The American University in Cairo

School of Global Affairs and Public Policy

Uses and Gratification of Spiritual and Religious

Music in Egypt: A Descriptive Analysis Study

A Thesis Submitted to: Journalism and Mass Communication Department

By: Hend El Taher

Under the supervision of Dr. Hussein Amin

Fall 2017
 Dedication

I dedicate this work to all the souls who fought dauntlessly against cancer; to those who did not

lose hope, and to the soul of my father may it rest in the highest ranks of heavens. I dedicate it to

my mother, who is my most inspiring model. I dedicate it to the pure hearts who are searching

for meaning in every little thing they do in life.

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 Acknowledgment

I would like to express my gratitude for those who contributed to the success of my thesis.

I must say from the beginning that it will be as impossible as counting Allah’s blessings to mention

everyone. I am certain, though, that “Is there any reward for goodness other than goodness?” (55:60)

I would like to commence by Ahmed El-Taher and Atyat Mowafy. My parents, who gave

me the trust, the confidence, and every possible support challenging the conservative community

in Upper Egypt to let their daughter live independently and pursue the best academic opportunities.

I would like also to extend my gratitude to my sisters, Shimaa and Rania, who were always by my

side expressing their pride and confidence in me.

My 3M companions, Maya AbouAjamieh, Maha El-Kady, and Michael Reda: it is hard to

put in words the support you give not to mention your faith in my capabilities and passion. When

my friends for 10 years left Egypt pursuing education or career, I thought it is hard to start a

friendship from scratch. Nonetheless, the 2-MA-years made the best friendships so thank you

Sarah Fouad, Amira Hosny, and Yasmine Kasseb.

Thank you Sarah Eissa for your kindness and assistance, Hisham Shalaby, Mahmoud Zaki,

Fatemah Haggag, Ahmed Fathy, Mohamed Gamil, and Mr. Chadi (AUC Multimedia Lab), who

helped in video editing for thesis presentation. Finally, a million thanks to Professor Hussein Amin,

whose support was there ever since I joined the department. No matter how long I write, it would

not be enough to thank you. Thanks to the readers Dr. Eslam Abdelraouf and Dr. Rasha Allam for

your generosity dedicating time to make the best of my work. Thanks to Yousef Jameel fellowship

especially Dr. Laila El Baradei and Amira El Biltagy for being a second family not just a

fellowship.

III
Abstract

Media is one important constituent of the culture in a society. Its importance is reflected in the

contents it presents especially in religion and music. The way both religion and music are blended

and used as a medium to gratify certain needs is the interest of this study. In that sense, the relation

between religions and music is examined, how music was perceived by religious figures, what

disputes the music provoked, and how spiritual music is used as an intrapersonal, interpersonal, or

a mass communication tool to influence the audience cognitively, behaviorally, and attitudinally.

Accordingly, a descriptive survey is conducted on a purposive sample in six academic institutes in

Egypt, the American University in Cairo, the British University in Egypt, the German University

in Cairo, Cairo University, Ain Shams University, and Al-Azhar University. The Uses and

Gratifications theory and the Social Identity Theory helped to interpret the data that were collected

from 383 respondents. Based on the results, 66.8% of 337 participants highly use spiritual and

religious music as an emotional therapy. However, using the medium as an emotional therapy did

not encourage cultural activities such as attending concerts, buying or selling related products, and

reading books.

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Table of Contents
Dedication ................................................................................................................................... II
Acknowledgment ........................................................................................................................ III
Abstract ..................................................................................................................................... IV
Table of Contents.......................................................................................................................... V
Chapter I..................................................................................................................................... 8
Introduction ................................................................................................................................ 8
I. Background ...................................................................................................................................... 8
II. Why is it important to study Islamic Music? .................................................................................. 10
III. Statement of the Problem ........................................................................................................... 17
Chapter II ................................................................................................................................. 18
Literature Review ...................................................................................................................... 18
I. Background: sacred, spiritual or religious? .................................................................................... 18
II. Gospel music .................................................................................................................................. 20
III. Rap Music influenced by Religious Principles........................................................................... 22
IV. Resistance, pleasure, and spirit in rap music .............................................................................. 23
V. Religious rap revolutionizing the market ....................................................................................... 23
VI. Islamic-Christian hip-hop and pop music................................................................................... 24
VII. Music in Islam and the Arabian Peninsula ................................................................................. 25
VIII. Contributions of religious scholars in music .............................................................................. 27
IX. Andalusian music and Samaʽ ..................................................................................................... 29
X. Sufi Music ...................................................................................................................................... 30
1. Sufi music in Egypt - The Egyptian Mawlawiyah ..................................................................... 31
2. Sufi Music in Morocco ............................................................................................................... 33
3. Sufi Music in Senegal ................................................................................................................ 35
XI. Islamic Rai ................................................................................................................................. 37
XII. The controversy over the permissibility of Music in Islam ........................................................ 39

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 XIII. Al-Azhar perspective on music .................................................................................................. 42
XIV. The development of the concept of Islamic art from 1970s to the 1990s............................... 44
1- The media scene ......................................................................................................................... 46
2. Ḥalal songs ................................................................................................................................. 47
XV. A Shiite perspective: do music and religion blend? ................................................................... 48
1. Towards legitimizing music in Shiism ....................................................................................... 49
2. A breakthrough in the Shiite thought ......................................................................................... 50
XVI. Instrumental and ritual use of music ...................................................................................... 52
XVII. Using music for emotional and physical therapy ................................................................... 53
XVIII. Why people choose certain music type? ................................................................................ 55
XIX. ISIS use of music.................................................................................................................... 61
Chapter III ................................................................................................................................ 63
Theoretical Framework ............................................................................................................. 63
I. The Uses and Gratifications theory ................................................................................................ 63
II. The Social Identity Theory ............................................................................................................. 65
Chapter IV ................................................................................................................................ 67
Methodology.............................................................................................................................. 67
I. Research significance ..................................................................................................................... 67
II. Research objectives ........................................................................................................................ 68
III Method of data collection .............................................................................................................. 68
IV. Population...................................................................................................................................... 69
V. Sampling and data collection......................................................................................................... 69
VI. Research questions ........................................................................................................................ 70
VII. Constructs and operational definitions .......................................................................................... 70
VII. Questionnaire design ..................................................................................................................... 71
VIII. Measures....................................................................................................................................... 72
IX. Survey pilot .................................................................................................................................. 72
Chapter V ................................................................................................................................. 74
Results and Findings .................................................................................................................. 74
I. A filtering question ....................................................................................................................... 75
II. The selected sample ..................................................................................................................... 75
III. Demographics ............................................................................................................................... 86
Chapter VI ................................................................................................................................ 88

VI
Discussion, limitations, and conclusion ....................................................................................... 88
I. Discussion ...................................................................................................................................... 88
II. Limitations ..................................................................................................................................... 93
III. Recommendations .......................................................................................................................... 94
IV. Conclusion...................................................................................................................................... 95
Bibliography.............................................................................................................................. 98
Appendix ................................................................................................................................. 107
I. Survey Sample.............................................................................................................................. 107
II. List of Arabic words..................................................................................................................... 112
III. Transliteration style ...................................................................................................................... 116
IV. Demographics............................................................................................................................... 117

VII
 Chapter I
Introduction

I. Background

"Whenever the soul of the music and singing reaches the heart, then there stirs in the
heart that which it preponderates” Abu Hamid Al-Ghazali (Al-Ghazali, 2005; MacDonals, 2009)

Music is a universalistic language that everyone speaks and understands. It is a powerful

tool for its influence. It reflects messages and feelings without having to speak them. It also reflects

the extent to which a nation is civilized for the creativity it requires. Therefore, it has been an

important medium through the ages, and for those reasons, it is not restricted to a certain language.

One may find a Latin person, who is a fan of the Chinese music without understanding a word

from the language. Music is an intrapersonal medium of communication, interpersonal, and mass

communication tool. It is an intrapersonal communication when a person sings to him/herself. It

is an interpersonal medium if a person communicates his/her music with one or more persons, and

it is a mass communication tool if it is directed to a mass audience. So the means and purposes of

consumption have a role to play in understanding audience characteristics. Hence, the study

intends to distinguish between those who listen to the music as an intrapersonal tool and those who

listen to the music as an interpersonal tool by sharing it with others, or those who listen to the

music as a mass communication tool by attending concerts which may be broadcasted or attended

by a mass audience.

Islam, on the other hand, is one of the most talked about and interesting religions for both

positive and negative reasons. It is thoroughly talked about in both eastern and western academia

8
in regards to Islamophobia, terrorism, and the Islamic State in Iraq and Syria- ISIS and its cyber

recruitment. Some incidents contributed to the negative perception of the religion whether in the

east or the west like the September 11th destruction of the New York World Trade Center. Muslims

were shamed and blamed for years after this case. After the Egyptian revolution in 2011, the

religious-political groups such as the Muslim Brotherhood-MB and the Salafi movements

appeared as potential presidential candidates. The Islamic groups got the chance to express their

views regarding politics and applied and performed arts, especially music.

Another milestone is the appearance of the term “clean art” al-fan al-naẓif. This term was

partially driven by Islamic principles and morality. Some artists called for a meaningful art,

something that can not conflict with the oriental and the Islamic principles. Adding to it, the

emergence of religious media such as satellite channels that broadcast religious-related shows and

songs. Some channels were launched especially to transmit Islamic songs 24/7. The Islamic

preaching too had a role to play in promoting and popularizing those songs whether through the

soundtracks of the preaching shows or through the direct support or sponsorship of the Islamic

singers. (Nieuwkerk & Ebrary, 2011)

There is no doubt that Islam has a major impact on the lives of its followers. As much as

it influenced their daily practices and adherence to the dogma, it influenced their culture. Music,

as one constituent of a culture was definitely colored with Islamic principles. The Arabic language

is the common language of the Islamic songs, as it is the language the Qūr’ān was revealed by.

This is manifested through the themes of the songs, the lyrics, the way of performance, and the

place the songs are performed at. For examples, the themes spot Islamic morality, the Prophets’

biographies, preachers, and saints (awlya’).

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 Consequently, music and religion were blended by Islam to introduce a unique music genre

known by different names and attributes such as spiritual, religious, Sufi, Andalusian music,

Ibtihalat, Tawashiḥ, Anashid, Sama’, and other types. The Islamic civilization was not the only

nation that merged religion with music. The ancient Egyptians considered playing music as part

of their religious rituals. They invented instruments, enjoyed playing, and people knew that from

their drawings on the walls of their temples. The ancient African tribes played drums making a

distinctive type of music and it is an essential ceremonial folklore that continues to this day. Music

is also an integral part of the church rituals, especially for the African Americans. Other nations

will be exemplified in the literature to show how people mixed religion and music.

II. Why is it important to study Islamic Music?

It helps understand the characteristics of the Muslim cultural sphere and its development.

In relation to that, highlighting the liberalization of post-Islamic movements in some Arab

countries is possible through the study of music in Islamic communities. Studying music and

religion also helps in understanding how music stimulated religious devotion and morality

throughout the Islamic history and understanding the change of the musical taste. Finally,

exploring how the music market has accommodated this phenomenon or was changed by it. The

Muslim communities, instead of opposing the “other” arts and entertainment, they had their

substitution. They had the art that looks like them and represents their morals and religious

principles. However, it was not restricted to them. Instead, the Muslim music has become a

globalized phenomenon and was consumed by different cultures. (Nieuwkerk & Ebrary, 2011)

Unfortunately, the two disciplines religion and communication are not given the due

attention in Egypt, and the scholarship focuses on each but separately. Unlike the literature in the

east, it thoroughly explores how religion influenced music, and how it impacts the consumption

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behavior. Such studies were extended to benefit the market and produce a more consumer-oriented

product. Not only that, but such studies were merged with other disciplines to better understand

the different uses of religious music and what they gratify. Medical and psychological studies

focus on the therapeutic aspect of music to know if they can utilize it for pain control and emotional

healing.

If this sounds an advanced and focused type of study from the west, the east has its own

experience with music and religion. Speaking about early Islam, music was part of the culture of

the early converts. I may argue that it was somewhat primitive in a way that it was not given the

name “music or art”, but it was articulated and practiced. When the Prophet migrated from Mecca,

the people of Medina welcomed him chanting: “We have seen the moon (Tala’a al-Badru ‘Alina).

Therefore, music was not just a mean of entertainment, but it was an expression of a religious

mood as the people of Medina praised the Prophet with this chant. I may also argue that it is one

of the constituents of religious practices even if it did not have a name back then or it did not enjoy

a unanimous agreement. As presented by the literature, the Islamic golden age witnessed an

advancement on all levels including music. Religious scholars were musicians and composers like

Avicenna (Ibn Sina) and al-Farabi. They used to play music in public. The biographies and the

historical records show that a chapter about music was included in the books of the religious

scholars (al-Fūqahaa’). It was also mentioned in the writings of the founder of Sociology Ibn

Khaldun. (ʻĀmir, 1988; Bearman, 1960)

This does not mean that music enjoyed the approval of religion. There has been always a

dispute over the permissibility and prohibition of music. Some scholars considered it a satanic act

using every proof from the (Qūrān) and Prophetic Traditions (Sūnnāh) to support their claim, while

others considered music a way of expressing different moods and attitudes including religious

11
affiliation and spirituality using their religious proofs as well. To this date, the disagreement

continues, but the practice of religious music continues too. The disapproving team relies on the

traditions of the Prophet Mūḥammād that refers to music-playing as an evil act because it diverts

one from worshipping God. The team also considers it a useless habit as opposed to the acts of

worship.

“There are multiple ways to worship God and my path is music and dancing”. This is how

Jalal al-Din al-Romi1expressed his passion for Sufi music. From this passion the art of Mawlaweya

was born, which is a dance performance with the guiding tunes of flutes and chants of praise, the

performer whirls in circular moves. From medieval ages until now the Mawlaweya has been a

unique and popular art that attracts, nowadays, millions of tourists in Turkey. Not only in Turkey,

but Egypt witnessed the birth of the Egyptian Mawlaweya by the Sufi chanter Amer Eltony, who

performs in the Egyptian Opera House on monthly basis. He has become a well-known figure and

the tickets of his concerts are usually all sold. As there is a growing interest in Sufi music and

dancing in Egypt, the Ministry of Culture organizes a spiritual music festival annually inviting

performers and chanters from different countries, and one would be lucky to find a ticket.

Not only Egypt that organizes a festival for spiritual music; Morocco has an annual sacred

music festival that attracts large audiences and thousands of tourists to the country. The kingdom

gives this event a special attention to introduce the visitors to the Moroccan folklore and sacred

music. Through my visit to Morocco in April and July 2017, I was introduced to Sufism and

spirituality in this country. It is a country that is full of shrines and tombs of Sufi saints, and if you

1
Mawlana Jala Al-Din Al-Rumi was born in Afghanistan before the Mongol invasion in 1212 CE. He and his family
moved to Syria, where he learned Arabic and then settled for the rest of his life in Anatolia. He is one of the most
influencing characters in the “Muslim east and Christian west”. He is called Mawlana or the master, and his writings
is called in the Persian language, the Quran.

12
walk in the streets you hear the chants of the Sufis in the Zawaya2 and mosques especially in the

spiritual city, Chefchaouen. After reviewing the literature, not only the Moroccan music festivals

are documented, but the spiritual experience is also given attention by the scholarship. This

constitutes a motivation for this study to be the first of its kind applied in Egypt.

One may argue that the popularity of religious music in Egypt started with the song

Almūʽallem by Sami Yousef in 2003-2004. This British singer and musician, who descends from

Iranian-Azerbaijani origins, gained momentum after the release of his album that was produced in

Egypt. In 2009, BBC described him as “Islam’s big rock star and his music comprises of songs

about being a Muslim in today’s world”. His albums, that sold a million copies, were a motivation

for Muslims after the September 11th incident to revive the pride of their Muslim identity,

especially in the west. (BBC, 2009) His success went far and beyond producing a top10 song, so

he has 34 million sold albums and over 25,000 fans attended his concert only in one country. In

partnership with the United Nations in the proclaimed International Year of Light, 1001 inventions,

and UNESCO, Sami Yusuf composed a film music and soundtrack produced by Ahmed Salim and

acted by the legendary star Omar al-Sharif in 2015. (1001Inventions, 2015) The movie song was

viewed over 1,618,000 times and liked by 11,000 users on YouTube. (Andante Records, 2015)

His song “Supplications” that was released and video clipped eight years ago, was used by the

Golden Globe-nominated Afghani movie “The Kite Runner”. (“Sami Yusuf Official, 2017”)

Afterwards, there was an abundance of religious music production and the famous

Egyptian pop starts produced at least one religious song like Amr Diab, Ehab Tawfik, Hisham

2
Zawya its linguistic meaning in Arabic means a corner in a building. The term was used in mediaeval Islam especially
by the Sufis in reference to monastery, school, and mosque. (Encyclopedia of Islam third edition)

13
Abbas, Amer Monib, and Ayda Al-Ayoubi. Not to mention the other non-Egyptian pop star singers

who have popularity in Egypt like Asala and Wael Jassar. The religious song of Hisham Abbas

went viral and it has been commonly played in weddings to commence the event with the

invocation of, God’s beautiful names (Asmaa’ Allah Al-Husna). Not only that, but the songs were

used as a ring or call tones in cellular phones. It cannot be denied that Egypt is center of art; it

attracts musicians from the Arab world. For one reason, it has the largest audience in the Middle

East considering the population density. For another reason, Egyptian art is consumed by different

countries in the Arab world. The Egyptian songs, series, and movies are the most popular in the

region. They are almost the only art production distributed in all Arab countries. This is why the

artists who want to publicize for their art, they come to Egypt. (Nieuwkerk & Ebrary, 2011)

There is also a growing interest in religious and Sufi music in Egypt and this is indicated

by the frequency of events. The success of this art encouraged vendors to sell products inspired by

Sufi poetry and characters. An example is the book Forty Rules of Love (Qawaʽid al-‘eshq al-

Arbaʽūn) about the sincere love between the two companions and Sufi figures Jalal al-Din al-

Rumi and his friend Shams al-Din al-Tabrizi, which is one of the best-selling books. Azza Fahmy

the famous silver brand name has been selling jewelry products with Sufi quotes. Fahmy studied

theoretical aspects of designing through her fellowship in England, but when she came back to

Egypt, she studied Islamic history and literature and her jewelry collections were inspired by them.

The exhibited jewelry depicted Arabic proverbs and calligraphy, verses from the Quran, and Sufi

quotes in ascetic calligraphy. (Azza Fahmy, 2017) Further, some clothing industries started

printing Sufi quotes on the garments and some coffee shops made spiritual or Sufi decorations. In

brief, there has been a Sufi culture in Egypt that is worth studying. For this, religious music in

Egypt shall be given more space in research.

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 On the other hand, the talk shows address the phenomenon of spiritual and religious music

as an appealing art that creates an uplifting mood for the audiences and revives the Sufi culture in

the region. One example is “the Egyptian Project” band, which gained fame after introducing

folklore mixed with western music especially after the cooperation between them and the Sufi

Munshid Zain Mahmoud. (Zaher, 2017) Likewise, “Ensemble Ibn Arabi” band came from northern

Morocco to Egypt in a visit for three concerts, which witnessed huge attendance. (Shorouknews,

2015; Mona Elshazly, 2016)

In Egypt, the chanting (Inshad) started to gain popularity among people from different ages

and groups. The chants influence the hearts to fill them with spirituality and humbleness. Two

bands gained popularity “Waṣlet Samaʽ” and “Alḥūr” the latter is composed of 30 young women.

