The Soul's Echo: An Islamic Humanistic Hermeneutic of Music

By V.A. Mohamad Ashrof, New Age Islam 18 June 2025 The relationship between Islam and music is a rich and complex jurisprudential debate, cultural expression, and spiritual practice. While a significant strain of legalistic thought has historically argued for its prohibition, Islamic civilizations have simultaneously produced some of the world's most profound and sophisticated musical traditions. This paper seeks to transcend this apparent paradox by employing a progressive, Islamic humanistic hermeneutic. This interpretive framework moves beyond a static, literalist reading of sacred texts to explore their deeper ethical, spiritual, and teleological dimensions. By critically and contextually analysing the primary sources—the Quran and the Prophetic Hadith—and filtering them through the Quranic axiological framework of beauty (Ihsan) and the higher objectives of Islamic jurisprudence (Maqasid al-Shariah), this paper argues that music is not merely permissible but can function as a powerful and legitimate vehicle for spiritual realization, ethical cultivation, communal cohesion, and intellectual flourishing. The central hermeneutical shift proposed is one from the legalistic question, "Is music forbidden?" to the spiritual and ethical inquiry, "What is the function, purpose, and effect of music on the human soul and its relationship with the Divine?" Through an examination of Quranic aesthetics, a contextual re-reading of the Hadith, the application of the Maqasid framework, and an appreciation of the rich lived history of musical practice in the Muslim world, this paper concludes that music, when consciously engaged with, can be a profound echo of the soul's innate yearning for beauty, truth, and connection with its Creator. A Tradition of Prohibition and Performance The discourse surrounding music within the Islamic tradition is one of profound and persistent paradox. On one hand, Islamic civilizations have been fertile crucibles of extraordinary musical innovation, giving rise to a breath-taking diversity of forms. From the intricate melodic systems of the Arab maqam and the Persian Dastgah, which map the very contours of human emotion, to the soul-stirring devotional ecstasy of the Sufi Qawwali in South Asia and the rhythmic trance-inducing traditions of the Gnawa in North Africa, the soundscape of the Muslim world is a testament to a deep and abiding engagement with the power of organized sound. This historical and cultural reality, vibrant and undeniable, stands in stark tension with a powerful and enduring strain of religious thought, often dominant in legalistic and conservative circles, which posits that music is, at best, a frivolous distraction (Laghw) and, at worst, an act that is unequivocally forbidden (haram). This tension has created a state of cognitive dissonance for countless Muslims throughout history and into the present day. Believers are often caught between the austere pronouncements of jurists and the vibrant, life-affirming cultural practices that shape their identities and communities. The debate is not a modern phenomenon but one that has animated Islamic intellectual life for over a millennium, with scholars of the highest calibre arrayed on all sides of the issue. To navigate this complex terrain, one cannot simply cherry-pick evidence to support a preconceived notion. A deeper, more principled method of interpretation is required—a hermeneutic that can account for the full spectrum of textual evidence, historical reality, and the fundamental aims of the faith itself. I will employ a progressive hermeneutic to move beyond the binary impasse of prohibition versus permissibility. This interpretive approach is not an invention of modernity but an application of intellectual tools and ethical priorities deeply rooted within the Islamic tradition itself, re-envisioned to speak to contemporary realities. This hermeneutic is composed of three interconnected elements. Interpreting Islamic thought on music involves understanding sacred texts through a thoughtful analysis that goes beyond literal interpretations. Meaning emerges from the interplay between the text, its historical context, and the interpreter's perspective. It seeks to uncover the underlying principles, ethical rationales, and ultimate objectives (Maqasid) behind specific rulings or pronouncements. Second, it is progressive. This is understood in the spirit of scholars like Fazlur Rahman, who called for a revitalized engagement with the tradition, arguing that "Islamic thought needs to be reinterpreted and reapplied in the light of changing circumstances and new knowledge" (Rahman, p. 144). It champions the principle of ijtihad (independent reasoning) and insists on a critical, contextual approach to all sources, particularly the Hadith literature, recognizing that many narrations were products of specific socio-historical circumstances and may not represent timeless, universal laws. Third, it is rooted in Islamic humanism. This perspective, far from being a secular imposition, finds its justification within the Quran itself. Its cornerstone is the profound declaration of human dignity in Quran 17:70: "And We have certainly honoured the children of Adam." Islamic humanism