Islamic performance genres
Islamic vocal performance traditions of Egypt
Tilawa, ibtihalat, adhan, ad`iyya, tawashih, dhikr, aghani diniyya, inshad dini, inshad sufi
Michael Frishkopf
Note that the semantic scope of each of these words is different, and (except for aghani diniyya) none of them overlaps with either musiqa or ghina' - indeed to imply an overlap is somehow sacrilegious:
- musiqa: (a) theoretical-philosophical tradition (historical definition), or (b) melodic instrumental music, possibly combined with vocals (contemporary definition).
- ghina': singing (for entertainment or aesthetic pleasure)
Nevertheless, the religious genres almost always center on a sophisticated use of the maqamat.
Not only that, but
(a) because religious genres center on solo vocal performance (highlighting the text), often ametric, and
(b) because there is a preference for spontaneous expression of emotion in reaction to spiritual texts and contexts, and
(c) because in the case of the Qur'an there is also an aversion to any melodic composition, which could be considered an "association" (shirk) with God), therefore...
...vocal performance tends to feature melodic flexibility (~improvisation), developing the maqamat, and audience responses reminiscent of secular tarab (though that word may be rejected in favor of something more spiritual, e.g. nashwa ruhiyya, spiritual refreshment, or wajd, spiritual ecstasy).
Metered singing appears in corporate inshad dini (primarily in the Sufi orders, as a technique for the liturgical unification of the group), and in some religious songs (aghani diniyya) straddling the boundary of "singing" and "religion".
Supplications in prayer (ad`iyya)
The dawn prayer rite (salat al-fajr)
Inshad dini: religious chanting of poetry generally
Inshad sufi: part of a larger ceremony called hadra or dhikr
Laglinnabi by Muhammad al-Kahlawi (instance of aghani diniyya)
