(1) The following Hadith is presented in favour of permissibility of music:

“Aishah (radhiyallahu anha) narrates: Rasulullah (sallallahu alayhi wasallam) came to me while two girls were singing the song of the battle of Buaath. He laid down on the bed, and turned his face away. Abu Bakr (radhiyallahu anhu) entered. Rebuking me, he said: ‘The song of shaitaan by the Nabi (sallallahu alayhi wasallam)!’ Rasulullah (sallallahu alayhi asallam) turning towards Abu Bakr, said: ‘Leave them’. When Abu Bakr had entered, I made a sign to the two girls, and they left. It was the day of Eid.” In another similar narration, Rasulullah (sallallahu alayhi wasallam) had commented: “O Abu Bakr! Verily, every nation has an Eid. This (today) is our Eid.”
A study of this Hadith brings to light the following facts:
(1) The two girls were minors. The term jaariyataan which Hadhrat Aishah (radhiyallahu anha) uses to describe the girls confirms that the girls were minors (na-baaligh).
(2) The girls were singing a war song.
(3) Hadhrat Abu Bakr (radhiyallahu anhu) had sternly rebuked Hadhrat Aishah (radhiyallahu anha) for allowing the two minor girls to sing even the war song.
(4) The singing was without any musical instruments.
(5) Rasulullah (sallallahu alayhi wasallam) stated an exception, viz., the Day of Eid.
(6) Hadhrat Aishah (radhiyallahu anha) terminated the singing of the girls on the reprimand of her father, hence she indicated to the girls to depart.
(7) Rasulullah (sallallahu alayhi wasallam) made no attempt to encourage her to continue listening to the singing of the two little girls.
(8) The departure of the two girls was most significant.
(9) Inspite of Rasulullah (sallallahu alayhi wasallam) having said: ‘Leave them.’, they had stopped their singing after hearing Hadhrat Abu Bakr’s rebuke. No one had made an attempt for the continuation of the singing.

From the aforementioned facts it will be clear to an intelligent Muslim concerned with the truth that singing in general, even without the accompaniment of instruments, was deprecated and not considered lawful. It was precisely for this reason that Hadhrat Abu Bakr (radhiyallahu anhu) had expressed surprise and reprimanded his daughter, Hadhrat Aishah (radhiyallahu anha). Inspite of the two girls being minor and the singing being an impromptu act inside the home where there was no audience, Hadhrat Abu Bakr
(radhiyallahu anhu) described it as ‘the song / music of shaitaan’ notwithstanding that it was a war song.

It goes without saying that music, musical instruments and singing were time-immemorial practices which existed among the Arabs in the times of Jaahiliyyah (the pre-Islam times of ignorance). What then had impelled Hadhrat Abu Bakr (radhiyallahu anhu) to brand the singing of the two little girls as being the song/music of shaitaan? Why did he express such surprise when he heard the singing in the house of the Nabi (sallallahu alayhi wasallam)? Why did he rebuke Hadhrat Aishah (radhiyallahu anha) if music and singing was permissible? After all, they were singing an ‘innocent’ war song in the privacy of home where there was no danger of fitnah.

It is conspicuously clear that Hadhrat Abu Bakr (radhiyallahu anhu) must have been aware of the prohibition, hence his surprise and rebuke. If there had not existed prohibition, his surprise and rebuke would have been uncalled for, meaningless and futile. Since he was quite aware of the prohibition, he expressed surprise, and reprimanded Hadhrat Aishah (radhiyallahu anha), who in turn put a stop to the singing of the little girls, and ordered them to leave inspite of the fact that Rasulullah (sallallahu alayhi wasallam) had not objected. In view of her father’s reprimand and reminding her that such singing was in reality the voice of shaitaan, Hadhrat Aishah (radhiyallahu anha) deemed it prudent to terminate the singing and order the girls to leave. Her attention was drawn to the original law of prohibition which overshadowed the permission obtained as a concession for the Day of Eid.

