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Islamic music may refer to religious music, as performed in Islamic public services or private devotions, or more generally to musical traditions of the Muslim world. The heartland of Islam is the Middle East , North Africa , the Horn of Africa , Balkans , and West Africa , Iran , Central Asia , and South Asia .
The practice of orthodox Sunni and Shi'a Islam does not involve any activity recognized within Muslim cultures as 'music'. The melodious recitation of the Holy Qur'an and the call to prayer are central to Islam, but generic terms for music have never been applied to them. Instead, specialist designations have been used.
The dharmachakra (Sanskrit: धर्मचक्र, Pali: dhammacakka) or wheel of dharma is a symbol used in the Dharmic religions. It has a widespread use in Buddhism. It has a widespread use in Buddhism.
A stone is ground into shape (often a cabochon or a short, wide cylinder) and polished to a shine. Sometimes the flat surface is engraved with a religious motto in Arabic, which is sometimes inlaid with gold. The finished gem is then mounted on a ring according to the stones finished size.
Religious music (also sacred music) is a type of music that is performed or composed for religious use or through religious influence. It may overlap with ritual music, which is music, sacred or not, performed or composed for or as a ritual .
Qawwali is the best-known form of Sufi music and is most commonly found in the Sufi culture in South Asia. However, music is also central to the Sema ceremony of the whirling dervishes, which is set to a form of music called Ayin, a vocal and instrumental piece featuring Turkish classical instruments such as the ney (a reed flute).
A misbaḥah is a tool that is used as an aid to perform dhikr, including the names of God in Islam, and after regular prayer. [1] It is often made of wooden or plastic beads, but also of olive seeds, ivory, pearls, and semi-precious stones such as carnelian, onyx, and amber.
A certain rhythm does sometimes identify the style of a performer, but this is dependent upon their performance technique and is never characteristic of the maqam as such." [ 2 ] The compositional or rather precompositional aspect of the maqam is the tonal-spatial organization, including the number of tone levels, and the improvisational aspect ...