This excerpt is taken from Sheikh Irshad-ul-Haq Asri's book Islam and Music: A Review of Ishraq's Objections.
Under this heading, what Mr. Ghamidi and his associates have written has already been thoroughly refuted by us. In this context, it was also stated that: At weddings, it is permissible for slaves or girls to sing in the women's gathering provided the songs are legitimate, do not contain stories of beauty and charm, and do not mention immorality, debauchery, or romantic love. Using such songs to justify a musical gathering may be the work of modernists, but not of any true servant of religion. The people of Ishraq have faithfully quoted our same position and deleted the last line which said that using such songs to justify a musical gathering may be the work of modernists, but not of any true servant of religion, and innocently stated that 'Al-I'tisam has essentially accepted our argument.' [لا حول ولا قوة إلا بالله]
Where is the singing of girls or slaves, and where is "music"? We clearly wrote that singing by girls or slaves on the occasion of weddings is permissible per sentence, but to consider it as evidence for a musical gathering is a result of not distinguishing between what is permissible and what is not. Despite such clarification, it is regrettable that the people of Ishraq claim that Al-I'tisam has actually accepted our argument. سبحان الله
In the present era, on the occasion of weddings, there are bands, songs in various tunes, often based on love and flirtation, along with dance performances by renowned musicians and artists on stage, and that too by free, adult men and women. Those gentlemen who justify this type of music by comparing it to the singing of girls and slaves in the Prophetic era should feel ashamed. The songs that were sung in the Prophetic era are mentioned in the books of hadith and history, but are the songs sung in the present era of the same nature, and who are the ones singing them?
We also stated in Al-I'tisam that it is another trick of the modernists that they translate the same hadith of Ibn Majah [أرسلتم معها من يغنی] as, "Was a singer also sent with him?" Not only the translation but in the argument, it was said that you encouraged sending a singer along with the bride on the occasion of the wedding. This translation and argument are evidence that the people of Ishraq believe that men also had this passion for "music" and that among the Companions, may Allah be pleased with them, there were also "artists" of music. Our statement was very unpleasant to the people of Ishraq, so it was said that since the words [من یغنی] are used in the narration, it was necessary to translate it in the masculine form. This is a rule in all the major languages of the world that when the specification of gender is not intended, generally the masculine form is used.
Reference: (Ishraq: p.44)
The rule of languages is known and well-established. But the matter is not only about translation; it is also about reasoning. Did the people of Ishraq not argue that you encouraged sending the singer along with the bride on the occasion of the wedding? After that, the excuse of masculine form in translation is an example of the excuse being worse than the sin. If there is room for masculine form in translation, then is there room for the phrase "the singer" in reasoning as well? Rather, regarding the word "Jariya" in the narrations, the people of Ishraq have written that there is no doubt that the word "Jariya" also means a girl, but here it is necessary to understand it as maidservants. The biggest evidence for this is that in the other version, instead of __ARABIC_4, the words ARABIC_5__ have been quoted.
Reference: (Ishraq: p.20 March 2004)
Similarly, regarding "Jawar," they write: Here, translating "Jawar" as girls is not correct because in the other version, instead of it, the word "Qainat" (مغنیات) has appeared.
Reference: (Ishraq, ibid: 25)
Leaving aside the rest of the details, the request is that if translating جوار and جاریہ as "girls" is not correct based on the other method, then according to the Tabarani narration in the same hadith, which contains [فهل بعثتم معها جارية], "Did you send any girl with him?" why is the translation of من as "singer" and "singers" correct?
Credit must be given to the insightful perspective of the Ahl al-Ishraq that in their unwarranted agreement, they do see the second chain and the text of this narration to determine the meaning of جاریہ or جوار, but when it comes to determining the meaning of a word in a narration opposing their stance, they completely ignore its second chain and text. سبحان الله
Regarding this narration of Ibn Majah, the Ahl al-Ishraq wrote that the hadith scholars have classified it as Hasan. We have already asked: which "hadith scholars" have classified it as Hasan?
