Music and Interfaith Dialogue: Christian Influences in Arabic Islamic Music

Abstract

The long history, life and existence of Christians in the Muslim Arabic society has allowed for many intercultural and human exchanges. Among the numerous cultural experiences shared and exchanged between both Christian and Muslim Arabs is music. This paper attempts to show how Christianity has influenced religious Islamic music in view of linguistic, historical, social and cultural factors. As an example, I have chosen a religious chant from Egypt, one of the Islamic Arab countries in the Middle East with a long tradition of Christian presence. Through the analysis of the lyrics in this chant, I will examine how Christian lyrics are imbedded within an Islamic Sufi chant. Such influences and exchanges make music a possible element for dialogue, to which both Christians and Muslims contribute in agreement and without dispute, thus creating a space where the admiration and expression of beauty allows for a certain experience of harmony; a harmony which we might lack in our common daily lives.

Full text

Middle-East Journal of Scientific Research 23 (11): 2676-2682, 2015
ISSN 1990-9233
© IDOSI Publications, 2015
DOI: 10.5829/idosi.mejsr.2015.23.11.22293
Corresponding Author: Renee Hanna Hattar, Conflicts and Democracy / University of Granada.
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Music and Interfaith Dialogue: Christian Influences in Arabic Islamic Music
Renee Hanna Hattar
International Center for the Study of Christian Orient, Granada, Spain
Abstract: The long history, life and existence of Christians in the Muslim Arabic society has allowed for many
intercultural and human exchanges. Among the numerous cultural experiences shared and exchanged between
both Christian and Muslim Arabs is music. This paper attempts to show how Christianity has influenced
religious Islamic music in view of linguistic, historical, social and cultural factors. As an example, I have chosen
a religious chant from Egypt, one of the Islamic Arab countries in the Middle East with a long tradition of
Christian presence. Through the analysis of the lyrics in this chant, I will examine how Christian lyrics are
imbedded within an Islamic Sufi chant. Such influences and exchanges make music a possible element for
dialogue, to which both Christians and Muslims contribute in agreement and without dispute, thus creating a
space where the admiration and expression of beauty allows for a certain experience of harmony; a harmony
which we might lack in our common daily lives.
Key words: Music Religions Dialogue Arabs Peace
INTRODUCTION different cultural backgrounds. And so, through music, all
If we contemplate music as a human, creative and act harmonious place” [4].
of free will, we can notice very meaningful reactions that Arabic culture and its music, contains many
occur as we listen, play or make music. These reactions do influences from various cultures and religions whose
not only have an effect on us, but also influence our history was evidently important throughout the centuries.
human relations. The fact that music joins us together The contact that peoples of the Arabian Peninsula and its
and enhances “our self-awareness and self-esteem, surroundings had with the Babylonian, Egyptian, Greek -
mutual tolerance, sense of spirituality, intercultural Roman and Hindu - Persian civilizations, gave place to
understanding, ability to cooperate, healing-to name but many influences and to the exchange of musical creations
a few.”, as described by Felicity Laurence, can indicate and melodies [5].
a ¨specific potential” of music in the process of The pre-Islamic Bedouin Arab culture that existed in
peacebuilding, since it can somehow “enable, the Arabian Peninsula, Jordan and some parts of Syria
catalyze and strengthen empathic response, ability and valued oral tradition, mainly poetry, as a vehicle to
relationship” [1]. transmit its various messages in society. Poetry was a
The musical act, especially in choirs, results in symbol of union among both nomad and sedentary tribes.
relations of empathy. June Boyce-Tillman suggests that It reflected the intertribal code of conduct based on the
empathy “leads to free expression” [2]. Cynthia Cohen concepts of honor, jealousy, hospitality and protection
considers it to be a “powerful medium for expression, of the weaker members, including women [6],
communication, healing and transformation” [3]. therefore music, did not have the same importance at
Music is the expression of sentiments, ideas, the time.
frustrations or a medium for protest over a great variety of The famous Arab historian al-Mas‘ d , tells us in his
matters drawn from our lives. Communication can be book ¨Mur j al-dhahab wa-ma‘ din al-jawhar ¨ [7] a story
established among individuals as well as among groups, about Mu?ar ibn Niz r, who fell down from his camel and
because music, as expressed by Kofi Annan: ¨leaps broke his hand. The man had a beautiful voice and when
across language barriers and unites people of quite he cried out in pain saying ¨!Y Yad h¡¨ (which means ¨oh
people can come together to make the world a more