centres this God-given dignity, along with the faculties of intellect (‘Aql), reason, and artistic creativity, as essential components of what it means to be human and to fulfil one's purpose as God's vicegerent on Earth (Khalifah). It gravitates towards the Quranic emphasis on mercy (Rahmah), justice (‘Adl), and beauty (Ihsan or Jamal) as the guiding values for human life and society. Reframing the Question By synthesizing these elements, a progressive Islamic humanistic hermeneutic reframes the central question concerning music. It moves away from the narrow, legalistic inquiry, "Is music permissible or forbidden?" which often leads to a dead end of competing proof-texts. Instead, it poses a more profound teleological and spiritual question: "What is the function, purpose, and effect of music on the human soul, on the community, and on one's relationship with the Divine?" Through this lens, music isn't inherently evil, but a powerful human faculty gifted by the divine. Like speech, it is a morally neutral medium whose value is determined by its content, context, intention, and consequence. When aligned with the core values and higher objectives of Islam, music is not merely permissible; it can be a vital and cherished instrument for spiritual awakening, ethical cultivation, the preservation of cultural memory, the building of community, and the expression of sublime beauty, which is itself a reflection of a divine attribute. This interpretation seeks to harmonize the revealed text with human experience, the legal with the spiritual, and the historical with the contemporary, offering a vision of Islam that is intellectually robust, spiritually fulfilling, and culturally vibrant. The Absence of Explicit Prohibition The foundational source of Islamic guidance is the Quran, and any hermeneutical inquiry must begin there. Perhaps the most striking and significant feature of the Quran in relation to music is its conspicuous silence on any direct, explicit, and unambiguous prohibition of music or musical instruments. The text, renowned for its detailed legislation on matters ranging from dietary laws (2:173), inheritance (4:11-12), and financial ethics (2:275) to penal codes (5:38), offers no corresponding verse that states "music is forbidden" or "musical instruments are unlawful." For a progressive humanistic hermeneutic, this silence is not an oversight but a profoundly meaningful theological statement. It represents a divine delimitation of the sacred law, leaving a vast space for human reason, cultural diversity, and personal discretion. To insert a prohibition where God has chosen to remain silent is to risk overstepping the bounds of revelation, as the Quran itself warns against forbidding that which God has not forbidden (16:116). The principle articulated in 5:87, "O you who have believed, do not prohibit the good things which God has made lawful for you," serves as a direct caution against such overzealous prohibition. From this perspective, the absence of a direct ban is the starting point for a presumption of permissibility, shifting the burden of proof onto those who claim it is forbidden. Lahw al-Hadith and Laghw Prohibitionist arguments have historically relied not on direct prohibition but on interpretive extrapolations from a few key verses. The most frequently cited is Quran 31:6: "And of the people is he who purchases Lahw Al-Hadith to mislead [people] from the path of God without knowledge and takes it in ridicule. Those will have a humiliating punishment." Several early companions and exegetes, including Ibn Mas‘ud, are reported to have interpreted Lahw Al-Hadith (variously translated as "idle talk," "distracting tales," or "amusing speech") as referring to singing and music. However, a responsible hermeneutic demands a close reading of the verse in its entirety and its narrative context. The verse does not condemn the medium of "talk" or "tales" itself. Instead, it condemns its specific intent and effect. The operative clauses are "to mislead [people] from the path of God" and "to take it in ridicule." The condemnation is therefore aimed at a specific ethical and spiritual failing: the deliberate use of entertainment to mock faith and divert humanity from its divine purpose. The critique is of the message, not the medium. To use this verse to issue a blanket ban on an entire art form, regardless of its content or purpose, is a category error. It is analogous to forbidding all forms of speech because some speech is slanderous, or banning all literature because some books promote falsehood. As Seyyed Hossein Nasr notes, "The Quran does not condemn music per se, but rather the misuse of music for vain and frivolous purposes" (Nasr, p. 272). A humanistic reading affirms this, judging music by its fruits: does it lead toward God or away from Him? Does it inspire virtue or vice? Similarly, verses that describe believers as those who "turn away from Al-Laghw" (idle, vain, or harmful speech/activity), such as 23:3 and 28:55, are often invoked. Again, the context is key. Laghw refers to that which is frivolous, meaningless, obscene, or time-wasting in a way that distracts from one's core responsibilities and spiritual growth. It does not refer to all forms of leisure, beauty, or art. A beautiful melody