Along with this, it was also stated that this narration is absolutely weak in terms of its chain of transmission. However, based on other evidence, this narration is good (hasan), authentic (sahih), and in fact, the original narration with brevity is also found in Sahih Bukhari and others. Observe the helplessness of the Ahl al-Ishraq; they write that if you have accepted it as a hadith, then what is the criticism about? If anything was to be said, wouldn't it have been sufficient to say that this narration should be transmitted through such-and-such chain instead of such-and-such chain? Please note that the esteemed contemporary muhaddith, Allama Albani, has classified it as hasan.
Reference: (Ishraq: p.44)
When reasoning was done from the narration of Ibn Majah and it was said that the "Muhaddithin" have declared it Hasan, we presented with reference that its chain of narration is definitely not Hasan, so why are the Ahl al-Ishraq so stubborn about it? At least two of the "Muhaddithin" should have been mentioned. But they could not do that; instead, they said that if the hadith has been accepted as such, then on what grounds is it being criticized? The hadith has been accepted in the capacity and meaning that we have accepted it; are the Ahl al-Ishraq ready to accept it? If not, and certainly not, then what is the benefit of this sophistry?
As for the matter that Allama Albani, may Allah have mercy on him, called it Hasan in Sahih Sunan Ibn Majah, we have duly noted it according to his statement. However, to clap upon seeing the word "Hasan" in Sahih Ibn Majah is clear evidence of the ignorance of the people of Ishraq and a result of unfamiliarity with Allama Albani's style. Allama Albani, may Allah have mercy on him, explicitly stated that in Sahih Ibn Majah, we have mentioned many hadiths whose chains of narration are weak. The ruling against it in Sahih Ibn Majah is based on evidence and other routes, and it is of the same category which hadith scholars describe as Sahih Laghirah or Hasan Laghirah. His words are: [لقد قويت أحاديث كثيرة أسانيدها في هذا الكتاب ضعيفة، وذلك لطرق أخرى أو شواهد فيه أو في غيره من كتب الحديث، فهي من النوع الذي يعبر عنه أهل الحديث بأنه صحيح لغيره أو حسن لغيره]
Reference: (Introduction to the Weak Sunan Ibn Majah: p.43)
After the explanation of Allama Albani, may Allah have mercy on him, tell me! Is there any proof in this defense that the people of Ishraq have arranged? Rather, Allama Albani, may Allah have mercy on him, afterwards called those who were mistaken about this type of ruling as novices and hasty in this field. We cannot comment on the people of Ishraq, but seeing the word 'Hasan' in Sahih Ibn Majah, they proudly say, "Please note," anyway, it falls into the same category. [ولدينا مزيد] To the people of Ishraq, if they want to accept Allama Albani's decision, they should note that Allama Albani, may Allah have mercy on him, himself declared the same hadith in Ibn Majah as weak
Reference: (Dhaeef al-Jami' al-Sagheer, No:1420)
and pointed out that its details can be seen in
Reference: (Silsilat al-Ahadith al-Da'eefa, No:2981)
. The people of Ishraq are requested to see these details themselves and tell whether the reason for which this incompetent person declared this hadith weak and quoted the speech on it with reference to Allama al-Busiri, may Allah have mercy on him, was not mentioned by Allama Albani, may Allah have mercy on him? Therefore, the mistake that the people of Ishraq found in Sahih Ibn Majah is a result of their ignorance. If they knew the reality, they would never have committed this audacity.It is also noteworthy here that Allama Albani has stated in Al-Silsilah Al-Da'eefah: [وفي الباب ما يغنى عنه] There are other narrations in this chapter which make this narration unnecessary. The people of Ishraq can also say to Allama Albani, may Allah have mercy on him, that if he has accepted it as a hadith, then what is the point of criticism? But no student associated with the science of hadith can say this. The weakness of a hadith’s chain of transmission is one thing, and its being good or authentic based on supporting evidence and corroborations is another. Allama Albani, may Allah have mercy on him, also said it was good based on supporting evidence but declared it weak in terms of the chain of transmission according to Ibn Majah’s chain. See more:
Reference: (Arwa Al-Ghaleel: Vol. 7, p. 52, No. 1995), (Adab Al-Zifaf: p. 109)
The chain and the words of the hadith about which the people of Ishraq claim that the Muhaddithin have called it good— it is incumbent upon the people of Ishraq to prove this claim. Do not entangle your followers in baseless talk here and there.Dear readers! This is the reality regarding music at weddings, based on our observations and the criticisms of the Ahl-e-Ishraq. Now let us review what the Ahl-e-Ishraq have written under the heading 'Music at Celebrations.'