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my hand¨) the camels were so moved that they started On the other hand, many Muslim scholars also
crying. The author considers this story to be the believe that talent is a divine gift that should be used for
start of the first genre of chanting: ¨al-hud ’¨. This is why good and not for evil. Expressing feelings, experiencing
this genre is identified later on with al-nawh (lamentation) and loving the beauty created by God through art cannot
[8]. be prohibited by Him. Songs, made with lyrics, are good
Just like hud ´ [9] there is another type of melodic if the words are good, but if the words are evil or
recitation, produced by reading poetry out loud to a inappropriate, this makes the song and its music evil,
specific melody. The kind of melody used gives emphasis inappropriate, pushing Muslims to bad deeds [12].
to the words and rhymes of every poet. This type is called What Islam really intended was to condemn the
al-insh d. In the Arabic dictionary, al-insh d comes from pre-Islamic spirit of singing which included the three
the word nash d which means raising the voice and when magical idolatrous rituals of Talbiya,Tahl l and haw f,
it comes to poetry it means to read loudly with a certain usually accompanied by dances and consuming
melody [10]. Other synonyms that Arabs used to describe alcohol consummation around the gods of the
this kind of chanting or recitation with some variations, Kaaba, condemned by the prophet Muhammad on one
are al-sam ‘and al- ghin ´ (they mean literally to listen hand and the celebrations of qiy n on the other.
and to sing), al-tahl l and al-sin d [11]. Islam considered singing and music one of the many
As the Arabic culture is pre-Islamic and forms of entertainment and associated it with musical
Christianity had a longer history and experience with atmospheres that contained prohibited pleasures such
music for various reasons and factors, we will try to show as alcohol, sex and al-Maisar (gambling). Musicians,
how and for what reasons Christianity influenced Arabic singers and artists were usually the servants and slaves
Islamic music. who served wine, danced and played music to entertain
Islam and Music: Islam has contradictory and extreme These servants had the name of Qiy n (for women) and
opinions and judgments on prohibiting or admitting the Ghilm n (for boys) and had a very important role in
use of music. This is due to the fact that in the Qur’ n the developing types of music and in singing the reknown
verses which might refer to music are not explicit. It is poems in different melodies. One of these Qiy n was the
clear that some Islamic groups have negative ideas about famous Sir n, the qna (in singular) of hass n bin Th bit
music and have caused the attitude we have now in the (the poet of the prophet Muhammad) which was given to
Islamic world towards music. him together with the Coptic Maria. It is said that both
In the Qur’ n the reference to music is very sang very well and in fact, the prophet liked Maria so
ambiguous and it happens only in the following verse: much that he decided to marry her [14].
"There are some men who buy diverting talk to lead astray The first acknowledged Islamic religious melody is
from the way of God". Luqm n 31, 5. the call for prayer Adh n, which started as a way to
The interpretation of this verse is related to music, summon Muslims for prayer according to prayer hours.
because clerks claim that the "diverting talk" refers to This custom followed the example of the trumpets of the
singing. But the prohibition of music in Islamic times was Jews and the bells of the Christian churches of the
imposed by clerks based on Hadith which describe the Arabian Peninsula. The prophet chose Bil l, an Ethiopian
traditions of the Prophet Muhammad, not so much with a slave who converted to Islam and had a beautiful voice to
base on the Qur’ n. do this. He became the first Mu´adhdhin of Islam,
Islam perceived a danger in music, thinking that it who called on to prayer singing and was known as the
could take people to different places, in emotional and Mu´adhdhin of the prophet. After that, al insh d was
psychological terms, leading them into a state of nirvana, associated with religious chanting and reciting the Qur’ n
sensual pleasure, outside this world and far from its melodically in what is known today as tajw d[15].
control, which, as a result could alienate them from God. Among Muslims who support the use of music in
Especially when it came to feminine voices, which some worship are Sufi groups. The religious Islamic Sufi chant
imams and clerks considered and still consider to be a expresses adoration to a god that forgives sins and
‘aura (shame or disgrace), it was deemed to be the work accepts repentance. It describes all the beauty of His
of seductresses, which lead to an uncontrollable evil: in creation (like the sky, stars and planets) and tells of the
short, an act of the devil. virtues of His prophet recalling his qualities, in addition to
the rich masters in their feasts and private parties [13].