that soothes the soul, a poem that inspires contemplation, or a song that strengthens communal bonds cannot be facilely categorized as lAghw. Indeed, to do so would be to impoverish the human experience in a manner not intended by a scripture that celebrates beauty and mercy. Another cited passage is 53:59-61, which chides the disbelievers: "Then at this statement do you wonder? And you laugh and do not weep, while you are engaged in Samud (amusement/arrogant play)." The context is a powerful rebuke to those who meet the divine revelation with mockery, arrogance, and heedless entertainment. The condemnation is of their spiritual state of denial and ridicule, not of the specific forms their amusement might take. The Affirmation of Beauty and Harmony in the Quran While the Quran is silent on prohibition, it is vocal in its affirmation of principles that provide a strong theological foundation for aesthetic and musical expression. A humanistic hermeneutic seeks to build its understanding not on ambiguous condemnations but on these clear and positive affirmations. First is the principle of beauty, both divine and human. A well-known saying, often cited in Sufi circles and having the status of a hadith, states, "God is Beautiful (Jamil) and He loves beauty." This ethos is reflected in the Quran. God is described by His "most beautiful names" (Al-Asma Al-Husna) (7:180). Creation is described as being made in beauty and for adornment (Zinah) (16:8), and perfected with excellence (32:7). The human being itself is created in the "best of stature" (Ahsan Taqwim) (95:4). This Quranic appreciation for beauty suggests that the human impulse to create beauty—in calligraphy, architecture, poetry, or music—is a reflection of a divine attribute, an act of participating in God's own creative and aesthetic nature. Second is the concept of a cosmic symphony. The Quran presents a universe that is not silent or inert but is perpetually engaged in a chorus of divine praise. "The seven heavens and the earth and whatever is within them exalt Him. And there is not a thing except that it exalts [God] by His praise, but you do not understand their [way of] exalting" (17:44). Everything, from the thunder (13:13) to the mountains and birds (21:79), is engaged in this cosmic tasbih (glorification). This vision of a resonant, harmonious creation provides a powerful metaphor for music. If all of creation has its own mode of praise, then human music, when directed towards the good, can be seen as our unique contribution to this universal orchestra. This idea finds its most direct human expression in the figure of the Prophet David (Dawud). The Quran recounts that God granted him a beautiful voice and a special gift: "Indeed, We subjected the mountains [to praise] with him, exalting [Us] in the evening and at sunrise. And the birds were assembled, all with him repeating [praises]" (38:18-19). Here, a prophet of God is the central figure in a miraculous, nature-encompassing musical event. This is not a cautionary tale but a clear divine affirmation of the power and spiritual legitimacy of sacred song. Finally, the Quran’s own form is a testament to the power of sound. The science of Tajwid (eulogious recitation) is, in essence, a system of melodic and rhythmic rules designed to bring out the aesthetic and spiritual power of the text. The command to recite the Quran with measured, rhythmic recitation (tartil) (73:4) is an injunction to treat the scripture as a form of sacred sound art. The profound emotional and spiritual effect of a beautiful Quranic recitation on the believer, as described in 39:23, where "the skins of those who fear their Lord shiver," is a testament to the fact that, in Islam, the path to the heart and soul is often auditory. This inherent musicality of Islam's central ritual act provides a powerful internal argument for the spiritual potential of organized sound. The Hadith Corpus: A Critical and Contextual Analysis While the Quran lacks explicit prohibition, the Prophetic Hadith—the second source of Islamic guidance—presents a far more complex and seemingly contradictory picture. It is here that the prohibitionist argument finds its most potent evidence. To engage in an honest hermeneutic, one must acknowledge these narrations directly. The most famous and frequently cited is a hadith from Sahih al-Bukhari in which the Prophet Muhammad is reported to have said: "There will be people from my Ummah who will seek to make lawful fornication, silk, wine, and Maqazif (musical instruments)" (Hadith number 5590). By placing musical instruments in a list with major, unequivocally forbidden items, this hadith appears to be a clear-cut condemnation. Other narrations speak of the Prophet putting his fingers in his ears upon hearing a shepherd's flute or predicting that some people will be transformed into apes and pigs for engaging in music and drinking wine. A purely literalist or decontextualized reading of these reports would indeed lead to a strong conclusion of prohibition. However, a progressive Islamic humanistic hermeneutic requires a more critical methodology, one that examines not just the text of a hadith but also its transmission, its socio-historical context, and its relationship to the broader corpus of Prophetic teachings. A