Furthermore, Rasulullah (sallallahu alayhi wasallam), with his silence, approved of the action of Hadhrat Aishah (radhiyallahu anha), i.e. stopping the singing and indicating to the girls to leave. He did not encourage Hadhrat Aishah (radhiyallahu anha) to continue listening to the singing nor did he express any surprise or make any comment when she quietly indicated to the girls to leave. He did not criticize the termination of the singing. Rasulullah’s explicit reference to the Day of Eid implies that an exception has been made to the general rule of prohibition. If the statement is not taken as an exception, it would be meaningless to say: “It is our Eid today.”

The aforementioned factors testify amply for the prohibition of even singing without the accompaniment of musical instruments. The conclusion stemming from this Hadith is manifest: An exception to the general rule was made on the Day of Eid for the impromptu singing of a war song by two little girls inside the home. This Hadith is a conspicuous affirmation for the general prohibition of music and even singing, even if the songs are not of an evil or immoral nature.

Precisely for this reason have the Fuqaha of all Math-habs explicitly decreed that singing even without instruments is prohibited. Far from being a proof for the legalizers of haraam music, this Hadith vindicates the general rule of prohibition. Commenting on this Hadith, Imaam Nawawi (rahmatullah alayh), states in his Sharh Muslim:“Qaadhi said: The singing of the two girls was only a composition of war poetry of vying, bravery and victory.”

It was an impromptu singing of a good song by two little girls without musical instruments. Inspite of this, Rasulullah (sallallahu alayhi wasallam) had turned his back to them, covering himself with a sheet. According to the authorities of the Shariah, this attitude indicated his non-participation. He did not sit as an audience. His silence together with a display of dissociation implies disinclination towards even songs for which he had granted permission on happy occasions such as the Day of Eid and marriages.

Inspite of the concession made for the Day of Eid, Rasulullah (sallallahu alayhi wasallam) never once permitted singing to take place at any of his marriages or the marriages of his daughters although such singing was permitted for the marriages of others. The other lesson to be derived from this peculiar attitude of Nabi-e-Kareem (sallallahu alayhi wasallam) is that this type of impromptu singing by children in the privacy of the home on the Day of Eid or on a marriage occasion should be condoned and not prohibited with vehemence. Hadhrat Abu Bakr’s initial reaction, reprimand and branding the singing as the music of shaitaan were constrained by his awareness of the general rule of prohibition of singing. Rasulullah cautioned him, hence he maintained silence when he was made aware of the permissibility of this kind of singing on the Day of Eid by little girls.

Prior to this incident, Hadhrat Abu Bakr and the Sahaabah were aware that singing and music in general were unlawful satanic acts, hence his reaction.
Rasulullah’s response to Hadhrat Abu Bakr’s rebuke is very significant. He did not counter the comments of Hadhrat Abu Bakr (radhiyallahu anhu). Rasulullah (sallallahu alayhi wasallam) did not refute the contention of singing being the music of shaitaan nor did he proclaim it to be permissible. He merely said that “today is Eid”. In other words, he implied a bit of leniency and latitude in view of the happiness of the occasion.

In this Hadith narrated in Bukhaari Shareef, Hadhrat Aishah (radhiyallahu anha) clarified: “These girls are not professional singers.” In this statement she unambiguously declares her abhorrence for music and singing as practised professionally in all ages. Her statement is noteworthy. Why did she have to clarify the position of the girls when her father strongly objected to their singing? The purport of her clarification was to emphasise the impromptu nature of the singing of the two little girls.

Another factor of importance is that this particular incident transpired during Hadhrat Aishah’s childhood days. During her adulthood, all her statements pertaining to music and singing are only of prohibition and criticism. It is indeed absurd to present this childhood incident of Hadhrat Aishah (radhiyallahu anhu) in substantiation of the fallacy of the permissibility of music when she herself vehemently proclaimed the hurmat (illegality) of this satanic act. Her statements of prohibition cannot be refuted by citing an incident which had occurred during her childhood days.

True to their dishonesty and deception, the modernist deviates, while quoting Hadhrat Aishah’s childhood episode, conveniently bypass her many statements of condemnation of music and singing made during her adulthood. The maximum latitude obtainable from this Hadith is: Inspite of the general prohibition of singing, an exception was made for the Day of Eid. Provided that the simplicity and the conditions of permissibility are observed, this type of singing without music is permissible, not at all times, but on the Day of Eid and on occasions of marriage.

