MUSIC - IS IT HARAM (Forbidden)? (4 of 4)
Hot Topic for Muslims Everywhere
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Part 1 of 4 parts "Music In Islam" www.islamnewsroom.com/music-hot-topics-60
Part 2 of 4 parts "Music in Islam" www.islamnewsroom.com/news-we-need/491
Part 3 of 4 parts "Music in Islam" www.islamnewsroom.com/news-we-need/492
Part 4 of 4 parts "Music in Islam" www.islamnewsroom.com/news-we-need/493
MUSIC - What Did the 4 Imams Say?
"What about imams views on this topic?" - I heard someone say, "All 4 schools of thought permit singing and music" - and I think someone said - no problem if in moderation - or something like that. What can you say about this?
Good Question - So, how did the companions and early scholars understand Islam's position on music, singing & dancing? What about nasheeds (Islamic songs)?
You have "99 Names of Allah" on this website - is that singing? Is it music?
Music - Halal or Haram? - The Proof
(Detailed, long version)
Views of the Followers of the Companions and the First Schools of Thought (mathahab)
[NOTE: We recommend converting this long file to .PDF by using the icon of the lef
t of the 3 icons - upper right sideThe View Of The Taabieen Imams And Scholars After Them
The view held by the companionswas generally adhered to by the taabieen and their followers, the four imams and the great majority of dependable Islamic scholars up to the present time.
From among the tabieen and their followers, there are such authorities as Mujaahid, Ikrimah, An-Nakhai and Al-Hassan Al-Basri.
Imam Abu Hanifah
Imam Abu Hanifah has perhaps the harshest view from amongst the four famous Imams of fiqh (Islamic jurisprudence).
His school of thought is the strictest, for he detested singing and considered it sinful. As for his disciples, they have explicitly confirmed the prohibition of listening to all musical amusements and pastimes, including wind instruments (mazamer) all types of tambourines, hand drums (duff) and even the striking of sticks (al-qadeeb).
They have asserted that such actions constitute disobedience to Allah and that the performer of such action is sinful, therefore necessitating rejection of his testimony.
They have further stated that it is incumbent upon the Muslim to struggle to avoid listening to such things, even if he were passing by or stationed near them (without any willful intention).
Abu Hanifah's closest disciple, Abu Yousuf, stated that if the sound of musical instruments (maazif) and amusements (malaahi) were heard coming from a house, the house could be entered without permission of its owners. The justification for this is that the command regarding the prohibition of abominable things (munkarat) is mandatory, and cannot be established if such entering rests upon the permission of the residents of the premises.
This is the madhab (position) of the rest of the Kufic scholars as well, such as Ibrahim An-Nakhai, Ash-Shabi Hammad and Ath-Thowri. They do not differ on this issue.
The same can be said of the general body of jurisprudence of Al-Basrah.
Imam Malik
It is related by Ibnul-Jowzi that Ishaq bin Esaa At-Tabaa asked Imam Malik bin Anas, the leading jurisprudence of Madinah, about the view of the people of Madinah regarding singing (ghinaa). He replied,
“In fact, that is done by the sinful ones.”
Abut-teeb At-Tabari said,
“As for Malik bin Anas, he truly did prohibit singing and listening to it.”
He further related that Malik said,
“If one purchased a servant-girl and found her to be a professional singer, he could return her to the original owner for reimbursement on the claim of having found fault in the merchandise.”
The ruling of prohibition (tahreem) is generally agreed upon by the scholars of Madinah.
The Maliki jurisprudence and commentator, Al-Qurtubi, reports Ibn Khuwayz Mandad, as saying that Imam Malik had learned singing and music as a small boy until his mother encouraged him to leave it for a study of the religious sciences. He did, and his view became that such things were prohibited.