crucial step in interpreting the Hadith is to understand the context in which these statements were made. Early Islamic society in the Arabian Peninsula was emerging from a pre-Islamic culture (Jahiliyyah) where music was often inextricably linked with practices that Islam sought to eradicate. As noted by many scholars, music was a staple of taverns, licentious gatherings, and pagan rituals. The condemnation, therefore, was often not of the melody or the instrument in the abstract, but of the entire cultural "package" of vice and heedlessness with which it was associated. The Prophet’s primary concern was the ethical and spiritual purification (Tazkiyah) of the new Muslim community, weaning it off activities that promoted intoxication, idolatry, sexual impropriety, and social decay. From a humanistic perspective, the prohibition was functional and ethical, aimed at the corrupting environment rather than the ontological reality of sound. As Jonathan Brown, a prominent scholar of Hadith, points out, "The Hadiths on music are complex and multifaceted, and require a nuanced and contextualized understanding" (Brown, p. 216). To extract the condemnation of the instrument from its problematic context and apply it as a universal, timeless ban on all music in all contexts is a hermeneutical leap that ignores the specific problem the Prophet was addressing. Furthermore, a critical approach to Hadith involves examining the chains of transmission (Isnad). While the hadith in Bukhari is from a highly respected collection, other narrations concerning music are often classified by Hadith specialists as weak (Da'if) or having problematic chains. This scholarly scrutiny, which is part of the classical Islamic tradition itself, cautions against building a major point of law on a foundation that may not be entirely secure, especially when it appears to contradict other evidence. The prohibitionist case becomes even less tenable when the Hadith corpus is considered in its totality. A significant number of equally, if not more, reliable narrations show the Prophet not only permitting but also appreciating and participating in musical and celebratory activities in appropriate contexts. These permissive precedents are essential for a balanced and holistic understanding of the Prophetic model. The most famous example is the incident reported in Sahih al-Bukhari and Sahih Muslim, which occurred on the day of Eid. Two young girls were singing in the house of the Prophet, accompanying themselves by beating a drum (duff). When Abu Bakr, a senior companion known for his sobriety, entered and tried to scold them, calling their song "the instrument of Satan," the Prophet intervened. He told Abu Bakr to leave them be, explaining, "for every people has a feast, and this is our feast." (Bukhari 952) This hadith is remarkably rich in its implications. The Prophet not only permits the performance but actively defends it against a senior companion's censure, frames it as a legitimate part of an Islamic festival, and shows a deep understanding of the human need for joy and celebration. Another well-attested context for permissible music was weddings. The Prophet actively encouraged the use of the duff and singing to announce a wedding, to distinguish it from a secret affair, and to express joy. This demonstrates a clear endorsement of music as a tool for strengthening social bonds and marking important life-cycle events. Furthermore, there are reports of the companions chanting poetry and work songs (Huda') to motivate themselves while digging the trench before the Battle of the Ditch, with the Prophet joining in. The famous welcoming song sung by the people of Medina upon the Prophet’s arrival, Tala' al-Badru 'Alayna, is another powerful example of a communal musical expression that was embraced without any hint of condemnation. How does one reconcile these two seemingly contradictory sets of hadith? A humanistic hermeneutic resolves the tension not by mechanically privileging one set of reports over another, but by discerning the underlying principle that governs them all. When synthesized, the Prophetic model is clearly not one of a blanket ban. Instead, it is a sophisticated, context-sensitive approach that judges’ music based on its function, content, and consequence. The underlying principle is the promotion of virtue (Ma’ruf) and the prevention of vice (Munkar). Music that is associated with licentiousness, intoxication, idolatry, and heedlessness from God is condemned. Music that expresses innocent joy, strengthens communal and family bonds, celebrates faith, and motivates people towards good work is affirmed and encouraged. The judgment is not on the instrument but on the use. The duff is permissible at a wedding but would be impermissible in a tavern. The focus is on the ethical and spiritual ecosystem in which the music exists. This principle-based approach liberates the believer from a confusing web of contradictory reports and empowers them with a clear ethical compass to navigate the world of sound. The Maqasid al-Shariah and the Flourishing of the Human Spirit To elevate the discourse beyond the stalemate of proof-texting, a progressive humanistic hermeneutic employs one of the most sophisticated intellectual tools of Islamic jurisprudence: