The question of whether music is haram (forbidden) in Islam has been a subject of scholarly debate for centuries, with varying interpretations among jurists. However, a significant body of Islamic scholarship, rooted in the Quran, Sunnah, and the consensus of early scholars, maintains that music—particularly involving musical instruments and certain forms of singing—is indeed haram. This view is not arbitrary but stems from concerns that music can distract from the remembrance of Allah, foster hypocrisy in the heart, provoke sinful desires, and lead to moral corruption. Prominent scholars such as Shaykh al-Islam Ibn Taymiyyah, Ibn al-Qayyim, Al-Qurtubi, and the founders of the four major Sunni madhabs (schools of jurisprudence)—Abu Hanifa, Malik ibn Anas, Muhammad ibn Idris al-Shafi’i, and Ahmad ibn Hanbal—have articulated detailed reasons for this prohibition. This essay explores these scholarly views in depth, drawing on primary sources and interpretations to explain why music is considered haram, while acknowledging limited exceptions like the use of the daff (a simple tambourine) in specific celebratory contexts for women.
The prohibition is not absolute in all forms; for instance, nasheeds (Islamic chants without instruments) or singing that praises Allah without lewd content may be permissible according to some, but the mainstream scholarly consensus leans toward caution. The rationale often ties back to music’s potential to emulate the “voice of Shaytan” or serve as “idle talk” that misleads from the path of righteousness. To understand this, we must examine the textual evidence from the Quran and Hadith, followed by the interpretations of key scholars. This analysis will demonstrate how these views form a cohesive argument against music, emphasizing spiritual purity and adherence to divine commands.
Quranic Evidence Against Music
The Quran does not explicitly mention “music” by name, but scholars interpret several verses as indirect prohibitions, associating music with frivolity, distraction, and satanic influence. One of the most cited verses is from Surah Luqman (31:6): “And of mankind is he who purchases idle talks (lahw al-hadith) to mislead (men) from the path of Allah without knowledge, and takes it by way of mockery. For such there will be a humiliating torment.” Companion of the Prophet Muhammad (peace be upon him), Ibn Abbas, interpreted “lahw al-hadith” as singing and similar amusements. Similarly, Ibn Mas’ud swore three times that it referred to singing, while Mujahid specified it as playing the drum (tabl). Al-Hasan al-Basri extended this to include all forms of falsehood, including musical instruments and singing that encourage disbelief or immorality.
Scholars like Al-Qurtubi, in his tafsir (exegesis), argue that this verse condemns anything that diverts the soul from the Quran and remembrance of Allah, with singing being the prime example because it “clouds the mind” and “breaks concentration.” Ibn al-Qayyim, in his work Ighathat al-Lahfan, elaborates that singing is worse than mere stories or tales because it incites passion, leads to zina (adultery), and grows hypocrisy in the heart like water nourishes a plant. He notes that the Sahabah (companions) unanimously viewed this verse as prohibiting music, with sahih (authentic) chains of narration supporting their interpretations.
Another key verse is Surah al-Isra (17:64), where Allah addresses Iblis (Satan): “And befool them gradually those whom you can among them with your voice (sawtik)…” Mujahid and Ibn Abbas interpreted “voice” as singing and falsehood, including the playing of flutes and other instruments. Al-Qurtubi reinforces this by stating that the “voice of Shaytan” encompasses all calls to disobedience, with music being a primary tool because it seduces the listener away from piety. Ibn Taymiyyah, in Majmu’ al-Fatawa, describes musical instruments as “the wine of the soul,” intoxicating the mind and preventing reflection on divine truths, directly linking it to this satanic deception.
Surah al-Najm (53:59-61) further criticizes those who “waste your (precious) lifetime in pastime and amusements (samidun),” which Ibn Abbas explained as singing in the dialect of Himyar, meaning to engage in frivolous entertainment. Al-Tabari, in his tafsir, compiles reports from Sufyan al-Thawri and others confirming this as a rebuke against those who prioritize amusement over the Quran’s recitation. These verses collectively form the Quranic foundation for the prohibition, as interpreted by scholars, emphasizing music’s role in spiritual neglect and moral decay.
Hadith and Sunnah on the Prohibition
The Sunnah provides more explicit evidence, with numerous hadiths condemning music and instruments. A prominent one is narrated by al-Bukhari (ta’liqan, no. 5590) and connected by al-Tabarani: “Among my ummah there will be people who will regard as permissible adultery, silk, alcohol, and musical instruments (ma’azif).” Ibn al-Qayyim notes that listing musical instruments alongside undisputed haram acts like zina and alcohol implies their shared prohibition. Al-Albani classified this hadith as sahih, and Ibn Taymiyyah used it to argue that ma’azif—encompassing all struck or played instruments—are forbidden, as the Prophet foretold their false permissibility as a sign of corruption.
Another hadith from Abu Dawud (sahih) describes the Prophet and Ibn Umar hearing a woodwind instrument; both plugged their ears and turned away. Ibn Qudamah, in al-Mughni, explains this as prohibiting intentional listening, though accidental hearing is not sinful, as “actions are by intentions.” A hadith from Abu Umamah states: “Do not sell singing slave women, do not buy them, and do not teach them. There is nothing good in this trade, and their price is haram,” directly tying it to Surah Luqman. Ibn Baz refutes claims of weakness in these hadiths, asserting multiple sahih chains support the ban.
