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• 08 Apr, 2025
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The Islamic Ruling on Reciting the Qur’an with Musical Maqamat (Melodic Modes)

Introduction

The Noble Qur’an is the divine speech of Allah—timeless, unmatched, and revealed for reflection and guidance. Its recitation has always held a special place in the hearts of believers, yet in recent times, a trend has emerged: rendering Qur’anic recitation in musical tones known as maqāmāt. While promoted under the banner of beautification, this practice raises serious concerns within Islamic jurisprudence and tradition.

This article presents a concise yet comprehensive examination of musical maqamat, tracing their origins, outlining their nature, and analyzing their compatibility with Islamic principles.

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A Prophetic Warning

The Prophet Muhammad ﷺ forewarned of a time when melodizing the Qur’an would mimic musical and emotional chanting:

“There will come after me a people who will chant the Qur’an like the tunes of singing, monasticism, and lamentation. It will not go beyond their throats; their hearts are afflicted, and so are the hearts of those who admire their affair.”
(Reported by al-Ṭabarānī in al-Muʿjam al-Kabīr, Hadith no. 7223)

This hadith encapsulates the essence of the issue: when recitation becomes an aesthetic performance devoid of internalization, the spiritual heart becomes detached.

Defining Maqāmāt and Their Origins

Maqāmāt are melodic modes rooted in classical Arabic and Persian music. These were developed and refined as part of musical traditions, later named and categorized according to tonal patterns and emotional expressions.

Widely known maqamat include:

1. Maqām al-Bayātī – Evokes solemnity; often used for verses invoking awe.

2. Maqām al-Rast – Associated with clarity and strength; often applied to narrative verses.

3. Maqām al-Nahāwand – Soft and emotional; used to induce reflection.

4. Maqām al-Sīkāh – A slower rhythm; associated with humility.

5. Maqām al-Ṣabā – A gentle maqam evoking spiritual depth.

6. Maqām al-Ḥijāz – Known for its lofty and spiritual tone.

7. Maqām al-ʿAjam – Often linked with verses of divine majesty and awe.

These maqamat are standard elements in Arabic music education, taught in conservatories across the Middle East—from Beirut and Amman to Tunisia and Nablus.

Observations on the Nature of Maqāmāt

• Musical Foundations: Maqamat are inherently musical, developed to guide singing and instrumental arrangements—not Qur’anic recitation.

• A Late Innovation: Historical sources suggest maqamat entered Qur’anic recitation centuries after the Prophet ﷺ, influenced by Persian musical styles.

• Non-Arab Origins: With the exception of al-Ḥijāz, most maqamat stem from Persian musical heritage, foreign to the linguistic and spiritual roots of the Qur’an.

• Linguistic Note: The Arabic word laḥn (melody) in classical usage refers to modulation and musical embellishment, not Qur’anic precision.

The Islamic Ruling on Using Maqāmāt

1. Clear Prohibition in Shari’ah

Scholars such as Ibn Kathīr, Imam Aḥmad, Mālik, al-Shāfiʿī, and Ibn Rajab have clearly warned against turning the Qur’an into a melodious performance. Imam Aḥmad referred to such melodic recitation as a bidʿah (innovation), disapproved by the righteous predecessors.

“Everything newly introduced is disliked unless it is the natural voice of a person without forced effort.”
(Majmūʿ al-Fatāwā, 12/427)

2. No Precedent Among the Early Generations

The Prophet ﷺ, his Companions, and the early generations never recited the Qur’an with these musical systems. Their recitation was transmitted with purity—grounded in clarity, precision, and spirituality, not artistry.

3. Irreverence in Sacred Expression

Subjecting divine revelation to the rules of musical aesthetics risks trivializing its sanctity. Some contemporary reciters even rehearse with musical instruments or mimic songs to perfect their maqam—an approach far removed from Islamic ethics.

4. Distraction from Tadabbur (Contemplation)

As Shaykh al-Islām Ibn Taymiyyah emphasized, over-emphasis on melody distracts both the reciter and the listener from the Qur’an’s true purpose: understanding and transformation. The focus shifts from meaning to performance.

5. True Spirituality is Not Musical

The most spiritually resonant recitations often come from individuals who have never trained in maqamat. The impact lies in sincerity, not sound design.

Natural vs. Artificial Melody: A Needed Clarification

Ibn al-Qayyim distinguishes between two types of melodization in Zād al-Maʿād:

• Natural Melody (al-taṭrīb al-ṭabīʿī): An organic, heartfelt beautification of one’s voice—unforced and reflective of genuine emotion. This was practiced by the Companions and praised by the Prophet ﷺ.

• Artificial Melody (al-taṭrīb al-mutaṣannaʿ): A contrived imitation of musical patterns, requiring training and often performance-based. This is the form condemned as innovation.

Conclusion

The Qur’an is not a concert piece, nor a platform for vocal display. Its recitation is an act of devotion, aimed at unlocking the heart and deepening one’s connection with Allah.

Introducing maqamat into this sacred practice introduces elements foreign to its original purpose and diverts the reciter from sincerity to performance. As such, adopting maqāmāt in Qur’anic recitation contradicts the spirit of the Sunnah and the methodology of the early righteous generations.

“Do they not then reflect upon the Qur’an, or are there locks upon their hearts?”
(Sūrat Muḥammad, 47:24)

And Allah knows best.