the theory of Maqasid al-shariah (the higher objectives of the law). Pioneered by classical scholars like Imam al-Haramayn al-Juwayni and systematized by Abu Ishaq al-Shatibi, this framework posits that all of Islamic law, in its entirety, aims to achieve certain overarching goals. These are universally understood to be the preservation and promotion of five essential values: faith (din), life (nafs), intellect (‘aql), lineage/family (Nasl), and property/wealth (mal). The Maqasid approach shifts the focus of juristic inquiry from the literal meaning of individual texts to the ultimate purpose and wisdom behind the law. Instead of asking "Is this act explicitly permitted or forbidden?", a Maqasid-based analysis asks, "Does this act serve or undermine the fundamental objectives of the Shariah?" Applying this powerful framework to the question of music provides a clear and compelling pathway toward an affirmative and spiritually grounded understanding. At first glance, the idea that music could serve the objective of preserving faith might seem counterintuitive, especially given the traditional association of music with distraction. However, the rich history of Islamic spirituality, particularly within Sufism, provides a powerful testament to the contrary. For centuries, Sufi masters have recognized and harnessed the power of music as a central spiritual technology for cultivating faith and drawing the soul closer to the Divine. This practice, known as Sama’ (spiritual audition), is rooted in the understanding that music can bypass the rational mind and speak directly to the heart (Qalb), the seat of faith in the Islamic tradition. As the great theologian Abu Hamid al-Ghazali (1058-1111) argued in his seminal work, Ihya' 'Ulum al-Din, music can awaken the soul's latent love for God, induce a state of spiritual ecstasy (Wajd), and soften a heart that has become hardened by worldly concerns. This aligns with the Quranic description of the effect of divine revelation, which causes the hearts of believers to soften in remembrance of God (39:23). Music, when its content and intent are sacred, can produce an analogous effect. The devotional music of Qawwali in South Asia, masterfully described by scholar Regula Qureshi, is a perfect example. Through its powerful poetry praising God and the Prophet, its soaring melodies, and its compelling rhythms, Qawwali is designed to transport both performers and listeners into a heightened state of spiritual awareness, making the abstract concepts of divine love and mercy a palpable, lived experience (Qureshi, p. 23). Likewise, the vast genre of Nasheed (devotional songs) across the Muslim world serves to instil religious values, narrate prophetic stories, and foster a deep emotional connection to the core tenets of the faith, thus directly serving the Maqsad of preserving and promoting din. As Annemarie Schimmel notes, music in the Sufi context aims to "awaken the spiritual heart and promote spiritual growth" (Schimmel, p. 178). The preservation of intellect (‘Aql) and the self/soul (Nafs) are central Islamic objectives. A humanistic perspective recognizes that a healthy soul is not just one that performs rituals correctly, but one that is emotionally balanced, intellectually stimulated, and psychologically sound. Music serves this objective in multiple ways. The philosophical tradition within Islam, exemplified by the 10th-century Brethren of Purity (Ikhwan al-Safa), viewed music as a form of "spiritual mathematics." They believed that the harmonies of music reflected the mathematical harmony of the cosmos, and that listening to well-composed music could bring the soul of the listener into harmony with this universal order, thereby refining character and elevating the intellect. This philosophical insight found a practical application in the Islamic medical tradition. The great physician-philosopher Ibn Sina (Avicenna) wrote about the therapeutic effects of music on psychological and physiological ailments. This tradition was later systematized in Ottoman hospitals (Dar uş Shifa), where specific musical modes (Maqamat) were prescribed to treat different conditions, from melancholy to mania. This historical practice is a powerful precursor to modern music therapy. By recognizing music's capacity to soothe anxiety, alleviate depression, and promote mental well-being, this tradition demonstrates a profound understanding of how music can serve the Maqsad of preserving the health of the Nafs. This aligns perfectly with the Quranic emphasis on the pursuit of healing (Shifa’) (17:82) and the attainment of a soul at peace (Nafs Al-Mutma’innah) (89:27). The objectives of preserving lineage (Nasl) and community are also well-served by music. Music is a powerful agent of social cohesion. As seen in the Prophetic precedents for weddings and festivals, music strengthens the bonds of family and community, turning shared moments into cherished collective memories. Furthermore, in a world of diverse cultures, music is a primary vehicle for the preservation and transmission of cultural heritage. Each musical tradition, from the Andalusian Muwashshah to the Indonesian gamelan, carries the unique history, language, and emotional landscape of a people. A humanistic interpretation sees this diversity