Both bands believe that Inshad is gaining popularity that will not only override the Shaʽby music

but will replace it. The bands perform in several places public or private such as Alrabʽ, Beit

Elsiḥīmy, Qasr Alamir Ṭaz, and Alsawy Culture Wheel. (Ashraf, 2018)

In contrast, media sometimes negatively evaluate Inshad saying that it failed to compete

the success of religious speeches of some religious movements. According to the source, Anashid

of some religious movements failed to introduce something new or something appealing to the

Egyptian audience. Egyptians are known for their love of music and art throughout history;

religious music was special for them and they love the chants of Naqshabandi, Abdelhalim Hafiz,

or even Amr Diab in the modern days. The Nashid of some religious movements failed to compete

with the starts and the munshids that the Egyptians are familiar with. They also depend on imitating

old songs or using the melodies of Palestinian chants. (Thabet, 2018)

15
 If that reflects anything it reflects that the media, represented in TV and press, address this

music type from a certain perspective not paying enough attention to audience characteristics,

motivations, and the impact of this music on the society in general.

Also as a researcher, with a modest background in Islamic studies, and as a fan of this

music genre, I seek a better understanding of the effect of the music on people and how it makes

sense and meaning in their life. The study also aims at bringing attention to topics in Islam apart

from violence, politics, and terrorism. The scope of this study is not only focusing on Egyptian

spiritual music but on spiritual and religious music that is popular and consumed in Egypt that

might be borrowed from other nations and produced by non-Egyptians. The sample is limited to

cover the Egyptian population for the time being hoping to expand and extend the study in the

future to include the Moroccan audiences, who have a legacy in Sufi practices and sacred music.

Although the study covers non-Muslims’ music in the literature, the primary data will be

only limited to Islamic music. The research will attempt to distinguish and clarify the difference,

if there is any, between spiritual and religious music. However, in the primary data they will be

dealt with as one component. Through this study, the types of spiritual and religious music and

what role it played in the lives of the people is investigated. The Uses and Gratification theory

guided this research to identify what needs people look for gratifying. Besides, the Social Identity

Theory in the sociology field directed the study on how the sense of belonging is enhanced, and

one’s identity is constructed. The secondary data examines the cultural practices that are driven by

the interest in spiritual and religious music such as the interest in certain book genre, marketing

trends, or common language among youth. This is achieved through a survey research in the

primary data collection. The lyrics of the music occupies part of the study to see how different

meanings and messages are expressed in the song.

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III. Statement of the Problem

The scarcity of research about spiritual and religious music in Egypt has made it a vital

topic to investigate through media. Hence, there is a knowledge gap among audiences represented

in the ignorance about the importance of this music genre in liberating and modernizing the

communities. Unlike the mainstream music in media, it appeals to people’s pathos and ethos to

provide a meaningful art. It works on the individual’s inner-development and self-morality aiming

at transcending to achieve the community goals. This should match a bigger society’s picture for

a more liberal and modern community. A community that fights for the purity of the soul and the

thoughtfulness of the intellect through the soft power of the music in the age of Information and

Communication Technology-ICT.

Some of the mainstream music presented in media, with its numerous types, does not care

about introducing intangible concepts, but materialism does matter so that consumers relate to and

consume. Some of the mainstream music avoid new themes because the most tackled themes such

as love between partners, adornment, and nudity are highly consumed in the music production

market and in the mass media.

For the significant effect of this music on the community, the audiences, and its uses as a

medium to gratify cognitive, social, and psychological needs, the research will try to bridge this

knowledge gap about spiritual and religious music. It will address how the media and literature

tackled this music and will describe the audiences’ consumption of it in Egypt through the

surveyed sample. This will show how the study complies with concurrent Egypt’s vision for

modernization and development.

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 Chapter II

Literature Review

I. Background: sacred, spiritual or religious?

Is music sacred, spiritual, or religious? Sacred music is synonymous to religious; however,

it does not have to confine with a particular belief. It could, rather, be inspired by a certain belief

and tradition; influenced in a way or another by it. The spiritual significance of the music is that it

takes the listener into an uplifting experience where s/he finds herself/himself not busy with daily

matters such as eating, working, or fighting for something material. There is an aspect of beauty

in spiritual music so that it became itself a ritual. Other qualities are sustained through spiritual

music such as the sense of belonging and construction of identity. Through the music that

articulates one cultural aspect, the listener feels attached to it. Consequently, it sustains the

connectedness among the consumers of this music genre. The influence of music, therefore, is

argued to be one of the best methods expressing identity and sometimes it alternates the religious

practices to become itself, a religion. (Anderson, 2015)

What is unique about spiritual music is that it is universalistic. It could be classified as a

music genre by itself and it could be performed within different music genres like rock, pop, hip-

hop, or traditional. It links different religions, expresses different dogmas, consumed by different

beliefs and not limited to a particular religion. What also makes the spiritual experience more

universalistic than the religious, is that it borrows from different religions without regarding the

connection between them and without adherence to a particular one. It is true that the spiritual

music attracts listeners from a wide variety of backgrounds, but one of its main characteristics is

18
that it takes the audience to an individualistic experience. In an analysis of spiritual music, it is

concerned with the “mode it evokes, the affective experience it creates, and the realities it helps

create and sustain” more than its characteristics. That experience of the spiritual music is suggested

to come from the spiritual atmosphere it creates in a non-religious physical context. It rather exists

in an entertaining casual place. Spiritual music is, therefore, an expression of an individual mood

and experience as well. (Anderson, 2015)

On the other hand, Anderson Byron explains that religious music is “public, communal,

institutional, exterior, intellectual, and objective. “It is grounded in and intentional about its

connection with traditions, disciplines, and communities of practice, and it is thought to be overly

concerned with correct beliefs”. Religion itself is an adherence to a particular belief that this belief

is concerned with the communal practices and morality. (Anderson, 2015)

But why spiritual not religious? In this case, spiritual is distant from religious which will

be a more particularistic experience. In a spiritual experience, no need to be an affiliate to a

particular religion. There was also a fear that religious musicians will be perceived as passive

ineffective communicators because they distance themselves from the talks about socio-economic

problems, which are experienced by the people of the community and deeply connected to the

harsh reality they live in. On the other hand, justifying slavery by the Protestant church in America

is a bad memory, which was another reason to distance this music genre from being labeled as

“religious”. Where the spirituality of rap stands? The rappers speak about the practiced oppression

by the police and they strive for keeping a good self through the materialistic pressures. They

liberate themselves through the music beats, noise, and the expressive words. They flee from their

calamities through music. From an anthropological point of view, religion and religious practices

including festive, are methods of pressure release. (Pinn, 2003)

19
II. Gospel music

In the 19th century a new style of music appeared among the African Americans, but not

until the twentieth century it had a name. It was different from the mainstream music in the United

States at that time and it was called “black gospel” music. Through gospel music, the Africans

expressed their ambitions and disappointments in the society that brought them from their

homeland to be treated as slaves. (Jackson, 2004) In the late 1960s, a music movement in the west

coast of California appeared, where artists were committed to the biblical message. Although their

presence was not widely popular at the beginning, in the late 1970s, companies allowed modest

sponsoring and the Christian artists started to gain popularity. Their popularity remained limited

compared to the interest in mainstream media. In the late 1990s, gospel music gained more

popularity and in 1994 estimates of CD sales, cassettes, and videos reached 400 million dollars.

Since then, researchers directed their attention towards this trend and posed questions like is there

an association between religiosity or rituals practice and the love of religious music? One study

found that adolescents do not pay attention to the lyrics. Some of them do not even understand the

meaning of the words; they, rather, love the music itself. (Eidenmuller, 1996)

The reactive way to the discrimination and humiliation of the African Americans before

and during the twentieth century was self-development. They combated discrimination with

education; they focused on religious education, morality, and holding on the rules of the gospel.

As the church was not only a place for worshipping; they used their gatherings to chant the gospel.

Soon, this was inhibited as a ritual and became a common practice. Therefore, the church was an

institution for them and they uttered their beliefs, frustrations, and hopes through the choirs.

Singing the hymns with their new stylistic melodies had a great influence on their mood. It helped

20
them believe in themselves and believe that the hatred they are treated with is not for any bad

qualities they have. (Jackson, 2004)

The year 1870 was remarkable for the gospel songs when Fisk Jubilee, a group of singers,

performed very well and their spiritual songs gained momentum in the northeast and in Britain.

The singers mastered the classical western music but added to it the new taste that represents their

indigenous identity through the tones and melodies. According to some scholars, this new music

was the best contribution to America and the world. The year 1921 marked the publishing of the

first hymn book Gospel Pearls. The book includes a collection of sacred songs, anthems, and

spirituals. The songs expressed the religious affiliation, and people related to as an individual

experience. Not only that but the music empowered women as it gave them the opportunity to

perform solo gospel music and be represented in leading roles. Therefore, the African Americans,

through their music, gave a new meaning to religious practices, built an image for themselves, and

broke the taboo about the music industry in America. (Jackson, 2004)

For the African Americans, the songs were the tool through which they voiced out their

sufferings and their hope for liberation. The songs recite what they faced during the time of

suppression; the lyrics narrate the humiliation, the enslaving, and the unfair imprisonment.

Through the hardships, the songs were the gate of hope, comfort, and escape from a pressuring

life. Spiritual songs helped them transcend over the daily hardships and find tranquility within

themselves. But how those songs sustained their inner peace? The lyrics of the songs discussed

topics from the Old Testament and the New Testament. Furthermore, other motivational topics

were promoted about morality, responsibility, life, death, religion, and solidarity. What also makes

this spiritual experience sensational is its distinct combination; the words of the holy books and

the melodies. Through this, the message of the songs is well received. (Jackson, 2004)

21
 There were different types of spiritual songs that suited all tastes and moods; there were

sorrow songs, work songs, shouts, and sermon songs. The songs’ themes focused on the

“compensatory aspect” in religion, so they can accommodate all the negativity they receive from

the community as long as they are promised heaven by Jesus. While the American society and law

treated dark skin people as a “thing”, the songs depicted them as God’s children. So the songs

served as a method of both resistance by voicing out their frustration, and a self-healing. (Jackson,

2004)

III. Rap Music influenced by Religious Principles

The book Noise and Spirit explores rap music genre that was motivated by Christian

principles and centralistic spiritual approaches. One approach that Anthony Pinn tackled in his

study is rap for African Americans was the escape from the ugly reality and the practiced

oppression by the whites in the community that claimed to be the most just. He explains how the

rappers made a religious meaning out of their suffering through this music. The African Americans

addressed women with honor and respect; they are referred to as “diamonds” and considered as

leaders unlike other music that sexually objectify women. Additionally, they use the lyrics as a

medium to tackle an important issue of the twenty and twenty first century that is the “privation”.

For them, lacking the essential needs for life was the source of hatred, terror, and agony in the

world. All these negativity and drama are made by the devil that ills the spirit. (Pinn, 2003)

The devil was portrayed in the songs as “hatred” and “darkness”. Jesus is the only savior;

he is the God’s representation on earth and the protector. The perception about the Christ was

brought from the bible rather than a perceived imagery. So in this regard they avoided interpretive

lyrics as opposite to what they did when they talked about other Christian values. Gospel music in

22
that context called people for listening to God’s message that will transform their lives. (Pinn,

2003)

IV. Resistance, pleasure, and spirit in rap music

As suggested, rappers in the United States were motivated by three things “resistance,

pleasure, and spirit”. The first motive as previously highlighted; the African Americans were

belittled by the whites. The non-violent socio-movements in America inspired them to create a

self-alleviating strategy against the oppression. They also found a good pleasurable medium in the

rap; they enjoyed it as much as they suffered from the bad conditions they lived in. Finally, music

offered a spiritual experience to them. (Pinn, 2003) Furthermore, the Muslim’s rap took the

responsibility of telling the community about the role of the Prophet Mūḥammād. Other rappers

attempted to help people regain the confidence that was taken away from them due to the

discrimination because of their dark skin color. Groups such as Public Enemy and Poor Righteous

Teachers adopted existential approach in their songs by addressing the complexities of life. Others

such as Ice Cube adopted socioeconomic realities when they dealt with religious concepts. Public

enemy revolutionized the hip-hip music and were the most controversial rappers in the late 1980s

and 1990s. The band released albums that were considered the credible media of the streets; their

songs tell what was not spoken about in media. The lyrics addressed political and social issues

mostly in relation to black people. (Grewal, 2013)

V. Religious rap revolutionizing the market

In the market, some music does not care about the core values that the albums will

introduce. What the producers care about is how much the song will sell; yet, it is the responsibility

of the artist to deliver a meaningful message through his work to his audience. The rap market

23
experienced a transforming phase, when some rappers were considered preachers by speaking on

the behalf of God. The rapper, through the songs, talks about the concept of life and the afterlife,

the concept of suffering, and how God loves humans. In that sense, the rap music was a

representation of religious art; their audiovisuals contained crucifixion signs and other religious

symbols. It brought new concepts that were not like how the church used to interpret them. Rap

does not agree with the concept of disparity as a way to gain God’s love; it does not approve that

God loves you poor and broken. In brief, rappers meant at exploring new aspects and reclaiming

God’s religion and their hearts. For them the socioeconomic factors are inseparable of the larger

meaning of life and this is why the social problems were always part of their music. As suggested,

they went for a music theology that reconsidered understanding God and spirituality by revolting

on what’s traditional as means of making meaning in life. In contrast to the orthodox theology,

rappers utilized signs, symbols and lyrics to revive a healthy life that does not lean on passivity or

poor people. The theology between the 1980s and 1990s took a different path, for example, the

concept of suffering and sacrifice was reintroduced in relation to dying for a good cause. As stated

by the author, unlike what was claimed by the church or mosque in America, rappers considered

dying in the streets after struggling for a better life is rewarded by heavens. (Pinn, 2003)

VI. Islamic-Christian hip-hop and pop music

The modern hip-hop music has its own experience with spirituality and religiosity in

America. Muslim and pro-Muslim hip-hop artists were directly influenced by Malcom X’s striving

by the word (Jihad al-Kalimah). The influence of Malcom X was reflected on the songs of “Mos

Def, who named himself Yasin Bey, Talib Kweli, Common, A Tribe Called Quest, Everlast, The

Intelligent Hoodlum, Encore, Divine Styler, and the Roots”. Even though those artists do not

belong to the mainstream music, whether as hip hop or rap stars, they eventually gained the

24
popularity and the respect for the moral and conscious message they present. Mos Def or Yasin

Bey released an album under the name “Fear Not of Man”. He starts the song with the invocation

of God’s name (basmala) that the Muslims traditionally commence any act with. Throughout the

album, Mos Def expresses the dedication for spirituality through relation with God and through

prayers. Similarly, the hip hop in Jamaica was influenced by the Rastafarianism; a belief that the

Messiah is a black person. The dogma talked about the divinity of the black men and their image.

The songs were not just a mean of entertainment, but they were a tool for social and political

struggle with the utilization of religious concepts to promote self-confidence. (Grewal, 2013)

VII. Music in Islam and the Arabian Peninsula

Before the rise of Islam, the Arabs knew poetry and singing, but singing was in a simplistic

form. It did not include any musical instruments, but later with the advancement that the Muslims

witnessed, they developed tools to improve the sound system. (Bearman, 1960) In the Arabian

Peninsula, poetry was the art they excelled at. It was their source of pride, source of news, and

even source of linguistic rules. They very much appreciated poetry to the extent that the greatest

poems were hanged on the walls of the kaʽba,3 where they perform their pilgrimage. As the society

started to develop, the Arabs utilized the musical tunes and instruments to fine their poems and

make them sound better. In the writings of al-Farabi, he compares between the Arab tunes before

Islam and after Islam praising this development in the music field. Ibn Khaldun mentioned that the

three great empires; the Persian, the Turkish, and the Arabs were fascinated by music. (ʻĀmir,

1988)

3
A square building in the heart of Mecca that Muslims gather around to perform their minor and major pilgrimage
and it became the direction of their prayers, after the direction was towards Al-Aqsa mosque.

25
 In the Muslim culture, since music was not only a mean of entertainment and pride, it was

accompanied by poetry that they are best known for. Music was considered as a branch of science.

They even dealt with it from a philosophical and religious view. As an example, the Brethren of

Purity (Ikhwan al-Ṣafa), a group of Muslim philosophers who concealed their identity and

published epistles under that name. Their epistles were meant for purifying the soul and finding

happiness in this world and afterwards. One of the 51 epistles they wrote was a chapter on

mathematics that covered and discussed music. (Bearman, 1960) In the fifth epistle, Ikhwan al-

Safaa mentioned that music was religiously used by the people of wisdom, while praying and

sacrificing, and in their temples. They stated that the Prophet David used to beautifully recite the

psalms, so did the Christians in their churches as well as Muslims in their mosques, while reciting

the Quran. The music was adopted in the religious rituals, as it captivates hearts and the souls. In

this chapter, the authors talked about music, melodies, and their effect on the body and soul. Since

then, “the people of wisdom”, according to them, were interested in composing tunes that prime

sadness to cry over wrongdoings and ask for the Allah’s forgiveness. They also composed

motivational tunes that encourage people to work with full capacity, motivate the animals to do

the farm work, and enthuse the soldiers at war. The book of the Brethren of Purity covers in one

part the musical instruments; how they were made, and how to fix and maintain them. They

considered the Qūr’ān as a distinguished type of music that is recited in different moods and for

different purposes. Finally, the fifth epistle is concluded by the best music that the believers will

ever hear, when they talk to their Creator in the Hereafter as mentioned in the Quran, “Their

salutation on the Day they meet Him will be "peace!": and He has prepared for them a generous

Reward". (33:44). (Qūr’ān - Recite, 2017; ʻĀmir, 1988)

26
 During the Mamlūk period in Egypt, music and Qūr’ān were used in the greatest institution

in the world at that time, the hospital of Sultan Mansour Qalawun (Pimaristan). There were

divisions for physical illnesses and separate divisions for psychological and mental illnesses.

