IMPLICATION OF LEARNING TAJWID AND TARANNUM

B. IMPLICATION OF LEARNING TAJWID AND TARANNUM

i) Historical aspect In Islam’s art of music sciences, include some aspects in Islam which are in

accordance with the teachings of a great theologian Abu Hamid al-Ghazali(1058- 1111) 261 , an exceptional religious reformer, and a devout spiritual mystic. In his great

260 Anne M. Gade, Anne M. Gade, History of Religions, p-369 261 About the middle of the middle Ages there lived a man who has left the most lasting traces

behind him and who has ever been revered as the greatest teacher of Islam, Abd Hamid Muhammad Ibn Muhammad Al-Ghazali (d.in 505/1111-2) was born at tus in Khurasan, Persia, in 451,1059-60. First the studied at Nisabur with “al-juwayni imam al-haramayn”, after whose death he settled down at-Baghdad, where he was in 484/1091-2 appointed by the vizier Nizam al-mulk to chair of the Nizamiyya. He had alreddy by then displayed a great literary activity in writing many works on the shafi’ite school of jurisprudence and religious philosophy. After a four-year teaching he retired from public life and devoted the rest of his life to meditation. He spent ten years in seclusion and Sufi contemplation, visiting Jerusalem, Damascus, Makka, and Alexandria. His place of retirement and meditation is still shown in the great mosque of damascus. Having returned in 500/1106-7 to his native town, he founded a sufi convent and died there. Al-Ghazali’s personality is unique in islam because he went through all the conflicting tendencies of behind him and who has ever been revered as the greatest teacher of Islam, Abd Hamid Muhammad Ibn Muhammad Al-Ghazali (d.in 505/1111-2) was born at tus in Khurasan, Persia, in 451,1059-60. First the studied at Nisabur with “al-juwayni imam al-haramayn”, after whose death he settled down at-Baghdad, where he was in 484/1091-2 appointed by the vizier Nizam al-mulk to chair of the Nizamiyya. He had alreddy by then displayed a great literary activity in writing many works on the shafi’ite school of jurisprudence and religious philosophy. After a four-year teaching he retired from public life and devoted the rest of his life to meditation. He spent ten years in seclusion and Sufi contemplation, visiting Jerusalem, Damascus, Makka, and Alexandria. His place of retirement and meditation is still shown in the great mosque of damascus. Having returned in 500/1106-7 to his native town, he founded a sufi convent and died there. Al-Ghazali’s personality is unique in islam because he went through all the conflicting tendencies of

ii) Rules of the music

a) Music allowed-halal

1. To evoke and invoke the love of Allah.

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

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

4. To arouse joy.

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

6. To incite for battle

7. To inspire courage on the day of battle

b.Music forbidden-haram

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

2. If certain instruments are used for only “ secular” purposes, they are strictly for bidden for use for only “religious” purposes.

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

the spiritual nature of his age. He considered not speculation but the careful cultivation of spiritual life as the aim of theology. His great significance was due to his intrinsic criticism of all the contemporary scientific ideas.

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

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

There was not one part of this great universal creation that neither is not symphonic orchestra nor is without sound, motion, rhythm, tones, beats and forms. All of them are synchronized for perfect melodious harmony in unison, precisely, and perfectly composed, directed, and conducted by its Creator Almighty Allah. The beautiful, melodious symphony of new birth of life was entirely composed by its Creator Allah, and with many sounds, movements, rhythmus, and beats in specific arrangements in the various forms of nature, and the sounds are melodious harmonies which soothes one’s soul. Music transcends; it does not show out the very essence of Allah’s spirit (dhat) the light (en-nur). It is The Most Magnificent of any musical compositions, and is composed as a gift of Allah’s great love for mankind from Allah Most Generous.

During the holy Prophet Muhammad’s time and after his death, there developed new Islamic art of musical styles in the Hijaz in the holy cities of Mecca and Medina, which were the centers of Islamic religious and political power. The activities of a rich art and musical foundation in religious and secular life came into being, a tradition associated with celebrating life and it’s given religious, and spiritual mystical dimensions. This occurred despite vehement attacks from strict “puritanical During the holy Prophet Muhammad’s time and after his death, there developed new Islamic art of musical styles in the Hijaz in the holy cities of Mecca and Medina, which were the centers of Islamic religious and political power. The activities of a rich art and musical foundation in religious and secular life came into being, a tradition associated with celebrating life and it’s given religious, and spiritual mystical dimensions. This occurred despite vehement attacks from strict “puritanical

(ayahs). 262 The necessity of explaining the sacred Quranic text gave birth to the art of

music science of grammar, musical modes, styles and lexicography. Philosophies actually discovered that the best material was found in Islamic poetry; the same was found by musicians, poets, and specialist reciters-chanters (qira’at) of Quran, they made rules of solemn recitation cantillation based on poetic musical language and its renditions. The ruling-authorities-(Alemas) accepted these musical recitation- cantillations. The poetic rhythmic modes of phonic and tonal accentuation, and intensity of equilibrium between emotional values, became the models for both experts in Quranic cantillation (talhin), and also for the composers of poetic song (gazels).They underlined the expressive, artistic manner of rhythmic speech in many ways as a chant “combined recitation-cantillation” and emotional expression of song, sacred music and rhetoric.

