Islam dan musik: Perbedaan antara revisi
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{{Ensiklopedia Islam}}
{{Short description|Hubungan antara Islam dan musik}}
Hubungan antara '''Islam dan musik''' telah lama menjadi masalah yang kompleks dan kontroversial.<ref name="Reynolds2015">{{cite book |last1=Reynolds |first1=Dwight F. |title=The Cambridge Companion to Modern Arab Culture |date=April 2015 |publisher=Cambridge University Press |isbn=978-0-521-89807-2 |page=140 |url=https://books.google.com/books?id=ifcGBwAAQBAJ&pg=PA140 |quote=Besides celebrating the past tradition of slave girls who were bought and sold on the basis of the beauty of their voices and the depth of their song repertoire, the song also brings to the fore contentious issues concerning the permissibility of music in Muslim society. Since the birth of Islam, many have considered music to be an unacceptable distraction from a proper religious life: music, they declare, is haram (unlawful, impermissible). Others, however, have celebrated music's ability to foster aesthetic pleasure, communal celebration, and even, if properly employed, a means of achieving union with the Almighty here and now, the latter a belief of Sufi mystics. In Ghanni li shwayya, music is unabashedly celebrated, lauded for its ability to affect nature, cure illness, soothe the heart, and bring girls to dance. |doi=10.1017/CCO9781139021708.010}}</ref><ref name=Salhi2013>
{{cite book |last1=Salhi |first1=Kamal |title=Music, Culture and Identity in the Muslim World: Performance, Politics and Piety |date=December 2013 |publisher=Routledge |isbn=978-1-317-96310-3 |page=5 |url=https://books.google.com/books?id=Dc5iAgAAQBAJ&pg=PA5 |quote=The attitude toward music [in the Muslim world] has always been ambivalent, as expressed in a series of contradictory feelings and concepts: predilection and mistrust; divine-devilish; exalting-disruptive; admissible-prohibited' (Shiloah nd). Views about the admissibility of music, or the art of sound, in the Muslim world, range from complete negation to complete acceptance, even of dance and other bodily expressions.}}
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{{cite book |last1=Sumarsam |editor1-last=Harnish |editor1-first=David D. |editor2-last=Rasmussen |editor2-first=Anne K. |title=Divine Inspirations: Music and Islam in Indonesia |date=2011 |publisher=Oxford University Press |isbn=978-0-19-538542-7 |pages=45–79 |chapter-url=https://books.google.com/books?id=YKwRDAAAQBAJ&pg=PA45 |chapter=Past and Present Issues of Islam within the Central Javanese Gamelan and Wayang Kulit |quote=The consideration of religious singing and instrumental music in the context of Islam is fraught with complexity and ambiguity (Neubauer & Doubleday 2001/12, 599) |doi=10.1093/acprof:oso/9780195385410.003.0002}}
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{{cite book |last1=Rasmussen |first1=Anne |title=Women, the Recited Qur'an, and Islamic Music in Indonesia |date=August 2010 |publisher=University of California Press |isbn=978-0-520-25549-4 |page=170 |url=https://books.google.com/books?id=VbowDwAAQBAJ&pg=PA170 |quote=Much has been written about the permissibility of music in Islamic contexts, particularly among scholars of Arab music, for whom the topic seems to be re- quired (see, for example, al-Faruqi 1985, 1986; Nasr 2000; Nelson 1985; Racy 1984; Rasmussen 2008; Frishkopf 1999; Sawa 1985, 1989; Farmer 1985; Otterbeck n.d.; and Danielson and Fisher 2002). The eminent musicologist Amnon Shiloah describes the "interminable" debate regarding the permissibility of music as already apparent during the first centuries of Islam in the Arabian Peninsula: "In all the major centers of Islam extending from India, Indonesia and Central Asia to Africa, legalists, theologians, spiritual leaders, urban custodians of morality, the literati and leaders of mystic confraternities, all took part in this debate which elicited views that vary from complete negation to full admittance of all musical forms and means including the controversial dance. Between the two extremes, one can find all possible nuances."(Shiloah 1997, 144)}}
* Kutipan ini dari Shiloah juga dikutip (sedikit lebih lengkap) dalam: {{cite book |last1=Østebø |first1=Terje |title=Routledge Handbook of Islam in Africa |date=December 2021 |publisher=Routledge |isbn=978-1-000-47172-4 |page=358 |url=https://books.google.com/books?id=cc5JEAAAQBAJ&pg=PT358}}
</ref><ref name="Shiloah1995">
{{cite book |last1=Shiloah |first1=Amnon |title=Music in the World of Islam: A Socio-cultural Study |date=1995 |publisher=Wayne State University Press |isbn=978-0-8143-2970-2 |page=60 |url=https://books.google.com/books?id=S6gwlvp61s4C&pg=PA60 |quote=In sum, the attitude toward music has always been ambivalent, as expressed in a series of contradictory feelings and concepts: predilection and mistrust; divine-devilish; exalting-disruptive; admissible-prohibited.}}
