Nasheed

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Nasheeds (Arabic: أناشيد; also spelt Nasyid in Malaysia) are Islamic-oriented songs. Traditionally, they are sung a cappella, accompanied only by a daff. This musical style is used because many Muslim scholars interpret Islam as prohibiting the use of musical instruments except for some basic percussion. Despite what might be considered a handicap, Nasheeds are spreading across the music network as many people admire the purity and simplicity of the music.

However, a new generation of "Nasheed" artists and groups are increasingly using a wide variety of musical instruments in their art. This has caused controversy amongst the Muslim community because of the vast range of scholalry opinions that exist on Music in Islam. These range from absolutely no music and singing, to that of any musical instruments allowed so long as the subject matter is of an Islamic ethos. There is also a crossover of mainstream music of groups like Outlandish, Aman, and solo artists like Dawud Wharnsby Ali, Sami Yusuf and Idris Phillips, appealing to a significant Muslim crowd and also leading to performance of such artists at Islamic orientated festivals, conferences, concerts and shows (e.g. ISNA, Celebrate Eid, Young Muslims). Other artists and organisations such as Noor Media promote a 100% instrument free stance with nasheeds, differing from the current trends of the increasing usage of instruments in nasheeds.

Nasheeds are also increasingly being accompanied by professionally produced videos for certain tracks. Examples include Madinah Tun-Nabi by Aashiq al-Rasul Al Mu'allim, Meditation, Hasbi Rabbi (all by Sami Yusuf), Du'a by Seven 8 Six, Mercy like the Rain by SHAAM & Our World by Zain Bhikha.

Nasheeds are popular in Middle East, Southeast Asia, and South Asia[citation needed]. They are also popular in the UK among British Muslims.

[edit] External links

[edit] References

  • Sarkissian, Margaret (2005). "Religion never had it so good: Contemporary nasyid and the growth of Islamic popular music in Malaysia". Yearbook for Traditional Music 37: pp. 124-152. 
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