Examples of Islamicate music

These musical forms drew upon Islamic (especially Sufi) performance (vocal timbre, pronunciation, interactive performance dynamics) and meanings (love, unity), and were shaped by Islamic institutions (kuttab, legal rulings), but were also absorbed into Islamic language performance.

At times it is difficult to determine the boundaries of "Islamic" and "Islamicate" sounds. Always Islam provides the spiritual, ethical, legal, and societal underpinnings for a civilization hospitable to the development of particular forms (texts, themes, styles) of music and singing -- while condemning others. The Islamicate as a whole (values, institutions, social relations)--informed by Islam (including its sounds)--shapes music in these regions; that music in turn shapes the sounds of Islam.

• Egypt's Umm Kulthum. Trained in tajwid at the kuttab (Qur'anic school), munshidin like Shaykh Yasin often draw upon her melodies as more spiritual than other secular music.
• Sabah Fakhri (b. 1933), the greatest modern exponent of the pre-mediated Islamicate Arab style of "tarab" in Syria. Note tarab interactions - not unlike those of Shaykh Mustafa Ismaʿīl
• Turkish FasilMusic of Selim III, 1761 – 1808, Sultan of the Ottoman Empire from 1789 to 1807.
• Khayal[1] style of Hindustani classical music. Compare to Qawwali.
• Javanese gamelan. Rebab comes from Arabic-speaking zone; double-headed drum (kendang) developed from the Indian mridangam, perhaps transported via Indian ocean -Islamic cultural networks; nasal singing styles may be influenced by Islamic performance. Clapping patterns are similar to those of the Arabian Gulf.
• Persian dastgah, performed on kemenche by Kayhan Kalhor, with santur - both are Islamicate instruments that developed through connections throughout Muslim areas (kemenche in Persia and Turkey are releated to kamanjah in Egypt, and to rababa - linked also to west African gonje)
• Moroccan nawba. Compare Moroccan Burda performance (Burda is a famous poem of madih, praise for the Prophet, by the Egyptian Imam al-Busiri]
• Plucked Lutes in West Africa: An Historical Overview, by Eric Charry (The Galpin Society Journal Vol. 49 (Mar., 1996), pp. 3-37). These lutes (along with fiddles and some drums) probably flowed throughout Islamic regions, linking to North Africa via trade routes).
  • Xalam (Wolof - Senegal), Ngoni (Bambara - Mali/Guinea)
  • Xalam video, Ngoni video
  • Kologo, [2] (King Ayisoba)
  • Compare to Gnawa music of Morocco, and its featured instrument: the plucked bass lute, sentir (guembri)
• Bamaya northern Ghanaian traditional drumming, from the Dagomba people. Praise drumming can also be used to praise the Prophet, during the traditional Damba celebration 12 Rabia al-Awwal (Mawlid)
• Hausa traditional music (northern Nigeria, near Zaria)
  • Kalangu[3]
  • [4][5] (drums: kalangu, krukatu at 2:17; fiddle: goje; other drums include Tuni and side-by-side) - all folk music sources for an Islamic music. Hear also Akwashi Rawa popular music from Ghana (Sufi becoming "Islamicate")

Compare the above to Sufi performance from various places, and the category of Inshad Sufi.