Another division was specified for patients who suffer from insomnia and the hospital played

music for patients to calm them down and help them sleep well. It was the first institution to use

music and Qūr’ān for emotional and physical healing during this era, while the west lived in the

dark ages. In the dark ages the church believed that illnesses are from God, hence, they should not

be treated. More, mentally ill people were treated by beating. (Gibran, 1981) In addition to this,

the tunes were used to help the listeners to overcome loss, emotional breaks, and to experience joy

and enthusiasm. Music was used for animals, for example, they played music for cows to produce

more milk and be calm. Something that is used in our modern days in Amsterdam and other

countries that excel in dairy production. (ʻĀmir, 1988)

Furthermore, al-Ghazali said that every sense of the five senses has an indulging desire,

and music is the indulging desire for the ear. In his book of Iḥīa’ ʽūlūm al-Din, he calls it Samaʽ,

which influences the heart and moves the still emotions. In this book, he dedicated a chapter

discussing why music is controversial, and his views in support of its permissibility. (Al-Ghazali,

2005) Ibn Khaldun said that music is one indicator of a developed society because when people

meet and satisfy their basic needs, they think of means of entertainment and luxury. To support

this point, music flourished during the prosperous era of the Ottoman king Soliman al-Qanūnī, and

this is when the Turkish poetry and literature reached its peak. (ʻĀmir, 1988)

VIII. Contributions of religious scholars in music

During the Abbasid Caliphate even in Mecca and Medina, lyrical ballads flourished. They

attracted poets as well as the religious scholars (fūqaha’). An example of those fūqaha and poets

27
is Abdullah B. Outba in medina. Al-Kindi was the first philosopher to put rules and theories for

music and this is why he is considered the founder of the first music school. He wrote several

books that guided all the scholars who came after him. Some of the topics that are covered in his

book is composing music and ‘Oud playing, which is the famous Arabic musical instrument. Then

his disciple al-Farabi continued this mission by publishing a music book titled al-Mūsiqah al-

Kabirah, where principles of learning music were stated. Avicenna also dedicated a chapter in his

book Jawameʽ ‘elm al-Mūsiqah to distinguish between music as an art, music as a profession, and

as a science. Although those scientists translated the works of the Greek philosophers, who also

wrote in music, they had their own contribution and this is evident by the principles of music that

they put and that were different from the Greeks. One distinction from the Greek music is the fact

that the Arab philosophers were aware of the different taste of the Arab listener. This is why even

when the Arab musicians borrow from other nations, their music is still distinguished from other

types of music. For example, al-Kindi stated in his writings that people differ in their taste of music

according to their nationality, so the Indian and Roman nations do not like Persian mandolin, and

the Persians like using the bell in their music. (ʻĀmir, 1988)

The nature and geography of the place influences, to a great extent, the taste and preference

of music and musical instruments. Moreover, the number of strings (wataryat) represent their

beliefs, for instance, the Indo culture used instruments with a single string (watar) as they believe

in the concept of singularity. In contrast, the Athens believed in the three powers (Goodness and

Evil, Day and Night, and Stagnation and Movement), so they rely on the three wataryat in their

instruments. More, al-Kindi discussed music thoroughly in two chapters in his book and made a

musical note that was adopted by al-Farabi and Avicenna after him. Interestingly, al-Kindi saw a

relation between the seven musical tunes and the seven planets; each string (water) in the musical

28
instrument attracts a certain horoscope. In a physical sense, Ikhwan al-Ṣafa also mentioned the

cultural roots of the music. In a metaphysical sense, they believed that the dwellers of the heavens

will be pleased by fine music played by the Angels, and this is why the music reminds people of

the pure and spiritual world. In summary, through music, people voiced their morals, traditions,

language, and beliefs. For them it is a representation of their culture and moods. (ʻĀmir, 1988)

IX. Andalusian music and Samaʽ

Andalusian and Samaʽ music are two familiar terms especially in Morocco, where they are

commonly practiced. The people of Andalusia4 have a distinguished music that later developed

under the name (mowāshaḥāt). Andalusian music started to emerge in the ninth century and

originally came from the Eastern peninsula in Baghdad, then it settled in the Western peninsula,

al-Maghrib in Cordoba and Andalusia, which were the cultural centers at the time. Music schools

were established and called Nawbah or Naubah. (Touma, 1996). Mowāshaḥāt became very

popular and then another type inspired by it became popular among the common people that is

called Zajal, which does not abide by the rules of syntax. (ʻĀmir, 1988)

Sama’ is a term referring to whatever sound the human being listens to through the ears.

For the Sufis, sama’ is very important as it is the main gate of the intellect (alʽaql), what the ears

hear goes to the mind to be thought of. The singer establishes a special communication with God

through his invocations that also reach the listeners. It is believed that listening empowers the heart

and whoever listens carefully to his heart reaches truth. According to Mohi al-Din Ibn Arabi5,

4
An Arab and Islamic territory located in southern east Europe, now known as Spain. It was conquered by the Muslims
in the second/eighth century. That area maintained a cultural, political, and economic hegemony until the Christian
conquest started to occupy the land to its complete fall. http://dx.doi.org/10.1163/1573-3912_ei3_COM_30661
5
Abu Bakr Muhammad ibn Muhyi al-Din al-Hatimi al Andalus; known as Muhyi al-Din Ibn Arabi or Ibnul Arabi. He
was born in Murcia in Spain and was influenced by Sufism, which was a tradition in the place he resided in. He visited
several Arab and Muslim countries, but in Syria and Mecca he wrote his most notable books The Meccan Revelations
(Al-Fūtūḥat al-Makkiyah) and The Bezels of Wisdom (Fūṣūṣ ḥikam). He wrote in several topics such as Sufism,

29
sama’ happens through the attention that the heart bears to whatever is blessed by God to enlighten

it. This has to be done only through the master or guide (mūrshid). Another Sufi scholar Abu

Yaccoub al-Nahrjouri said that music is the path to Divine love. Listening to music is blessed for

it brings one closer to his lord. Music in Sufism strums on the heart’s chord and moves still

emotions. For Sufis it is, indeed, the stairway to Ultimate truth and spiritual knowledge. (ʻĀmir,

1988)

Sama’ is used by different religions to revive the goodness of the heart. Sufis use music to

express what is in the heart for God. Sufi singing starts by invoking that there is no God, but Allah

(La ‘ilah Illa Allah), and the singer continues by singing themes related to love poems,

abandonment, connectedness, or love. All the topics reflect the love of the creator. They use the

metaphor to reflect the eminent meanings that they cannot explicitly express. Therefore, music is

a lawful (Ḥalal) medium for the Sufis, but it has to be used within the religious context not for

entertainment. Their remembrance gatherings (majlis) contain Quranic recitation and

remembrance (Dhikr). But the non-Islamic practices and pure entertainment activities that people

see in some (majlis) are far from the orthodox Sufi traditions. Actually, the (majlis) was the reason

that great pop starts and classic music singers and mūnshids became very well-known such as

Sayed Darwish and Um Kulthum in Egypt. (ʻĀmir, 1988)

X. Sufi Music

poetry, Quranic commentaries, philosophy, and theology. He is considered one of the most controversial figure in
mysticism as he claimed himself after his book of Bezels to be the seal of saints just like Mūḥammād is the seal of the
Prophets. He also claimed that the Bezels was revealed to him by God and it is God’s message to people through Ibn
Arabi. (Landu, 2008)

30
 Sufism is, similarly, considered by its practitioners as a source of empowerment. In

Morocco, Sufi chanting took three directions in relation to the geo-historical events. The northern

Sufi direction was influenced by the immigration movements. Intellectualism and philosophical

complexities influenced their comprehension and practice of the chanting. Mohi al-Din Ibn al-

Arabi is their major Sufi reference and example. Later, Ziryab dwelled a special place in the hearts

of the Moroccans. He originally came from Baghdad in the Medieval ages to perform and sing

both Arabic and Persian poetry. He later moved to Andalusia and founded the art of mwashaḥat.

Importantly, he had significant contributions to the therapeutic art; for him, there is a linkage

between art, body, and earthy components. The musical modes are directly connected to human

modes such as happiness, sadness, or anger. On the other hand, the eastern side of Morocco is

characterized by the individualistic experience of Sufism that was deeply influenced by al Hallaj6

and Dhu’l Nun al-Misri. Their dogma is characterized by the strong belief in the power of love.

The Southern Sufi chanting is characterized by political and spiritual activism. In the south, al-

Moravids7 used to gather in a place for spiritual and political charging, and this is why chanting in

this area is deeply influenced by those themes. (Salhi, 2013)

1. Sufi music in Egypt - The Egyptian Mawlawiyah

The Egyptian Mawlawiya is part of the Sufi heritage that was first introduced in 1994 by

Amer Eltony and his team, which is meditation through whirling in the company of chanting or

love poetry.

6
His name is AlHussein Mansour Alḥallaj and was born and raised in Iraq. He was not only a Sufi figure, he was a
poet, and a political and social activist, which was the cause of his death.
7
A religious political movement appeared in the fifth/sixth century in Morocco. The movement consisted of large
tribes that constituted an armed, political, and economic unity that soon controlled the maghrib region and Sahara to
Andalusia. Their political movement was influenced by Islamic thoughts that aim at reforms through development
and unity Islah and murabatah. http://dx.doi.org/10.1163/1573-3912_ei3_COM_22934

31
 The performance relies on improvisation as its tool to creating the spiritual ambiance of the
show. It is a prelude to catharsis for both the troupe members [performers] and the audience
because it allows for the concentration on the spontaneous improvisation of the unknown Arabic
music notes. This is an attempt to delve inside the audience to explore the meanings of beauty
and liberate them in the atmosphere of the show while the dancers are whirling in an excursion
that sometimes carries the audience to larger spaces, and sometimes the excursion is to the
audience’s inner selves to explore its goodness. This takes place through the rhythmic
acceleration of the spiritual experience through which the rhythms change their beats from slow
to fast then faster.
Flutes, is very important in the performance, as it symbolizes the human torment and

longing for his origin. The harmony between dance and music is a symbolism of the unity of both

earth and the universe. The dancing dervish, through whirling in his red ruby, seeks unity with the

cosmos by neutralizing the earthly gravity in a representation of dislocating the self from the

material world and liberating it from the worldly desires to the infinity. The Egyptian Mawlawya

became one of the recognized Mawlawi groups in the world, and they are invited to perform in

international festivals. Locally, the team attracted the new generation especially to their monthly

performance at the Opera House and Sawy Culture Wheel. (Almawlawyah Almasrya Official

Facebook)

32
 Figure (1) 8

2. Sufi Music in Morocco

In Sufism, the Moroccans saw an authentic form of Islam. Chanters were seen as the heirs

of this spiritual path investing this energy in their songs. The Berber’s (Amazigh) chanting

preferred the Bourda, a poem that highlights their pride of their nomadic identity. In general,

Sufism and chanting occupied a special place in peoples’ hearts and minds. Almost all Sufis

chanted for the blessings (karamat) or the belief that the saints (awlyaa) enjoy special powers.

(Salhi, 2013) Even before colonialism, spirituality and Sufism had a strong tie with the ruling

palace. It was a rite to celebrate the birth of the Prophet Muhammad in the Royal Palace.

(Būʻasrīyah, 2006)

The city of Fez is called “lieu de mémoire” or the city of memory, where the most

influential Sufi philosopher Ibn Arabi had a vision there and it is the place of many Sufi orders. It

is impressive that the Sacred Festival in Fez could bring internationals from multi-faiths, but all

8
https://www.facebook.com/almawlawyah/?fref=ts

33
united with the spirituality of the music. What is appealing to the listeners of the sacred music

festivals is that they learn to listen to different tastes in music. The act of careful listening Samaʽ

for the Sufi is a self-disciplining act, which also provides a spiritual gnosis to the listeners. By this,

the audiences live an uplifting experience and making a positive perception of the world

represented by different performances. The festival also featured pop starts not only singers

specialized in pan-religious music such as Majda Al-Rumi from Lebanon, Sabah Fakhry from

Syria, who sings the Arab-Andalusian poetry Mowāshaḥāt, as well as Berber’s (Amazigh) Music,

and Sufi music from Egypt by Yasin Al-Tohamy, and the Turkish Dervishes whirling with their

skirts and long turbans. (Otaib, 2017). The Sufi rituals during the festival are the most special not

only because of their aestheticism, but because they receive much attention from the kingdom. The

king and some of his administration like the Minister of Religious Affairs and the president of the

festival Dr. Faouzi Skali are fellows of the Sufi order Qadiri tariqa.

Other festivals are under the auspices of the king like the celebration of zajal, spoken poetry

in dialect, Mouazzine “rhythms”, Jazz festivals, and Gnawa, which are all a good source of income

to the kingdom, but the sacred festival is most tourist-brining is Fez. Remarkably, Fez festival is

the only place in the Arab region that brings not only Jews, Muslim, and Christian listeners, but

also performs with other beliefs in one city. According to the dancer and choreographer, Maurice

Bejart “Chant is the origin of all spiritual traditions. The Qūr’ān in Islam or the Upanishads in

Hinduism are sacred texts that are chanted, like Psalms. Behind this chant, the primordial sound

links us to the creation of the world”.

Although it was thought that secularization is the golden key to peace and unity, a thought

that was promoted by Max Weber, who is a German sociologist, anthropologist, and political

economist, the sacred festival promoted the sacred tourism for peace. (Mitzman, 2017) The Fez

34
message internationally echoed and was invited to tour 18 different cities in the United States. The

Sacred Festival in Morocco featured Mudejar music from Spain, Georgian chants from England,

and religious gypsy from France. It inspired other countries to hold festivals such as Italy, Portugal,

the Festival of World Religious Music in Gerona-Spain, and the Festival of World Sacred Music

in Dijon-France, and recently Egypt.

In 2004, Faouzi Skali was credited at France de la Legion d’Honneur by the French Foreign

Minister, Laurent Fabius, as the knight for pioneering the Sacred Festival in Fez in 1994, which is

considered as an added value to the history of humanity, spirituality, and cultural pluralism. Faouzi

Skali, who comes from an academic background of anthropological doctorate, ethnology, and the

science of religion, felt the urge to do something that enhances understanding between clashing

cultures. The first establishment of the festival came in response to the Gulf war. In 2007, he

opened the Sufi Culture festival that became an annual ceremony that also awards the most creative

performance. (Finnigan, 2014 & Kapchan, 2008) The significance of the festival was not limited

to bringing musicians to one place; it generates an income for the country and it brings

intellectuals, filmmakers, and scientists every year to participate in the conference, in parallel to

the festival, to reflect on, and discuss the message of it.

3. Sufi Music in Senegal

After the Islamic Revolution in Iran in 1979 and the invasion of Iraq in 2003 by the United

States under George W Bush administration, there were questions about the nature of Islam and

Muslims. The global curiosity about this religion was not concerned only about violence,

resistance, and politics. The international community was also interested to know about the Islamic

cultural sphere in its full aspects and what it means to be a Muslim in today’s world. One of the

singers who addressed this point through his art is Youssou N'Dour from Senegal whose album
35
Sant Yalla/Egypt gained momentum and was Grammy Awarded in 20059. It also received other

international recognition from George Collinet’s American radio and website, was nominated as

one of the top ten albums, and his album was discussed in a documentary as a subject. (Nieuwkerk,

& Ebrary, 2011)

Through the album, N'Dour presented Islam to the listeners, tolerance, and peace that it

beholds as a dogma. His songs combined praise of God and the Sufi saints in Senegal, who are

known there as marabouts or Moravids. Why he chose the Senegalese model of Islam? Because

he thought that it is an important model of a country of Islam, where the majority of Muslims there

adhere to Sufism, approximately more than ninety percent of the population. They also adhere to

a mystic way of living, a promotion of peace and tolerance. To the others, he presented a modern

Sufi Islam “in a globalized world” through the slangy words of his songs that praise the saints and

their deeds that are led by an Egyptian orchestra. Since then, the song has become a popular music

genre that impacted other music genres such as rap and hip-hop, and singers like Daara J and

Daddy Bibson. (Nieuwkerk, & Ebrary, 2011)

The gammu festival in Senegal celebrates the birth of the Prophet Mūḥammād annually

and praises the saints of the Tijani Sufi order; therefore, it brings followers from different parts of

the country. More, the Zawiya attracts disciples from different countries in the world such as

Mauritania, Nigeria, and the United States. The followers of the Qadiriyya Sufi order gather from

different parts of the country in addition to the internationals from African nations, Europe,

America, and Asia to attend the annual ceremony. (Nieuwkerk, & Ebrary, 2011)

9
Grammy Award is an advocacy art organization that recognizes and encourages music that has positive impact on
musicians, producers, and the community in large. They do not regard selling rate as a priority for their recognition,
but they rather recognize the artistic and technical achievements of music in English language.
https://www.grammy.com/recording-academy/about

36
 Singing in praise of the Prophet or the saints is something introduced to the Senegal culture

and then it was inhibited not just as a religious ceremonial act, but it was practiced by the craftsmen

like weavers and sang in different events like marriages. The praise culture was also introduced in

the Arabic language not the Swahili through the writings of the Sufi servants such as Hajj Malik

and Cheikh Bamba. Nevertheless, not all chanted songs, which both men and women, were in the

form of praise. Songs also called for morality and devotion to work not to mention that they were

sung in hip-hop and rap style. (Nieuwkerk, & Ebrary, 2011)

XI. Islamic Rai

Last year, both Algeria and Morocco made an official request to the UNESCO to enroll

Rai as a music genre that belongs to the Algerian folklore, while the Moroccans claim that it

belongs to the Moroccan folklore. (AJ+Kabrit, 2016) Rai music was born in the late 1980s in the

west side of Oran -Algeria among the middle and lower middle-class citizens, who found in it a

refuge from the occupation, civil war, and extremism. At the beginning of the twentieth century,

it started to manifest itself as a music genre and it was performed by both Muslim men and women

who were called Cheikh or Cheikha, and the Rai introduced new topics different from the

traditional music. In Arabic “Rai” meant opinion and this is why it was controversial on many

levels for the religious conservativisms and politicians. Rai gained popularity in Morocco and

Europe thanks to the King of Rai, Cheb Khaled, the most known for his songs Abdel Kader, Aicha,

Didi, and C’est La Vie. AbdelQader song, which was released more than ten years ago is viewed

for 4 million times on Youtube. (Sahibet Al-Saada, 2016) It is interesting how the Muslims in

Europe, especially in North Africa (Morocco and Algeria) found in Rai a way of resistance against

unequal treatment of migrants in the west. They used music as an instrumental tool against

37
oppression, but they also wanted to show their “cool Islam” that is far from fanaticism.

(Nieuwkerk & Ebrary, 2011)

This music genre passed to Europe from France and has become very popular especially

among immigrants in western countries. Rai singers used religious songs and themes to legitimize

their music. Regardless of the singers’ religiosity and piety, Islam is part of their identity and this

was reflected in their music. The singers Islamized Rai by invoking God, praising his Prophet and

his awlya’ or saints. (DeAngelis, 2003)

Abdel Kader Yaboalam ḍaq elḥal ʽalaya … dawy ḥaly yabo ʽalam sidi r’ouf ʽalya
O my master Abdel Kader Aboalam I am suffering… heal me with your clemency

In 1999 the song Abdel Kader praises the founder of tariqa Qaddirya, Abdel Kader

Aboalam Al-Jilany was a hit not only in Algeria and Morocco but all over the world. When it was

sung in France by Cheb Khalid, Cheb Faudel, and Cheb Rashid Taha in their most known concert

“123 Soliels or Three Suns”, it succeeded to penetrate the music market and the album sold 5

million copies. Afterwards, the Algerian identity was reintroduced to Europe. (Sahibet Al-Saada,

2016)

10

Figure (2)

10
https://www.discogs.com/1-2-3-Soleils-Taha-Khaled-Faudel-/release/1789382

38
 Other Madīḥ songs have lyrics that seek God’s forgiveness, the intercession of the Prophet

(shafaʽa) and the people of his house. Those songs combined the maghribi identity and Islamism

within the realm of the secular music. Religious Rai was not exclusively introduced in Algeria; it

appeared in Morocco too. The Moroccon Rai combined religious lyrics and modern beats. An

example of this type is the Prophéte song performed by Rabi Youmni. Rabi’s songs introduced

Islamic concepts and practices in a melodic mood. In her research about Islam and Rai, Angelica

DeAngelis, suggested that singers and consumers of music do not distinguish between religious,

secular, or Rai music. Rai connected the cultural and Islamic roots and presented them in an

enjoyable style in the Mediterranean, French, Arab and Islamic world. (DeAngelis, 2003)

XII. The controversy over the permissibility of Music in Islam

The concept of leisure and entertainment (malāhī) in Islam was discussed by Muhammad

AlAtwaneh with much emphasis on how malāhī was developed, debated, and practiced in the

modern days. Malāhī is needed for a proper practice of Islam. According to the traditions of the

Prophet, it is reported that he said that there should be time for religious matters and time for

worldly affairs. Moreover, the Fourth rightly guided caliph and companion of the Prophet said:

"Amuse yourselves for a while, for if hearts are exposed to too much strain, they become blind”.