No legist nor religious authority can either prohibit or authorize something a priori by a personal decision; as all or any authority are obligated to base arguments but, only from direct references in sacred writings, or by closely reasoned analogy. The first most sacred source is the Quran both for those opposed to music and those who are not. Although nothing specific in Quran is concerning music explicitly. Holy prophet Mohammad who liked to listened to his young wife Aisha(ra) and her friends while playing music and singing, he did favor some music, and he twice rebuked the

262 M. Misbachul Munir, Pedoman Lagu-lagu Tilawatil Al-Qur’an; dilengkapi dengan Tajwid dan Qasidah, p- 29-34 262 M. Misbachul Munir, Pedoman Lagu-lagu Tilawatil Al-Qur’an; dilengkapi dengan Tajwid dan Qasidah, p- 29-34

There were three things the Prophet Muhammad did not like or approve of at all: (1) was clapping of hands in public performances, of either religious or secular nature; however, ( he did allow artistic hand clappers).(2) He dissaproved of the “sensual” singing which was combined with “sensual” dancing in public taverns, by males and females alike. (al Hadith-“sahih" collection of al-Bukhari and Muslim).(3) Holy Prophet also declared that the selling, buying or teaching of performing girls (qaynat) is also unlawful: (transmitted by Aisha(ra)in the ( “sahih collection of al- Bukhari ”). The great theologian Abu Hamid al-Ghazali, stated that: “those particular

ahadith 263 refers only to the girls dancing and singing in the taverns. “ Whereas, the traditional a hadith of the holy Prophet Muhammad did approve

of singing in one of his pertinent sayings: “Allah has not sent me as prophet except with a beautiful voice, and Allah listens more intently to one with a beautiful voice reciting Quran as does the master of a singing girl (qayna) listens to her beautiful singing voice.” The importance of correct, careful and solemn recitation (Qirâ’a) of Quran, from Islamic teachings established were of an urgent task. The term for

ebellishment (tajwid) 264 in recitation of Quran became the art of music science. Hymns and devotional services of worship and supplications are an integral

part of all Muslim forms of worship. Zikr ceremonies (chanting a name of God), and sama (religious music) are practiced more often among the more devout groups of Muslims such as the Sufis. Guarding the Glorious Qur'an and preserving it from

263 Ismail Al Fâruqi and Louis Lamya al Faruqi, The Culltural Atlas of Islam, (New York: Mac Millan Publishing, 1986), p-443, see also Hazrat Inayat Khan, The Mysticism of Sound and Music, (Boston:

Shambala Publications, 1996),p-2-8

264 Knowledge of tajweed is fardh kifayaah, meaning some of the Muslim community must know it, and its application is fardh ‘ain, required by all Muslims (men and women) who have the complete

Qur'an or part of it memorized, even if only one surah.

distortion. The Arabs mixed with non-Arabs after the spread of Islam, and the Muslims feared that the Arab tongue would become corrupted with this intermixing. It then became mandatory for rules to be put down that would preserve the recitation of the Qur'an from mistakes, and guarantee the reader of the Qur'an integrity of pronunciation.

The knowledge take from the Qur'an and the hadith is of several types: the first and most important concerns our faith, and is the knowledge of Allah and His attributes, and the other basic tenets of Islamic belief such as the messenger hood of the Prophet (Allah bless him and give him peace), the Last Day, and so on. Every Muslim can and must acquire this knowledge from the Book of Allah and the Sunna. This Qur'anic verse establishes that there should be a category of people who have learned the religion so as to be qualified in turn to teach it. And Allah has commanded those who do not know a ruling in Sacred Law to ask those who do, by saying in Surat al-Nahl, "Ask those who recall if you know not" (Qur'an 16:43), in which the words "those who recall," ahl Al-Dhikri, indicate those with knowledge of the Qur'an and Sunna.

Prayer is very specific and exactly the same no matter which country the Muslim happens to live in. There are five prescribed prayers per day at set times according to the rotation of the earth around the sun. All of these prayers are obligatory on every Muslim. The prescribed prayers are recited in Arabic and are recited exactly the same in all countries of the world. The culture of a person does not influence the performance of prayer (salat). 265

A remarkable system regulated cantillation (talhin) with respect to the law of phonetics and preferred diction of musical aspects in reciting /cantillation of Quran in musical melodies of the people from Nejd region of Arabia 266 , as he preferred the pre-

Islamic simple musical forms of huda and rakbani, with pauses which became a major trait of Quranic cantillation (tarannum). Holy Prophet had recourse to old Arabic tunes

265 Muhammad Iqbal, The Reconstruction of Religious Thought in Islam, ( Oxford: Oxford University Press, 1938), p-8

266 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-33-35 266 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

singing during that period in time. 267 Aside from chanting the Qur’an, reciting poetry, and listening to unaccompanied male voices sing militant songs, there is scarcely any

manifestation of art and creativity that they find religiously acceptable. Our discussion here is not only about these broad principles, but rather about understanding specific details of Islamic practice. In clarifying the recitation and chanting, the process and practices related to this aspect, data should be argued and analyzed in order to give more understanding upon the use of terminologies in Qur’anic recitation and chanting. The main important here is the idea of applying the correct terminologies with the correct activities. Furthermore, to discover the differences of these aspects, the writer had elaborated the differences of several aspects in tajwîd and tarannum in this chapter. Coincidently, this will enable community to understand the rest of the subjects. There must be many other elaborations and arguments on both aspects, but at the time of this research, these are all arguments can be done by the writer.

267 Jonathan Bloom, The History and Impact of Paper in the Islamic World,(New Haven: Yale

University Press, 2001),p-46