Scholars like al-Shawkani in Nayl al-Awtar clarify that the prohibition is not limited to music in alcohol-laden gatherings but applies generally, as it distracts from obedience. Ibn Hajar al-Haytami, citing a hadith from Anas bin Malik, calls two sounds “cursed”: the mizmar (flute) in joy and wailing in calamity, underscoring music’s association with excess emotion over taqwa (God-consciousness).
Views of the Sahabah and Tabi’in
The companions and their successors provide early consensus. Abu Bakr called musical instruments “the pipes of Shaytan” when hearing girls sing, and the Prophet approved. Ibn Mas’ud and Ibn Abbas explicitly linked Quranic verses to music’s prohibition. Al-Hasan al-Basri said, “If there is music involved in a dinner invitation, do not accept it.” Among the Tabi’in (successors), Mujahid and Dahhak reinforced interpretations of satanic voices as instruments. Al-Qasim ibn Muhammad viewed singing as falsehood, and Shurayh al-Qadi refused compensation for a broken mandolin, deeming it haram property.
These early views set the tone for later jurisprudence, emphasizing music’s frivolity (lahw) and its conflict with Islamic devotion.
Scholarly Views from the Four Madhabs
The four Sunni madhabs unanimously prohibit musical instruments, though nuances exist on singing.
- Hanafi Madhab: Abu Hanifa and his students, like Abu Yusuf, deemed all instruments haram, even tapping sticks or listening passively. Listening makes one a fasiq (sinner), invalidating their testimony. Sarakhsi and Qasani extend this to all entertainment music, allowing only poetry recitation without melody. Ibn Abidin notes exceptions for war chants but stresses strictness to prevent sin.
- Maliki Madhab: Imam Malik disapproved of singing, even in Quran recitation if melodic, and forbade instruments like tambourines except in limited wedding contexts for women. Sahnun reports Malik’s view that music is for the foolish, and Ibn al-Qasim said he would not approve it. The madhab views persistent listeners as untrustworthy.
- Shafi’i Madhab: Al-Shafi’i called music a “detestable amusement,” akin to falsehood. His companions, like al-Baghawi, prohibited all instruments in Sharh al-Sunnah, rejecting invitations with music. Kifayat al-Akhyar denounces it as munkar (reprehensible), to be forbidden.
- Hanbali Madhab: Ahmad ibn Hanbal prohibited strings, flutes, lutes, drums, and rababs, requiring the sale of singing slaves as non-singers. Ibn Qudamah in al-Mughni invalidates the testimony of habitual listeners, viewing music as fostering hypocrisy.
Ibn Taymiyyah summarizes: “The view of the four Imams is that all musical instruments are haram,” citing no reliable reports of permission from them.
Later Scholars’ Elaborations
Ibn Taymiyyah, a Hanbali polymath, provides some of the most comprehensive arguments. In Majmu’ al-Fatawa (11/576), he states instruments are unlawful per consensus, as they are “instruments of frivolity” that distract from the Quran. He compares music to alcohol, noting it “intoxicates the soul” and leads to zina, hypocrisy, and neglect of prayer. No payment for singing is allowed, and instruments should be destroyed if haram.
Ibn al-Qayyim, his student, in Ighathat al-Lahfan, argues music blocks the Quran from the heart, provokes desires, and is the “Quran of Shaytan.” He cites Abu Hanifa as the strictest, with all madhabs agreeing on instruments’ haram status.
Al-Ghazali, often cited for nuance, in Ihya Ulum al-Din, allows some Sufi sama (auditory ecstasy) without instruments if it aids devotion, but condemns secular music as haram due to association with sin. However, critics like Ibn Taymiyyah argue even this is bid’ah (innovation).
Al-Qurtubi deems singing makruh (detestable, implying haram), invalidating singers’ testimony. Ibn Baz and Al-Albani affirm modern fatwas, refuting weak hadiths permitting music.
Historical context from mid-10th century attacks on music, as noted by scholars, responded to illicit behaviors like drinking tied to music gatherings.
Reasons Behind the Prohibition
Scholars outline practical reasons: music distracts from dhikr (remembrance), fosters hypocrisy (nifaq), incites lust, and imitates non-believers. It clouds judgment, wastes time, and can lead to addiction, worse than alcohol per Ibn Taymiyyah. In jurisprudence, it’s haram to prevent greater evils, aligning with “blocking the means” (sadd al-dhara’i).
Exceptions include the daff for women at Eid or weddings, without bells, as per sahih hadiths, but not for habitual listening.
The scholarly consensus on music being haram in Islam is robust, grounded in Quranic interpretations, authentic hadiths, and the unified stance of the four madhabs and luminaries like Ibn Taymiyyah. While debates exist, the prohibitive view prioritizes spiritual safeguarding. Muslims are encouraged to seek alternatives like Quran recitation for soul elevation.