(2) “Aamir Bin Sa’d (radhiyallahu anhu) said: On a marriage occasion I visited Qurzah Bin Ka’b and Abi Mas’ood Ansaari (radhiyallahu anhumaa). I saw some little girls singing. I said: ‘Both of you are the Companions of Rasulullah (sallallahu alayhi wasallam) and of the People of Badr while this (singing) is happening by you.’ He (Qurzah) replied: ‘If you wish, then listen together with us, and if you wish, go! Verily, we have been granted exemption for amusement on marriage occasions.’” (Mustadrak)

The legalizers of music and musical instruments also present this Hadith in justification of their haraam musical activities. The unbiased searcher of the Haqq will not fail to discern the following salient facts from this Hadith:

(1) Hadhrat Aamir Bin Sa’d (radhiyallahu anhu) regarded singing unlawful, hence his objection and surprise.
(2) The other two senior Sahaabah who were present did not claim singing to be lawful. On the contrary, they explained that they had been granted this leeway on marriage occasions.

It should be abundantly clear from this Hadith that the Sahaabah considered singing to be unlawful. However, the singing by little children on marriage occasions was considered to be an exception to the general rule of prohibition, hence they categorically averred: “We have been granted exemption on the occasions of marriage.”

The singing mentioned in this Hadith was not the type of lewd, professional singing with musical instruments and satanic demonstrations, lust and deception. The irrefutable reality which transpires from this Hadith is that all three Sahaabah involved in this episode firmly believed in the general rule of prohibition, hence the one expressed surprise and consternation while the other two explained the exception made in view of the special occasion of marriage. Thus, there is absolutely no basis for the legalization of haraam music and singing in this Hadith.

(3) Rasulullah (sallallahu alayhi wasallam) said:
“Announce this Nikah; perform it in the Musaajid and beat the duff (drum) for it.” (Tirmizi)

(4) Rasulullah (sallallahu alayhi wasallam) said:
“The difference between halaal (i.e. Nikah) and haraam (i.e. zina) is the duff, announcement and rising of the voices.” These narrations are also cited to justify the haraam music and singing which is so widely prevalent in this age. However, there is no basis in these narrations for legalizing music and singing. In the first narration it is mentioned with clarity that the purpose of beating the duff is I’laan (to publicly announce). The purpose is not singing or the creation of music. The drum used to be beaten to announce and publicize Nikahs. Public announcement is an essential feature of Nikah.

The importance of publicly proclaiming a Nikah is emphasised in the second of these two narrations. In this narration Rasulullah (sallallahu alayhi wasallam) differentiates between Nikah and zina (fornication). While fornication is committed in concealment, Nikah is publicly and vociferously announced. The use of the duff serves this purpose admirably. It is for this reason that some Fuqaha claim that beating the duff on marriage occasions is Masnoon. It is Masnoon for making a public announcement. It is not Masnoon for the creation of music.
It is conceded that on occasions of marriage, the duff – and only the duff – may be used by little girls, not adult women, for impromptu singing. This was the initial ruling. However, due to the many haraam acts which accompany wedding ceremonies in these times, the duff including the entire ceremony are haraam. In fact, the Fuqaha have ruled that it is no longer permissible for women to attend Walimah feasts. The initial permissibility of Walimah for women is over- shadowed by a host of evil factors which render the whole conglomeration haraam. Just as it is no longer lawful for women to attend the Musaajid, so too, in fact to a greater degree is it haraam for them to attend wedding ceremonies where all the acts of Satanism and carnal lust find free play.

The votaries of music and singing who cite the duff narrations as a basis for justification are downright dishonest. While in some primitive Muslim societies in villages in West Africa where the Maaliki Math-hab predominates, the duff is struck to announce a marriage, this is no longer the practice among Muslims in general. Modernist Muslims, especially the votaries of music and singing, in the western world in particular, never beat the duff to announce a marriage. It will be too embarrassing for them to beat a primitive duff. They have to accord great consideration to the attitudes of their western kuffaar masters. So while they have in entirety discarded the duff for announcing a marriage, they vehemently cling to the duff narrations like dogs cling to bones, for the sole purpose of justifying their haraam music and singing.

