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Journal articles on the topic 'Sufi music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Hanif, Abdulloh, and Ahmad Fathy. "DIMENSI SPIRITUALITAS MUSIK SEBAGAI MEDIA EKSISTENSI DALAM SUFISME JALALUDDIN RUMI." FiTUA: Jurnal Studi Islam 4, no. 2 (October 10, 2023): 111–28. http://dx.doi.org/10.47625/fitua.v4i2.508.

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Music in Islam is not only related to art and culture. It is also included in the discourse of religious worship and experience. Many jurists debate the legal status of music, both at the listening level and at the singing level. However, for Sufis, music is a medium of worship, a medium for expressing their experience of closeness to God. Jalaluddin Rumi, as a Sufi who often uses music and expresses his Sufi experiences through poetry and music. He has a different meaning about music, which seems to contain a spiritual (ruhani) element which is a form of his experiential existence. This issue will be explored in this article through the question: what spiritual values are contained in Sufi music? and how can music occur as a way of existence in Sufism? This research is qualitative in nature with descriptive analysis which results in the conclusion that Rumi's poetry and music show his more intimate and secret teachings in relation to the expression of his relationship with God. So the experience of ecstasy and the ma’rifat often arises through poetry or music.

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2

Frishkopf, Michael. "Sufi Music: The Rough Guide to Sufi Music (review)." Asian Music 43, no. 1 (2012): 148–55. http://dx.doi.org/10.1353/amu.2012.0000.

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3

LAHORA, DR PANKAJ. "Sufi Sama – The Soul of Sufi Mystical Music." Swar Sindhu 5, no. 1 (June 30, 2017): 5–7. http://dx.doi.org/10.33913/ss.v05i01a02.

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4

Ahmed, Bakhtiar, and Amir Ali Chandio. "Countering Extremism Through Sufi Practices in Sindh." Global Regional Review IV, no. II (June 30, 2019): 421–26. http://dx.doi.org/10.31703/grr.2019(iv-ii).45.

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This article is an analysis of Sufism and Sufi practices performed at Sufi shrines of Sindh. Moreover, the ways to counter the growing menace of extremism through Sufi practices is discussed in this paper. The approach adopted is from traditional to modern, in understanding the importance of Sufism. Sindh is considered the land of Sufis but unfortunately, it is badly affected by extremism. Although there is a huge number of Sufi shrines in Sindh, the data has been collected and analyzed from the shrines of Shah Abdul Latif Bhittai, Usman Marwandi (Lal Shahbaz Qalander) and Sachal Sarmast, particularly at Urs celebrations. The important Sufi practices include Sufi music, Sufi poetry, Lunger, Urs celebrations etc. The participants in Urs celebrations belong to a variety of groups from upper class to lower and middle class, irrespective of their caste, creed and religion.

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5

Tanvir Anjum. "Religious Inclusiveness and the Medieval Sindhi Sufi Poetry: Intangible Cultural Heritage of Sindh." Progressive Research Journal of Arts & Humanities (PRJAH) 6, no. 1 (March 18, 2024): 77–87. http://dx.doi.org/10.51872/prjah.vol6.iss1.307.

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Cultural heritage in a given society may take the form of both tangible and intangible manifestations. Concerning Sufism in Sindh, manifestations of tangible cultural heritage may include Sufi shrine complexes, sites of meditation and dwellings, Sufi relics, and artifacts of devotion. In contrast, intangible cultural heritage may include, inter alia, Sufi traditions, literary productions, music and dance, festivals, and Sufi ethos. The rich Sufi ethos of multi-ethnic and multi-religious medieval Sindhi society was informed by varied socio-historical traditions. The Sufis of Sindh composed vernacular poetry encompassing the theme of religious inclusiveness and pluralistic accommodation, squarely in line with the eclecticism of the region's religious landscape. It freely imbibed elements from varied local cultural traditions. Sufi poetry, together with centuries-old Sufi practices, allowed fluidity of religious affiliation and created a space where religious identities became inextricably intertwined. However, these identities were communalized and rigidified in colonial and post-colonial periods. Recent years have unfortunately witnessed the growing menace of religious radicalization, considerably undermining the Sufi ethos. The situation calls for devising a coherent strategy to cope with religious radicalization to reclaim and preserve the tolerant cultural heritage of the region.

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6

Rasyid, Mufti. "REINVENTING RELIGIOUS MODERATION IN INDIA THROUGH SUFI CONTENT IN BOLLYWOOD MUSIC VIDEO." Mahakarya: Jurnal Mahasiswa Ilmu Budaya 3, no. 2 (December 31, 2022): 28–36. http://dx.doi.org/10.22515/mjmib.v3i2.5574.

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Religious violence in India has become one of the bloodiest humanitarian crises in history. There have been many efforts to stop or reduce these conflicts, one of which is promoting religious moderation using art media. Within the last decade, incorporating Sufi content in Bollywood music videos has become a new trend. Sufism, as a mystical form of Islam, has been viewed as more pluralistic and acceptable for all societies in India. Therefore, this study aimed to observe the Sufi content in Bollywood music videos and measure its role as a new approach to religious moderation in India. Using Roland Barthes' semiotics theory, this qualitative research observed how Sufism is depicted in Bollywood music videos and analyzed how it represents religious moderation. The research results revealed that the Sufism depiction in Bollywood music videos is represented in two forms: visualized music videos and the lyrics. Sufi content in the selected Bollywood movie songs has some religious moderation principles like tasamuh (tolerance), i'tidal (justice), qudwah (leadership), i'tiraf al-urf (respecting tradition), and anti-violence. Analyzing the comments on Youtube featuring those music videos, it could be concluded that the Sufi content in Bollywood music videos has successfully influenced the audience to be more religiously moderate.