Al-Qurtubi confirmed Malik’s view by saying that the only exception to this general ruling was the type of innocent songs such as those sung to placate the camels during travel, or during hard labor or boredom or during times of festivity and joy, such as the Eid days and weddings-the latter to the accompaniment of a simple duff(hand drum).
Al-Qurtubi then said,
“As for that which is done in our day, by way of the (blameworthy) innovations (bidah) of the Sufi mystics in addition to their hearing songs to the accompaniment of melodious instruments such as flutes, string instruments etc. such is haram (forbidden)."
Imam Shafi
In the book, Adabul Qada, Imam As-Shafi is reported as saying,
“Verily, song is loathsome (makruh); it resembles the false and vain thing (al-batil). The one who partakes of it frequently is an incompetent fool whose testimony is to be rejected.”
His closest and most knowledgeable disciples clearly stipulate that his position on this issue is that of prohibition (tahreem) and they rebuke those who attribute its legality to him.
This is confirmed by the later Shafi scholar, Ibn Hajar Al-Haythami. He related that one of the Ash-Shafi’s disciples, Al-Harith Al-Muhasibi (d. 243 H) said,
“Song is haram, just as the carcass (maytah) is.”
Furthermore, the statement that singing is haram is found in the treatise, Ash-Sharh Al-Kabeer, by the authoritative Shafi Scholar, Ar-Raafiee (d. 623 H).
This is further corroborated by the accomplished Shafi jurisprudence, Imam An-Nawawi (d. 676 H) in his Rowdah).
Such is the correct view of the dependable scholars of the Shafi madhab. However, due to limited knowledge and personal fancy and desire, a few of their later day scholars disagree with this view.
Imam Ahmad Bin Hanbal
Imam Ahmad’s position regarding this issue has been narrated in detail by the Hanbali jurisprudence and Quranic commentator, Abul Faraj Ibnul-Jowzi (d. 597 H.). In his treatise, “Tadlees Iblees” (Deception of Satan), he tells us that ghinaa during Ahmad’s era consisted primarily of a rhymed, rhythmical chanting (inshad) of poems whose purpose was to lead people to a pious, abstentions way of life. However, when such chanters began to vary their simple style to one of a throbbing, affected melody, the narrations regarding Ahmad began to differ.
His own son and student, Abdullah, relates that his father said,
“Singing sprouts hypocrisy in the heart; it doesn’t please me.”
The scholar, Ismael bin Ishaaq Ath-Thaqafi, reports that Ahmad was questioned regarding ones listening to those poems (qasaaid) to which he replied,
“I despise it, for it is a bidah (innovation). Don’t sit down to listen to its reciters.'
Abul-Harith relates that Ahmad said,
“At-Taghyeer is an innovation”, whereupon it was said, “But it sensitizes and softens the heart” Ahmad rejoined, “It is a bidah (blameworthy innovation).”
Yaqub Al-Hashimi narrates that Ahmad said,
“At-taghyeer is a recent innovation.”
And Yaqub bin Gayath reports him as saying that he,
"despised at-taghyeer",
and prohibited ones listening to it.
Ibnul-Jowzi then mentioned some narrations related by Abu Bakr Al-Khlallaal and Imam Ahmad’s son Salih, which indicate Imam Ahmad’s not being averse to poetry sessions. It is related that Imam Ahmad heard a singer (qawwal) and didn’t reproach him, whereupon Salih said to him,
“Oh father, didn’t you used to criticize and censure such a thing?” Ahmad replied, “That was because I was told that they were doing reproachable things, so I despised it; as for this, I do not dislike it.”
Ibnul-Jowzi commented at this point, “Some of the scholars of our (Hanbali) school mention that Abu Bakr Al-Khallaal (d. 311 H) and his disciple, Abdul-Azeez, permitted singing (ghinaa). Such a statement refers to the spiritual poems (qasaaid zuhduyyaat) which were prevalent during their time.
This is precisely the type of singing which was not disliked by Imam Ahmad (as previously mentioned).