The general principle in Islam is that everything is permissible (mūbaḥ), unless there is a proof of

its unlawfulness. Yet, a Qūrānic verse caused much debate through its interpretation, and since

then, entertainment was considered not permissible. ‘Idle talk’ (lahw al-ḥadith) was mentioned in

one verse in the Qūr’ān (31:6) “But there are, among men, those who purchase idle talks”. It was

interpreted as any activity that is deviant from the right acts including music and singing; others

interpreted it as evil acts including musical activities. Different from those interpretations, the

39
Islamic medieval philosopher and theologian al-Razi interpreted it as abandoning wisdom. (Al-

Atawneh, 2012)

Regarding music in Islam, there are two opinions; one team favors its permissibility and

the other team disfavors. Each team uses supports from the texts, Qūr’ān or Sūnnah, to validate

their views. The supporting team sees no problem in the music itself, but the problem could be in

the topics discussed in the music. If the topics contain anything contradictory to the principles of

the Shari’a are to be classified in this case as impermissible. (Izsak, 2013) The same view is

adopted nowadays by the highest religious authority in Egypt, Al-Azhar, and issued as a fatwa.

(DarAlIfta, 2005)

Emphasis on this topic will be drawn from the writings of three medieval philosophers’ al-

kindi, al-Farabi, and Ikhwan al-safa. First, music as a concept in Islam must be understood within

the cultural and linguistic context of the Arab and Muslim community. Why the Arabs in specific?

Because the holy book of the Muslims, which is the main source of legislation and the Sūnnah or

the traditions of the Prophet Muhammad are revealed in the Arabic language. The word music or

mūsīqa in the Arabic language reflects a different meaning than it does in the English language.

According to the encyclopedia of the Arabic language, mūsīqa in Quranic intonation (tartīl): “is

every detail of the chant serves to highlight the text, its pronunciation, and its meaning”.

(Encyclopedia of Arabic Language and Literature). In Islam, it is important that music reflects

what comes in the Qūr’ān in a way that does not contradict the dogma of Oneness of God (tawḥīd).

In Egypt and Morocco, Sufi singers and dancers provided a different content from what is expected

to be presented through their music. This is why their music is highly debatable. (Salhi, 2014) On

the other hand, Islamic music was defined as “the music associated with religious practices or

sentiments”. (Christensen, 2000)

40
 The religious scholars who considered music as an unlawful act relied on the argument that

there were no singing festivals by the time of the Prophet Muhammad. By listening to the music,

the Qūr’ān will be abandoned, so it is the act of the Satan to deviate the believer from God’s path.

The religious scholar Ibn Qayim al Jawzyah considered the Sufi festivals unlawful, as they dance,

drink wine, and their gatherings have mixed gender. Another scholar said that music distracts the

heart from thinking about God’s glory, and it tempts the heart to think about impermissible matters.

They support their claim by what was mentioned by fūqaha’ and the schools of thought al-Shafi’i,

Malik, Abou Hanifa, and Jama’a that music is impermissible. (ʻĀmir, 1988)

Despite the fact there is no vivid reference in the Qūr’ān that music and singing are

forbidden, scholars in different times interpreted that what is meant by “lahw al ḥadith” and

“falsehood” is musical instruments and singing. As mentioned by Al-Atawneh, some scholars

depended on those claimed reports to argue against the permissibility of music that it is a sign of

the Day of Judgement, when women sing. More, “song makes hypocrisy grow in the heart, as

water does herbage” and “On the day of Resurrection, Allah will pour molten lead into the ears of

whoever sits listening to a songstress”. Scholars such as Abu Hamid al-Ghazali, Ibn Hazm, and

Ibn Arabi argued against the authentication of these reports from the Prophet. The religious scholar

al-Kasani said that listening to the music of the bamboo (flutes) or good singing has a good

influence on a person. For example, it helps people overcome loneliness. The scholar al-Humam

mentioned that music itself is not prohibited, but what surrounds music might be prohibited such

as drinking. It could be prohibited in case the words describe women’s bodies and beauty, wine,

or anything that does not comply with the Sharia. (Al-Atawneh, 2012)

A modern scholar Muhamad Al-Ghazali (d.1996) claimed that music itself is not

prohibited, and he could argue that music was practiced during the life of the Prophet Mūḥammād.

41
He added that one must be alert to what message the songs hold, and what practices are

accompanying singing to determine their permissibility or prohibitions. He categorized songs and

put them in the following hierarchy in order; the recitation of the Quran, the call to prayer, chanting

(anashid), family celebrations, caravan chants, work songs, the music of the military bands, and

music of prohibited practices. Yusuf al-Qaradawi, another religious figure and important symbol

for the Muslim Brotherhood, limited ḥalal music to religious themes, family concepts, and fine

music that he himself listens to such as Umm Kulthum, Muhammad Abdulwahab, and Fayzah

Ahmad. (Al-Atawneh, 2012)

XIII. Al-Azhar perspective on music

Al-Azhar and its institutes in Egypt are considered the highest religious authority and the

center for Islamic learning not only in Egypt, but in the world. Al-Azhar currently represents the

Sunni “middle ground” or moderate thought (waṣaty). Some scholars that are previously

mentioned, who supported the permissibility of music, are graduates of Al-Azhar or recognized

by it. Not only that, but the book of Al-Ghazali, The Revival of Religious Sciences (Iḥīa’ ʽūlūm

al-Din), which discusses music is highly recognized and taught at the schools of Al-Azhar.

(Encyclopedia of Islam; Al-Azhar mosque classes)

According to Egypt Dar AlIfta11 , listening to music that is not accompanied by other arts

is permitted under the condition that nothing impermissible is accompanying the music like

drinking wine, obscene singing, indecent singing that provokes the desires, or encourage deviation

from permissible acts. (DarAlIfta, 1980) In 2005, Dar AlIftaa issued a fatwa considering music

similar to talks; some talks are prohibited while others are permissible. Hence, permissible music

11
The official institution in Egypt issuing legal statements (Fatwas)

42
is purposeful expressing good feelings like happiness, patriotism, or feelings that do not prime lust

or obscenity. The prohibited music, on the other hand, distracts one from remembering Allah,

encourages immorality, and allows mixing men and women. (DarAlIfta, 2005) According to Al-

Azhar, the controversy over the permissibility of listening to music accompanied by instrument

playing or patriotic songs is ideological, depending on each school of jurisprudence and its

interpretation of the Quranic verses and ḥadīth, and not doctrinal. The supporting schools of

jurisprudence depend on the ḥadīth narrated by Aicha, the Prophet’s wife, that when her father

found two maids in the house of the Prophet singing like the people of Medina, Abu Bakr asked

them to stop. The Prophet asked him to let them as it was a feast day. (Al-Azhar Al-Sharif, 2018)

An opposing viewpoint by the Wahabis of Saudi Arabia and their fellows prohibited music

for the immorality, waste of time, and distraction from worshiping the God. They recommend

anashīd as a ḥalal alternative. For them, every practice related to music and musicology is

forbidden including singing, dancing, playing instruments, or listening to music. They deny and

object the claim that music is used as a therapeutic mean. They also claim that musicologists, who

were also religious figures in history such as al-Farabi, are not considered as good models. The

only role model for them is the Prophet, the rightly guided caliphs, and other righteous companions

and figures. (Al-Atawneh, 2012)

In 2000, the CRLO12 issued a legal fatwa based on a question they received from a citizen

in a neighboring country about the permissibility of music; the response was that music is unlawful

as well as any action attributed to it including learning music, listening to music, or selling of

music products like instruments. Ironically, females were allowed to sing in weddings for female

attendees, but learning and instructing music was prohibited. This means only spontaneous or

12
The official institution in Saudi Arabia issuing legal statements (Fatwas)

43
improvised singing was allowed. It even went far to the extent that the CRLO responded to an

inquiry of a person, who knew that musical instruments are prohibited, and asked if it is lawful to

sell his piano and the response was No. So he can neither keep the piano nor sell it. (Al-Atawneh,

2012) In a paradigm shift in the Wahabi though, last November the Ministry of Culture announced

that the kingdom is considering allowing film theatres and art production in KSA. As a response,

concerts were allowed in Saudi Arabia for the first time and the country is waiting received the

pianist Yanni as well as other Arab singers. (AlSharq AlAwsat, 2017)

XIV. The development of the concept of Islamic art from 1970s to the 1990s

The Egyptian Islamists were concerned about the obscenity in arts especially in regards to

women’s performance and objectification of their bodies. Not only that, but they were also against

the concept of fun or entertainment because it affects morals and disrupts their doctrinal paradigm

on which their power and authority are based. The concept of “pious performing arts” was a

duplicity between religious and seculars. The 1980s marked the time, where number of Islamic

preachers like Mohamed Metwally Al-Sha’rawy and Omar Abdel Kafy attracted female artists

convincing them to quit their job and alternate that with devotion to God. The artists announced

their repentance to Allah and devotion to community service, studying Islam, or preaching. In the

mid-1990s a new movement of moderate Islam (waṣatiyya) mainly attracted certain social classes

such as the middle class and the elites. Waṣatiyya is identified as “centrist Islamist intellectual

trend” and is characterized by lenient views towards arts and artists, and this is why it is called

“casual Islam”. Preachers such as Amr Khaled called the artists not to quit, but perform in

accordance with what is religiously correct (mūltazim). By this they are serving the religion. This

view of art or moderate thought was called several names like Islamic “Islami”, clean art “al-fann

al-nazif”, permissible “ḥalāl”, and moderate Islamic discourse “al-Islam al-waṣaty”. This period

44
is described by the analysts as the “trial and error” period, where freedom and religiosity were

mixed together in a sense that the modern preachers focused on the development of the individual

practices to present a new form of piety. Therefore, it was “a religious lifestyle, rather than the

political aspiration”, violence, or extremism. Influential thinkers of this period are Mohamed

ʽEmara, Mohamed al-Ghazali, Fahmy Howida, and Yusif al-Qaradawi, in addition to the younger

generation like Amr Khalid, Khalid al-Gindi, Habib Ali al-Jafri, and Moez Masoud. They are

considered a renewal in the Islamic viewpoint of topics such as the position of women in the

society, political issues, and art. Their most important view, for the sake of this research, is their

views of two topics gender and art. Differently, they rejected the degrading view of women and

the shaming of their voice (ʽawra). As a result, art returned as one constituent of the Islamic

culture, after it was alienated during the Islamic movement. Even more, their chronicles included

writings on arts. Through their writings, Mohamed ʽEmara, Mohamed al-Ghazali, Fahmy Howida,

and Yusif al-Qaradawi, affirmed some points like everything is licit unless there is a valid and

strong reason to make it illicit. Additionally, authentication of the claim that something is illicit

has to be eloquently verified and this is why they considered most of the claims that art is

religiously impermissible are weak. Besides, it is a human nature to lean towards aestheticism and

creativity. It is a human intrinsic attribute and source of diversity that without it the world would

be boring. Through arts people express aestheticism in different ways. Beauty is one quality of

God that is also manifested in the Quran. With that premise, it is hard to argue against beauty

because according to Nieuwkerk, & Ebrary, the ḥadith “God is Beauty and He loves beauty”13

(Allahu Jamil Yuḥib al-jamal). And so, enjoying beauty and practicing it nurtures piety in the heart

13
It can be also translated as “Allahanashi is Beautiful and He loves beauty”.

45
for a person cannot be pious without sensing God’s beauty reflected on creatures. (Nieuwkerk, &

Ebrary, 2011)

Yet, there were conditions for what is considered to be “lawful art”. The content of the art

as well as the demeanor may determine the legitimacy of singing, music, and listening to it. The

modern preachers, Amr Khalid, in one of his episodes of the TV show Life-Makers (Ṣonaʽ al-

Ḥaya), which later became a non-governmental organization-NGO, mentioned that art is one of

the tools that the Prophet Mūḥammād relied on to revive the new Muslim community, after his

migration to Medina. It is indeed essential, according to him, to include not seclude art for it is a

way to embrace culture and revive the Muslim Ummah nahḍat al-ummah that without it, a nation

would seem dull. (Nieuwkerk & Ebrary, 2011)

This modern view of Islam attracted young men and women, and as previously mentioned,

from the middle and high class. The “easy-going” religious lifestyle fits the standards of the

wealthy youth. Their preachers are from the same class, they live in similar neighborhoods or

compounds, and they do their preaching in the community clubs. For the first time, religion and

modernity blend and people’s favorite actors and actresses are their role model without

contradicting the Islamic principles. Gloominess was no more seen as a proper lifestyle of a

Muslim, instead, a wealthy entertaining lifestyle is also pious. In addition to that, art is a gift; by

practicing it, a person realizes what gifts God bestowed on him/her, and realizing the gift is a way

of thanking the lord for it. (Nieuwkerk, & Ebrary, 2011)

1- The media scene

Nieuwkerk claims in his book that before the 1990s, it was not possible to see any form of

religious art on the state television except for the popular Friday broadcasting of Sheikh Shaʽrawy

46
lesson as well as the tawashiḥ and ibtihalat of al-Naqshabandi before Dawn prayer (fajr), or during

the month of Ramadan. The scene was completely changed since the 1990s when veiled women

appeared on the satellite channels through the Qatar news channel al-Jazeera and the first religious

channel Iqraa, which is owned by a Saudi millionaire, and al-Risala channel that is owned by the

multi-millionaire al-Walid Ibn Talal, who also owns Rotana entertainment channels and

production empire. Through the Iqraa and Risala, religious music and pious arts were re-

introduced. Since then it was common to hear terms such as clean art (al fan al-nazif), purposeful

art (al-fan al-hadif), alternative art (al-fan al-badil), pious art (al-fan al-multazim), and Islamic art

(al-fan al-Islamy). To illustrate on (al-fan al-hadif), an Egyptian actor said that it is the art that

holds a moral message behind it mentioning an example from the biography of the Prophet

Mūḥammād. His grandchildren al-Hassan and al-Hussein acted a scene when they saw a man doing

the ablution (wūḍū’) incorrectly, they pretended that one is asking the other to show him the correct

way to avoid emotionally harming the man if they give him a direct advice. (Nieuwkerk, & Ebrary,

2011)

2. Ḥalal songs

In the 1980s, Islamic weddings appeared as a conservative alternative to “mixed

weddings”. It consists of “a short religious ceremony attended by male guests”, afterward, the male

and female guests are divided into two separate parties. Anashīd and other songs praise the Prophet

by using the duff, the tambourine. During this period, Islamic bands started to form like al-Hada,

al-Waʽd, and Basmit al-Andalus. Female bands also had their shares such as Sondos band and

Banat Basmit al-Andalus. In 2005, Basmit al-Andalus said during an interview that they performed

in 100 marriages. However not all “Islamic weddings” went this way. Some weddings are

considered Islamic by avoiding mixed genders, where men are separately entertained by a band or

47
DJ, so as women, who may wear fashionable dresses, take off their headscarves, and dance on

modern music. Similarly, Ḥalal songs do not have to be limited to songs of praise, but they can be

any “decent” music performance with the Ḥalal instruments such as tambourine and synthesizer.

Some bands sing songs of pop stars, but cut the parts that they think are inappropriate. During this

era until the early 2000s, Islamic weddings were a profitable business. (Nieuwkerk, & Ebrary,

2011)

XV. A Shiite perspective: do music and religion blend?

The spokesman of the Twelver Shiites (Shīʿah) Hizbullah in South Lebanon, considered

art as “the most sublime achievement of humanity since it brings man closer to the creator, who

asks man to be in a continuous struggle to ascend toward perfection”. Alongside, Sunni and Shiite

thought are in agreement, when it comes to aestheticism. They both regard art as an articulation of

the beauty that was be-gifted by God to his creation. Adversely, the cultural circumstances played

an important role in shaping how each group’s art was depicted while being influenced by political

or social parameters. For Hizbullah, Islamic art resembles resistance (al-muqawamah). Hizbullah

itself is known in Lebanon as “The Islamic Resistance in Lebanon”. The Shiites passed through

two political stages that were directly related to the development of their perception of art, Islamic

religio-political sphere (al-ḥala al-Islamya), and the Islamic cultural sphere (al-saḥa al-Islamya).

During the first one, they were concerned with establishing an Islamic state within the presence of

other divergent groups. During the second one, they act upon principles of citizenship (mwaṭana)

and not according to pan-Islamist principles, where everyone has equal rights. (AlAgha, 2011)

The concept of purposeful art was essential in the Islamic cultural sphere of Hizbullah.

They encouraged purposeful activities in order to wipe out emptiness from the hearts of their

fellows, especially youth and children for if the hearts are filled with emptiness, they go astray.
48
Consequently, they can engage in destructing activities. To best employ the flood of energy in

youth, Hizbullah launched camping activities. Children learn and engage in different physical and

psychological activities, particularly after 2006, to help students overcome the destructive

consequences of the war on them. In this camp, children took musical workshops, where they

learned to play musical instruments and sing. For Hizbullah, music is not illicit; it is “every sound

and rhythm emanating from the throat through the focal chords according to a certain style or

manner”. And prohibited singing was limited to singing that leads to enchantment (ṭarab) and

wailing rituals (Marathi). In contrast, permissible singing was defined as singing for a purpose,

singing that uplifts the spirit, and singing for resistance like the Egyptian singer Umm Kalthoum,

the Lebanese Christian singer Marcel Khalife and Julia Boutros. Besides that, Hizbullah has a

broadcasting satellite channel that transmits Islamic songs and music, and it is the only religious

group that has a complete orchestra in the Middle East. (AlAgha, 2011)

1. Towards legitimizing music in Shiism

The establishment of the schools of jurisprudence was a step towards settling Islamic rules

that were aimed to be comprehensive of both acts of worship (ʽibadat) and transactions

(mūʽamalat) in the Muslim community. As the founders of the Sunni schools developed the

Islamic legal system (Shariʽa), there has been an agreement on the sources of legalization (maṣadir

al tashriʽ), which are the Qūr’ān, Sūnnah of the Prophet, and reasoning that resembled in consensus

(Ijmaʽ) and analogy (Qīyas). As the Islamic land expanded after the first three centuries, the

concept of public interest (maṣlaḥa) was introduced. That did not happen until Islamic law was

completely developed with the help of the three sources of tashriʽ. Yet, there were some matters

that neither (Ijmaʽ) nor (Qiyas) could handle in a way that new problems of the society are solved.