The primary objection of the Ahl-e-Ishraq regarding what they wrote under the heading 'Music at Celebrations' and what I wrote under 'Celebration Music' is that the words 'Celebration Music' were not used anywhere in our article, either as a title or within the text. Even a person with minimal knowledge of language and expression would exclaim that there is a world of difference between these two titles. 'Celebration Music' means that a celebration of music is being held, whereas 'Music at Celebrations' means that music is being used on the occasion of national or regional celebration events.
Reference: (Ishraq: p.45)
If the title "Music Festival" has disappointed the people of Ishraq, we apologize. We should have written only about music at the festival so that the people of Ishraq could have avoided blackening two pages. But in this regard, can we dare to inquire what is the Shariah position on celebrating national and regional festivals? Apart from the two Eids, did the Prophet Muhammad ﷺ or the righteous companions, may Allah be pleased with them, organize a celebration on any national day? In our society, celebrations such as the birth of Mustafa ﷺ, spring festivals, independence day, New Year, and birthdays are observed, and what is the Shariah justification for what is permitted in these? The meaning of celebration is understood as happiness, but please tell us which celebration is there in which dancing, singing, revelry, throwing flower petals, colorful decorations, and all those methods that ignite base desires and awaken animal instincts are not adopted? If the matter were limited to happiness, we would not oppose such a celebration either.
But when even the people of Ishraq admit the fact that such things have entered into the celebration, then on what basis are they granting the proof for its permissibility?
Among the narrations that the people of Ishraq mentioned for "music at celebrations," one narration from Hazrat Anas (may Allah be pleased with him), which is narrated in Ibn Majah, is authentic. Besides this, narrations from Hazrat Anas (may Allah be pleased with him) were mentioned through Ibn Aisha (may Allah have mercy on him) and Tabarani, about which it was stated that both are weak and not reliable for argument. The people of Ishraq accepted our criticism of these two, but now, based on the narration of Hazrat Anas (may Allah be pleased with him), they have said that our fundamental argument was based on the authentic narration in Ibn Majah that during the joy of the Prophet’s (peace be upon him) arrival, the maidservants played the musical instrument daf and sang songs, and the Prophet (peace be upon him) did not disapprove of them.
Reference: (Ishraq: pp. 46-47)
It is very strange that as a result of our criticism, it is now said that our primary argument was based on the authentic narration of Ibn Majah. The question is, the hadith from Ibn Majah on which the people of Ishraq based their primary argument, they have mentioned it second, whereas the weak narration of Ibn Aisha regarding [سیرۃ الحلبیہ] is mentioned first, at number ①, and under number ①, the argument was made first that it is narrated from Ibn Aisha that when the Prophet ﷺ came to Medina, women and children sang these songs. (اشراق: ص 24 مارچ 2004ء)
And based on the same narration, the people of Ishraq concluded at the end of the discussion that on this occasion, ordinary women, children, and singers played the daf and sang welcoming songs.