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7

Qasbi, Rachid. "(Re)defining the Dichotomies within Moroccan Sufism." Advances in Social Sciences Research Journal 8, no. 1 (February 2, 2021): 578–88. http://dx.doi.org/10.14738/assrj.81.9563.

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Although marked by diversity, the Moroccan Sufi rituals have been associated with mysterious aspects and reputed for the dichotomy of their different facets. The complexity of this field has intrigued my curiosity to investigate to what extent the type of music deployed can contribute to categorizing Sufi orders. In this context, it is worth exploring how the music is used and for which purposes. Through contrasting samaã to gnawa as major Sufi music genres, this paper sheds light on the duality inherent within the former as an elitist Sufi practice and the latter as its popular counterpart. In support if this, I conduct interviews and focus groups with several Moroccan disciples to further investigate the type of audience they both attract and how the two genres help the disciples to get into the Sufi atmosphere and the desired metaphysical level. By reviewing the literature carried out by Moroccan as well as foreign authors in this field, I also look into how researchers position Sufi activities and whether they approach them with awareness of the dichotomies categorizing the two genres within high and low cultures.

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8

KOLBAŞI, Guyem, and Selçuk KIRLI. "Comparison of Relaxing Effects of Sufi and Gregorian Music on People with High State Anxiety Levels." Gevher Nesibe Journal IESDR 6, no. 11 (March 25, 2021): 74–78. http://dx.doi.org/10.46648/gnj.191.

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Objective: The aim of this study is to compare therelaxing effects of two religious music in people who has normal trait anxiety levels but high state anxiety levels and to investigate if the relaxing effect is relevant to cultural background. Methods: Sixty university students, aged between 20 and 25 with no psychiatric illnesses and no visual or hearing impairment were enrolled in this study. The participants were divided into subgroups consisting of ten people each. The two music applications were performed in two different sessions for each participants. All participants were given the trait anxiety inventory (STAI-2) at the beginning of the study, and state anxiety inventory (STAI-1) before the visual anxiety triggering material and after the music applications. Results: Both Sufi and Gregorian music caused a decrease in STAI-1 anxiety points, however, Sufi music was significantly effective in relieving anxiety compared to Gregorian music. Conclusion: The relatively more relaxing effect of Sufi music among participants may be due to the cultural archetypes.

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Ridgeon, Lloyd. "The Controversy of Shaykh Awḥad al-Dīn Kirmānī and Handsome, Moon-Faced Youths: A Case Study of Shāhid-Bāzī in Medieval Sufism." Journal of Sufi Studies 1, no. 1 (2012): 3–30. http://dx.doi.org/10.1163/221059512x617658.

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Abstract The ability to witness the divine in creation has been one of the features that has often distinguished Sufis from non-Sufis. One of the most controversial manifestations of this was shāhid-bāzī (“playing the witness”), which was a practice of gazing at the form of young males in order to witness the inner, divine presence. Since medieval times a Persian Sufi by the name of Awḥad al-Dīn Kirmānī has been most commonly associated with shāhid-bāzī (especially during the samāʿ—or the ritual of Sufi music and dance). The controversy relating to Kirmānī seems to have focused on the homoerotic nature of shāhid-bāzī, yet a close examination of the texts reveal that the criticisms about Kirmānī relate to a wide range of Sufi practices and doctrines. An investigation of the contexts of these criticisms indicate that thirteenth–fourteenth-century Sufism was diverse and fluid, and that the systematisation of Sufism into brotherhoods (ṭarīqa) which was taking place in Kirmānī’s lifetime had not resulted in a bland conformity of faith and practice.

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10

Guilhon, Giselle. "Sufi Night: Music, Ritual and Ecstasy on the Conteporary Scene." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 70. http://dx.doi.org/10.18542/arteriais.v3i5.5356.

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ResumoÀs vinte horas dos dias 14 e 15 de maio de 2004, a Sala de Concertos da Cité de la Musique, em Paris, abriu suas portas para quatro ordens sufis do mundo muçulmano – Murid (do Senegal), Yesevi (do Egito), Kadiri (do Afeganistão) e Chisti-Qawwali (do Paquistão) – uma após a outra, apresentarem seus concertos espirituais. A audição (al-sama) da Nuit Soufie (nome dado ao concerto) terminou, nas duas noites, de madrugada. Através das recitações e cantos poéticos dos Murids do Senegal, das recitações corânicas apresentadas em elaboradas técnicas vocais, pelo Sheikh Ahmad Al-Tûni (do Egito), do círculo de zikr (repetição dos nomes de Deus), liderada por Mir Fakr al-Din Agha (do Afeganistão) e do canto alegre e contagiante dos Qawwâli (do Paquistão), sob a batuta de Asif Ali Khan, os rituais sufis rivalizaram com os “transes” techno da cultura rave atual. Neste texto – que é fruto de uma etnografia de passagem – a autora faz uma reflexão comparativa entre os “transes vertiginosos” produzidos nas pistas rave de dança e os “transes esotéricos” experimentados pelos participantes (“musicantes” e “musicados”) dos e nos concertos ou audições (al-sama) públicos, sufis.AbstractAt eight o’clock on the 14th and 15th of May 2004, the Salle des Concerts of the Cité de la Musique, in Paris, opened its doors to four Sufi orders of the Muslim world – Murid (from Senegal), Yesevi (from Uper Egypt), Kadiri (from Afghanistan) and Chisti-Qawwali (from Pakistan) –, one after another, present their spiritual concerts. The audition (al-sama) of the Sufi Night (the name given to the concert), on the both of the two nights, ended in the small hours. With the recitations and poetic songs of the Murids from Senegal, the Koranic recitations presented in elaborate vocal techniques by Sheikh Ahmad Al-Tûni (from Egypt), the zikr circle (repetition of the names of God), led by Mir Fakr al-Din Agha (from Afghanistan) and the joyful and contagious Qawwali songs (from Pakistan), led by Asif Ali Khan, the Sufi rituals rivaled the profane techno “trances” of modern rave culture. In this text – which is fruit of an ethnography of passage – the author makes a comparative reflexion between the “vertiginous trances” produced on the rave dance floors and the esoteric “trances” or “ecstasies” experienced by the participants (“musicians” and “listeners”) of and in the public Sufi concerts or auditions (al-sama).