From that motive, the concept of public interest (maṣlaḥa) emerged. (al-Bouti, 1973) Maṣlaḥa is

49
defined by the Muslim thinker Wael Hallaq as “the act of reasoning on the basis of interest and is

deemed as an extension of Qiyas”. Although maṣlaḥa does not have a textual support neither in

the Qūr’ān nor in the Sūnnah, and thus rejected by many Islamic theorists, it has the privilege of

rationally sustained benefit. Even though the sources of legislation are different in Shiite thought,

they considered the concept of maṣlaḥa when dealing with music. The Shiite Islamic reference,

Ayatollah Fadlallah, added that when there is a controversy over legality or illegality of a matter,

“the avoidance of vice is always preferable to any benefit that might occur from the act (dar’ al-

mafasid mūqadam ʽala jalb al-maṣaliḥ). In that sense, the criteria will be either to avoid harm or

to go for a public interest of matter. After saying this, singing was considered not illicit “simply

because anything around us such as the sound of the waterfalls, the singing of birds, and any other

piece of art can provide delight in us, however, once this song pours in the channels of corruption

and injustice, and once it leads to the excitation of desires then it is prohibited”. (AlAgha, 2011)

2. A breakthrough in the Shiite thought

One landmark of the Shiite modern thought was in 1962 when they gave a legal statement

(fatwa) in regards to the broadcasting materials including music. Shiites considered music as not

prohibited under three conditions. First, it is not western music. Second, women appearing on the

screen or performing should be covered according to Islamic dress code and accompanied by a

male relative (maḥram). Third, the intention (niyya) is the criterion based on which people are

judged, and therefore, if the material primed people’s desires, it is sanctioned. In summary, for

them art is conditioned by purpose, interest/benefit (maṣlaḥa), and the benefit should override the

vice (mafsada). A strong statement was made by Ayatullah Fadlallah when he considered music

and dancing not illicit as long as they comply with morality. (AlAgha, 2011)

50
 In 1985, Firqat al-Wilaya was established to make the official anthem of Hizbullah and

other enthusing songs for fighting against the enemies. Firqat al-Wilaya then developed to be in

2003 “the only Islamic party that has an orchestra in the full sense of term” and was named

orchestra Shams Al-Hurriya. They composed songs of resistance (jihad) against enemies and

oppression, call for unity, morality, and piety. Some of their symphonies were influenced by

Christians hymns. Not only that, but Hizbullah women organizations took a role in musical

performances such as Firqat al-Fajr, al-Inshad, and Firqat al-Wilaya al-Nisa’iyya. Women’s role

was seen purposeful and as an addition to the cultural sphere (al-saḥa al-Islamya). (AlAgha, 2011)

In 1995, the Christian Lebanese singer Marcel Khalifa was condemned by the Sunnis after

singing “Ana Yusuf ya Abi” a song written by the Palestinian poet, Mahmoud Darwish. The song

symbolized the suffering of the Palestinians on their lands, however, it is similar to a verse from

the Qūr’ān. “O, my father! I did see eleven stars and the sun and the moon”. Contrarily, Hizbullah

was supportive of Marcel agreeing with him that this is the purposeful and creative art that

promotes resistance against the Israeli occupation. Moreover, a statement made by Fadlallah after

this incident

“Talhin—the poem (song) that contains a Qurʾanic verse— expresses a humanistic content that
does not encroach upon the sanctity of the Qurʾan, since this talhin is in conformity with the
Qurʾanic atmosphere of piety and adheres to Muslim religious sensibilities. In an indirect
reference to the Sunni Mufti of the Republic, Fadlallah cautioned

The year 2006 was remarkable not only because of the war between Israel and South

Lebanon, but it was another cornerstone in the integration between religion and music. While

everyone turned their back to Hizbullah, and they found themselves fighting against Israel alone

with no support from the state or the Arab League, a Christian female singer called Julia Boutros

devoted her voice to the people of the south. She dedicated the revenues of her concerts to the

51
people affected by the war. (Julia Official, 2017) Her song Aḥiba’i gained momentum which

praised and enthused the fighters of Hassan Nasrallah. Julia Boutros used one of the speeches of

Hizbullah leader, Sayyid Hassan Nasrallah, to his soldiers during the war and turned it into a song.

“To the fighters…I have heard your message, and by Allah, you are as you said, the true promise

and the coming victory… You are the leaders, you are the masters, you are the crowns on our

heads and the pride of the nation, and you are God’s men in the battlefield by whom he

triumphs; thus, do not weep and shiver” (Moqawama, 2017)

After this song, Julia was recognized by Hassan Nasrallah as a noble singer, whose efforts

are no less than any fighter on the battlefield. When Nasrallah met Julia Boutros and her husband,

who was a former Minister of Education until 2017, he saluted her efforts for resistance. (Merei,

2017). After that, she produced several songs in praise of Nasrallah, his braveness, and the

dauntless soldiers. Although she is Christian, she was in total support of the Southern resistance in

Lebanon. In 2014, she produced an album dedicating one song for the resistance in Palestine that

Hizbullah supports, against the Israeli occupation. (Jasim, 2014)

In 2008, Imam Mahdi Scouts Association, in collaboration with the camping projects,

offered a number of art workshops to children interested in music learning and performance.

Professional masters of music were delegated to teach the novices the principles of music and other

arts. (AlAgha, 2011)

XVI. Instrumental and ritual use of music

There are two types of use; ritual and instrumental. The ritual use is suggested to be less

intentional than the instrumental, and it is called habitual because it is used with less attention and

possibly to pass time. On the contrary, the instrumental use is more purposeful and the person uses

media to satisfy a specific need such as learning an information. Other possible motivations that

52
come under the ritual and instrumental use are “relation, habit, pass time, entertainment, social

interaction, information, arousal, and escape”. Relation played the most important role in

motivating the user to read books. Other factors, such as pass time and learning also play a role.

This is significant especially in regards to marketing strategies that focus on audience orientation

to sell more. (Gerlich, Drumheller, and Sollosy, 2012)

XVII. Using music for emotional and physical therapy

There is what so-called “musical emotion that thrives in this interplay of expectations and

surprises, through repetition and the skill of composers and players, exposes listeners to change

their physical and cultural experience”. In that sense, the listener finds her/himself experiencing a

new emotion. When this occurs, the listener finds him/herself experiencing a new social space,

new time, and new self. And this is all caused by the power or “the mystery” of the music. (Pinn,

2003)

In an attempt to identify the motives for listening to music, one study suggested that

listening to music is accompanied by activities that enhance connectedness among people through

some activities such as co-listening, singing together and discussions. The reason behind the

interest of people in a particular music type is the relevance they see in this music, and this explains

their involvement with the music and the level of their involvement. The level of involvement may

take the listeners to seek to practice the music by singing or playing instruments or educating

himself about topics related to the music. Involvement also influences the size of the network with

others, who have the same interest in music. (Belcher & Haridakis, 2013)

It is also mentioned that more discussions are done with those who have different musical

tastes and orientations, which encourages cultural dialogue. Adding to that, music listening

enhances social bonding and this is why it is commonly practiced in religious ceremonies,

53
workplace, educational places, and therapy. Besides, it is used as a communication method through

which people express themselves to others. For example, activists and protestors mediate their

ideas through music. Others find it a good way to express their feelings and personal experiences.

In brief, four motivations were highlighted by the study; social utility, aestheticism, entertainment,

and pass time. Under each, the use of music reflects what gratifications the audience gets. (Belcher

& Haridakis, 2013)

First, people consume music to regulate their moods. Either they divert their moods from

a state to a different state, or to maintain their mood. So it functions as a mood enhancer or mood

manipulator. Another use of music is information seeking, but this requires a level of cognitive

involvement, where audiences are not passive listeners or not playing music as a background noise,

but they maintain a level of attention to the music and lyrics. The audience also seek information

about the music content which may hold a message. They could use it for information

dissemination when listeners express themselves through music by sharing music pieces on social

media channels. By expressing themselves, individuals maintain a certain social status or

confidence as they appear “cool and hip”. Second, aestheticism is experienced when audiences are

being exposed to something beautiful; as a result, they experience arousal, enjoyment, and

excitement. Third, if the usage of music is selective and purposeful, it would not be used as a

habitual practice to pass time. In that sense, consequential activities will come as a result of

purposeful listening to music such as discussions. (Belcher & Haridakis, 2013)

To illustrate, the decline in the institutional religion and the drop of actively engaged youth

between 18 and 34, made them look for alternatives. This encouraged researchers to conduct a

study on the British population in order to demonstrate alternative spiritual symbols and ideologies

into a certain form of popular music. The question of the research is how listening to music

54
generated alternative identities and ideologies. It was noted that the drop in religious participation

was not exclusively among Christian British people. It encompassed synagogues and mosques as

well. A large percentage of the British sample reported having “no religion”, while there were a

widely reported “spiritual practices” that are distinct from “religion”. This spirituality took many

forms and was exemplified in education, psychotherapy, youth work, mystical and esoteric

experiences, and media. Those alternative spiritualties provide social spaces and cultural resources

of religion that are beyond the church walls, synagogues or mosques. Converged media did not

only present spiritual practices but also introduced new spiritual practices and resources that

reinforce one’s identity and refined the religious meaning. Robin Sylvan noted that some music

genres were classified as spiritual in meaning, but without using traditional explicit religious

discourse. Spiritual music is used to manage people’s environment, emotional state, and identity,

and it is consumed in places to direct consumer’s mood, but is there a physical context for the

spiritual music to be used as a source for spiritual identity. The setting, where this type of music

is heard whether in festivals, public places, or in-private, is an essential part of the study because

it will explain whether it is a public or individual consumption or both. To understand the way

spiritual music functions as an alternative spirituality, the study raised an unanswered question

such as what physiological and psychological effects of it? (Lynch, 2006)

XVIII. Why people choose certain music type?

Unfortunately, the fanatic group, ISIS, knew the importance of music, and utilized it for

the evil. They use music as propaganda for their extremist ideology, and it helped them in their

online recruitment. Although their songs are charged with violence and hatred, they succeeded in

attracting youth to join them. They attracted youngsters from the east and west through their

promises of martyrdom, fighting for God’s cause, and heavens. After a study of the content of

55
more than a hundred songs of ISIS, it was noted that the group relies on music to spread the culture

of resistance (jihad) by brain washing its fellows. (Aawsat, 2017) To do this, they use high quality

production and technology, and this was apparent from the sound effects of their songs that project

sounds of horses, fighting swords, or military tanks. The song’s lyrics also mean at normalizing

and entrenching violence for its fellows by threatening the enemies by slaughtering, burning,

bombing, and mass killing for God’s cause. ISIS uses their songs especially with the new comers

to brain-wash and stimulate them to obey the commands. (MBC.NET, 2015) For example, their

most known nashid “Ṣalil Al-Ṣwarim”, which means the sound of fighting swords became very

popular. This shows how fast an idea can be conveyed to people through a song. Similar to this,

the Egyptian version of the “Ṣalil Al-Ṣwarim”, which mocks and ridicules ISIS through sarcastic

videos on YouTube, was successful in raising the awareness about the savagery of this group. The

Egyptians fought the idea with an idea not by weapons; they wanted to tell ISIS that their message

does not frighten them. (Faisal, 2015)

But why people prefer and choose certain music type, and why people differ in their level

of preference of music? Those questions can be answered if the function of the music that it fulfills

is known. Some of the functions that music fulfills are the main engine for using certain music.

Another function is identity: people need a media channel through which they explore, express,

and enhance their identity. They need to have an identity distinguished from other identities. Music

is needed to express oneself and the surroundings. It could be a coping strategy to blend with the

members of the society. The most rated function by the participants in a study done in 2009 was

that music is used as a mood enhancer, for it provides an exciting atmosphere to act as a mood

regulator. Thus, music has to do with mood, arousal, and emotion. Additional functions were

addressed such as gaining information from music whether about song theme, author or music

56
makers. Audiences also feel ecstatic and self-alleviated. Music leads to creativity, inspiration, and

alternative thinking. Through music, listeners express freedom and a quest for authenticity. Not

only that but they express their affiliation with a particular religion. (Schäfer & Sedlmeier, 2009).

Music therapy is the study of the relationship between music and wellbeing of a person.

Spirituality is a transcendental state of the person to go above and beyond the material world while

seeking truth and values. A study conducted by Tsiris using an international survey of music

therapists’ perception about the relationship between spirituality, music, and therapy. The

secondary data collected for the study showed that music gives meaning to one’s life. The spiritual

experience of the music was described as “meaningful experience, peak experience, and magic”.

Music may include remembrance and prayers which result in peace. (Tsris, 2016:2017)

In this study, a population of international respondents participated as a non-purposive

sample constituting different backgrounds. The data collectors intentionally did not provide a

definition of spirituality for the respondents so that the study covers the different thoughts,

perceptions, and aspects of music therapy. From the results, spirituality seemed to be considered

as a “floating perception”. It is intangible and this is why it is always a questioned term. One of

the aspects the study covered is spirituality and therapy music practice. Hence, spirituality is an

essential part of life; it is the mean to make sense of the surroundings and establish a healthy

relationship with others. It also affects the way one sees the world and others. It is how the

individual sees himself as part of the big picture, so how people relate and integrate is influenced

by their spirituality. Interestingly, 46% of the respondents relate their spirituality to religion. It was

found that spirituality determines the therapeutic stance, and some of the respondents see music as

itself a spiritual medium that connects people. The results suggested that spirituality in the music

57
comes from the aesthetic aspect of it, while other respondents suggested that it is due to the linkage

it establishes among the listeners. (Tsris, 2016:2017)

Another example of religious music is black sacred music that secretly emerged in the

church, where slaves in the United States could express themselves without being watched by

others. Songs enabled them to enhance communication among each other, overcome calamities

and be wishful for future freedom. Sixty five men and women were surveyed in this study and

reported that they used to participate in daily religious practices. The types of religious songs they

performed were thanksgiving songs, praise, and memory of Forefather. In brief, the study

supported that religious music is very effective for emotional healing. (Hamilton, 2013)

Building on this, the age between 15 and 25 is the most fragile for most youth; therefore,

youth at this stage resort to various ways to accommodate mental and health problems and support

their well-being. In Australia, the studies reveal that youngsters during this age experience the

highest level of anxiety, depression, and stress. From a psychological approach, a study sought to

identify the coping strategies of the youth in containing the mental disorders. Wellbeing in this

study was defined as “the presence of positive emotions (hedonia) and positive psychological and

social functioning (eudemonia) in life”. Why the wellbeing is important? Because it is the state

through which an individual is able to manage stressful events and still be productive and

contribute to the community. Well-being is the thing that prevents the individuals from committing

suicide. Music enhances the wellbeing through two things. First, the cultural space by which

people explore an established identity and identify themselves with other cultures. Cultural space

may be also ostensibly in the ambience that the music creates, and other activities such as selling

some products relevant to the music or the culture. Second, mood regulation that is achieved by

music which raises energy and reduces tension. The study relied on a large sample of 637 adults

58
to test if music contributes to the enhancement of the well-being of the individuals. The findings

show that people using music for specific needs, experience better emotional status. Music is used

in different ways to enhance the well-being; it is used in “relationship building, modifying

cognition, and modifying and immersing emotions”. 1- Relationship building occurs by

connectedness with others especially when positive interactions take place like discussing mutual

interests or music taste. This promotes a better expression of the self and expressing the self to

others, which bonds people together. Sharing music among each other requires a level of intimacy,

which happens when people start networking while attending live concerts and sharing music

amongst each other. 2- Music modify cognition when people attend to music content such as lyrics,

tunes, and instruments. Others play music as a background to help in concentration or motivate

them while studying. Even more, music provokes memories whether good or bad memories, but

in general, all these factors contribute to the stimulation of the cognition. 3- Music modifies and

immerses emotions by motivating and inspiring people with a message. The content message helps

them control undesired feelings. It sometimes distracts them from negative thinking. Interestingly,

listening to a song that complies with the mood of the listener helps to release the emotions and

overcome bad thoughts quickly. Finally, the findings show that 95% of examined participants in

this study claimed through the study that music contributed to their wellbeing. Music, thus, helped

people express their emotions in a socially accepted way. (Papinczak, Dingle, G. A., Stoyanov, S.

R., Hides & Zelenko, 2015)

Another convenient sample of African Americans and Caucasians between 21 and 65 years

old, who suffer from chronic pain, participated in a study to test the effect of music on chronic

pain patients. The study chose three chronic illnesses to have their study on Pain, Depression,

Disability, and feel of powerless. The patients receive traditional prescription of medications, but

59
with no reported improvement. The study was motivated by the data found about the direct and

indirect influence of music on patients. Hence, the participants were randomly assigned to two

groups of patients. One constituted the control group and the other constituted the experimental

group. The group was exposed to 20 minutes of music record every day for two weeks. The results

showed that the patients who were exposed to the music experienced less pain, when compared to

the group who sat quietly. The study extended its experiment to check if the following hypotheses;

patients with chronic non-malignant pain (CNMP), who consume music for an hour every day for

7 days, will experience less pain, depression, disability, and more power than those who do not

listen to music. And: is pattern music listeners experience less pain, depression, and disability and

have more power than those who listen to standard music. The last hypothesis was: there is no

difference between the two groups who listen to music and those who do not listen in the feeling

of pain, depression, disability, and power. The guidance for this study was the theory of power as

it explains that people are energy fields and are characterized by patterns. It should be noted that

the selected sample was a number of convenient participants over a period of two years. This gave

some challenges to the study; first of all, some participants could not continue the study. Second

of all, as the sample was convenient, they were of homogenous background of African Americans

and Caucasians, this challenged the external validity of the results. In a pre-test and post-test

experimental design, the respondents were given the chance to evaluate their feelings through a

questionnaire that had a bipolar adjectives and they can select the number that represents them the

most. The results supported the hypothesis which assumed that listening to music helps decreasing

the feeling of pain as well as experiencing less depression symptoms. Music also helped patients

manage their pain. The selection of music had a positive relation with the feeling of pain among

the sample. After conducting the experiment, it becomes palpable that music is a good tool to

60
reduce pain, depression, and disability. Not only has it a direct effect on the physical pains, but it

also improved the patients moods and their ability to manage pain and their exposition to

depressing symptoms due to their physical disability. (Siedliecki & Good, 2006)

In another study conducted in UK to explore dimensions of music used as a therapeutic

medium with cancer patients, the scope of the study was the spiritual experience and life meaning

evoked by the patients exposed to therapeutic music. The contemporary world realized the

essentiality of music and its utility for different means. One of those means is physical and non-

physical healing. Not only Britain that used music for that purpose. Arabia was one of the place

that used music for that purpose earlier in history, and concurrently Japan, United States, China,

Europe, Canada, and Australia are using it. Music therapy is “the use of sounds and music within

an evolving relationship between client/patient and therapist to support and develop physical,

mental, social, and spiritual well-being”. (Stuart, Leslie & Norma, 2012)

XIX. Fanatic groups: ISIS use of music

Unfortunately, the fanatic group, ISIS, knew the importance of music, and utilized it for

the evil. They use music as propaganda for their extremist ideology, and it helped them in their

online recruitment. Although their songs are charged with violence and hatred, they succeeded in

attracting youth to join them. They attracted youngsters from the east and west through their

promises of martyrdom, fighting for God’s cause, and heavens. After a study of the content of

more than a hundred songs of ISIS, it was noted that the group relies on music to spread the

culture of resistance (jihad) by brain washing its fellows. (Aawsat, 2017) To do this, they use

high quality production and technology, and this was apparent from the sound effects of their

songs that project sounds of horses, fighting swords, or military tanks. The song’s lyrics also

mean at normalizing and entrenching violence for its fellows by threatening the enemies by

61
slaughtering, burning, bombing, and mass killing for God’s cause. ISIS uses their songs

especially with the new comers to brain-wash and stimulate them to obey the commands.

(MBC.NET, 2015) For example, their most known nashid “Ṣalil Al-Ṣwarim”, which means the

sound of fighting swords became very popular. This shows how fast an idea can be conveyed to

people through a song. Similar to this, the Egyptian version of the “Ṣalil Al-Ṣwarim”, which

mocks and ridicules ISIS through sarcastic videos on YouTube, was successful in raising the

awareness about the savagery of this group. The Egyptians fought the idea with an idea not by

weapons; they wanted to tell ISIS that their message does not frighten them. (Faisal, 2015)

62
 Chapter III
Theoretical Framework

I. The Uses and Gratifications theory

In this research, the spiritual and religious music will be examined in order to underline the

different motivations of this music genre. The study will go an extra mile to examine the possible

effects on its audience. As the study will focus on certain motivations to consume spiritual and

religious music as well as some cultural practices that are primed by the motivations, the uses and

gratifications will be guiding of this research. (BLUMLER, 1979)

As research on spiritual and religious music is not well investigated in Egypt, it is a

challenge to define the two terms spiritual and religious music. According to Bryant, a term is best

defined by its use. The uses and gratifications paradigm best suits this study, as it focuses on how

people use media. It helps understand what needs and motivations inspire people to use media, and

what follows the use of the media to identify the consequences. Through the study, the uses of

spiritual and religious music in the west will be compared to the uses in the east. (Bryant & Oliver

2009)

Moreover, the assumption that the paradigm is grounded on, will be utilized in verifying

the research questions. For example, instead of proposing that media use people, actually people

are active participants who select the media content they prefer in order to satisfy certain needs.

