There are issues of contention that tend to invoke some quite unusual or even polarising responses. Music and chess are of this category. Often there tends to be quite a skewed approach to such issues, particularly that of music. Opinion tends to oscillate at times between the unusual and the bizarre. There are those which approach an issue like this with a dismissive attitude. Largely because in their view, it is a non-issue. While no one would dispute that there are issues of more pressing import, nonetheless, the approach must still remain, that which is set out in the book at 4: 59. Others have tended to marshal disapproving looks or the retort in anger; followed by the exclamatory assertion ‘music is ḥarām!’
When pressed as to the reasoning behind this statement, things become much more opaque. Answers vary from ‘all the scholars have said’ to ‘it’s a matter well-known;’ neither of which does suffice. There is a peculiar approach that has gained some currency of late, that of seeking to relegate discussion upon a legal ruling of lawful / unlawful, and then to proceed with a circular argument upon the purported ‘harm’ that ensues. That discussion is not grounded upon any empirical evidence, but rather a subjective and highly-skewed perception of what that ‘harm’ is.
Regardless of whether issues of contention are considered be to great or small, there must always be one recourse in determining them. As set out in 4: 59, there is a procedure for determining any matter where a dispute may arise:
O you who believe! Obey Allah and obey the Messenger and those in authority from amongst you; then if you differ about anything, refer it to Allah and the Messenger, if you believe in Allah and the last day; this is better and more suitable for final determination.
Indeed, the ultimate determiner of a particular ruling only rests with a single authority, as set out clearly in 42: 10:
And whatever you disagree upon, the judgment thereof belongs to Allah.
To broaden the discourse upon this issue, we hereby present for the first time in English, Ibn Ḥazm’s critical analysis of this topic. It is hoped that this small effort may help to steer the discussion of this topic in line with the mandated approach as set out in 4: 59.
“We are the music-makers
and we are the dreamers of dreams…”
[Ode, by Arthur O’Shaughnessy]
Along with a minority of others, notably al-Ghazāli, Ibn Ḥazm was famous for his rejection that there is any clear authentic textual prohibition relating to music or playing chess. While that view has been echoed in many works to date, a full translation of his reasoning and analysis of the textual evidences has not.
In his unique inimitable style, Ibn Ḥazm conducts a very detailed assessment of reported aḥādith and athār that exist, as well as expounding upon the meaning of key Qur’ānic passages. Many may be familiar with some of what the textual corpus says upon this matter. However, viewing that corpus holistically and placing it under scrutiny in accordance with the principles of ḥadith science is long overdue.
For the second edition of this publication, we have revised the text, included a new foreword and provided greater explanation of the technical terms, as well as included some additional referencing.