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dealing with the names of God in an exercise known as Byzantine music and Syriac music are the two main
al-dhikr. In this songs genre and the range of expressions
it employs, it is hard not to notice the influence of mystic
Christian monks, who coincided with the Muslims in
Ethiopia and Mecca [16].
The presence of Sufi schools and their musical
traditions represents the contradiction explained earlier
concerning the use of music in Islam. While there are
famous schools of Sufi music in countries such as Syria,
especially in Aleppo, Egypt, Iraq and Morocco, each
following a special order known by Sufis as har qa,
such schools are not as developed nor have significant
presence in countries such as Jordan, Palestine and Saudi
Arabia.
It seems that these conflicting ideas became part of
the culture in many countries and kept religious music
from developing because of the above mentioned polemic
concerned with the various interpretations on prohibiting
or allowing the use of music. However, the status of music
changes according shifting political and religious views
and laws in each of these countries. In Saudi Arabia,
for instance, the government supports radical ideas
against the use of music, which is why many musicians
found refuge in a nearby country like Jordan to perform
their music, where other interpretations of its role allowed.
Christianity and Music: In Christianity [17], music has
always been very important and its use goes back as far
as the Old Testament. Jewish people chanted to God out
of happiness, joy, tribulation and pleading salvation
[18]. Saint Paul invites Christians to sing on numerous
occasions, like in the Epistle to the Colossians (3:16):
“…with gratitude in your hearts sing psalms, hymns and
spiritual songs to God.”
In Orient, starting the VIII century, Christians had to
adapt to the new reality under the Muslim conquest and
the fact that praying and practicing religion was
increasingly difficult each day, not only because of
oppression or unjust politicians coinciding with some
Islamic periods, but also because of the new reality in the
society where Christians frequently lived far from where
the practice of their faith was allowed. That is why
chanting the liturgy was one of the most efficient and
important methods for memorizing the word of God [19].
Based on this, many priests, including some Church
Fathers, like Saint Ephrem the Syrian (307-373) and Saint
John of Damascus (ca.780) [20], started composing hymns
that consisted in poetic verses where, through dialogues
and stories, liturgy was set to rhyme to be recited in their
own way.
types of music that influenced Arabic music in general
and religious music in particular. These were transmitted
through commercial voyages, wars or exchanges between
Arabs on the one hand and other countries and peoples
in the region on the other.
Byzantine music [21] came through the Greeks with
the conquests of Alexander the Great in all of the
Mediterranean, which started in 333 BC and continued
developing until it got to be the music of the Orthodox
and Catholic Melkite Churches of present-day.
An interesting cycle started developing in Arabic
culture. Influenced by Greek and Persian musicologists,
the studies and works of the famous Arab musicologists
such as al-Kind (ca.796-873) [22], al-F r b (ca.872-950)
and Avicenna (ca.980-1037), indirectly affected
ecclesiastical music carrying with it a special Arabic print.
However, the one who introduced evident changes in the
development of Arabic music and who influenced greatly
Byzantine music was hafi al-D n al-Urmaw in the XIII
century [23].
All the changes that came into the music of the
Byzantine Church took place following the conquest of
Byzance in 1453, which brought the influence of Asiatic
music. Between the XVI and XVIII centuries the musical
notation and the study of music developed with the use
of many manuscripts and the need to go back to the roots
of music so as not to lose the tradition under the Ottoman
domination.
Another great influence in the Arabic music is the
Syriac music, which has its origins in the music and
culture of the ancient Sumerians and Akkadians (2334
BC). Nothing much is known about Syriac music, because
it was transmitted orally. But as it was used in prayers and
liturgical chants of the Christian Church of Antioch,
Iraq and Iran, this music was preserved and is known now
with the same oral tradition as the music of the Syriac
Church.
Many musicians acknowledge the exchange that
took place between the different cultures: Aramaic,
Byzantine, Persian and Arab. According to them, the
Arabic scales known as maq m t are based in the Syriac
melodies which in their turn are based in the ancient
Babylonian melodies. There are also other opinions that
support the existence of a connection between the
Babylonian and the ancient Hebraic music, which the first
Christians adopted from the Jews, who had that influence
during the time they lived in Babylonia following their
captivity [24].