</ref> Banyak Muslim percaya bahwa [[Al-Qur'an]] dan [[Sunnah]] melarang musik (instrumen dan nyanyian);<ref name="Harris2006">{{cite book |last1=Harris |first1=Diana |title=Music Education and Muslims |date=2006 |publisher=Trentham Books |isbn=978-1-85856-356-5 |page=10 |url=https://books.google.com/books?id=ZkoJAQAAMAAJ |quote=Raza (1991, p60) wrote 'the community misinterprets Islam according to their needs, and there are many passages in the hadith which descry music. Those often quoted include : ' Singing sprouts hypocrisy in the heart as rain sprouts plants' (al Baihaqi, in Lambat, 1998); 'Musical instruments are amongst the most powerful means by which the devil seduces human beings' (Farmer, 1973, p. 24-5). Probably the most important is a hadith narrated by al - Bukhari in which the Prophet (p.b.u.h.) is reported as saying that at some future time there will be people from my umma (the Muslim community) who will seek to make lawful fornication, the wearing of silk by men, wine drinking and the use of musical instruments.}}</ref> namun, Muslim lainnya tidak setuju dan percaya bahwa beberapa bentuk musik diizinkan.<ref name=Salhi2013/><ref name="Baker2009">
{{cite book |last1=Baker |first1=Raymond William |title=Islam Without Fear: Egypt and the New Islamists |date=June 2009 |publisher=Harvard University Press |isbn=978-0-674-02045-0 |page=63 |url=https://books.google.com/books?id=OA3XqoR4AE8C&pg=PA63 |quote=Ghazzaly also clarified the essential premise of New Islamist thinking that saw the arts as one among many powerful instruments given to Man by God... Ghazzaly rejected the idea put forward by the amirs that singing is haram, and in particular he objected strongly to the further notion advanced by many Islamists, both conservative and extremist, that a woman's voice is haram and should not be heard. On the other hand, Ghazzaly also refused to countenance the secularists' view that all lyrics set to music were appropriate for an Islamic society...}}</ref><ref name="Cook2001">{{cite book |last1=Cook |first1=Michael |title=Commanding Right and Forbidding Wrong in Islamic Thought |date=January 2001 |publisher=Cambridge University Press |isbn=978-1-139-43160-6 |url=https://books.google.com/books?id=eb5NMAL46mUC&pg=PA68 |quote=An early statement of the contrary view, that music is permitted, is found in Mufaddal ibn Salama fi. later third/ninth century)}}</ref> Meskipun ada kontroversi ini, musik tetap populer dan berkembang di berbagai tempat dan waktu di dunia [[Islam]], sering kali di istana dan rumah-rumah pribadi untuk menghindari sensor.<ref>{{cite journal |last1=van Nieuwkerk |first1=Karin |title='"An Hour for God and an Hour for the Heart": Islam, Gender and Female Entertainment in Egypt' |journal=Journal of Musical Anthropology of the Mediterranean |date=1998 |volume=3 |url=https://www2.umbc.edu/MA/index/number
3/vanNieuwkerk/vannieuw.htm |quote=Numerous classical Islamic jurists and modern-day religious scholars alike have issued edicts banning music. Yet the role of music in personal and social life, especially in urban environments, has persisted through history.}}</ref>
Di banyak bagian dunia Muslim, musik devosional/religius dan musik sekuler berkembang dengan baik dan populer. Dalam beberapa dekade terakhir, "munculnya generasi baru musisi Muslim yang mencoba memadukan karya dan keyakinan mereka" telah memberikan isu ini "makna tambahan".<ref name="IT-21-7-2006"/>
Secara historis, [[Seni Islam]] dan musik berkembang pesat selama [[Zaman Keemasan Islam]],<ref name="rushdie republic">{{cite book |url=https://books.google.com/books?id=C-u2DQAAQBAJ&dq=music+flourish+islamic+golden+age&pg=PA173 |title=Mapping out the Rushdie Republic: Some Recent Surveys |isbn=9781443855624 |last1=Bhattacharyya |first1=Prasanta |last2=Ghosh |first2=Tapan Kumar |date=14 December 2016|publisher=Cambridge Scholars }}</ref><ref name="Bohlman2013">{{cite book |last1=Bohlman |first1=Philip V. |url=https://books.google.com/books?id=Sr3UaHYtfh8C&pg=PA12 |title=Revival and Reconciliation: Sacred Music in the Making of European Modernity |date=June 2013 |publisher=Scarecrow Press |isbn=978-0-8108-8269-0 |pages=12–14}}</ref><ref name="life">{{cite book |url=https://books.google.com/books?id=P7ibDwAAQBAJ&dq=music+flourished+islamic+golden+age&pg=PT11 |title=LIFE Aladdin |date=24 May 2019 |publisher=Time Home Entertainment |isbn=9781547849031}}</ref> namun musik terus berkembang hingga abad ke-19 di [[Kekaisaran Ottoman|Ottoman]], [[Safavid Iran|Safavi]], dan [[Mughal Empire|Mughal]]. [[Musik Ottoman]] khususnya berkembang menjadi bentuk seni musik yang beragam. Musik Islam juga dikreditkan telah memengaruhi musik Eropa dan Barat; misalnya, ahli musik Prancis [[Baron Rodolphe d'Erlanger]] dalam penilaiannya terhadap [[Kekhalifahan Abbasiyah]] dalam sejarah Islam mengkreditkan karya [[Abu Nasr Muhammad al-Farabi]] ''Kitabu l'musiqi al-kabir'' ("Kitab Musik Besar") dengan pengaruh ini.<ref>{{cite book |url=https://books.google.com/books?id=Sr3UaHYtfh8C&dq=music+flourished+islamic+golden+age&pg=PA13|title=Revival and Reconciliation: Sacred Music in the Making of European Modernity|first1=Philip V. |last1=Bohlman |first2=Mary |last2=Werkman |date=June 7, 2013 |publisher=Scarecrow Press, Chicago |isbn=978-0-8108-8269-0 |via=Google Books}}</ref>
== Musik dan Interpretasi Hukum Islam ==
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