not as a threat but as a manifestation of the Quranic principle that God created humanity in diverse nations and tribes "that you may know one another" (49:13). To suppress these traditions would be to erase a part of the rich, variegated tapestry of the human family that the Quran celebrates. Finally, music can be a potent tool for promoting social justice, a cornerstone of the Islamic ethical system. Protest songs, anthems of liberation, and music that gives voice to the oppressed and marginalized are powerful ways of "enjoining good and forbidding evil" (3:104) and "standing firm for justice" (4:135). By raising awareness, fostering solidarity, and inspiring action against tyranny and inequality, such music directly serves the highest objectives of the Shariah. Historical Manifestations and Contemporary Realities A hermeneutic that ignores the lived reality of Muslim communities throughout history is an impoverished one. The historical record demonstrates unequivocally that despite the persistent legalistic debate, Islamic civilizations have been anything but silent. The "lived Islam" of the people, the courts, and even many religious lodges were one in which music not only existed but flourished, integrated deeply into the fabric of social, cultural, and spiritual life. This historical evidence serves as a massive, centuries-long commentary on the texts, suggesting a broad civilizational consensus that the most rigid prohibitions were either context-specific or simply unworkable in practice. In Al-Andalus, the confluence of Arab, Berber, and Visigothic cultures created a golden age of music, producing sophisticated instrumental traditions and poetic forms like the Muwashshah and Zajal that would influence European music for centuries. In the courts of the Abbasid Caliphate in Baghdad, music was a highly respected science and art, with treatises being written by luminaries like Al-Farabi and Al-Kindi, who drew on Greek theory to develop a uniquely Islamic philosophy of music. The Ottoman Empire developed its own highly refined court music, alongside the powerful sound of the Mehter military bands, whose music struck fear into the hearts of their enemies. In Safavid Persia, classical music, intricately tied to the mystical poetry of Hafez and Rumi, became a sublime art form for expressing the soul's deepest longings. In the Mughal courts of India, a unique syncretism of Persian and Indian traditions produced new genres and legendary musicians. This vast and varied historical landscape cannot be dismissed as a continuous series of sinful aberrations. Rather, it must be seen as a testament to the resilient humanistic and aesthetic spirit within Islam, which constantly sought to create beauty and express the full range of human experience through sound. In the contemporary era, the role and forms of music in Muslim societies continue to evolve, presenting both new challenges and new opportunities. A progressive humanistic hermeneutic provides the necessary framework to navigate this modern soundscape with ethical and spiritual integrity. The rise of global communication has led to the emergence of a new generation of "Islamic" artists who consciously blend modern musical genres with spiritually and ethically grounded lyrics. Artists like Sami Yusuf, Maher Zain, and others have garnered millions of followers worldwide by producing music that is both stylistically contemporary and thematically rooted in Islamic values of peace, gratitude, and devotion. This music serves a vital function, particularly for young Muslims who often feel alienated by more rigid and culturally disconnected forms of religious expression. It provides a "halal alternative" that allows them to integrate their faith with their contemporary cultural identity. Moreover, music continues to serve its traditional functions in new ways. The use of music and sound in Da’wah (inviting to Islam) has proven effective, as evidenced by case studies such as the reported increase in youth mosque attendance in Malaysia following the popularity of culturally blended Nasheed artists. The therapeutic applications of music, rooted in the legacy of Ibn Sina, are being rediscovered, with hospitals in countries like Algeria reporting positive results using traditional Andalusian music in trauma recovery. Music also remains a crucial tool for interfaith dialogue and understanding. Sufi qawwali performances continue to attract multi-faith audiences, building bridges of shared spiritual experience between Muslims, Christians, Hindus, and Sikhs. Collaborative musical projects between artists of different faiths embody the spirit of 49:13, using the universal language of music to foster the mutual recognition and respect that the Quran enjoins. The challenge in this modern context is the overwhelming commercialization of the music industry, which often promotes the very values of materialism, hedonism, and egoism that Islam critiques. An Islamic humanistic ethic does not call for a retreat from this reality but for mindful engagement. It calls on Muslim artists to create with intention (niyyah), producing content that uplifts rather than degrades. It calls on listeners to be conscious consumers, choosing music that nourishes the soul rather than pollutes it. The ethical