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"Ya Mustafa" also spelled "Ya Mustapha" (in Arabic يا مصطفى), is a well-known multilingual song from Egypt, composed by famous Egyptian Musician Mohamed Fawzi to feature in the Egyptian movie That's What Love Is (1961), in which Azzam appeared in cameo appearance as a singer while singing the song alongside leading actors Salah Zulfikar and Sabah, and which has then been recorded in ...
Niyabinghi chanting [1] typically includes recitation of the Psalms, but may also include variations of well-known Christian hymns and adopted by Rastafarians.The rhythms of these chants were eventually an influence of popular ska, rocksteady and reggae music.
In traditional Sufi chant, the length of the -u is exaggerated. As a noun phrase, the chant is interpreted as meaning "God is". Haqq is the Arabic for "truth", so that the full dhikr translates to "God is. God is. God is Truth." A Na'at starts off like this: "Allahu diya paiyan pukaran aqa aye ayan bharan".
Lab Pe Aati Hai Dua" (Urdu: لب پہ آتی ہے دعا; also known as "Bachche Ki Dua"), is a duʿā or prayer, in Urdu verse authored by Muhammad Iqbal in 1902. [1] The dua is recited in morning school assemblies almost universally in Pakistan , [ 2 ] [ 3 ] and in Urdu-medium schools in India .
A nasheed (Arabic: نَشِيد, romanized: nashīd, lit. 'chant', pl. أَنَاشِيد, anāshīd) is a work of vocal music, partially coincident with hymns, that is either sung a cappella or with instruments, according to a particular style or tradition within Sunni Islam.
Liber Usualis (1961, Solesmes notation with a four line staff) in PDF format (121 MB) Liber Usualis (1896 ed.) in PDF format (200 MB) Bergeron, Katherine. Decadent enchantments: the revival of Gregorian chant at Solesmes. Berkeley: University of California Press, c1998. ISBN 0-520-21008-5.
Tala al-Badru Alayna (Arabic: طلع البدر علينا, romanized: Ṭalaʿ al-Badru ʿAlaynā) is a traditional Islamic nasheed that the Ansar Muslims of Medina sang for the Islamic prophet Muhammad upon his arrival at Medina.
The preacher begins calmly, speaking in conversational, if oratorical and occasionally grandiloquent, prose; he then gradually begins to speak more rapidly, excitedly, and to chant his words and time to a regular beat; finally, he reaches an emotional peak in which the chanted speech becomes tonal and merges with the singing, clapping, and ...