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Musical Arab Context: Far from the Arabian Peninsula to and musical varieties necessitated developing a proper
the north, the great Arab Christian kingdoms [25] of the Arabic musical theory. This is how music flourished later
Ghassanids (220-638) [26] and the Lakhmids in the regions on in the Muslim Caliphate from the countries situated in
of Syria, which extended from Jordan as far as Iraq, Asia and Africa as far as al-Andalus in Spain, where it
developed as very important artistic and cultural centers. reached its peak.
In the royal courts of both kingdoms, poets and singers During many periods, such as the time of the Caliph
gathered to entertain the rulers and the fame of their ‘Uthm n ibn ‘Aff n, music flourished and received great
poets and singers reached the Arabian Peninsula as well support, because it was a time of economic splendor,
as many other regions through the commercial routes. where the rich spent a lot of money to listen to good
This exchange gave the Arabic culture its development music and paid to bring musicians from many different
and splendor, during which time the Arabs of the north parts to the cities of Hijaz, Mecca and Medina [28].
(the lakhmids and the Ghasanids) got to know the Arabic In the Umayyad era music played an important role in
classical poetry and, in turn, the Arabs of the south the distraction of the people from political issues and the
(in the Arabian Peninsula), got to know the Byzantine and state showed great interest in music and musicians, which
Persian music [27]. gave place to important musical exchanges and new
In Hira, Ardashir I of the Sassanid’s promoted music developments, especially for Persian musicians [29].
and gave it an important role in his court. He was famous Also in the Abbasid Caliphate there was a time of
for receiving musicians at his majlis and enjoying their musical splendor as part of the cultural splendor of that
melodies and music. This promoted the use of many epoch. This attention given to music went so far as to
musical instruments and the encounter of musicians and found schools for teaching music as a science. The first
artists. Many influences of this music reached the Arabic caliph that demonstrated his interest in music was al
music. Mahd , but the most famous was H rn al-Rash d
During the first centuries of Islam and following the (786-809) with his reknown Tales of Thousand and One
conquests, of the VI and VII centuries, the Muslims Nights [30].
brought a great number of captives from many lands to
the cities of Mecca, Medina and Hijaz. Great richness and Musical Example: The example I chose in order to talk
innovation resulted in different musical styles, due to the about Christian influence in Islamic music is a small
fact that many of these captives not only brought their fragment of a long Sufi chant from Egypt called Allah
music and traditions with them, but also were musicians Mahabba (God is love) performed by Sheikh Ahmed al
and singers themselves, able to play many instruments. Tuni [31]. In this piece, the Islamic chanter munshid
These interrelations allowed for contact between the performs a combination of ancient poetry and folk
Arabs and many musical cultures, especially the expression from Upper-Egypt [32].
Byzantine and Persian, who in turn applied the new In his home land, a small town near Assyut in
melodies to their poetry. Upper-Egypt, people hold religious traditional Muslim and
The same occurred in the cities conquered by the Coptic celebrations called mlids, which are festivals for
Muslims, where music started to become a part of the celebrating either a Christian saint or the birth of the
actual Islamic culture, corresponding in each case to the prophet Mohammad [33]. The voice of the munshid is
cities´ different cultures of origin (mainly Syriac, accompanied by oud, ney, violin and percussion (riqq and
Byzantine and Persian cultures). Having so many artists tabla).
Lyrics
My bell rang in my monastery (meaning in my heart) Darab naq s f dayr (ya’n f qalb )
Seemed like the crosses moved Qul taharrakat al-Silb n
The body moved Tahazz al-jithm n
Wanted to speak a word with the one who lives in the heart (Wa li s kin al-qalb akallimu kilma)
Wanted to speak a word with the monk of the monastery Wa li r hib al-dayr akallimu kilma
He talked to me with every tongue Kallamni kilma ‘ala kull lis n
I asked about him, asked the old (word) Ana sa’alt ‘alayh al-qad ma
God is love All h mahabba
God in my heart is love (All h f qalb mahabba)

