Difference between revisions of "Islamic content and Islamicate music"
Line 1: | Line 1: | ||
* Practice, discourse, mysticism | * Practice, discourse, mysticism | ||
** Ritual practice | ** Ritual practice | ||
− | *** Language-centrality | + | *** General Language-centrality |
*** Specific forms of "language performance" | *** Specific forms of "language performance" | ||
**** Qur'anic recitation (tilawa), with its rules of pronunciation (ahkam al-tajwid) | **** Qur'anic recitation (tilawa), with its rules of pronunciation (ahkam al-tajwid) |
Revision as of 07:56, 30 January 2024
- Practice, discourse, mysticism
- Ritual practice
- General Language-centrality
- Specific forms of "language performance"
- Qur'anic recitation (tilawa), with its rules of pronunciation (ahkam al-tajwid)
- The pedagogy of Qur'anic recitation (kuttab)
- Call to prayer (adhan)
- Traditional genres of poetic performance, e.g. inshad, and especially its collective forms, such as tawashih (shaykh + bitana)
- Mawlid: celebration of the birth (death) days of Prophet and saints.
- Sufi orders and their liturgies (hadra) (see below)
- Discourse
- Ethical conditions
- Discourse and controversy over music, music terms
- Qur'anic source
- Sunna source (Hadith)
- Suspicion of music
- Forbidding musical instruments
- Contrast with high profile of music in the courts!
- Mystical currents (Sufism) in practice and discourse
- "tazkiyat al-nafs, tarqiyat al-ruh" (taming the self; raising the spirit or soul)
- Batin > Zahir (Haqiqa > Sharia) (flexibility)
- Experiential relation to God
- Non-literal perspective enabled absorption of local traditions
- Aesthetic used as means to spirituality, expression of spirituality
- Use of music/poetry to express/attain spiritual state (ecstasy, union, annihilation...)
- Ritual practice