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11

Guilhon, Giselle. "SUFI NIGHT: MUSIC, RITUAL AND ECSTASY ON THE CONTEMPORARY SCENE." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 70. http://dx.doi.org/10.18542/arteriais.v3i5.5508.

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ResumoÀs vinte horas dos dias 14 e 15 de maio de 2004, a Sala de Concertos da Cité de la Musique, em Paris, abriu suas portas para quatro ordens sufis do mundo muçulmano – Murid (do Senegal), Yesevi (do Egito), Kadiri (do Afeganistão) e Chisti-Qawwali (do Paquistão) – uma após a outra, apresentarem seus concertos espirituais. A audição (al-sama) da Nuit Soufie (nome dado ao concerto) terminou, nas duas noites, de madrugada. Através das recitações e cantos poéticos dos Murids do Senegal, das recitações corânicas apresentadas em elaboradas técnicas vocais, pelo Sheikh Ahmad Al-Tûni (do Egito), do círculo de zikr (repetição dos nomes de Deus), liderada por Mir Fakr al-Din Agha (do Afeganistão) e do canto alegre e contagiante dos Qawwâli (do Paquistão), sob a batuta de Asif Ali Khan, os rituais sufis rivalizaram com os “transes” techno da cultura rave atual. Neste texto – que é fruto de uma etnografia de passagem – a autora faz uma reflexão comparativa entre os “transes vertiginosos” produzidos nas pistas rave de dança e os “transes esotéricos” experimentados pelos participantes (“musicantes” e “musicados”) dos e nos concertos ou audições (al-sama) públicos, sufis.AbstractAt eight o’clock on the 14th and 15th of May 2004, the Salle des Concerts of the Cité de la Musique, in Paris, opened its doors to four Sufi orders of the Muslim world – Murid (from Senegal), Yesevi (from Uper Egypt), Kadiri (from Afghanistan) and Chisti-Qawwali (from Pakistan) –, one after another, present their spiritual concerts. The audition (al-sama) of the Sufi Night (the name given to the concert), on the both of the two nights, ended in the small hours. With the recitations and poetic songs of the Murids from Senegal, the Koranic recitations presented in elaborate vocal techniques by Sheikh Ahmad Al-Tûni (from Egypt), the zikr circle (repetition of the names of God), led by Mir Fakr al-Din Agha (from Afghanistan) and the joyful and contagious Qawwali songs (from Pakistan), led by Asif Ali Khan, the Sufi rituals rivaled the profane techno “trances” of modern rave culture. In this text – which is fruit of an ethnography of passage – the author makes a comparative reflexion between the “vertiginous trances” produced on the rave dance floors and the esoteric “trances” or “ecstasies” experienced by the participants (“musicians” and “listeners”) of and in the public Sufi concerts or auditions (al-sama).

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12

Aditia Muara Padiarta, Anwar Sanusi; Hajam;. "SUFISM AND HYBRID SPIRITUALITY." Epistemé: Jurnal Pengembangan Ilmu Keislaman 14, no. 1 (June 19, 2019): 117–30. http://dx.doi.org/10.21274/epis.2019.14.1.117-130.

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This article aims to discuss a Sufi-inspired traditional art and performance popular in Cirebon, the so-called “Brai”. The Brai is a traditional Islamic Sufism music popular among the Cirebonese. This traditional music combines sounds, lyrics, and dance that invite the practitioners and audiences to exercise the spiritual stages through music. The Brai performance follows the hierarchy of Sufi-state of minds and spiritual stages (suluk and raka’at). Thus, as this article argues, the Brai is a par excellence model for the entanglement between Islam and local culture. The Brai is indeed a way of the Cirebonese both to introduce Sufi-form of Islam and provides a performance where the profane arts and spiritual-Islamic Sufims are mutually entangled.

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13

Bartel, Bruno Ferraz. "The Power of Musical Aesthetics." Anthropology of the Middle East 19, no. 1 (June 1, 2024): 8–24. http://dx.doi.org/10.3167/ame.2024.190102.