Ahmad bin Hanbal attests to this in the instance where he was asked regarding a deceased person who left behind him a son and a professional singing servant-girl. The son then needed to sell her. Ahmad said that,
"She is not to be sold on the basis of her being a singer."
Upon this it was said to him that, (as a singer), she was worth, 30000 dirhams, whereas, if she were sold only on the basis of her being simply a servant-girl (she would be worth much less).
Ibnul Jawzi explained,
“The reason Ahmad said this is because the singing servant-girl doesn’t sing spiritual poems (qasaaid zuhdiyaat); rather she sings throbbing lyrics which incite passion in ones being.
This is proof that such singing (as this) is haram, for if it were not so, the incurred loss of the orphans’ son’s wealth would not be permissible.
Furthermore, it is reported by the jurisprudence Al-Mirwazi that Ahmad bin Hanbal said,
“The earnings of the effeminate (mukhannath) singer are foul (khabeeth) because he doesn’t sing spiritual poems, but rather, he sings erotic poetry (al-ghazal) in a licentious, cooing manner.”
Ibnul-Jowzi concluded that it is obvious from what has preceded that the variant narrations relating to Imam Ahmad’s dislike of (karahah) or permission for singing depended upon the type of singing that was meant.
As for the type of singing which is popular today, it would be forbidden according to Imam Ahmad’s view. If only he could see what the people have added to it by way of innovation.
In conclusion, the general consensus of the companions, taabieen and the following generations of Islamic scholars up to the present day, including the four Imams , points to the ruling of prohibition of music and song (other than the exceptions to be mentioned later)
The Wisdom Behind Its Prohibition By The Divinely Revealed Shariah
Perhaps the most salient feature of the divinely revealed shariah is its all encompassing benefit (maslahah) for the sake of mankind, regarding all aspects of their spiritual and material welfare. Thus, it is, that various ordinances in the form of divine legislation have been given to man, directing him to pious works of worship (ibaadat) and social transactions (muaamlaat).
Such works lead to spiritual peace and material prosperity. In accordance with Allah’s infinite knowledge, wisdom and mercy, it is necessary that He (glorified be his praise) should prohibit certain things whose effects are evil and harmful to His servants.
This principle is perfectly epitomized in the following authentic tradition of the Prophet, peace be upon him:
“By the One in Whose hand is my soul, there is not a thing which brings you nearer to Paradise and distances you from the Fire, except that I have directed you to it; and there is not a thing which brings you closer to the Fire while distancing you from Paradise, except that I have prohibited it for you.”
From the foregoing hadeeth, as well as other texts of the Quran and sunnah, the scholars of usul have formulated certain vital objectives (maqaasid) of the divine law. Among these is the principle that nothing has been ordained for man except that which is for his own good and benefit, while nothing has been prohibited except that which is harmful and detrimental to his welfare. With this principle in mind, one perhaps can have a general understanding of the infinite, divine wisdom behind the prohibition of music and its adjuncts. Its potential moral, spiritual and social evils are a danger to the Muslim individual as well as the Islamic community at large.
In order to convey some of the divine wisdom behind prohibition, it is useful to quote a few excerpts from the writings of the authoritative scholar, Ibnul Qayyim, who has dealt with this subject extensively. In the section which exposes Satan’s deception of those who claim “spiritual mysticism” (tasawwuf) in their dancing, singing and listening to music, he says:
“From among the artful machinations and entrapments of Allah’s enemy (Satan), with which he has snared those possessing little good sense, knowledge and deen (faith), and by which he has stalked the hearts of the false and ignorant people, there is the listening to whistling, wailing, hand clapping and song to the accompaniment of forbidden (musical) instruments.
Such things block the Quran from Peoples Hearts and make them devoted to sin and disobedience. For song (to musical accompaniment) is the Quran of Ash-Shaytan (Satan). It is a dense veil and barrier, preventing nearness to Ar-Rahman! (Allah).
