Title: Al Adhan : documenting historical background, practice rules, and musicological features of the muslim call for prayer in Hashemite Kingdom of Jordan
Source document: Musicologica Brunensia. 2019, vol. 54, iss. 1, pp. 167-185
Extent
167-185
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2019-1-12
Stable URL (handle): https://hdl.handle.net/11222.digilib/141569
Type: Article
Language
English
License: CC BY-SA 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
Adhan, also known as the Islamic call to prayer, is performed five times a day emanating from the spires of every mosque in the world, thus announcing to the faithful their obligation to praise Allah. Throughout the ages, Adhan has commonly been the subject of scholarly work; however, the majority of stated analysis had been performed predominantly in the sphere of theology and linguistics: Daud, 1997; Hilawi, 1984; Khalil and Hafez, 1984; Qadi, 1999; Sadani, 1996, Howting, 2006; Hirschkind, 2006. In Anglo-Saxon academia, the interest has been focused onto similar topics, barely touching on the musical context of the Islamic call to prayer: Choudhuru, 1957; Farmer, 1857; Faruqi, 1987; 1995; Nasr, 1987; Rasmussen, 2001; Waugh, 2005; Frishkopf, 2013. This study tries to establish a connection between different aspects of human culture, namely: Islamic religious tradition and music, presenting two vocal performances of the Adhan as Lahn (melody) in an attempt to show some unique features in the performance of Adhan within the territory of Jordan. Therefore, the first aim of the present study is to demonstrate the Adhan not merely as a part of the theological heritage of Islam, but rather as a cultural phenomenon, part of the Arabic musical heritage. Furthermore, the authors will analyze how the Adhan is taught and how it is performed as per Arabic ancient sources and performance practices. In conclusion, the paper shall analyze the musical characteristics of the two formally recognized Adhan performed within the Hashemite Kingdom of Jordan.
References
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[2] ABBAS MA'AREF. Sharhe advar. Teheran, Mutabbah al Islam, 2005.
[3] ABU DAUD, S. Kitab Al Salah. Hadith 499, Cairo, 1994.
[4] ABU SHUMAYS, S. Maqam Analysis: A Primer, Music. Theory Spectrum, Vol. 35/2, Oxford, 2013.
[5] AKESSON, I. Oral/Aural Culture in Late Modern Society? Traditional Singing as Proffessionalized Genre and Oral– Derived Expression, Oral Tradition Vol; 27/1, 2012.
[6] AL BARGUTI. Al aghani tarathie fil Phalestin u Ordon. Jordan, 1979.
[7] AL-BARI, DAR AL-KUTUB, AL-ILM, 1410, Vol. 2, Kitab Abwab Al-Adhan, Bab Bad'at Al-Adhan, another version: Fourth edition, Dar Al-Ihya' Al– Turath Al– Arabi, The Mutaqqi Hindi from Tabarani from Ibn Umar. Kanz Al-Ummal, (8), No. 23138, 2005.
[8] AL-DIMASHQ', I. Y. Ryad al-Saliheen, Beirut. Dar el-Hadith, 2004.
[9] AL FARABI. Kitab al muziqa al Kbir, Cairo, Dar al Katib, 1967.
[10] AL-FURU' MIN AL-KAFI, Dar Al-Kutub Al-Islamiyyah, Vol. 3, Bab bada'a Al-Adhan wa Al-Iqamah wa fazlah awath awa bahuma, Hadith 1 and 2. Cairo, 2004.
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[12] AL GHAWANMEH, M. Al 'ahzuja al ordoniia, Dar el-Hadith, Jordan, 1997.
[13] AL GHAWANMEH, M. Abdo Musa, leader and innovator, Al kindki, Amman, 2002.
[14] AL HUSARI, M. Akham Qira'at al Quran al Karim, Cairo, Maktaba al turath al Islami, 1965.
[15] AL-KUSY, O. Kitab al-Uthun, Mu'assasat, Kordoba publising, 12th edition, 1978.
[16] AL-MA'AREFY, Sarhan A. Risale fee al-Uthun, Dar Al Gharb al Islamy, Cairo, 1982.