Rasulullah (sallallahu alayhi wasallam) allowed the duff to be beat for announcing marriages, but the slaves of shaitaani music and singing, ignore the purpose stated by Nabi-e- Kareem (sallallahu alayhi wasallam), and read into the duff narrations permissibility for music and singing – the voices of shaitaan. Narrating from Sharhus Sunnah of Imaam Baghawi, Mullah Ali Qaari says: “Some people have cited this narration as a basis for sama’ (religious songs). This is erroneous.” (Mirqaat)

The following appears in Fathul Allaam Sharh Bulooghul Maraam: “……Hence, beating the duff on marriage occasions may be Masnoon, but the condition (for this permissibility) is that there should be no accompanying haraam act, e.g. singing by an adult strange woman…..In fact, only the simple way which existed during the time of Rasulullah (sallallahu alayhi wasallam) is the lawful manner. The ways which people have innovated afterwards were not commanded by Rasulullah (sallallahu alayhi wasallam). Furthermore, in this age (i.e. centuries ago), along with beating the duff to announce a Nikah, many haraam acts are perpetrated. For this reason it is haraam to beat the duff in these times. This prohibition is not because the duff itself is haraam, but because of the association of many haraam factors with it.”

According to a principle of the Shariah, any Mubah (permissible) act which is accompanied by haraam acts becomes likewise haraam on account of the association with unlawfulness. In these times, in places where the duff is still used to announce marriages, a number of haraam factors accompany the ceremony. The duff-beating has degenerated into lewd merrymaking in which both men and women participate. Islam never permits such evil functions.

It is indeed a travesty of the Shariah’s permissibility pertaining to the duff, to claim that the Hadith sanctions these haraam functions which prevail today on marriage occasions.

(5) The votaries of music and singing present as grounds for their contention a narration which purports thatRasulullah (sallallahu alayhi wasallam), Hadhrat Aishah
(radhiyallahu anha) and Hadhrat Umar (radhiyallahu anhu) had listened to a slave woman singing a song.

Firstly, the narration which in fact is a fabrication, does not mention any musical instruments, not even a duff. At most, this fabricated narration can confuse the unwary with regard to singing without instruments. Singing by a ghair mahram female is haraam according to all Math-habs. This fabricated narration may not be cited in justification of singing and listening to the singing of a ghair mahram female. With regard to the status of this narration Allaamah Muhammad Taahir (rahmatullah alayh) said: “Khateeb said: In its isnaad is a disqualified narrator. He used to narrate nonsensical things. This hadith is baatil (baseless).” (Tazkaratul Maudhu-aat)

There is no substance in the argument raised on the basis of this discarded and baseless narration.

(6) It is also argued that a group of women and children had sung in the presence of Rasulullah (sallallahu alayhi wasallam) and the Sahaabah, and he did not voice any objection.
The incident to which reference is made here occurred at the time of Hijrat (Migration). The folk of Madinah sang in happiness to welcome the arrival of Rasulullah (sallallahu alayhi wasallam). This narration may not be cited as a basis for the permissibility of organized singing even without music. Nor can it ever be presented by any stretch of imagination in vindication of music.

Firstly, there is considerable discussion and doubt on the authenticity of this narration. Secondly, even if its authenticity is conceded, this episode occurred when Nabi
(sallallahu alayhi wasallam) was entering Madinah on the occasion of the migration from Makkah. The inhabitants of Madinah were merely acting according to their custom. It
was not a welcoming reception organized by the Sahaabah. Thirdly, this episode transpired about five years prior to the promulgation of the laws of hijaab. It is palpably baseless to argue on the basis of this narration that it is permissible for men to listen to the singing of ghair mahram females. Not a single authority of the Shariah from the time of the Sahaabah had ever averred such permissibility. Nowhere in the Shariah is there any permissibility for men to sit and listen to the singing of even one woman, leave alone a group of women. Even without music such singing is unanimously haraam.