By way of such song, Satan deceives vain souls, making it appear pleasing to them through his cunning appeal to their vanities. He insidiously whispers false, specious arguments suggesting the 'goodness' in song. These arguments are accepted, and as a result, the Quran becomes an object of neglect and abandonment.”
Ibnul-Qayyim describes in detail the physical and emotional change which overcomes these “Sufis “when they begin to hear such song and effeminately to the tune, they whirl around into frenzy, screaming and wailing and tearing their clothes, like donkeys around the axis of a grinding mill. Such a laughing stock is the very joy of the enemies of Islam.
Yet such people pretend that they are the very “elite” of Islam while taking their deen as an amusement and pastime. Hearing the (musical) instruments of Satan is dearer to them listening to the recitation of the Quran.
He concludes by saying that,
“The result of preoccupation with song and music is that you never find its devotee other than astray from the path of guidance, in thought and deed. Such a person develops an aversion to the Quran and a devotion to song. If he were offered a choice between listening to songs and music or the Quran, he would most certainly choose the former over latter, the audition of which is like a heavy burden upon him.”
Later on in this treatise, Ibnul-Qayyim specifies other aspects of the divine wisdom:
“Therefore know, song has particular characteristics which faint the heart, causing hypocrisy to sprout therein, just as water sprouts plants. Among its qualities is that it distracts the heart and prevents it from among contemplation and understanding of the Quran, and from applying it. This is because Quran and song can never coexist in the heart, since they are mutually contradictory.
Verily, the Quran forbids the pursuing of vanities and ordains restraint of the soul’s passions and temptations to evil.
Song, on the other hand, encourages the very opposite of these virtues, as it excites the hidden inner self and entices the soul inequity by driving it towards every shameful desire. . ."
Among the signs of hypocrisy is one's rarely remembering Allah and one's laziness in rising to prayer along with its poor performance. Seldom do you find one infatuated by song except with such blameworthy attributes.
“Furthermore, hypocrisy is based on falsehood, and song contains the falsest lyrics. It attempts to beautify the abominable and encourages it, while seeking to make ugly and discouraging that which is good. Such is the very essence of hypocrisy. A person's addiction to song peculiarly makes listening to the Quran a heavy weight upon his heart, hateful to his ears. If this is not hypocrisy, then hypocrisy has no reality.”
Needless to say, the preceding exposition highlights the negative effects of music and song upon the Muslim. These effects induce in him hypocrisy, vice, neglect, vanity and a host of other attendant evils, the worst of which is its insidious ability to turn the devotee away from remembrance of Allah, His Book and His deen.
The adverse ramifications of music and song and their various attendant evils are well known facts experienced by all enlightened, thinking believers. It is this reality which has convinced a host of prominent American and European musicians and singers who have embraced Islam to leave this vile and ignoble profession.
“And verily, Allah guides the believers to a straight path.”
[Quran 22:54]
- END -
Table of Contents
Footnotes
(*93) The ijmaa' (consensus or agreement) of any generation of scholars on a certain religious issue is binding upon the following generations. The Prophet has related in various traditions that the scholars from among his ummah (community) will never be on a consensus that contains misguidance or error.
Allah, the exalted, protects them from his. Because they were the closest generation to the Prophet, the companions were the most qualified to arrive at a consensus (ijmaa').
(*94) Muhammad bin Tahir Al-Maqsadi (448-507 H.). Ad-Dhahabi says he has known to err and distort narrations of hadeeth in a gross manner (Meezanul I'tidaal, vol. 4, p. 587). Ibn Hajar says he deviated from the path of ahlus sunnah to a type of displeasing tasawwuf (mysticism). The critical scholars of hadeeth do not accept his transmissions because of his distortion of texts and errs in conveying them. Furthermore, he has written in defense of the permissibility of staring at young boys with sinful intent and his madhab was one of license (al-ibaadah). For details see, Ibn Hajar's Lisaanul Meezan, vol. 5, pp. 207-210.