Reference: (Also: p. 26)
However, after criticism of Ibn Aisha's narration and a reasoned clarification that it is not proven that 'ordinary women' sang songs on this occasion, the people of Ishraq now skillfully say: Our primary argument was based on the narration of Ibn Majah; let that be the primary argument, but from it, the assertion that ordinary 'ordinary women' sang songs is broken. الحمد للهInitially, based on the weak narration of Ibn Aisha, common women were considered to be among the singing girls and slaves during the arrival of the Prophet ﷺ in Madinah Tayyibah, but now it is acknowledged as a known fact that at that time in Arabia, the profession of singing or music was generally associated only with slaves; they would perform it on festive occasions and during celebrations of happiness. Free women and girls neither learned this art nor performed it.
Reference: (Ishraq: p.32 March 2006)
We also stated that what happened was a matter concerning girls and maidservants; calling it a 'celebration of arrival' in the common sense is not proven by any valid evidence. Neither did "ordinary women" participate in it, nor did men play the daf (tambourine), nor were songs sung by them. The elders welcomed, the girls and maidservants sang songs and played the daf. Is this what is called a 'celebration'? Despite acknowledging this fact, to lessen the burden on their conscience.
Reference: (Ar-Raheeq Al-Makhtum: p. 240), (Seerat Sarwar-e-Alam: p. 744 vol. 2)
The people of Ashraq have copied the depiction of your ﷺ arrival from these references. But consider, what is the benefit of this here? Where in Ar-Raheeq Al-Makhtum is it stated that 'ordinary women' also participated? Its very words are that 'the girls of Ansar were spreading the melodies of these verses with joy and happiness,' but the people of Ashraq earlier said 'ordinary women, children, and singers' sang the melodies; now if there is some change, they consider it necessary to attribute singers along with children, but this is absolutely not in Ar-Raheeq Al-Makhtum.However, in the biography of the Leader of the Worlds, it is mentioned that women were climbing onto the roofs and singing these songs, and perhaps through this, the people of Ishraq want to subconsciously implant in their readers that common women were also involved in this act. Although we have conclusively proven with evidence that this act of women is not established in any authentic narration. Therefore, the references from these two books hold no more significance than mere embellishment of the story. For more, see:
Reference: (السلسۃ الضعیفہ:رقم:6508)
Dear readers, you have read that in response to our criticism under the title 'Music Festival,' it has now been stated that 'our primary argument is based on the authentic narration of Ibn Majah that in celebration of the arrival of the Prophet ﷺ, the maidservants played the musical instrument daf and sang songs.' The same was also mentioned earlier in Ishraq
Reference: (p. 25 March 2004)
that after entering the city, when the Prophet ﷺ passed through a street in Medina, some maidservants were playing the daf and singing songs. This narration is undoubtedly authentic in terms of chain of transmission, but the point to consider is whether this narration of Ibn Majah is actually from the time of your ﷺ arrival in Medina or not? Imam Ibn Majah mentioned it with the chain عیسیٰ بن یونس ثنا عوف عن ثمامة بن عبد الله عن أنس, the same narration has been mentioned by Imam Bayhaqi
Reference: Dala'il al-Nubuwwah (p. 508 vol. 2)
and Imam Tabrani in Al-Mu'jam al-Saghir with the chain of Isa bin Yunus. From this, it apparently seems that this is a detail of the migration occasion, but the people of Ishraq should remember that the esteemed contemporary hadith scholar Allama Nasiruddin al-Albani said that the mention of playing the daf on the occasion of migration is not authentic; it was only on the occasion of weddings. Accordingly, on the occasion of migration, citing the narration of Hazrat Anas رضي الله عنه with another chain, which mentions the participation of women in the reception and playing the daf, he says:[ولقصة الجواري والضرب بالدف شاهد من حديث أنس ولكن ليس فيه أن ذلك كان عند قدومه صلى الله عليه وسلم المدينة، بل في رواية أن ذلك كان في عرس وهو الراجح كما تقدم بيانه في تخريج حديث أنس برقم: 3154 From Volume Seven of Sahih
The story of the girls and the drum playing is a narration of Hazrat Anas (may Allah be pleased with him), but in it, there is no mention of this (drum) on the occasion of the Prophet’s ﷺ arrival in Medina. Rather, in one narration, it is mentioned that it was on the occasion of a wedding, and this is the stronger view, as explained in
Reference: Sahih, Volume Seven, Hadith Number: 3154
.