Thus, the first research questions if people use spiritual and religious music in Egypt for emotional

therapy. As media affect people after they are exposed to it, it is assumed that music encourages

63
people to practice some cultural practices such as reading Sufi books, attending spiritual concerts,

and selling and buying objects with spiritual themes. As part of these assumptions, the cultural

significance of certain media or media content could be determined after measuring the media use,

which can be tested through self-reported data. Therefore, the study methodology will rely on a

combination of open and close-ended short questions for the participants to answer. (Bryant &

Oliver 2009)

The focus of the research in uses and gratifications shifted to “what people do with media”

in order to extract the possible motivations and consumption behaviors. This resulted in a more

systematic studies. For instance, in the early 1970s Katz et al. developed a typology through which

he could understand that people resort to certain media to enhance self-realization, realization of

others, and connectedness with others and the community. The researchers noticed that the need

for affection and cognitive needs motivate users to resort to certain media. (Bryant & Oliver 2009)

In brief, people resort to a medium that supports a comfortable social environment, where there

problems can be solved. (Bryant & Oliver, 2009; Ruggiero, 2000)

Through this theory, researchers found that people with information attainment

motivations, strongly interact with the media they use. Moreover, the instrumental use of media

for the sake of attaining information from the message content leads to more utility, selectivity,

and involvement with the message. Affinity is also a result of instrumental use of media, which

translates into making meaning of the media message. That idea was supported by the scholar

Swanson in the late 1970s. (Bryant & Oliver 2009)

One of the influences of the media when they are instrumentally used is para-social

activities. The interaction with media is also influenced or determined by the consumer’s social or

psychological status. For example mood influences why and how users resort to certain media for

64
escape. (Bryant & Oliver, 2009) The cognitive motivations, on the other hand, are related to three

things relevant to this research a) information attainment b) escape and diversion c) and personal

identity. Those factors will be utilized in the operational definitions in order to determine what

emotional therapy means to the users and how this will be reported in the questionnaire. (Rubin,

2009)

The research also suggested that people who have need for affection develop a sense of

friendship with media in the sense that they seek guidance from it when they are out of mood,

lonely, or emotionally down. (Bryant & Oliver 2009) “Others see the Web as the ultimate in

community building and enrichment, through which users can create relationships online in ways

that have never been possible through traditional media.” From this, the study questions if spiritual

and religious music is used as a medium to enhance one’s connectedness with others. (Ruggiero,

2000)

II. The Social Identity Theory

The establisher of the Social Identity Theory-SIT, Henri Tajfel was a Polish Jewish who

survived a Nazi camp during the Second World War. This constituted a drive for him to analyze

what contributes to the individual’s recognition of the self as opposed to the others. Therefore, the

theory explains how the identity of an individual is formed and recognized as it belongs to a certain

group “in-group” versus the other groups in the community “out-group”. Thus, social identity is

defined as “aspects of an individual’s self-image that derives from the social categories to which

he perceives himself as belonging”. As a result, the positive perception of the self is exemplified

in self-esteem, value, and attachment to a certain group. (Baker, 2012) And this is achieved when

a sense of self-identity or “self-categorization” takes place. (Stets & Burke, 2000)

65
 The way people recognize their identities as opposed to other identities is through three

things: 1- cognitive 2- evaluative 3- emotional. Through the cognitive way, people recognize their

belonging to a certain group. (Baker, 2012) This happens when they activate the “salient”

characteristics in their own groups. To illustrate, when people obtain the knowledge of

understanding what characteristics they have as individuals, what of these characteristics come in

common with a particular group, and how other groups are far from them and those characteristics.

The two stages of self-classification and comparison result in forming what is presented as “in-

group” identity and “out-group” identity. The evaluative way is the value attached to the group

and this is why a social group looks at the shared values and beliefs. Finally, the emotional is the

attitude that social groups have towards other groups. (Baker, 2012)

This explains why the African American groups in the United States expressed their

qualities in the chants of the gospel in their churches. They pictured the bad qualities of the

oppressors through the lyrics of their songs; on the other hand, they mentioned their good qualities

stressing that they should not be influenced by what they go through. The religious songs were one

method through which they addressed their good qualities that sustained their self-esteem and self-

image in an oppressing society. The only way, to voice out their fears and their evaluation of the

others, was through their songs; only through the songs, they were critical of the way they are

treated.

One aim of this thesis is to understand how an individual uses spiritual and religious music

for sustaining a sense of belonging. The SIT will help explaining how different groups relate to

others in an attempt to create a self-identity and to develop a positive self-image.

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 Chapter IV

Methodology

The current study is an examination of the spiritual and religious music in Egypt. It

highlights what motivations encourage people to consume this music genre and the relationship

between listening to spiritual and religious music and some cultural activities. Consequently, the

study aims at quantifying the uses of religious music with an emphasis on what comes under the

emotional therapy. In addition, the possible activities resulting from using the music genre will be

scanned.

I. Research significance

The study will present recent and updated data about spiritual and religious consumption

in Egypt. It will examine the different motivations for listening to this music genre in Egypt in

comparison to studies done before in the west. The primary collected data will be relevant to the

Egyptian society, where the sample population is selected, and will highlight the uses of this music.

Moreover, the study will test if there is a relation between listening to this music and some cultural

activities that will be exemplified in details throughout the research. Importantly, the study is a

multidiscipline research to gather data and provide a better understanding of the phenomena in

Egypt. For instance, Sociology is guiding the thesis through the theoretical framework as well as

psychology that is highlighted through the reviewed literature in regards to the appeals and needs.

Communication and Islamic Studies are thoroughly presented in the work to analyze, on one hand,

the media effects. And to understand, on the other hand, the concurrent Islamic perception of music

and spirituality, and how music is conceived in a religious context. Finally, the research can

67
possibly be a starting point of a bigger research project, which combines multi-disciples in order

to understand spiritual and religious music consumption in Egypt and how this is related to the

music production market, people’s behaviors, and religion.

II. Research objectives

Obtaining accurate and recent data about spiritual and religious music consumption used

as a communication method in Egypt is one of the study objectives. Testing the similarities or

differences between uses of spiritual and religious music in Egypt as opposed to previously

conducted studies in the western academia is another objective. Additionally, the paper will

examine the linkage between social behaviors and listening to this music genre as well as the role

that religion plays in its popularity and consumption. Additionally, the study is a multidisciplinary

research involving media studies, religion, psychology, and sociology. Moreover, it is the first

attempt to investigate this topic “spiritual and religious music in Egypt” with an analytical

descriptive research.

III Method of data collection

A quantitative methodology of data gathering will be utilized to obtain an updated,

accurate, statistical, and objective information about spiritual and religious music use in Egypt.

The study will rely on a descriptive survey of both open and close ended questions distributed

among Egyptians to answer the proposed research questions. The different questions in the survey

will try to answer the research question in two related directions: first, do people use spiritual and

religious music for emotional therapy in Egypt? Second, does the use of spiritual and religious

music encourage some cultural activities?

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IV. Population

A population of Egyptians from six academic institutes; three are governmental and three

are private, will be surveyed in the study. The purpose of selecting this population is the access to

the institutes thanks to the researcher’s career or networks. Another reason behind selecting

universities is that a good number of youth, specifically students, are desired to participate in the

study. As previously mentioned in the literature, this age is the most open to listening to different

types of music. They are also the most prone to using the spiritual music for emotional therapy.

Furthermore, they are very active and motivated to do activities in relation to listening to music,

which will be thoroughly discussed in the “discussion” section. Employees of those institutions

are suggested to cope with the daily problems, workload, and stress with music. The academic

institutions that will constitute the population are 1. The American University in Cairo 2. The

British University in Cairo 3. The German University in Cairo 4. Cairo University 5. Ain Shams

University 6. Al-Azhar University. The universities constitute a homogenous geographical

background as they are all located in Cairo. However, they demonstrate a heterogeneous and

diverse background as half of them are national, the other half are international, and one is one is

religious, which is Al-Azhar University.

V. Sampling and data collection

A non-random purposive sampling is the technique used to examine the population. The

purpose of selecting this sample is to collect data from participants with certain criteria; they are

students and employees of six academic institutions in Cairo. Access to groups in the population

was one factor behind determining the criteria of selection. (Palys, 2008). The study needs a sample

of literate individuals, aware of this music genre, and exposed workload and daily pressures to

69
explore the motivations for listening to this music type. This was another factor behind deciding

on the purposive sample of students and employees from the mentioned population. At another

point, it is an asset to have a sample from religious as well as liberal and public education

backgrounds in Egypt. Some demographic information was requested from the participants to be

considered for future studies such as the gender and nationality. However, no information is

requested beyond the gender, position, nationality, and academic institution as they sufficient for

the current objectives. Noting that the sample is non-probability, the findings cannot be generalized

and representative. (Dominick, 2014)

After obtaining the Institutional Review Board-IRB approval, the survey was distributed

online through emails and some social media websites. A total of 332 respondents answered the

online survey in addition to 51 answered a self-administered survey after obtaining the Central

Agency for Public Mobilization and Statistics-CAPMASS approval. The duration of the study was

20 days of data collection.

VI. Research questions

RQ1

Do people use spiritual and religious music for emotional therapy in Egypt?

RQ2.

Does the use of spiritual and religious music encourage some cultural activities?

VII. Constructs and operational definitions

70
Spiritual music: A music genre that could be performed within different music genres linking

different religions, expressing different dogmas, and consumed by different beliefs. It creates a

spiritual atmosphere through the expression of the mood and inner experience. (Anderson, 2015)

Religious music: A music that expresses a particular belief or religion; it is grounded on

community traditions and practices related to a belief. (Anderson, 2015)

Emotional therapy: The well-being state of a person when achieved by: mood regulation and

diversion, an uplifting atmosphere, ecstasy, life meaning, inspiring experience, alternating

negative thoughts, social acceptance, identity enhancement, self-transcendence, sense of

motivation, connectedness with others, self-development, and experiencing aestheticism, self-

expression. (Belcher & Haridakis, 2013) (Papinczak, Dingle, G. A., Stoyanov, S. R., Hides &

Zelenko, 2015)

Cultural activities: information attainment through books reading, attending live concert, sharing

music among similar or dissimilar groups, practicing or educating the self about this music genre,

selling or buying products related to the music genre (Bryant & Oliver 2009) (Papinczak, Dingle,

G. A., Stoyanov, S. R., Hides & Zelenko, 2015)

VII. Questionnaire design

The survey is designed to test all the aspects of the study, but it is considered not to be too

demanding. It is mainly combined of three sections each attempts to answer one of the research

question and hypothesis, but they intermingle together so that the respondent does not guess the

purpose of the survey and give the required answers to avoid reactivity. The first section of the

survey is the filtering part to exclude non-listeners of spiritual and religious music. An online

survey was created through google form and shared through three social media channels:

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Facebook, Twitter, and Instagram. Another hard-copy of the survey was distributed after obtaining

the IRB and CAPMASS permission.

VIII. Measures

For the research question, it was answered through a nominal scale of measurement asking

people if they listen to spiritual music or not. The second part of the question, which is using the

music as an emotional therapy, was tested through an interval Likert scale, whose answers is

measured by the mean scores. The second question which is “Using spiritual and religious music

for emotional therapy encourages people to practice some cultural activities” will be measured

through a Likert scale, that is already used to answer the first research question as well as nominal

scale questions by asking open ended and close ended questions.

SPSS (version 23) was used to analyze the collected data as well as other statistical

techniques like the frequencies, means, and percentage weight. T-Test was used with

demographical groups for future studies, if the research is extended.

IX. Survey pilot

Eight survey pilots were distributed on volunteers in both languages Arabic and English.

The pilot was necessary as the comments of the respondents were valuable and accordingly, some

questions were amended or rephrased. The changes were minor, but it was considered that the

respondent needed a short and clear survey. Therefore, some instructions were added to questions

like “*If your answer is No to the previous question please write NA”. Some Arabic terms and

phrases were grammatically incorrect, so they were rephrased. It was also noticed that some

respondent did not know what spiritual and religious music is so a brief definition was provided at

the beginning of the survey. To test the questionnaire validity, the answers of the respondents were

72
revised to check if they answer the research questions or not. It was noticed that some respondents

who answered the first question “I listen to spiritual or religious music” with “No” continued the

survey and answered the Likert scale question that measures the effect of the music on them. After

discussing with the respondents why they did so, it was clear that there is a lack of instructions in

the questionnaire so the non-listeners to the music need to know what do if they do not listen.

Consequently, a statement “If your answer is No please do not continue the survey” and the

problem was not repeated with other volunteers. To test the survey’s credibility, the questionnaire

was reviewed with the respondents to see if they give the same answer. After ensuring the survey’s

validity and reliability, the researcher proceeded with the IRB and CAPMASS approvals

obtaining.

73
 Chapter V

Results and Findings

A quantitative survey was used in this study to examine the proposed questions. The

research questions are: “Do people use spiritual and religious music for emotional therapy in

Egypt?”, and, “Does the use of spiritual and religious music for emotional therapy encourage

listeners to practice some cultural activities?”

After breaking the two constructs, emotional therapy and cultural activities, emotional

therapy was defined as a state of well-being when achieved by mood regulation and diversion,

uplifting atmosphere, ecstasy, life meaning, inspiring experience, alternating negative thoughts,

social acceptance, identity enhancement, self-transcendence, motivation, connectedness with

others, self-development, aestheticism, and self-expression. The cultural activities are

information attainment through books reading, attending a live concert, sharing music among

similar or dissimilar groups, practicing or educating the self about this music genre, selling or

buying products related to the music genre. To measure those variables a total of 10 questions were

asked to the participants in the form of nominal, Likert scale (12 statements) as well as close-ended

and open-ended questions that required short answers. Five questions of the 45 in the survey acted

as demographic and filtering questions, which will be discussed in the following chapter. As the

sample is purposive, it was intended to gather information from listeners of this music within a

specific community with specific characteristics. The criteria were selecting students and

employees of six academic institutes, who are more probable to be active users of the music genre.

RQ1

Do people use spiritual and religious music for emotional therapy in Egypt?

74
I. A filtering question

The questionnaire started by a filtering question in order to only study the characteristics

of the users of spiritual and religious music. The results showed that (337) out of (383) respondents

are listening to this music. Only (12%) were excluded who answered with “No” compared to (88%)

users.

1- I listen to spiritual or religious music:

Tab. No (1)
I listen to spiritual or religious music

I listen to spiritual or
F %
religious music

Yes 337 88%

No 46 12%

Total 383 100%

I listen to spiritual or religious

music
12.0%

88.0%
Yes No

Fig. No (3)
II. The selected sample

75
 Based on the selected criteria for the participants’ characteristics, a number of 51 self-

administered surveys were conducted and the data covered employees and students at the

American University in Cairo. Three hundred and thirty two (n=332) surveys were answered

online through a Google survey form. The survey link was shared through personal e-mail (Google

e-mail) to a limited number of participants, who are known to fit the criteria of selection. In

addition, the link was shared on social media channels such as

1- Facebook

2- Twitter

3- Instagram

On Facebook, students and employees of the American University in Cairo were approached

through their most active pages/groups such as

1- Rate AUC Professors, which has 13,805 users

2- WhatsUp in AUC

3- Whats Up AUCians

4- Women of AUC

Students of the British University in Egypt were approached through a personal message on

Facebook, to those who have direct contact with the researchers, and through a shared link on

1- BUE Social Gathering

2- BUE Mass Communication Students of 2016-2017

3- Mass Communication Society-BUE

Students of Al-Azhar University in Cairo were approached through a direct message on Facebook

and through a shared link on pages such as

76
 1- Al-Azhar mosque classes

2- The Faculty of Linguistics and Interpretation of Al-Azhar

3- Islamic Studies Institute-Year II

Other universities like Ain Shams, Cairo University, and the German University in Egypt

answered the survey through the publicly shared link on the social media. The majority of the

respondents were from the American University in Cairo-AUC and the British University in Cairo-

BUE. A number of 153 current AUCians representing (45.4%) and 119 current BUEians (35.2%)

took the survey. The lowest number of respondents was nine participants (2.7%) from Al-Azhar

University in Cairo, followed by 11 (3.3%) from Ain Shams, and 15 (4.5%) participants from the

German University in Cairo-GUC. Cairo University came in the middle with 30 responses to

constitute (8.9%) of the total percentage of the sample.

2- To whom you listen to

In this section, the respondents provided names of spiritual and religious music (singers,

bands, or music) they listen to. Some names were provided in the questionnaire, so the participant

can put a check mark in front of the name they are familiar with. To have exhaustive options, the

respondents were asked to provide a name of whom they listen to through the short answer “others

(please specify)….”, in case their favorite music is not mentioned. It was found that most

participants marked “Hamza Namira (54.3%), Maher Zain (47.5%), and Sami Yousef (46.6%)”.

Notably, other options that were not named in the surveys, but the participants mentioned them in

the short answers such as Egyptian Project, which is a band composed of the mūnshid and a Sufi

musician Zain Mahmoud, who is accompanied by a team that produces contemporary music. His

song “Saqani al-Gharam” was a hit after his return to Egypt from France. Sufi music seemed to

enjoy some popularity as the respondents marked “Sufi music” (16.9%) as their preference,

77
“Ensemble Ibn Arabi” (14.8%), which is a Moroccan band singing Andalusian and Sufi poetry,

and Al-Mawlaweya (10.7%). Besides, the Christian songs were also mentioned by a number of

respondents (3.9%).

Tab. No (2)
To whom you listen to (n=337)

you listen to F %

Hamza Namira 183 54.3%

Maher Zain 160 47.5%

Sami Youssef 157 46.6%

Al-Naqshabandi 117 34.7%

Sufi music 57 16.9%

Ensemble Ibn Araby band 50 14.8%

Al-Mawlaweya 36 10.7%

Yasmine al-Khayam 28 8.3%

Mohamed Tharwat 21 6.2%

yassin tohamy 5 1.5%

Hillsong worship 4 1.2%

‫ – زين محمود‬Egyptian Project 4 1.2%

3- When I listen to spiritual and religious music:

In this section, emotional therapy is measured through a Likert scale that is composed of

12 statements. The respondent expressed his/her level of agreement with each statement through

a five interval evaluation words (Strongly agree, agree, neutral, disagree, and strongly disagree).
78
As shown below, the majority of the answers range between high and moderate scores. The

Listeners who were highly influenced by the spiritual and religious music as an emotional therapy

are (66.8%) compared to (33.3%) moderately influenced. In other words, “Strongly agree and

Agree” were more frequently chosen by the respondents than “Neutral, Disagree, or Strongly

disagree”. The most agreed upon statements were “Listening to spiritual and religious music is a

beautiful experience” with a mean score (4.21), “spiritual and religious music usually holds a

moral message” with a mean score (4.12), “It changes my mood” (4.05), “It gives me positive

energy” (4.01), “it gives me hope in life” (3.9), and the lowest usage of the music appeared in “it

connects me with friends” (2.89).

