabic : ! qrs (maq m t ! ! or maqams) is the system of melodic modes used in traditional Arabic music , which is mainly melodic . The word maq m t in Arabic means place, location or rank. The Arabic maq m t is a melody type .
Maq m t is "a technique of improvisation " that defines the pitches , patterns, and development of a piece of music and which is "unique to Arabian art music." There are over seventy heptatonic tone rows or scales of maq m t. These are constructed from major , medium , and minor seconds (see Arab tone system ). Each maqam is built on a scale , and carries a tradition that defines its habitual phrases, important notes , melodic development and modulation . Both compositions and improvisations in traditional Arabic music are based on the maq m t system. Maqams can be realized with either vocal or instrumental music, and do not include a rhythmic component.
An "essential, decisive factor in maqam performance is that each describes the "tonal- spatial factor" or set of musical notes and the relationships between them, including traditional patterns and development of melody while leaving the "rhythmic-temporal component" is "subjected to no definite organization." A maqam does not have an "established, regularly recurring bar scheme nor an unchanging meter. A certain rhythm does sometimes identify the style of a performer, but this is dependent upon his performance technique and is never characteristic of the maqam as such." The compositional or rather precompositional aspect of the maqam is the tonal-spatial organization including the number of tone levels and the improvisational aspect is the construction of the rhythmic-temporal scheme.
The adoption of Arabic, and more specifically Egyptian( misri) modes, were supported in Indonesia by the perception that they are more normatively qur’anic. This style is being practiced in Malaysia. However, these misri songs which being practiced in Indonesia and Malaysia are sound little bit different from the way that Egyptian qari chant. The Egyptian qari prefers to chant the Qur’an in an encouraging style but still with The adoption of Arabic, and more specifically Egyptian( misri) modes, were supported in Indonesia by the perception that they are more normatively qur’anic. This style is being practiced in Malaysia. However, these misri songs which being practiced in Indonesia and Malaysia are sound little bit different from the way that Egyptian qari chant. The Egyptian qari prefers to chant the Qur’an in an encouraging style but still with
Some said that the way of Egyptian qari is better to hear and nice to listen to, because of the beautiful melody and not too slow motion. For the writer, one specific reason why the people like most Egyptian qari because they have the luhûn ‘arab, therefore, the combination of voice, luhûn ‘arab, brilliant in tajwid system and nice melody, give an excellent impact towards the listeners. There is only a slightly different style of Egyptian qari with the Malaysian or Indonesian qari.
iv)Musical notes on these maqam References on Arabic music theory often differ on the classification of ajnas.
There is no consensus on a definitive list of all ajnas, their names or their sizes. However the majority of references agree on the basic 9 ajnas, which also make up the main 9 maqam families. The following is the list of the basic 9 ajnas notated with Western standard notation (all notes are rounded to the nearest quarter tone):
1. Ajam trichord, starting on B
2. Kurd tetrachord, starting on D
3. Rast tetrachord, starting on C
4. Bayati tetrachord, starting on D
5. Sikah tetrachord starting on E
6. Nikriz tetrachord starting on E
7. Nahawand tetrachord starting on E
8. Saba tetrachord starting on D
9. Hijaz tetrachord starting on D
Even though the musical notes have been applied into the maqamat, there is still a weakness. This is because, until now, the pitch and intonation of the melody can be simplified into several musical notes but, when it is apply into different verses, with different tajwid system in the verse, and also the length of the verse, this musical notes will entirely differ from the design which had been proposed.
D. Differences in Requirement in learning The systems of mastering tajwîd were not only understood in terms of “rules”
but more salient for learners’ practice was their own situational competence and the affect conveyed through contexts of pedagogy. Contrasting systems of learning tajwîd were themselves understood as coherent processes, labeled affectively in both theory and practice. In learning to read, a self understanding as practitioner emerged through the continuous process of developing sensibility by an encounter with the letters on the page, this was an ongoing negotiation of feeling as well as a developing cognitive mastery. The process of learning to perceive and to vocalize Qur’anic Arabic thus took the form of a self-conscious cultivation of affective states in both theory and practice.
Moreover, as a learner of tajwîd, one is not require having any skills of voice, skills of Arabic reading or elsewhere. It is due to its compulsory and obligatory in Qur’anic recitation. Tajwîd as stated before, is an essential part of recitation. There Moreover, as a learner of tajwîd, one is not require having any skills of voice, skills of Arabic reading or elsewhere. It is due to its compulsory and obligatory in Qur’anic recitation. Tajwîd as stated before, is an essential part of recitation. There
Compare to the relevance of the term tarannum to Qur’an recitation which bring the meaning of chanting or chantillation. The process of history in tarannum shows that its tradition and melodies derived from the Arabian Peninsular. Arabian people are said, the one who created and popularized the melodies in the recitation. Thus, it is related to lahn in the sense not of defective speech, but of melody. The expression bi-luhuni ‘l’-‘arab wa aswatiha employed in the tradition adduced by Tustari and Suyûtî would seem, indeed, to convey an exhortation to employed ‘irab. However, the primary idea is the learning requirement of the luhun’l’-arab in
chanting. 210 This usage is naturally not that of the prophetical tradition, for which it was proposed that luhun wa aswat is a meaning rhythmic embellishments. 211
Another part which required for the Qur’anic chanting especially in term of competition is the beautiful voice, the higher pitch of voice, the nice ‘burdah’ and powerful voice. Other than that is how the reciter manages to keep breathing in a long term in finishing the verses in one breathing.
Khadijatus Shalihah, Perkembangan Seni Baca Al Qur’an dan Qira’at Tujuh di Indonesia, ( Jakarta:Pustaka Al Husna,1983),read S.Bahroin, Panduan Praktis Mempelajari Nagham ( Seni Baca Qur’an), (Jakarta:Lembaga Pengajaran Privat SMFT IAIN Syarif Hidayatullah, 1993),p-5
211 John Wansbrough, Qur’anic Studies, Sources and Methods of Scriptual Interpretation, p-111