(*95) In his treatise, Kaffur Ra'aa'an Muharramaaatil Lahwi was Samaa'a (Desistance of the Rabble from Partaking of Unlawful Amusements and Audition Thereof), p. 25.
(*96) Kaffur Ra'aa, p. 65.
(*97) They listened to permissible recitations of poetry, chants or melodious songs by youths. They were lawful because they were not accompanied by musical instruments, nor were the words or methods of singing licentious.
(*98) Kaffur Ra'aa, p. 66.
(*99) The disputed type is other than the singing of innocent songs (without musical accompaniment) or the chanting of poetry and hymns which are pure and clean in subject matter and in form of delivery.
(*100) Quoted from Kaffur Ra'aa, p. 67
(*101) Condensed from p. 67 of Kaffur Ra'aa. As for the types of song and music permitted by consensus, this refers to those particular examples of exception to the general rule of prohibition as mentioned in the authentic sunnah of the Prophet and the example of the companions. These examples will be dealt with in the latter part of this treatise.
(*102) Page 293 of his book, Al-Halal wal Haraam.
(*103)It is incumbent upon anyone who makes a statement in religion to bring the isnaad (the chain of transmitters) on which that statement depends. No statement carries any value whatsoever unless its claimant presents the isnaad. Otherwise, as pointed out by the critical scholars of hadeeth, one could say whatever he wants in matters of religion. Any statement not supported by a validly related authentic isnaad is useless and rejected.
(*104)See Surah Luqmaan, 31:6.
(*105) Authentically related by Al-Baihaqi, Ibnul-Mundhir and others.
(*106) See Al-Qurtubi’s tafsir, vol. 14, pp. 51-52, and Al-Aaloosi's tafsir, Roohul Ma'aani, vol. 21, pp. 66-68.
(*107) See pp. 67-68 of Kaffur Ra'aa; Al-Qurtubi's tafsir, vol. 19, p. 51 and Shaikh Salih Fowzaan's Al-'Ilaam bi Naqdi Kitabul Halaali wal Haraam, pp. 72-74.
(*108) The first of the four famous imams. He was born in Kufah, Iraq in the 80th year of the Hijrah. He died in Baghdad in the year 150 H. See Adh-Dhahabi's Seeyar A'laamin Nubalaa, vol. 6, pp. 390-403.
(*109) Such as flutes, pipes, horns and related wind instruments.
(*110) Small hand drums without steel jangles. This permitted type is to be used on certain restricted occasions as designated by the sunnah, the details of which will follow.
(*111) Testimony given by witnesses concerning matters or crimes involving punishments is only accepted from trustworthy, obedient Muslims.
(*112) In shari'ah, the mere suspicion of vice is not sufficient to warrant invasion of privacy by the authorities. Here, however, the violation is not confined to the privacy of the home and should be prevented, even forcibly, to avoid corruption of society.
(*113) Quoted from 'Ownul Ma'bood Sharhu Sunan Abi Dawood, vol. 13, pp. 273-274.
(*114) Stated by Abut Teeb Tahir At-Tabari and quoted in Al-Qurtubi's Al-Jaami'li Ahkamul Quran, vol. 14, p. 55.
(*115) He was born at Madinah in the year 93 of the Hijrah and died there in 179H. For details of his life and times, see Qaadi Ayyad's Tarteebul Madaarik, vol. 1, pp. 107-147.
(*116) In the time of Prophet Muhammad (peace be upon him), the world economy was almost completely based upon the institution of slavery. Wisdom and foresight demanded a gradual elimination of this deeply rooted social system. The Islamic method was to limit the ways in which slaves could be taken to only one - jihad (lawful warfare), while at the same time imposing conditions under which a slave must be freed and encouraging the freeing of believing slaves as an act of worship which brings one closer to Allah. Mistreatment of slaves was strictly prohibited and they were always entitled to respect as human beings. These guidelines protecting slaves are still applicable today.