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Abstract This article explores the role of music in eliciting emotional states among the Hamdouchiya Sufi order in Morocco. It highlights the aesthetic aspects of Sufi rituals as relational activities that impact sensory perceptions and mystical experiences. Music serves as a medium through which emotions are expressed, self-imagination takes form, and challenges to the study of rituals are presented. Aesthetics plays a pivotal role in Sufi practice and belief, involving the body as a vessel for spiritual transformation and interaction with music as reflections of the divine. The article also discusses the concept of aesthetics within a cultural context, emphasising its influence on socialisation and morality. Sufism provides an opportunity to contemplate the limits of the mind, self and emotions, thereby unveiling the ritualistic shaping of one's spiritual existence.

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14

Ghani, Kashshaf. "Sound of Sama: The Use of Poetical Imagery in South Asian Sufi Music." Comparative Islamic Studies 5, no. 2 (November 3, 2011): 273–96. http://dx.doi.org/10.1558/cis.v5i2.273.

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In the cultural space of the subcontinent Sufi rituals constitute an important area of research, stirring academic and non-academic inquisitiveness. And in this regard no aspect of Sufi ritualism has been more contentious than the practice of Sama (Sufi musical assemblies). Frowned upon by orders such as the Qadiris and Naqshbandis; regulated by the State in the name of Shariah (Islamic Law), Sama assemblies have been, for centuries, the defining spiritual exercise of many a leading Sufi silsila. But what constitutes the sama? How does the content(s) of such a ritual arouse spiritual sensibilities? Is there any definite structure for conducting such assemblies? These are some of the questions this paper will try to answer. While analyzing the ritual content of Sufi music the vast range of mystical poetry of both classical and south Asian Sufism needs to be taken into consideration. Indeed the music of sama is not normally conceived as apart from Sufi poetry that constitute the text. These texts create a poetic idiom, rich in image and metaphor together with a discernable degree of symbolic interpretation. What sort of an image, and of whom, do these texts portray? Who constitutes the central focus of these poetical imageries? Is there any dominant ideology working behind these textual interpretations? Such questions tend to arise, an answer to which will be sought in the course of my discussion.

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15

Abdellatif, Soumaya. "Sufi Music and the Issue of Identity in Post 2011 Tunisia." global journal al thaqafah 10, no. 2 (December 31, 2020): 1–8. http://dx.doi.org/10.7187/gjat122020-1.

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The paper examines the meanings of the new configuration of Sufi music through "Al Ziara" performances and the intense youth interest in this musical genre, through crosscutting with the issue of cultural belonging and shaping the salient features of identity given the intertwine of the Sufi chanting and its related practices with popular culture. Based on a qualitative approach, in which were applied half-directed interviews technique and focus groups with 20 young men and women from different states of the Republic of Tunisia, the study pointed out as one of its results the role of Sufi music in dissolving the dichotomy between tradition and modernity.This tendency is manifested through the restoration of cultural elements inherent in the cultural heritage at the spiritual and social level alike , but through the cultural adaptation and renewal of old forms, as well as through the embrace of the ancient and the modern at the technical level. The study revealed the relationship between the resonance that Sufi music senses when represented in “Al Ziara” performances , and the need and desire to belonging despite the different symbolic value of this musical kind and its purposes in terms of its individual (social escalation) and collective (new social links) functions.

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16

Khan, Kate. "Hazrat Inayat Khan and His Sufi Music Metaphysics." Oriental Courier, no. 1-2 (2020): 126. http://dx.doi.org/10.18254/s268684310010569-3.

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17

Markoff, Irene. "Introduction to Sufi Music and Ritual in Turkey." Middle East Studies Association Bulletin 29, no. 2 (December 1995): 157–60. http://dx.doi.org/10.1017/s0026318400031552.

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It is difficult to appreciate and understand Sufism fully without an informed exposure to the expressive cultural forms that help define and enhance it. It is this dimension of Islamic mysticism that transports the seeker on the path of spiritual attainment into higher states of consciousness that promise spiritual intoxication (Wajd) and a unique and intimate union, even annihilation (fanā), in the supreme being. This emotional expression of faith is intensified and externalized in elaborate forms of meditation and esoteric techniques that are part of ritual ceremonies.Through ritual, many Sufi orders and Sufi-related sects throughout the world of Islam have been able to articulate doctrines and beliefs through artistic traditions such as sung poetry, instrumental music and dance-like movements (samā’ or spiritual concerts) and have utilized meditation patterns that combine corporeal techniques and controlled breathing (dhikr, Turkish, zikr) to induce or conduct trance and ecstatic states.

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18

Rusmalla, Safran, and Setya Widyawati. "KOREOGRAFI TARI SUFI KOMUNITAS DZIKIR ZHAUWIYAH KECAMATAN KARTOSURO KABUPATEN SUKOHARJO." Greget: Jurnal Pengetahuan dan Penciptaan Tari 18, no. 2 (February 6, 2020): 171–79. http://dx.doi.org/10.33153/grt.v18i2.2875.

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This research is a discussion on Sufi dance on Dzikir Zhauwiyah community. The problem in this study is the form of presentation, function and existence of Sufi dance. To discuss the issue using Sumandyo Hadi’s thoughts on dance elements consisting of elements combined into one, the staple elements of dance consist of 1) motion dance, explaining the motion used for example dance traditions or Kerakyatan, modern or creations, 2) floor patterns/Dance room, 3) dance music, 4) dance titles, 5) dance themes, 6) dancers (number and sex), 7) makeup costumes. To discuss about the function of Sufi dance using the thought of S. D Humardani which mentions that the dance function consists of primary and secondary functions. The results showed that Sufi dance choreography has meaning about the particles in the universe rotating around the sun in a direction to the left. Sufi Dance has a primary function namely as an aesthetic expression while its secondary function is as a means of ritual, meditation, therapy and media dhikr and da’wah function of the function shows that Sufi dance has a existence in the wider community. Keywords: dance, Sufi, Dzikir Zhauwiyah community.