Reference: (Al-Silsilah al-Da‘ifah: Number 6508)
According to the attributed narration in
Reference: Al-Silsilah al-Sahihah
, the narration of Hazrat Anas is mentioned with reference to
Reference: Ibn al-Sunni Number: 228
, in which mention is made of women, girls, and servants. This reception was upon returning from the wedding, and in it, the Prophet ﷺ said to them, "I love you."
Reference: (Al-Sahihah: Number 3154)
With Sheikh Al-Albani’s (may Allah have mercy on him) clarification, this knot has also been untied that the basis for "music at celebrations" is also baseless. He has already acknowledged the weakness of other narrations; is Sheikh Al-Albani’s statement also accepted or not?
Reciting poetry was a common practice among the Bedouins during travel. The Holy Prophet ﷺ also listened to it during journeys and enjoyed it, as narrated by Hazrat Salma bin Aku’ah (RA) in
Reference: Sahih Bukhari: No. 3960
. The same poetry recitation is labeled as "music" by Mr. Ghamidi and his followers. We have explicitly written, citing Hafiz Ibn Hajar (may Allah have mercy on him), that calling poetry recitation music is incorrect. However, when this statement was displeasing to the people of Ishraq, it was said that even if it is accepted that poetry recitation is singing, this single narration alone is not conclusive evidence for the permissibility of singing. What kind of logic is this that if a Bedouin sings a melody, it is permissible, but if a city dweller sings a melody, it is impermissible; if one raises their voice and sings in the specific style of camel riders, it is correct, but if sung in any other style, it is wrong; if one sings melodiously by natural talent, it is accepted, but if one sings melodiously after acquiring the art, it is rejected.
Reference: (Ishraq: pp. 48-49)
But this statement, spoken hastily and emotionally, repeatedly says that 'pleasant voice' and 'acquisition of art' are two separate realities. Did the Prophet Muhammad ﷺ and the Companions رضي الله عنهم establish this "acquisition of art," meaning a music training center? If the people of Ishraq dig through the pages of history and show that this is a music training center alongside the Companions of the Suffah, then we will be grateful to them; if not, and certainly not, then let anyone, whether Bedouin or urban, engage in pleasant vocalization, but do not entangle it in the complications of acquiring the art.
Dear readers, please consider! The people of Ishraq first declared Huddi recitation as "music" and used it as an argument for "music during travel," but does not their above statement now indicate that Huddi is singing, and 'pleasant voice' after 'acquisition of art' is something else (music)? If the people of Ishraq now understand the difference between the two, then the title "music during travel" has been proven wrong in every way.
Thought about it a lot and devoted my heart, Ghalib
What new thing are you trying to explain?
If someone arbitrarily says that halala is also a marriage because it involves offer and acceptance, dowry, etc., and there is no difference between the two, similarly there is no difference between mut'ah and marriage, no difference between usury and sale because both transactions occur with the consent of the parties, then perhaps the people of Ishraq also do not see any difference between them. If there is a difference, then believe me, there is also a difference between reciting poetry with natural pleasantness and reciting poetry after 'acquiring the art.' Training in singing, its training centers, and the teaching of musical notes on instruments certainly did not exist during the blessed era of the Prophet ﷺ and the companions, may Allah be pleased with them. If the people of Ishraq can show such "educational and training centers" during the Prophetic and Companions' era, we will also accept music; if not, then protect the Ummah from matters of ignorance, this is the service of religion and nation. Do not dare to include it again in the era of ignorance; therein lies its benefit.