(*117) The previous sayings related to Malik were quoted from Ibnul-Jawzi's Talbees Iblees, p. 229.
(*118) Al-Jaami'li Ahkamul Quran, vol. 14, p. 55.
(*119) Ibid., vol. 14, p. 54.
(*120) He was born 150 H. in Gaza in Palestine. He died and was buried in Cairo, 204 H. Details of his life and works are chronicled in Al-Baihaqi’s Manaaqibush Shafi'.
(*121) See Al-Qurtubi's tafsir, vol. 14, p. 55 and Ibnul-Jawzi’s Talbees Iblees, p. 231. Also refer to footnote no. 111.
(*122) See 'Ownul Ma'bood, vol. 13, p. 274.
(*123) Designates the carcass of the animal which has not been slaughtered in a manner acceptable to the shari'ah, but has died in a manner rendering it unlawful for food, such as dying from a disease, accident, naturally or by being hit by a blow, etc. However, the skin of such an animal may be used after proper curing.
(*124 )Kaffur Ra'aa, p. 61.
(*125) Talbees Iblees, pp. 230-231. A sample of such scholars along with a refutation of their position will follow in the next section of this work.
(*126) He was born in Baghdad, 164 H. and died there in 241 H. See the excellent biography of his life as narrated by Ibnul-Jowzi in his Manaaqib Al-Imam Ahmad bin Hanbal.
(*127) In Arabic these are called qasaaiduz zuhd.
(*128) “Singing” here means without musical accompaniment.
(*129) Indicates a change in the state of mind or disposition of a person who appears “overcome” by the mention (dhikr) of God in supplication (dua) performed in a humble, humiliating stance. Those who partake in this experience of being “overcome” are moved to extreme delight or grief by the manner in which such poetry is delivered. It is usually delivered in an affected, throbbing style which moves them to dance and gyrate to the beat and melody of such rhythmic poems. Because of this “change” (taghyeer) which overcomes them, they were called al-mughayyarah. Refer to Talbees Iblees, p. 330.
(*130) Talbees Iblees, p. 228.
(*131) All of these scholars, including Ahmad, did not mind a certain type of chanting, singing and recitation of poetry or stories, etc. without musical accompaniment or other prohibited aspects.
(*132) Refer to footnote no. 116.
(*133) The loss incurred by selling the servant girl not as singer but as an ordinary worker.
(*134) This statement was made during the 6th century of the Islamic era. Therefore, what could be said of what we hear and see of music and singing today!
(*135) Talbees Iblees, pp. 228-229.
(*136) Other than the simple hand drum known as the duff, because of authentic hadeeths allowing it on specific occasions as an exception to the general rule of prohibition.
(*137) Quoted from Ibn Taimiyyah Majmoo'ul Fataawa, vol. 11, p. 576.
(*138) From the first and second century of the Islamic era.
(*139) See p. 55, vol. 14 of Al-Qurtubi's Al-Jaami'.
(*140) Refer to the section under the title, “The Position of the Companions on this Issue.”
(*141) See the preceding section, entitled “Imam Ahmad bin Hanbal,” for details.
(*142) Who died in the year 456 of the Islamic calendar.
(*143) He lived during the years 435-532 of the Hijrah.
(*144) He was born in the year 450 H. and died in 505 H.
(*145) Refer to the section on the sunnah, entitled “The Traditions and their Degree of Authenticity: The Narration of Al-Bukhari.”
(*146) Refer to the whole of the section, entitled “A Critical Analysis of the Hadeeth Literature” (on the issue of the ruling regarding music).
(*147) Surah An-Nisaa, 4:65.
(*148) Such as Yousuf Qardaawi in his Al-Halal wal Haraam Fil Islam, pp. 292-293.