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Rašić, Dunja. "Music of the Spheres in Akbarian Sufism." Religions 13, no. 10 (October 3, 2022): 928. http://dx.doi.org/10.3390/rel13100928.

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As per tradition, no human could hear the music of the spheres save for Pythagoras. Ibn ʿArabī, however, claimed he heard this music each time he prayed sincerely. This article examines how the Pythagorean concept of the music of the spheres came to be integrated and reinterpreted in Akbarian Sufism, with a special emphasis on Ibn ʿArabī’s notion of samāʻ and the modes of recreating the music of the spheres in Sufi gatherings.

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20

Lewisohn, Leonard. "The sacred music of Islam:Samā’in the Persian Sufi tradition." British Journal of Ethnomusicology 6, no. 1 (January 1997): 1–33. http://dx.doi.org/10.1080/09681229708567259.

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21

Shayakhmetova, Alfiia K. "Philosophical Understanding of Music and Poetry in Sufism." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 103–14. http://dx.doi.org/10.17516/1997-1370-0880.

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The role of music and words in Sufi practice is very high. It is through the musical component and the sounding word that the main attributes of the mystical direction in Islam are given, becoming a powerful sacred instrument in comprehending the truth. Sufism is a philosophical, aesthetic, religious, ethical doctrine and lifestyle. In the past, it had embraced all spheres of social life, influenced, and often determined the creative thinking of poets, musicians, architects, artisans, and other creators. Nowadays Sufism is an active practice of religious life in an unorthodox Islam. It is becoming a source of inspiration for contemporary composers and poets. Many ideas of Sufism were in conflict and opposition with the official line of the orthodox faith. Among these ideas was music, for which the Sufis use the term «sama» (literally «listening»). In Sufism, music as one of the ways to comprehend God, had special power. This study presents the theoretical aspect of the music and poetry influence on the aesthetic side of Sufism. Based on the research of Islamic scholars, and most importantly on the literary, philosophical works of the Sufis, previously not used with scientific intentions; Let us present a picture of the vision and understanding of the musical and aesthetic side of unorthodox Islam. It is also important to rediscover the relationship between the emergence and introduction of the musical aesthetics of Sufism into the modern musical ritual practice of an unorthodox Islam

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Frishkopf, Michael. "Inshad Dini and Aghani Diniyya in Twentieth Century Egypt: A Review of Styles, Genres, and Available Recordings." Middle East Studies Association Bulletin 34, no. 2 (2000): 167–83. http://dx.doi.org/10.1017/s0026318400040396.

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It is often assumed that as ‘orthodox’ Islam rejects music, Qur’anic recitation (tilawa) and the Call to Prayer (adhan) are its only acceptable melodic practices. By the same logic, the special music of Sufism is bracketed under the labels ‘heterodox,’ or else ‘popular,’ Islam. Both ‘orthodox’ and ‘Sufi’ practices are then categorically distinguished from the ‘secular’ world and its music. This erroneous ‘tripolar’ view of music and religion in Egypt can be ameliorated by considering the rich range of Islamic melodic practices performed there.

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Borodovskaya, Lilyа Zelimkhanovna. "Islamic-Sufi influence on the traditional music of the Tatars." Islamovedenie 8, no. 1 (March 22, 2017): 82–88. http://dx.doi.org/10.21779/2077-8155-2017-8-1-82-88.

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24

Deschenes, Bruno. "Sufi Music of India and Pakistan: Sound, Context, and Meaning in Qawwali.:Sufi Music of India and Pakistan: Sound, Context, and Meaning in Qawwali." Anthropology of Consciousness 10, no. 1 (March 1999): 67–69. http://dx.doi.org/10.1525/ac.1999.10.1.67.

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25

Rahman, Luthfi. "The Spirituality of Music in The Light of al-Sarrāj and al-Hujwīrī." Teosofia 6, no. 2 (November 16, 2017): 141. http://dx.doi.org/10.21580/tos.v6i2.3407.

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<p>This paper discusses spiritual and fiqh (Islamic Jurisprudence) aspects of music in relation to two classical Sufi masters i.e, Abū Naṣr al-Sarrāj al-Ṭūsi (378/988) and Alī b. Uthmān al-Jullabi al-Ḥujwīrī (465/1072). It particularly focuses on their two masterpieces i.e., <em>Kitāb al-Luma’</em> and <em>Kashfu al-Maḥjūb</em>. It further compares three specific points; permissibility of music, listening to Quran and poetry and the state of ecstasy in auditing music. Based on this study, it is found that the Sufi Masters observed the matter of spirituality can be combined and approached with strict obedience through rigidly practicing fiqh. Yet, it should be noted that spirituality of music will be of course beyond dicta of jurisprudence by the fact that spirituality is inward thing while shari’ah (which is narrowly used to point religious law) is outward one. As to the matter of listening to Quran and poetry, both sufi masters offer more emphasis on listening Qur’an than poetry or odes. Nevertheless, they did not negate the importance of listening to poetry, poems and odes. It is evidenced by a <em>ḥadīth</em> stating that indeed there is wisdom in every poetry. In terms of the state of ecstasy, the two masters offer <em>tawājud</em> (artificial <em>wajd</em>). <em>Tawājud</em> is aimed to gain wajd by representing to one’s mind the bounties and evidences of God, and thinking of union (<em>ittiḥād</em>) and wishing for the practices of Muslim saints.</p>

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McLaughlin, Fiona. "Youssou N'Dour's Sant Yàlla/Egypt: a musical experiment in Sufi modernity." Popular Music 30, no. 1 (January 2011): 71–87. http://dx.doi.org/10.1017/s0261143010000656.