[17] AL-MUSTADRAK, MAKTABA AL-MATBU'AT AL-ISLAMIYYAH, (3), Kitab Ma'rifa Al-Sahaba, Faza'il Al-Hasan Ibn Ali, Beirut, 1990.
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[19] AL-SAYED, S. Fiqh al-Sana, Dar al-Fath, Cairo, 1990.
[20] AL-SUNAN, Al-Kubra, Dar al Ta'arof, Cairo, 1994.
[21] AYARI, M. Listening to improvised Arabic Music: An Essay in cognitive psychology, Paris, Harmattan, 2003.
[22] AYARI M., MCADAMS, S. Aural Analysis of Arabic Improvised Instrumental Music (Taqasim), Music Perception, Vol 2,/1 , University of California Press, 2003.
[23] BARIS, B. An Automatic pitch analysis for Turkish, Maqam music, Journal of New music research, Vol. 37/1, 2008.
[24] BRONSON, B. Melodic Stability in Oral Transmission, Journal of the International Folk Music Council, Vol 3, International Council for Traditional Music, 1951.
[25] CHRISTIAN WILLIAM, A. Provoked Religious Weeping in Early Modern Spain, Religion and Emotions: Approaches' and Interpretation. Oxford University Press, 2004.
[26] COHEN, D., KATZ, R. Palestinian Arab Music: A Maqam tradition in practice, University of Chicago Press, 2006.
[27] EL KHOLY, S. The function of music in Islamic culture in the period to 1100, Cairo, 1984.
[28] ENGELHARDT, J. Voicing Religion, Yale Journal of Music and Religion, Vol 4 /1, 2018.
[29] EOLYAN, I. R. Traditional Music of the Arab East. Music: Moscow, 1990.
[30] FARMER, H. A History of Arabian music to 13 century. London: George publisher, 1929.
[31] FERNNANDES, L. The Evolution of Sufi Institution in Mamluk Egypt: The Khanqak. Berlin, 1988.
[32] FILSHTINSKI, I., SHEEDAF, B. Description of the Arab – Muslim culture. Moscow: Nauka, 1971.
[33] FRISHKOPF, M. Mediated Qur'anic recitation and the contestation of Islam in Contemporary Egypt. London, 2007.
[34] FRISHKOPF, M. Paralinguistic Ramification of Language Performance of Islamic ritual. Yale Journal of Music and Religion, Vol. l4/1, 2018. | DOI 10.17132/2377-231X.1099
[35] GETTA, M. Tradition of music culture of the people from Near and Middle East and present times. Moscow: Soviet composers, 1987.
[36] GRAHAM, W., KERMANI, N. Recitation and Aesthetic Reception. Cambridge Companion to the Quran. Cambridge University Press, 2006.
[37] GUETTAT, M. Classical music of Maghreb. Paris: Bernard, 1980.
[38] HADDAD ABD, S. The song of Dabke al Djoufieh. Majallet Abhath al Yarmouk, Vol.19/3B. Yarmouk University Press: Jordan, 2003.
[39] HAMAM, A. Musical life in Jordan. Arua' press: Jordan, 2010.
[40] HAMAM, A. Sufara Al Quran. Markaz al Rayya: Cairo, 2000.
[41] HASSAN, T. H. The maqam phenomenon: An Improvisation technique in the music of the Middle East. Ethomusicology, Vol 15/1, 1971.
[42] HIRSCHKIND, Ch. The Ethical Soundscape: Cassete Sermons and Islamic Counter public. New York: Columbia University Press, 2006.
[43] HOJVIRI, A. Kashir al mahjoub. Teheran: Amir Kabir, 1957.
[44] IBN MANTHUR, J. Lisan al-Arab. Dar Sader: Beirut, 13th edition, 2003.
[45] JANKOWSKY, R. Stambeli: Music, Trans, and Alterity in Tunisia. Chicago University Press, 2010.
[46] KAPCHAN, D. Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace. Middleton: Wesleyan University Press, 2007.
[47] KEOGH, B. Theory, Representation and Practice of Maqam: Rethinking the representation of the Arab Maqamat, Analytical Approaches to world music Vol.3/2, 2014.