(*149) See Ibnul-Qayyim’s Madaarijus Saalikeen, p. 493.
(*150) Other than that permitted by the texts of the authentic sunnah, namely the small hand drum (duff).
(*151) Authentically related by Imam Al-Bukhari.
(*152) Authentically related by Ahmad and Ibn Khuzaymah.
(*153) The science outlining a methodology whereby a legal ruling issue may be derived, based upon the texts of the Quran and sunnah, or upon principles extracted from these two texts.
(*154) Imam Abu Abdullah Muhammad bin Abi Bakr (691-751 H.), popularly known as Ibn Qayimmil Jawziyyah. He was one of the most erudite scholars of the Quranic and hadeeth sciences and mujtahid in his own right. He was the most brilliant of the many disciples of Shaikh ul Islam Ibn Taimiyyah.
(*156) They claim that dancing, singing and music raise their “spiritual consciousness” and elevate them to a higher “mystical level”, thus bringing them nearer to the divine presence!!
(*157) Whenever he uses the word song or singing (ghinaa), he means the forbidden form to musical accompaniment.
(*158) Literally, “reading “or “recital” used here with this general meaning in mind. Thus, such song is the “revelation” and “sacred recital” of Satan; whereas the text of the inimitable Al-Quran Al-Kareem is the revelation of Allah and the sacred recital of His word.
(*159) Ar-Rahman, an attribute of Allah, means the One who has absolute mercy for all of His creations.
(*160) Page 224, vol. 1 of Ighaathatul Lahfaan.
(*161) Such as the Orientalists, missionaries and others who use the misguided deeds and beliefs such Muslims to suggest that Islam is without sense and decorum.
(*162) According to their reasoning, “elite” (khawwaas) means “the holy people” or “special chosen people” who follow one of their Sufi “paths”.
(*163) Condensed from Ighaathatul Lahfaan, vol. 1, p. 224.
(*164) Ibid., vol. 1, p. 241.
(*165) Obeying its commands, desisting from its prohibitions and adhering to its guidance, in all walks of human life.
(*166) This refers to dhikrullah, the remembrance of Allah in the heart and on one's tongue, by mentioning His beautiful names and by praising and glorifying Him. The loftiest form of dhikr is reading Allah's Book with contemplation and understanding.
(*167) Abridged from Ighaathatul Lahfaan, vol. 1, pp. 248-250.
(*168) All Muslims having a background in the West can vouch for the manifold evils associated with music and song evident in so-called funk, soul, rock, acid rock, punk rock, blues and jazz. It is essentially libidinous, sexual music which drives ones passions and animal desires to frenzy. Its objectives (especially when coupled with calculated themes embodied in certain lyrics) are sex, violence, desperation, suicide, hedonism and nihilism. In fact, every foul passion, sense, feeling, idea or thought is embodied in this demonic medium. It is truly another of Satan's many vehicles harnessed in his apparent “joy ride” to Hell, the foulest destination and final abode of such evil doers.
(*169) A special case in point is Yusuf Estes (originally Skip Estes), formerly a prominent musician and owner of music stores from Texas, USA. He gave it all up for Islam. We ask Allah to accept from him and pray that others of our brothers and sisters take him as a noble example to follow, ameen.
(*170) Surah Al-Hajj, 22:54.
(end of 4 parts)
MUSIC - IS IT HARAM (Forbidden)? (4 of 4)
MUSIC - What Did the 4 Imams Say?
Hot Topic for Muslims Everywhere -
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Part 1 of 4 parts "Music In Islam" www.islamnewsroom.com/music-hot-topics-60
Part 2 of 4 parts "Music in Islam" www.islamnewsroom.com/news-we-need/491
Part 3 of 4 parts "Music in Islam" www.islamnewsroom.com/news-we-need/492
Part 4 of 4 parts "Music in Islam" www.islamnewsroom.com/news-we-need/493
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