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AbstractIn collaboration with the Cairene composer Fathy Salama, Youssou N'Dour released an album that appeared in Dakar in 2003 as Sant Yàlla (‘Praise God’), and internationally in 2004 as Egypt. Sung in Wolof to the accompaniment of an Egyptian orchestra, the album consists of a suite of eight interrelated pieces, seven of which are praise songs to Senegalese Sufi shaykhs, while the remaining piece praises God, the Prophet Mohammed, and some important Mauritanian shaykhs. In this essay I argue that in bringing Senegalese Islam to the international arena, N'Dour uses his stature as a world-class musician to both articulate and participate in the creation of a Sufi modernity, namely a way of being a Sufi Muslim in a globalised world. In addition to being a personal journey for Youssou N'Dour, both musically in its orientation towards the East rather than the West, and in his own religious faith, Sant Yàlla/Egypt also echoes many of the current preoccupations of Muslim intellectuals and artists as they seek to renew and reinterpret their own local religious traditions for a global audience.

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Mirbagheri Fard, Sayyed Ali Asghar, and Ehsan Reisi. "The Role of Sufism in the Formation of Contemporary Iranian Music." Religions 14, no. 12 (November 29, 2023): 1483. http://dx.doi.org/10.3390/rel14121483.

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Sufism has played a critical role, particularly in the past millennium, as one of the most significant cultural components in the history of Iran. And approximately all cultural factors, including arts, politics, economics, and the educational and training system, have been directly and indirectly influenced by the Sufi culture. One such factor is music, which has been uninterruptedly intertwined with Sufism for years. The present paper strives to investigate the extent to which and the ways in which Sufism has influenced contemporary Iranian music. The answer to this research inquiry is crucial for understanding the impacts of Sufism in the contemporary era and dissecting Iranian music, most specifically the Persian modal system (dastgāh). Despite the significant factors that contribute to the Persian musical system, the literature on the topic remains scarce. This research uses historical and research analysis, as well as the results of a field study conducted over the past two decades in the educational atmosphere of the Iranian musical system, to answer the research questions. The findings suggest that contemporary Iranian music has derived considerable influence from Sufi subjects, concepts, and teachings, and evolved thereafter, with dramatic impacts in two epochs: (1) throughout the thirties and forties HS; and (2) in the wake of the Islamic revolution.

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Raja Halid, Raja Iskandar. "SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES." International Journal of Asia Pacific Studies 18, no. 2 (July 25, 2022): 341–63. http://dx.doi.org/10.21315/ijaps2022.18.2.14.

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Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions and the practice zikir by the Sultan and his subjects. The Sufi spiritual performativity continued in the 1980s at the court of Perak with the introduction of the Naqshbandi Haqqani tariqa, where certain devotional-musical practices such as zikir, qasida, and mawlid were occasionally performed. However, the nobat was not used in these Sufi practices but replaced by percussion-based musical ensembles. Both these Naqshbandi Sufi tariqa were theologically contested, and their esoteric doctrines were considered blasphemous by those with religious power. This article examines the parallel existence of two Malay sultanates in different times, their connections to branches of Sufi tariqa, musical practices and the contestations that ensued.

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Raja Halid, Raja Iskandar. "SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES." International Journal of Asia Pacific Studies 18, no. 2 (August 19, 2022): 315–37. http://dx.doi.org/10.21315/ijaps2022.18.2.13.

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Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions and the practice zikir by the Sultan and his subjects. The Sufi spiritual performativity continued in the 1980s at the court of Perak with the introduction of the Naqshbandi Haqqani tariqa, where certain devotional-musical practices such as zikir, qasida, and mawlid were occasionally performed. However, the nobat was not used in these Sufi practices but replaced by percussion-based musical ensembles. Both these Naqshbandi Sufi tariqa were theologically contested, and their esoteric doctrines were considered blasphemous by those with religious power. This article examines the parallel existence of two Malay sultanates in different times, their connections to branches of Sufi tariqa, musical practices and the contestations that ensued.

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Kapchan, Deborah. "The Aesthetics of the Invisible: Sacred Music in Secular (French) Places." TDR/The Drama Review 57, no. 3 (September 2013): 132–47. http://dx.doi.org/10.1162/dram_a_00283.

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Is listening a performance? How do “invisible” practices like Sufi Muslim sama', or sacred listening, impact the public and secular spaces of contemporary France? What do listening acts reveal about the political viability and performativity of sacred listening in a secular nation?

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Hofmann, William Rees. "Listening to Amīr Ḳhusraw in the Mughal Court: Indian Sultanate Epistemologies of Persian Music and the Construction of Hindustani Music History in the Mughal Imaginary." Asian Music 55, no. 2 (June 2024): 5–39. http://dx.doi.org/10.1353/amu.2024.a933040.