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In this Sufi chant we can perceive the Christian Music is a language that allows for much more than
vocabulary and meanings the artist is trying to express
when talking about love. As he sings he tries to explain
with a few words what he is singing, such as when he
explains that by “monastery” he means “heart” and by
“the one who lives in his heart” he is referring to “the
monk in the monastery”.
The interpretation from an Islamic point of view,
transmitted by the artist, is that love in our hearts is
related directly to God and both love and God live in our
hearts. The bell is the heart beat that moves the singer’s
heart with love and therefore moves his whole body.
He continues saying that he wishes to speak a word with
the monk and therefore with the one who lives in the
heart. He asks “him” about “the old word” which is love:
God is love.
In a non-contradictory way, the words of this verse
are too charged of meaning to be of Islamic origin, since
for a Muslim none of the vocabulary mentioned has
practical relevance: the cross, a monastery, monks or bells
are not part of Islam and therefore are not part of its
tradition. Especially that according to Muslim faith, Christ
is just one prophet of God and has no divine nature,
which means that the salvation and resurrection
connected to the cross for Christians cannot be part of
the Muslim terminology.
It is clear that these words and their existence
respond to Christian origin. This is perhaps why the artist
keeps explaining what he is interpreting. However, if the
same chant is explained from a Christian perspective,
according to the same lyrics, one can identify with the
moving “crosses” and “body”, a reference to Christ and
to salvation. The images of “kalima” (word/Verb), “r hib”
(monk) and “all h” (God) all have poetic significance in as
much as they are symbolic of Christ.
What is remarkable in this example and in many such
chants, is that the artists always find a common value and
beauty within the text and the music which prompts them
in the first place to sing such lyrics. The artist in this
chant was motivated by the value of “love”, a divine love
that moves the heart and body and which is conveyed by
all religions and many prophets by mentioning in other
verses of the chant prophets such as Moses as well as
Jesus, known by Muslims as ‘Iss ibn Mariam.
Interfaith Dialogue: I have tried to show that, just like
culture, music is a mixture of many influences. It is the
experience of living or knowing different cultures included
in the processes of learning and exchanging ideas. In the
Arab world, this same type of experience enjoyable
through religious music is also found in society between
persons of both Christianity and Islam.
expressing one’s feelings and thoughts, because it also
forces both musicians and audiences to listen, a virtue
that is not always easy to enjoy in usual life situations or
dialogues. If the musicians stop listening, they cannot
continue playing or singing, since they would interrupt
the harmony of the musical act. Learning, appreciating
and enjoying silence is an initial exercise that leads these
members to listen, which by itself leads them towards
dialogue. It allows them to forget their differences and be
united in the beauty of the music they are creating,
listening to or transmitting to their audience.
Religious choirs bear yet another special
relationship, which is the spiritual relationship. A choir is
like a small community, where the musicians experience a
sense of belonging to a group of persons who share
interests and/or talents, each with their own different or
special, personalities, but also with their own voice or
instrumental performance which contributes to the group
in a way that creates solidarity and shared experience.
There is a transcending relationship that the singer feels
and shares with God (he is singing to him and receiving
the energy and love from him). In turn, this feeling and
energy is transmitted from the singer to his other
colleagues and vice-versa and also to the audience
listening to him and his colleagues.
It is essential to look for common human values
between both religions, such as love, compassion,
fraternity, forgiveness, etc., just like in the above chant.
These values are found in the essence of both
Christianity and Islam and can allow us to build our
relations on shared noble human values that can allow us
to empathize with each other, to feel each others’
hardships and reconcile until we find peace and harmony
with in the same society and shared Arab culture.
Religious music helps develop and preserve
linguistic, musical and religious identities, which offer
a foundation for a human, cultural and interfaith
dialogue. These identities represent one of the most
important bases for an authentic dialogue: one which
does not obliterate one’s own identity nor denies it in
order to seek acceptance from the other party. It is
important to know who we are, what we really believe in
and to reconcile it with our own identity before
addressing the other.
In order to start a meaningful dialogue with a person
from a different religion, one cannot have in mind
proselytism or syncretism as an objective. Dialogue
should be initiated based on values and beliefs
contributed by a Christian person according to his own
religion, as well as by a Muslim according to Islam.

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