Tab. No (3)
Emotional Therapy Categories
I listen to spiritual or religious
F %
music

Moderate 112 33.2%

High 225 66.8%

Total 337 100%

Emotional Therapy Categories

80.0%
66.8%
70.0%
60.0%
50.0%
40.0% 33.2%
Column1
30.0%
20.0%
10.0%
0.0%
Moderate High

Fig. No (4)
79
 Tab. No (4)
When I listen to spiritual and religious music (n=337)
Degree of acceptance

Scores
Ranki

Mean
ng
Statements
3
1.It changes my mood 4.05
9 3.42
2.I forget the daily problems
4 4.01
3.It gives me positive energy
12 2.89
4.It connects me with friends
7
5.It reflects my musical taste/mood/my relation with 3.59
religion/my standards and values

6 3.81
6.It adds to me in a way or another
2 4.12
7. It usually holds a moral message
5 3.96
8.It gives me hope in life
10 3.41
9.It helps me better understand and express myself
10. Listening to spiritual and religious music is a 1 4.21
beautiful experience
8 3.51
11. I learned things about my culture from the music
11
12. I can listen to a song that I do not completely agree 3.27
with its content message

3.69
Total

80
RQ2.

Does the use of spiritual and religious music as emotional therapy encourage people to practice

some cultural activities?

The construct “using spiritual and religious music as an emotional therapy” was already

measured in the previously mentioned research question on a Likert scale. In this research

question, it is aimed to test the relation between (using spiritual and religious music for emotional

therapy) and (practicing some cultural activities). “Cultural activities” construct was broken into

concepts that are defined by the reviewed literature and mentioned in the operational definition

section. Thus, it was tested by the following questions, on a nominal scale, as well as some open-

ended questions that required short answered.

4- I like sharing the music with others

With (78%) answered “Yes” compared to (21.7%), who answered with “No”, therefore,

there is a relation between using music as emotional therapy and sharing it with others.

Table No (5)
I like sharing music with others
I like sharing the music with
F %
others

Yes 264 78.3%

No 73 21.7%

Total 337 100%

81
 I like sharing the music with others

21.7%

78.2%

Yes No

Fig. No (5)

5- I buy objects related to spirituality or Sufism

With a majority of (67.1%) who do not buy objects related to spirituality or Sufism versus

(32.9%) who buy, there is no relation between using music as an emotional therapy and buying

objects related to spirituality or Sufism and.

Tab. No (6)
I buy objects related to spirituality or Sufism
I buy objects related to
F %
spirituality or Sufism

Yes 111 32.9%

No 226 67.1%

Total 337 100%

82
 I buy objects related to spirituality or Sufism

32.9%

67.1%
Yes No

Fig. No (6)

7- I sell products related to spirituality or Sufism

Similarly, (98.8%) do not sell products related to spirituality and Sufism, but the (1.2%)

who are (4) respondents mentioned that they do sell accessories and rosary. Therefore, there is no

relation between using the music as emotional therapy and selling products related to spirituality

or Sufism

Tab. No (7)
I sell products related to spirituality or Sufism
I sell products related to
F %
spirituality or Sufism

Yes 4 1.2%

No 333 98.8%

Total 337 100%

83
 I sell products related to spirituality or
Sufism
1.2%

Yes No

98.8%
Fig. No (7)

8- I attend spiritual or Sufi music concerts

With (71.8%) of the respondents, who do not attend spiritual or Sufi concerts compared to

(28.2%) who attend, there is no relation between using the music as emotional therapy and

attending spiritual or Sufi music concerts.

Tab. No (8)
I attend spiritual or Sufi music concerts
I attend spiritual or Sufi music
F %
concerts

Yes 95 28.2%

No 242 71.8%

Total 337 100%

84
 I attend spiritual or Sufi music concerts

28.2%

71.8%
Yes No

Fig. No (8)

9- I read about Sufism/Sufi music

The results here were somewhat close to each other, (58.8%) do not read about Sufism or

Sufi music, while (41.2%) do. The overall results show that there is no relation between using the

spiritual music as an emotional therapy and reading about Sufism/Sufi music. Significantly, the

most read book was “Forty Rules of Love” (79/1%) about Jalal al-Din al-Rumi followed by “The

Tragedy of Alhallaj” (27.3%) and “The Bezels of Wisdom” by Ibn Arabi (12.2%), (2.9%) read

about al-Rumi on different sources, and (2.2%) read about related topics.

Tab. No (9)
I read about Sufism/Sufi music

I read about Sufism/Sufi music F %

Yes 139 41.2%

No 198 58.8%

Total 337 100%

85
 I read about Sufism/Sufi music

41.2%

58.8%

Yes No

Fig. No (9)
III. Demographics

Differences in emotional therapy according to demographic features

The following demographics showed that there is a difference in consuming spiritual and

religious music among the different surveyed groups according to their gender, occupation, and

nationality. Therefore, the further studies could propose a hypothesis based on the consumption of

each category here.

86
 Tab. No (10)

Test
N Mean S.D Statistic Df Sig.
s
Male 118 45.08 6.578 T=
Gender 335 0.077
Female 219 43.79 6.256 1.774
Egyptian 317 44.32 6.365 T=
Nationality 335 0.430
non-Egyptian 20 43.15 6.862 0.791
Occupational Student 267 44.09 6.221 T=
335 0.370
Status Employee 70 44.86 7.014 -0.898
University International 287 44.08 6.443 T=
335 0.264
Categories National 50 45.18 6.057 -1.120
The American
University in 153 43.81 6.731
Cairo-AUC
The German
University in 15 43.07 4.511
Cairo-GUC
The British F= 5
University University in 119 44.56 6.276 0.433
0.975 331
Cairo-BUE
Cairo University 30 45.60 5.703
Ain Shams
11 46.36 5.818
University
Al-Azhar
9 42.33 7.263
University

87
 Chapter VI

Discussion, limitations, and conclusion

I. Discussion

The first research question examines if people use spiritual and religious music for

emotional therapy in Egypt. After selecting a sample from a population of six academic institutes,

the research focused on exploring the characteristics of spiritual and religious music listeners. The

reason behind asking the respondents not to complete the survey, if their answer to the first

question “I listen to spiritual or religious music” is “No”, because it is assumed that no impact of

the music can be measured on the non-listeners of this music genre. Therefore, this was a filtering

question at the beginning of the survey to exclude the non-listeners from the analysis. The

following demographical questions acted as filtering questions too in order to control the

respondents, who do not match the sample characteristics, especially that most of the responses

were collected online. For example, six universities were mentioned in the demographic questions

and the respondent who does not belong to any has to quit the survey.

The survey pilot was given to eight respondents to test the validity and reliability of the

questions. Based on the comments of the volunteering respondents, some questions were amended

or rephrased. For example, some guidelines were added such as “*if your answer is NO, please do

not continue the survey” and some music were added to the provided options. Other comments

were suggested in regards to the survey in the Arabic language and accordingly the statements

were rephrased.

After collecting the data, (88%) of the participants were found to be listeners of this music

genre. Only (12%) of the sample do not listen to it. Although the survey targeted both students and

88
employees, a majority of (79.2 %) were students and the rest are employees. This was expected as

the literature suggested that teenagers and young adults are the most active and the most

encouraged to listen to non-mainstream music such as spiritual and religious music. (Papinczak,

Dingle, G. A., Stoyanov, S. R., Hides & Zelenko, 2015) It was also noted that more females than

males answered the survey, but it is hard to draw a conclusion about the gender differences in

using spiritual and religious music from the collected data. If the sample relied on a quota

sampling, the results would be representative, but in this study (65%) of the respondents were

females compared to (35%) males. Although the results provide a sample of a heterogeneous

backgrounds, the response is disproportionate, if the responses of the governmental institutes are

compared to the non-governmental. By the same token, the highest response was from the students

and employees of the American University in Cairo (45.4%) and the British University in Cairo

(35.2%), while a very low response rate was from the German University in Cairo, Cairo

University (8.9%), Ain Shams (3.3%), and Al-Azhar University (2.7%). This is one drawback on

online surveys which may result in low response rate.

The results show that the respondents listen to a variety of spiritual and religious music

whether Egyptian or non-Egyptian music. Hamza Namira, Maher Zain, Sami Yousef, Al-

Naqshabandi. Maher Zain and Sami Yousef are non-Egyptian singers; the first is Swedish from a

Lebanese origin, while Sami Yousef is British. The Sufi music was also one of the most listened

to. It was interesting that a high number of respondents listen to non-modern singers such as

Yasmin al-Khayam and Al-Naqshabandi, although most of the respondents are youngsters

(79.2%).

From the pilot and self-administered surveys, it was noticed that some listeners do listen to

spiritual and religious music, but did not know that what they listen to is classified as “spiritual or

89
religious”. It was necessary sometimes to discuss, with those who rush to answer with “No” on “I

listen to spiritual or religious music”, the examples of this music genre and advise them to read the

definition of “spiritual and religious music” that is provided at the beginning of the survey. This is

a significant finding since there is lack of awareness about this music, even though it is gaining

popularity in Egypt. This “knowledge gap” is also referred to in the problem statement.

Furthermore, some respondents considered the Qūr’ān as “religious music”, which is also

supported by the literature, as some religious scholars considered the qūr’ānic recitation (tartīl) as

distinguished mūsīqa or alternative to it. (Salhi, 2014)

The Likert scale reflected how the respondents are influenced by the spiritual and religious

music. The statements of the scale mirrored how they perceive the music, and use it as an emotional

therapy. Emotional therapy is a reflection of the effect of the music on peoples’ wellbeing

exemplified in: mood regulation and diversion, an uplifting and transcending atmosphere, ecstasy,

finding meaning in life, feeling positive, feeling connected with others and sense of belonging,

self-development, self-expression, and aestheticism. Most of the respondents (66.8%) highly

evaluate the music as emotionally therapeutic, while (33.2%) moderately evaluate it as emotionally

healing. Therefore, it can be inferred that spiritual and religious music is perceived as an aesthetic

experience and a meaningful art that has a moral message. It helps people change their mood by

giving them hope in life and through its positive energy. Although the lowest evaluation was for

“it connects me with friends”, (78.2 %) said they like to share the music with others. This

contradiction may be explained by the possibility that the individuals share the music and the

musical events on their social media channels, or play the music while driving in the company of

their friends, but it does not result in a bond between them and their friends.

90
 Music played an important role in people’s life; sometimes, it determined their destiny.

During the Islamic medieval ages, it was used in treatment, and the religious scholars of that age

considered it an esoteric science; thus, dealt with it from a philosophical point of view. They also

devoted their knowledge to develop this branch of science by inventing new musical instruments

and establishing music schools. Likewise, the Islamic group Hizbullah used music during the war

between south Lebanon and Israel in 2006 to revive the spirit of resistance against the enemy. They

considered Julia Boutros the voice of resistance after releasing a song to support resistance against

the Israeli attack on south Lebanon that was inspired by Nasrallah’s speech to his soldiers. The

songs of Julia or the songs of their official bands and orchestra played a role in enthusing the

soldiers and uniting Sunnis, Shiites, and Christians.

As mentioned in the literature, the fanatic group, ISIS, used music for the evil. They use

music as propaganda for their extremist ideology, online recruitment, and brainwashing its

followers. Although their songs are charged with violence and hatred, they succeeded in attracting

youth to join them. They attracted youngsters from the east and west through their promises of

martyrdom, fighting for God’s cause, and heavens. They use high quality production and the

song’s lyrics also mean at normalizing and entrenching violence for its fellows by threatening the

enemies by slaughtering, burning, bombing, and mass killing for God’s cause. Having said that,

with the changes that Egypt is witnessing and in parallel with the national development plan in

2030, spiritual and religious music can be a powerful tool. It can sustain people’s sense of

belonging and help creating cultural relevance. The collected data support that this music contains

people’s negative feelings and alternate it with feelings of tranquility, transcendence, and

tolerance. Instead of directing people’s feelings to hatred and violence, the good alternative

“spiritual and religious music” can sustain people’s morality and tolerance.

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 The second part of the primary data answers the question “does the use of spiritual and

religious music for emotional therapy encourage some cultural activities”. Most of the respondents

expressed the willingness to share the music they listen to with others, (78.3%) do share it, while

the (21.7%) do not. This indicates the extent to which people like the music, would like others to

listen to it too, and consider it as an interpersonal communication tool. Although it was assumed

that those who use the music are more likely to buy and sell objects related to spirituality and

Sufism, the answers did not support the assumption. Based on the answers, most respondents do

not buy objects related to Sufism or spirituality such as accessories, clothes with Sufi/spiritual

quotes, or wall-frames. A majority of (98.8 %) do not sell products, but (1.2 %) answered with

“yes”. Only four respondents sell accessories and rosaries (1.2%). Around (67.1%) of them said

that they do not buy the mentioned objects or any other objects. Yet, (32.9%) do buy, and this is a

significant finding. The most marked object that the participants buy were accessories (66.7%),

then wall frames (43.2%), clothes with Sufi/spiritual quote (27.9%). The respondents also

mentioned “other” objects bought such as rosaries and oriental perfumes (3.7%), artifacts, leather

Sufi notes, paintings and wall arts (2.7%), and other objects such as statutes and decorations.

Considering the Moroccan model, the Sacred Music Festival in Fez brings the highest

music-tourism rate, and during the festival, handmade products, Berber’s handcrafts, and Spiritual-

related objects are sold through the old markets in the city. The handcrafts contribute to the national

economy of the kingdom as their transactions made 2.2 Billion dollars in 2015. Sixty percent of

the economic production in Fez comes from the traditional crafts. (Al-Quds Al-Arabi, 2017) Since

Egypt has an annual spiritual music festival, it can be an opportunity to encourage small and

medium enterprises and the handmade industries to participate in the festival. This will not only

92
refresh the economy, but will also promote the Egyptian culture among the visitors of other

nations.

Interestingly, attending concerts has no relation to liking this music type as (71.8%) of the

listeners do not attend concerts, and only (28.2%) of them do. Similarly, most of the listeners do

not read books related to the music, Sufism, or spirituality. However, the answers of the (41.2%)

revealed that those who read preferred these books “Forty Rules of Love” (79.1%) which is also

one of the best-selling in Egypt. “The Tragedy of Al-Hallaj” was written by a well-known Egyptian

writer, Salah AbdelSabour, came in the second rank of the most read books (27.3%). Other books

were mentioned by the individuals such as “Biographies of Christian Songs”, poetry, and different

readings in Sufism. Unlike what was suggested by the literature, the level of involvement with

music did not take the listeners to practice some activities or educate themselves about the music

content.

In summary, the second research question showed that there is no relation between using

the spiritual and religious music and doing some cultural activities such as reading books, attending

concerts, or buying and selling related objects. Nonetheless, it should be considered that the sample

was non-probability and it cannot be generalized.

II. Limitations
Considering the time constraints, a non-random sampling technique was chosen for this

study. To get a high response rate in a limited time, clarity and shortness were considered during

the designing of the survey. For the same purpose, most of the data were gathered through an

electronic mean. This is why a limited number of surveys were distributed as a hard-copy and self-

administered surveys. This explains too why a very low response rate was received from Al-Azhar

University (n=9), Ain Shams (n=11), and Cairo University (n=30). Although a high response rate

93
was desired especially from the religious education students of Al-Azhar, the permissions required

to distribute the survey in the institutes took a long time to be obtained from the CAPMASS.

Another permission was required from each university other than AUC to access the campuses.

For the sake of time, the study had to rely on the online response to meet the deadlines.

While analyzing the data, it was decided to focus only on the characteristics of those who

consume spiritual and religious music, and disregard those who do not listen to it. This is justifiable

since the study is only concerned with the effect of the music on its listeners. Although it is

preferred to put the demographic questions at the end of the questionnaire by some media

researchers, the demographic questions were placed at the beginning to use them as filtering

questions and avoid irrelevant or misleading information.

III. Recommendations
Being aware of the capacity of the researcher, the available resources, and the limitation,

this study is a primary step in the study of religious communication in Egypt. There is no doubt

that it will bring attention to both disciplines, communication and religion especially in regards to

“spiritual and religious music”.

Thus, it is recommended to study the phenomenon more in-depth. While doing that,

considering to have a longer study duration to provide more representative data of the selected

sample to avoid disproportions in groups like the low response received from some universities

like Al-Azhar. Similarly, it was hard to encompass all the historical periods in the literature in

regards to the controversy over the permissibility of music. As a result, the time of the Prophet

Muhammad, which was the milestone in establishing the legislative rules regarding music and arts

was not covered by the study. To tackle it, the study needs much effort and emphasis on primary

sources and manuscripts produced during this era with careful attention to authentic and
94
unauthentic sources. Even if I touched on some of the four schools of thought in the Sunni school,

Hanafi, Hanbali, Maliki, and Shafʽi, another study can spot the difference between each’s

perception and interpretation of music to project the ideological difference, which is not dogmatic.

At another point, the Moroccan model presents an interesting experience in the field, and

this is why it is recommended to extend the study to focus on the differences in consumption

behavior between Egypt and Morocco.

It was realized during the data collection that there is lack of awareness about the spiritual

and religious music in Egypt. It is surprising that a country like Egypt with its history and

contribution in this field, and some people do not know what “spiritual and religious music” is.

Some participants do not know that the music they are used to listen to is called “spiritual” or

“religious”. It is, therefore, recommended to use the results of this study to raise awareness about

the phenomenon.

It becomes clear from the results that this music genre enjoys popularity and there will be

more demand on it. If it is not met by well-studied research and directed to the right path, the

alternative is the religious music of extremist groups or lowbrow art (fan habiṭ).From what is

mentioned before, it becomes inevitable to counter the terroristic thoughts with thoughts not by

weapons because violence brings more violence. It is important to revive the spiritual and religious

music that charges the listeners with aestheticism, spreads tolerance, and sense of belonging. The

spiritual and religious music also reflects the true message of religion, which promote peace and

coexistence unlike the Daʽishi music that is based on wrong beliefs. (MBC.NET, 2015)

IV. Conclusion

95
 Ideas have wings and no one can prevent them from reaching people. (The Destiny movie

Al-Maṣīr: an internationally awarded film by the Egyptian director Youssef Shahin)

Although the world has advanced in using weapons of mass destruction, it has become

evident that an idea can have a stronger effect than violence. Violence kills leaving nobody with a

thought, but the idea is immortal. And this is why the nations resort now to public diplomacy and

soft powers instead of weapons. For instance, India succeeded in promoting itself as a top-visited

country, a country of diversity, and a nation of cultural authenticity. The “Incredible India”, as it

calls itself, relied on the performed art; namely music and dancing to compete Hollywood. India

publicized for its religious diversity, multiplicity, and religious tolerance through the art that was

used in propaganda. This definitely helped in achieving national goals on many levels. Even the

Arab world became obsessed with the Indian culture, fascinated by its colors, eager to watch its

series, and travel to the country accepting the religious and cultural differences there.

In the Arab world, Morocco is an example of the music-tourism. A nation that succeeded

to build its economy and reputation on spiritual music. Morocco opened itself, thanks to the sacred

music industry, to the international arena to become an example of religious tolerance, hospitality,

and performed art. Even internally, the sacred music sustained the citizen’s sense of belonging,

their cultural relevance, and connectedness with their domestic arts and folklore. Their sacred art

united the nation Amazigh, Jews, and Muslims under the umbrella of mystic art.

With the openness that Egypt is witnessing nowadays, we need to reconsider a deeper

academic study of this phenomenon. We need to study the characteristics of the spiritual and

religious music, the characteristics of its listeners, what this music gratifies in people, and how it

influences their behaviors and attitudes. Egypt needs to study the mentioned models and how they

were able to promote the Sufi and religious tourism and the music tourism. Egypt needs to study

96
how the national festivals can be used to combat the economic recession through the promotion of

small and medium industries especially the handmade crafts. Moreover, spiritual and religious

music in Egypt can be utilized in enhancing the country’s cooperation with other countries and

creating coherence among citizens.