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Abstract: The history and development of North Indian (Hindustani) classical music is still viewed today as the result of a process of synthesis, syncretism, and hybridity between Indian and Persian systems of music. Central to this narrative is the Indo-Persian poet and courtier Amīr Ḳhusraw (1253–1325), often seen as the father of Sufi qawwālī and the classical ḳhayāl genre. This article both offers a reconsideration of the traditional historiography surrounding Ḳhusraw and his role in the development of Hindu-stani music tradition through his own writings on music and locates our modern-day understanding of his musical innovations in the Mughal reception of his legacy.

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Abid, Sobia, Muhammad Zahid Bilal, and Aleena Begum. "MUSIC AND TRANS CULTURALISM: ANALYZING THE ROLE OF COKE STUDIO MUSIC IN PAKISTAN." Pakistan Journal of Social Research 04, no. 03 (November 30, 2022): 933–43. http://dx.doi.org/10.52567/pjsr.v4i03.972.

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This research study assesses the significance of music as a cultural component of society. Coke Studio in Pakistan is producing and releases music that has traditional and modern appeals for people of all ages. The study implies the theory of cultivation and musical communication as a conceptual framework to analyze the role of Coke Studio Music in trans-culturalism. The methodology of research is based on data collection through a cross-sectional survey employing a structured questionnaire. Data from the university students was collected through random sampling technique. The results show that Coke Studio is introducing genres with ancient roots. It is presenting classical and historic traditions through a transfusion of modern elements which is appealing to youth. Respondents are said to believe that Coke Studio is producing new sounds and enriching Pakistani traditional music by merging it with modern music, including eastern classical, Folk, Qawwalii, Bhangra, Sufi, contemporary Hip Pop, Rock and Pop music. Keywords: Music, Cultural Component, Trans Culturalism, Transfusion, Coke Studio

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Manuel, Peter, and Regula Burckhardt Qureshi. "Sufi Music of India and Pakistan: Sound, Context and Meaning in Qawwali." Yearbook for Traditional Music 21 (1989): 130. http://dx.doi.org/10.2307/767781.

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Jones, L. JaFran, and Regula Qureshi. "Sufi Music of India and Pakistan.: Sound, Context and Meaning in Qawwali." Asian Music 21, no. 2 (1990): 151. http://dx.doi.org/10.2307/834116.

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DEMİRTAŞ, YAVUZ. "SA'DÎ-İ ŞÎRÂZÎ AND MUSIC." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 105 (March 29, 2023): 245–63. http://dx.doi.org/10.34189/hbv.105.011.

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Sa'dî-i Şîrâzî, who was one of the significant figures of the Iranian literature, educated in Nizâmiyye Madrasah, acquainted with many poets, sufis and religious scholars, spent most his life with travel, also visited Anatolia during his travels, influenced poets and writers who grew up in Islamic countries with his works. Sa'dî's influence was not only limited to Persian literature, but also left important traces in the western world and in Turkish and Urdu literatures which is why it is possible to see this effect especially in the works written by poets and writers of the Turkish literature since the 14th century. Sa'dî, who was a sufi as well as a poet, made moral expressions in his works - especially in Bostan (Bûstân) and Gülistan - he used a simple, attractive and understandable style while telling his knowledge and experiences in the form of stories and anecdotes and he talked about historical figures from time to time and tried to make the reader understand the way of happiness, the necessity of humanity, the virtue of goodness and righteousness in small stories full of meaning and judgment, supported by verses, hadiths, proverbs and idioms and dealt with subjects such as servitude, discipline, love, affection to Allah (c.c.) and similar topics in an instructive manner, while doing this he used the concepts belonging to many branches of science and arts - especially music - as examples and parable. This paper aims to reveal Sa'dî's understanding of music by mentioning and explaining the stories and instructions in Bostan and Gülistan, in which the concepts related to music are given as examples and parable. The data obtained in our study, in which the document review method, one of the qualitative research methods, was used, was arranged in line with descriptive analysis, interpreted and presented to the readers. Keywords: Sa’dî-i Şîrâzî, Bostan, Gülistan, Story, Advice, Music.

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Dang, Christine Thu Nhi. "Erotics, poetics, politics: the spheres of action of Senegalese Sufi voices." Ethnomusicology Forum 26, no. 3 (September 2, 2017): 349–72. http://dx.doi.org/10.1080/17411912.2018.1426995.

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Asadova, Aysel. "Analysis of the Opera Kerem by Akhmet Adnan Saygun." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 11–20. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233334.

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The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

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Низамов, А. Н. "Reflection of the views of Sufism in the ritual music of the peoples of Central Asia." Музыкальное искусство Евразии. Традиции и современность, no. 1(10) (June 6, 2023): 13–24. http://dx.doi.org/10.26176/maetam.2023.10.1.001.