[48] LANE, E. An Account of the Manners and Customs of the Modern Egyptians. Dover Publications, 1973.
[49] MAHMOD, S. Politics of Piety: The Islamic Revival and The Feminist Subject. Princeton: Princeton University Press, 2005.
[50] MALLAH, M. A contemporary analyses of musical education in the Hashemite Kingdom of Jordan. MA Thesis, Unpublished, al-Rouh al Qudus University: Libanon, 1996.
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[52] MC KINNON, J. Music in Early Christian Literature, Tatian: Discourse to the Greeks. Cambridge, 1987.
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[54] NELSON DAVIS, C. The Qu'ran Recited. The Garland Encyclopedia of World Music, The Middle East. New York, 2002.
[55] NELSON, K. The art of reciting the Qur'an. American University Cairo Press, 2001.
[56] QASIM, R. Some Islamic non-Arabic elements of influence on the repertory of al maqam al Iraqi in Bagdad. Maqam and Raga and Zeilenmelodik, International Council for traditional music, Vol. 28/2, 1989.
[57] PATTERSON, E. Oral Transmission: A Marriage of Music, Language, Tradition and Culture. Musical Offerings, Vol. 6/1, 2015.
[58] RASMUNSSEN, A. The Qu'ran in Indonesian daily life: The Public project of musical oratory. Ethnomusicology 45 /1, 2001.
[59] ROUSSILLON, A. Republican Egypt interpreted: revolution and beyond. The Cambridge History of Egypt, Vol 2, 1998. | DOI 10.1017/CHOL9780521472111.015
[60] SABEQ, S. Fiqh al Sunna, Dar al fath lil e'lam al arabi Cairo, Vol 1, 1999.
[61] SAHIH BUKHARI. Book of Adhan. Saudi Arabia: Hadith 608, 1986.
[62] SAMUELS, A., BANI SHORTER, Plaut, F. Critical dictionary of analytical psychology, C. J. Jung: London, New York, 1995.
[63] SAYYID, H. Shuyukh al Tilawa. Radio and TV magazine 3581, 2003.
[64] SHAYKH ABU MUHAMMAD JIBREEL. The Call to Prayer, UK, 2005.
[65] SHOKOUHI, M., YUSOF, A. The Influence of Islamic culture and holy Quran on performing arts: relating to sacred vocal music (lahn). 3rd International Quranic Conference, 2013.
[66] SHOURA, N. A Guide to Arabic music. Cairo, 2006.
[67] SHOUSHAN, B. Popular Culture in Medieval Cairo. Cambridge University Press, 1993.
[68] SIRVART, P. Melodic contour in Traditional Music. Journal of the International Folk music council, Vol. 3, 1951.
[69] STRUNK, O. Readings in Music History. St John Chrysostom "Exposition of Psalm 14, revised edition, New York, 1998.
[70] SUNAN AT TIRMIDHI. Book of Salah. Cairo: Hadith 197, 2009.
[71] SUNAN ABU FAWUD. Book of Virtues. Riyadh: Hadith 1, 1992.
[72] Tabletop book of the Holy-man. Volume 1, Moscow: Nauka, 1852.
[73] TAESSER, A., MALLAH, M. Al qaseed in Jordan, Journal of Science and Music. Vol. 16, Jordan, 2007.
[74] TAFT, R. The Liturgy of the Hours in East and West. Collegeville, 1986.
[75] TA'LIQ OF MUWATTA. Sunan Abu Dauod. Dar Ebn Hazem, 2010.
[76] TAYLOR, C. S. The Cult of the Saints in Late Medieval Egypt. PhD theses, Princeton University, 1989.
[77] The Holy Quran. Mujammaa Al Malk Fahed li tibaet al mushaf al sharif, Saudi Arabia, 2009.
[78] TONTCHEVA, E. For "Pletenie Sloves" music of the Byzantine-Slavic cultural community in the 14th century. Bulgarian Musicology, Vol. 4. Sofia, 1981.
[79] TREITLER, L. Homer and Gregory: The transmission of Epic Poetry and Plainchant. The Musical Quarterly, Vol LX, 3, 1974.
[80] VASSILIEV, A. The History of Saudi Arabia. New York University Press, 2002.