framework derived from the Quran and the Maqasid provides the perfect toolkit for this discernment. The Soul's Echo The journey through the complex terrain of Islam and music, guided by a progressive humanistic hermeneutic, reveals a coherent and compelling vision. It begins with the Quran, which is not silent out of negligence but speaks volumes through its absence of prohibition, its celebration of cosmic harmony, its affirmation of beauty, and its own inherent musicality. It proceeds to the Hadith, where a critical and contextual reading dissolves apparent contradictions, revealing a consistent underlying principle that judges music not by its form but by its function and its ethical context. This principle-based approach is then elevated and systematized by the application of the Maqasid al-shariah, which demonstrates how music, when properly oriented, can actively serve the highest objectives of the faith: the nourishment of the soul, the cultivation of the intellect, the strengthening of faith, and the building of just and compassionate communities. This theoretical framework is finally validated by the fourteen centuries of lived history, where Islamic civilizations, despite legal debates, have consistently produced and cherished a rich diversity of musical arts. The ultimate achievement of this hermeneutic is a paradigm shift in the very nature of the inquiry. It successfully moves the conversation from the confining and often unproductive realm of legalism to the expansive and enriching realm of spirituality and ethics. The question ceases to be the binary, "Is music halal or haram?"—a question that forces a complex human reality into an inadequate legal box. Instead, the question becomes, "How can music serve the human spirit? How can it be a means of drawing closer to God? How can it contribute to a more beautiful, just, and compassionate world?" This shift empowers the individual believer. It replaces a relationship of fear and prohibition with one of conscious responsibility and mindful engagement. The onus is no longer on a religious authority to issue a blanket ruling, but on the individual—the artist and the listener—to cultivate an inner compass (Furqan) to discern the beneficial from the harmful, the sublime from the profane. This interpretation is not a license for uncritical indulgence. On the contrary, it places a greater ethical burden on the Muslim. It calls for a profound intentionality (Niyyah) in our engagement with music. For the artist, it is a call to see their craft as a trust (Amanah), a tool that can be used to build or to destroy, to heal or to harm. It is a challenge to create art that is not only aesthetically pleasing but also spiritually and ethically resonant. For the listener, it is a call to be an active and conscious participant, not a passive consumer. It is a challenge to choose sounds that ennoble the character, expand the intellect, and open the heart to the remembrance of the Divine, while turning away from that which hardens it and leads to heedlessness. In the final analysis, a progressive Islamic humanistic understanding of music recognizes it as a powerful, divinely-gifted tool inherent to the human condition. It is a language that transcends words, capable of expressing the deepest yearnings of the soul. In its highest form, music is not a distraction from God, but a path to God. It is the soul's echo—an expression of its innate longing for the harmony, beauty, and truth of its divine origin. When the human being, created in the "best of stature," uses their God-given creativity to produce sounds that reflect the cosmic praise of creation, they are not committing a sin. They are participating in a sacred act, an act of worship that beautifies the world and turns the heart towards the ultimate source of all beauty and all harmony, The Creator Himself. Bibliography Brown, J. A. C. Hadith: Muhammad’s Legacy in the Medieval and Modern World. Oxford, Oneworld Publications, 2009. Nasr, Seyyed Hossein. The Heart of Islam: Enduring Values for Humanity. San Francisco, HarperSanFrancisco, 2002. Qureshi, Regula Burckhardt. Sufi Music of India and Pakistan: Sound, Context and Meaning in Qawwali. Chicago, University of Chicago Press, 1986. Rahman, Fazlur. Islam and Modernity: Transformation of an Intellectual Tradition. Chicago, University of Chicago Press, 1982. Schimmel, Annemarie. Mystical Dimensions of Islam. Chapel Hill, University of North Carolina Press, 1975. ------ V.A. Mohamad Ashrof is an independent Indian scholar specializing in Islamic humanism. With a deep commitment to advancing Quranic hermeneutics that prioritize human well-being, peace, and progress, his work aims to foster a just society, encourage critical thinking, and promote inclusive discourse and peaceful coexistence. He is dedicated to creating pathways for meaningful social change and intellectual growth through his scholarship. URL: https://www.newageislam.com/islamic-culture/soul-echo-islamic-humanistic-hermeneutic-music/d/135908 New Age Islam, Islam Online, Islamic Website, African Muslim News, Arab World News, South Asia News, Indian Muslim News, World Muslim News, Women in Islam, Islamic Feminism, Arab Women, Women In Arab, Islamophobia in America, Muslim Women in West, Islam Women and Feminism