Ample examples can be projected to showcase how music had a major role to play in the

countries’ history. Despacito, the top Latin song in 2017 in 35 countries, was successful in

promoting tourism in the poor Island of Puerto Rico, where the song was filmed. Tourism

witnessed an increase of 45% after the song was watched for 2 billion times on YouTube. Tourism

companies made the places, where Despacito was video recorded, on their program of touristic

visits. (SKYNEWSARABIA, 2017) For this, the current study sheds the light on the spiritual and

religious music consumption in Egypt hoping to bring attention to this music genre. It is also hoped

to raise awareness about it not only among the decision makers but among music industries.

Academia, in that realm, plays a vital role in mobilizing both through a well-studied phenomenon.

Finally, from the study, it is worth noting that the spiritual and religious music is a

promising industry. It enjoys popularity among the presented sample and it positively influenced

the audience. Spiritual and religious music is a self-transcending communication tool, it spreads

good values among people such as connectedness and cultural relevance. It also presents a musical

taste distinguished from the mainstream. I can be also used in promoting tolerance and acceptance

while having a financial return.

97
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 Appendix
I. Survey Sample
Spiritual and Religious Music
By answering this survey you agree to contribute to a study by a master’s student at the American
University in Cairo about music consumption. Your participation is voluntary and you can
withdraw from the study at any time. There are no consequences for withdrawing from the study,
but completing the questionnaire is highly appreciated. This study presents no risk to participants
and their identities are anonymous. In case you need to contact the researcher for any inquiry,
please email Hend El-Taher at [email protected]
*[The online survey] By clicking Next, you agree that you have read and understood the
information and you agree to participate in this study. Answering the survey will not take more
than 5 minutes.
*[The offline survey] By moving to the Next section, you agree that you have read and understood
the information and you agree to participate in this study. Answering the survey will not take more
than 5 minutes.
Spiritual music: A music genre that could be performed within different music genres linking
different religions, expressing different dogmas, and creating a mystical atmosphere.
Religious music: A music that expresses a particular belief or religion; it is grounded on
community traditions and practices related to a belief.

Filtering questions
1- I listen to spiritual or religious music Yes □ No □
*If your answer is NO please do not continue this survey
I am a Student □ Egyptian □ Male □
Employee □ non-Egyptian □ Female □
I study/work at
The American University in Cairo-AUC □
The German University in Cairo-GUC □
The British University in Cairo-BUE □
Cairo University □
Ain Shams University □
Al-Azhar University □

107
2- To whom you listen to
*Please choose all that apply

Mohamed Tharwat □ Sami Youssef □ Maher Zain □ Hamza Namira □

Al-Naqshabandi □ Sufi music □ Samaʽ band □ Al-Mawlaweya □
Yasmine al-Khayam □ Ensemble Ibn Arabi □
Others □ (please specify) ………………………………………………………..
…………… …………………………………………………………………………
--------------------------------------------------------------------------------------------------------------
*Please indicate your level of agreement/disagreement with the statements.

When I listen to spiritual and religious music:

1. Strongly Agree 2.Agree 3.Neutral 4.Disagree 5. Strongly Disagree
1- It changes my mood
○ ○ ○ ○ ○
2- I forget the daily problems
○ ○ ○ ○ ○
3- It gives me positive energy
○ ○ ○ ○ ○
4- It connects me with friends
○ ○ ○ ○ ○
5- It reflects my musical taste/mood/my relation with religion/my standards and values
○ ○ ○ ○ ○
6- It adds to me in a way or another
○ ○ ○ ○ ○
7- It usually holds a moral message
○ ○ ○ ○ ○

108
 8- I can listen to a song that I do not completely agree with its content message
○ ○ ○ ○ ○
9- It gives me hope in life
○ ○ ○ ○ ○
10- It helps me better understand and express myself
○ ○ ○ ○ ○
11- Listening to spiritual and religious music is a beautiful experience
○ ○ ○ ○ ○
12- I learned things about my culture from the music
○ ○ ○ ○ ○
* Please answer the following questions
1- I like sharing the music with others Yes □ No □
2- I buy objects related to spirituality or Sufism Yes □ No □
3- What are they? *Choose all that apply
*If your answer to the previous question was “No”, please write “NA”
Accessories □ Clothes with a Sufi/spiritual quote □ Wall-frames □
Others □ *please specify …………………………………………………………..
……………………………………………………………………………………….
4- I sell products related to spirituality or Sufism Yes □ No □
5- What are they?
*If your answer to the previous question was “No”, please write “NA”
………………………………………………………………………………………..
6- I attend spiritual or Sufi music concerts Yes □ No □
7- I read about Sufism/Sufi music Yes □ No □
8- I read
*If your answer to the previous question was “No”, write “NA”
Forty Rules of Love □ The Bezels of Wisdom □ The Trajedy of Al-Hallaj □
Others □ (Specify) …………………………………………………………………………….

109
‫‪-----------------------------------------------------------------------------------------------------------‬‬
‫!‪Thank you‬‬
‫الموسيقى الروحية والدينية‬
‫باجابتك على استطالع الرأي‪ ،‬انت تشارك في دراسة تقوم بها أحد طالب الماجستير في الجامعة األمريكية بالقاهرة عن استخدام‬
‫الموسيقى‪ .‬مشارﻛتك في هذه الدراسة تطوعية ويمكنك االنسحاب أي وقت ولكن اجابتك عن جميع األسئلة سيكون بمثابة مساهمة‬
‫قيمة لهذا البحث‪ .‬ليست هناك أي أضرار أو عقوبات عند االنسحاب او االمتناع عن المشارﻛة‪ ،‬ﻛما أن هويتكم ستكون سرية‪ .‬في‬
‫حالة رغبتكم التواصل مع الباحثة هند الطاهر يرجي االتصال بها الكترونيا من خالل هذا العنوان البريدي‬
‫‪[email protected]‬‬
‫المتابعة واالجابة عن االسئلة تكون بمثابة الموافقة على المشارﻛة في هذه الدراسة بعد قراءة وفهم المعلومات التي سبق‬
‫عرضها‪ .‬االجابة عن االستبيان لن تستغرق أﻛثر من ‪ 5‬دقائق‪.‬‬
‫الموسيقى الروحية‪ :‬لون موسيقي من الممكن أن يشمل أنواع أخرى من الموسيقى معبرا عن عقائد وديانات مختلفة و يخلق‬
‫أجواءا ُ روحية‪.‬‬
‫الموسيقى الدينية تعبر عن مفهوم عقائدي أو ديني وترﻛز ﻛلماتها على العادات المجتمعية والممارسات المتعلقة بالدين‪.‬‬

‫سؤال للتصفية‬
‫ال □‬ ‫نعم □‬ ‫‪ -1‬استمع إلى الموسيقى الروحية أو الدينية‬
‫*اذا ﻛانت اجابتك ال نرجو عدم استكمال االستطالع‬
‫نرجو استكمال البيانات اآلتية‬
‫ذﻛر □‬ ‫مصري □‬ ‫‪ -1‬طالب □‬
‫أنثى □‬ ‫غير مصري □‬ ‫‪ -2‬موظف □‬
‫‪ -3‬أعمل‪/‬أدرس في‬
‫*اذا ﻛنت ال تنتمي إلى أحد هذه المعاهد التعليمية نرجو عدم استكمال االستطالع‬
‫□‬ ‫الجامعة البريطانية بالقاهرة‬ ‫الجامعة األمريكية بالقاهرة □ الجامعة األلمانية بالقاهرة □‬
‫□‬ ‫جامعة األزهر‬ ‫□‬ ‫جامعة عين شمس‬ ‫□‬ ‫جامعة القاهرة‬
‫‪ -2‬إلى من تستمع‬
‫*يمكنك اختيار أﻛثر من اجابة واحدة‬
‫حمزة نمرة □‬ ‫ماهر زين □‬ ‫سامي يوسف □‬ ‫□‬ ‫محمد ثروت‬
‫المولوية□‬ ‫فرقة سماع لالنشاد □‬ ‫موسيقى صوفية □‬ ‫□‬ ‫النقشبندي‬
‫فرقة إبن عربي □‬ ‫ياسمين الخيام □‬
‫(نرجو التحديد)‬ ‫أخرون□‬
‫‪.........................................................................................................................‬‬
‫‪. --------------------------------------------------------------------- ----------------------------------------------‬‬
‫عندما استمع إلى الموسيقى الروحية أو الدينية‪:‬‬

‫‪110‬‬
 ‫*برجاء التعبير عن مدى موافقتك أو عدم موافقتك مع الجمل األتية‬

‫‪ -5‬ال أوافق بشدة ○‬ ‫‪ -4‬ال أوافق○‬ ‫‪ -3‬حيادي○‬ ‫‪ -1‬أوافق بشدة ○ ‪ -2‬أوافق○‬

‫‪ -1‬تغير حالتي المزاجية‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬
‫‪ -2‬تساعدني على التعايش مع مشكالتي اليومية‬
‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -3‬تمدني بالطاقة االيجابية‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -4‬تساعدني في التعرف على اصدقاء ُجدد‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -5‬تعكس حسي الموسيقى‪ /‬حالتي المزاجية‪ /‬عالقتي بديني‪ /‬قيمي وأخالقياتي‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -6‬تﻀيف لي بطريقة أو أخري‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -7‬عادة ما يحمل محتواها رسالة أخالقية‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -8‬تعطيني الموسيقى الروحية والدينية أمال في الحياة‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -9‬تساعدني على فهم نفسي والتعبير عنها‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -10‬االستماع للموسيقى الروحية والدينية تجربة جميلة‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -11‬تعلمت أشياءا ُ عن ثقافتي من خالل االستماع للموسيقى الروحية والدينية‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬

‫‪ -12‬من الممكن أن استمع إلى أغنية ال اتفق بالكامل مع محتواها‬

‫○‬ ‫○‬ ‫○‬ ‫○‬ ‫○‬
‫‪---------------------------------------------------------------------------------------------------------------------‬‬
‫* نرجو االجابة على االسئلة التالية‬

‫‪111‬‬
 ‫ال □‬ ‫نعم □‬ ‫‪ -1‬أحب مشارﻛة األخرين الموسيقى التي استمع لها‬
‫ال □‬ ‫نعم □‬ ‫‪ -2‬اشتري‪/‬امتلك بعض األغراض المتعلقة بالتصوف والروحية‬
‫‪ -3‬ماهي األغراض؟‬
‫*اختر ﻛل ما هو مناسب *اذا ﻛانت اجابتك السابقة "ال" نرجو ﻛتابة "‪"NA‬‬
‫اطارات (برواز) □‬ ‫□‬ ‫مالبس مطبوع عليها اقتباسات صوفية أو روحية‬ ‫اﻛسسوارات □‬
‫أخر *نرجو التحديد‪..................................................‬‬
‫‪............................................................................................................................................................‬‬
‫ال □‬ ‫نعم □‬ ‫‪ -4‬أقوم ببيع منتجات متعلقة بالصوفية والروحانيات‬
‫‪ -5‬ما هي المنتجات؟‬
‫*اذا ﻛانت اجابتك السابقة "ال" نرجو ﻛتابة ”‪“NA‬‬
‫‪..........................................................................................................................................................‬‬
‫ال □‬ ‫نعم □‬ ‫‪ -6‬أقوم بحﻀور حفالت موسيقى روحية وصوفية‬
‫ال □‬ ‫نعم □‬ ‫‪ -7‬اقرأ عن التصوف أو الموسيقى الصوفية‬
‫‪ -8‬اقرأ‬
‫*اختر ﻛل ما هو مناسب *اذا ﻛانت اجابتك السابقة "ال" نرجو ﻛتابة "‪"NA‬‬
‫فصوص الحكم □ مأساة الحالج □‬ ‫قواعد العشق األربعون □‬
‫أخر *نرجو التحديد ‪......................................................................................‬‬
‫‪-----------------------------------------------------------------------------------------------------------------‬‬

‫شكراً جزيال الستكمالك االستطالع‬

‫‪II.‬‬ ‫‪List of Arabic words‬‬

‫‪112‬‬
Al-fan al-naẓzeef: clean art
awlya’: saints
Ibtihalat: supplications
Tawashiḥ: Andalusian music
Sama’: careful listening
Tala’a al-Badru ‘Alina: We have seen the moon
Qūrān: the holy book of Muslims
Sūnnāh: the Prophetic traditions
Mawlaweya: a Sufi music and dancing
Zawaya: religious school
Fūqahaa’: scholars
Qawaʽid al-‘eshq al-Arbaʽūn: Forty Rules of Love (book)
Jihad al-Kalimah: striving by the word
Mūrshid: spiritual guide or master
Asmaa’ Allah Al-Husna: God’s beautiful names
La ilah illa allah: There is no God but Allah
Kaʽba: square building in Mecca and it is the direction towards which Muslims pray
Pimaristan: hospital
Nawbah: music school
Zajal: Andalusian music that was popular among the common people
alʽaql: intellect
Water: string
Dhikr: remembrance
Majlis: religious gatherings and remembrance
Ḥalal: lawful acts
Bourda: a piece of cloth that men used to wear in Arabia
Karamat: blessings
Amazigh: Berbers

113
Tariqa: a Sufi order
shafaʽa: intercession
Malāhī: entertainment
Mūbaḥ: permissible
lahw al-ḥadith: idle talk
Shari’a: Islamic law
Tartīl: Quranic intonation
Mūsīqa: music
Tawḥīd: monotheism
Waṣatiyya: moderate Islam
Mūltazim: religiously correct/pious
ʽawra: exposed (should be kept private)
Fajr: dawn prayer
Duff: tambourine
Shīʿah: Shiites
Al-muqawamah: resistance
Al-ḥala al-Islamya: Islamic religio-political sphere
Al-saḥa al-Islamya: Islamic cultural sphere
Mwaṭana: citizenship
Ṭarab: enchantment
Marathi: lament
ʽibadat: worship
Maṣadir al tashriʽ: sources of legalization
Ijmaʽ: consensus
Qīyas: analogy
Maṣlaḥa: public interest
Dar’ al-mafasid mūqadam ʽala jalb al-maṣaliḥ: the avoidance of vice is always preferable to any
benefit that might occur from the act
Fatwa: legal statement
114
Maḥram: male relative
Niyya: intention
Mafsada: vice
Jihad: resistance
Ṣonaʽ al-Ḥaya: life makers
Mūnshids: religious chanters

115
III. Transliteration style14
The proper transcription of Arabic words using romanized letters

15

14
Al-masāq: Style sheet. (2007). Al-Masaq, 19(2), 217-220. doi:10.1080/09503110701582025

15
Transliteration Table, Journal of Islamic Studies, Volume 26, Issue 3, 1 September 2015, Pages i5,
https://doi.org/10.1093/jis/etv027

116
IV. Demographics
Degree of acceptance

Neutra

Percen
Strong

Strong
Disagr

Disagr

Weigh

Scores
Ranki
Agree
Agree

Mean
tage

ng
ee

ee
ly

ly

t
l
Statements
13. It changes F 98 169 60 9 1 3
81% 4.05
my mood % 29.1% 50.1% 17.8% 2.7% 0.3%
14. I forget the F 43 110 134 44 6 9 3.42
68.3%
daily problems % 12.8% 32.6% 39.7% 13.1% 1.8%
15. It gives me F 86 177 65 8 1 4 4.01
80.1%
positive energy % 25.5% 52.5% 19.3% 2.4% 0.3%
16. It connects F 19 59 145 95 19 12 2.89
57.9%
me with friends % 5.6% 17.5% 43.1% 28.2% 5.6%
17. It reflects F 63 131 94 40 9 7
my musical
taste/mood/my
3.59
relation with 71.8%
% 18.7% 38.8% 27.9% 11.9% 2.7%
religion/my
standards and
values
18. It adds to F 58 180 80 16 3 6
3.81
me in a way or 76.3%
% 17.2% 53.5% 23.7% 4.7% 0.9%
another
19. It usually F 106 176 47 7 1 2
4.12
holds a moral 82.5%
% 31.5% 52.2% 13.9% 2.1% 0.3%
message
20. It gives me F 92 152 82 9 2 5 3.96
79.2%
hope in life % 27.3% 45.1% 24.3% 2.7% 0.6%
21. It helps me F 38 116 134 43 6 10
better 3.41
68.1%
understand and % 11.3% 34.4% 39.7% 12.8% 1.8%
express myself
22. Listening F 121 169 45 1 1 1
to spiritual and
4.21
religious music 84.2%
% 35.9% 50.1% 13.4% 0.3% 0.3%
is a beautiful
experience
23. I learned F 51 133 98 46 9 8
things about my 3.51
70.1%
culture from the % 15.1% 39.5% 29.1% 13.6% 2.7%
music
24. I can listen F 45 117 83 68 24 65.4% 11 3.27

117
Degree of acceptance

Neutra

Percen
Strong

Strong
Disagr

Disagr

Weigh

Scores
Ranki
Agree
Agree

Mean
tage

ng
ee

ee
ly

ly

t
l
Statements
to a song that I
do not
completely agree % 13.4% 34.7% 24.6% 20.2% 7.1%
with its content
message
3.69
Total
Table 5

you listen to F %

Hamza Namira 183 54.3%

Maher Zain 160 47.5%

Sami Youssef 157 46.6%

Al-Naqshabandi 117 34.7%

Sufi music 57 16.9%

Ensemble Ibn Araby band 50 14.8%

Al-Mawlaweya 36 10.7%

Yasmine al-Khayam 28 8.3%

Mohamed Tharwat 21 6.2%

Sama? band 19 5.6%

christian songs 13 3.9%

egyptian project 6 1.8%

yassin tohamy 5 1.5%

Hillsong worship 4 1.2%

118
 you listen to F %

‫زين محمود‬ 4 1.2%

‫مصطفى عاطف‬ 3 0.9%

Ali El Halabawi 3 0.9%

Dhafer Youssef 2 0.6%

‫اإلخوة أبو شعر‬ 2 0.6%

‫الحﻀرة‬ 2 0.6%

‫نصر الدين طوبار‬ 2 0.6%

Abdelrahman roshdy 1 0.3%

Ahmed touny 1 0.3%

Ibn el Kurdi Band 1 0.3%

Ziya Azazi 1 0.3%

Andalusian music 1 0.3%

Cairo Steps 1 0.3%

Firdaus Ensemble 1 0.3%

chants 1 0.3%
Mouaz & Ibrahim Al-
1 0.3%
Nass
Taksim Trio 1 0.3%

‫فرقة الرضوان‬ 1 0.3%

Elmes Edena Band 1 0.3%

‫معلومة بنت المداح‬ 1 0.3%

Philip Wissa 1 0.3%

119
 you listen to F %

Lel Rab Noranem Choir 1 0.3%

Ali Keeler 1 0.3%

Harmony Band 1 0.3%

Zain Bhikha 1 0.3%

Mohamed Abbas 1 0.3%

Rashid Golam 1 0.3%

Mohammed Reza Lotfi 1 0.3%

Muhamed Emran 1 0.3%

Wael Elfeshn 1 0.3%

Hend ahmed 1 0.3%

‫فرقة ﻛاريوﻛي‬ 1 0.3%

Zyad Shhata 1 0.3%

Estas Tonne 1 0.3%

‫مصطفى عرفة‬ 1 0.3%

‫محمد عمران‬ 1 0.3%

‫عامر التونى‬ 1 0.3%

‫فرقة صالح عبد الحميد‬ 1 0.3%

120