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В данной статье автор на основе сведений из более чем двадцати еще не исследованных средневековых суфийских трактатов, посвященных проблеме слушания музыки (тадж – самоъ) и влияния религиозных воззрений на процесс формирования жанров традиционной музыки (на'т, муноджот, сувора, айдым, ат-чапар и других), рассматривает вопросы, связанные с поиском исторических и социальных корней взаимовлияния художественно-эстетических и религиозных мировоззрений. Главный акцент автор делает на раскрытие уникальных свойств ряда популярных еще в доисламский период жанров песнопений, которые впоследствии под влиянием суфийских воззрений подверглись функциональной трансформации, сохраняя при этом первозданный музыкальный облик. Наличие огромного объема информации по данному вопросу в музыкальных и суфийских трактатах свидетельствуют о том, что данный вопрос всегда находился в центре внимания выдающихся авторитетов науки и искусства. In this article, the author, based on information from more than twenty medieval Sufi treatises that have not yet been studied, devoted to the problem of listening to music (Samo’) and the influence of religious views on the process of formation of genres of traditional music (Na’t, Munojot, Suvora, Aydim, At-Chapar, etc.), examines issues related to the search for historical and social the roots of the mutual influence of artistic, aesthetic and religious worldviews. The author places the main emphasis on revealing the unique properties of a number of popular genres of chants in the pre-Islamic period, which subsequently underwent a functional transformation under the influence of Sufi views, while preserving their original musical appearance. The presence of a huge amount of information on this issue in musical and Sufi treatises indicates that this issue has always been in the focus of attention of outstanding authorities of science and art.

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Qureshi, Regula Burckhardt. "Exploring Time Cross-Culturally: Ideology and Performance of Time in the Sufi Qawwālī." Journal of Musicology 12, no. 4 (1994): 491–528. http://dx.doi.org/10.2307/763973.

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Qureshi, Regula Burckhardt. "Exploring Time Cross-Culturally: Ideology and Performance of Time in the Sufi Qawwali." Journal of Musicology 12, no. 4 (October 1994): 491–528. http://dx.doi.org/10.1525/jm.1994.12.4.03a00050.

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Powers, Harold S., and Regula Burckhardt Qureshi. "Sufi Music of India and Pakistan. Sound, Context and Meaning in Qawwali." Journal of the American Oriental Society 109, no. 4 (October 1989): 702. http://dx.doi.org/10.2307/604123.

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Aubert, Laurent, and Regula Burckhardt Qureshi. "Sufi Music of India and Pakistan. Sound, Context and Meaning in Qawwali." Cahiers de musiques traditionnelles 1 (1988): 204. http://dx.doi.org/10.2307/40240025.

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43

Ogunnaike, Oludamini. "Performing Realization: The Sufi Music Videos of the Taalibe Baye of Dakar." African Arts 51, no. 3 (September 2018): 26–39. http://dx.doi.org/10.1162/afar_a_00414.

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Markoff, Irene, and Regula Burckhardt Qureshi. "Sufi Music of India and Pakistan: Sound, Context and Meaning in Qawwali." Ethnomusicology 35, no. 2 (1991): 279. http://dx.doi.org/10.2307/924741.

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45

Lehmann, Fritz, Joanna Lehmann, and Regula Burckhardt Qureshi. "Sufi Music of India and Pakistan: Sound, Context and Meaning in Qawwali." Pacific Affairs 61, no. 4 (1988): 702. http://dx.doi.org/10.2307/2760561.

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Baily, John. "Sufi Music of India and Pakistan: Sound, Context and Meaning in Qawwali." Popular Music 7, no. 2 (May 1988): 223–25. http://dx.doi.org/10.1017/s0261143000002816.

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I Gusti Putu Sudarta and Dru Hendro. "Tutur Candra Bherawa Pakeliran Theater: A New Process of Creation For Traditional Theater." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 6, no. 2 (July 24, 2023): 84–94. http://dx.doi.org/10.31091/lekesan.v6i2.2362.

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Tutur Candra Bherawa Pakeliran Theatre is a total theatre work that explores and uses the elements of the art in Balinese Traditional theatre. This work uses a song as a means for storytelling, becoming a theatrical music presentation. The melodies and vocals are not only based on Balinese and Javanese traditions but also adapt and transform the styles of qawwali music (Sufi songs) and other spiritual songs. It is presented in the Sangita song form, accompanied by instrumental music and dance. The concept of this work is ngarcana sarining lango, described as bukti-mukti-jiwan mukti. The method of creation utilizes the Gandha Sesa composition technique. Bhasma Sesa is the framework for the play, dramatic plot, play script, and form of presentation.

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Drozhzhina, Marina N., and Sitora D. Davlatova. "Sufi Symbolism in Tolib Shakhidi’s Televised Ballet The Rubaiyat of Omar Khayyam." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 66–73. http://dx.doi.org/10.17674/1997-0854.2018.1.066-073.

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Kapchan, Deborah. "Singing community/remembering in common: Sufi liturgy and North African identity in southern France." International Journal of Community Music 2, no. 1 (May 1, 2009): 9–23. http://dx.doi.org/10.1386/ijcm.2.1.9_1.

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PEI-LING, HUANG. "Between Faqīr and Fankār? Sounding Complex Subjectivities through Shah Jo Rāg in Sindh, Pakistan." Yearbook for Traditional Music 52 (November 2020): 41–67. http://dx.doi.org/10.1017/ytm.2020.19.

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AbstractRāgī faqīrs are devotees who perform Shah Jo Rāg, a musical tradition for singing Sufi poetry at the shrine of poet-mystic Shāh ‘Abdul Latīf Bhiṭṭāī (1689–1752) in Sindh, Pakistan. Focusing on the life experiences of my teacher Manthār Faqīr, I historicise various subject positions that contemporary rāgī faqīrs refer to as faqīr (devotee), fankār (performing artist), kārīgar (skilled artisan), and artist. Through Manthār Faqīr’s performances, I analyse sonic manifestations of his complex subjectivities that at times shift, at times coexist, to demonstrate how he deploys sounded strategies emerging from different subject positions to balance devotion, artistry, legitimacy, and livelihood.

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