In a Nutshell: The permissibility of music in Islam is one of the most debated topics in Islamic jurisprudence, and honest engagement with the question requires acknowledging that qualified scholars have held substantially different positions.
A significant body of classical and contemporary scholars, including many in the Hanbali and some in the Shafi'i traditions, hold that musical instruments are prohibited based on several hadiths and the interpretations of early authorities.
Another substantial body of scholars, including prominent Maliki and some Hanafi jurists, as well as major contemporary scholars such as Yusuf al-Qaradawi, hold that music is permissible provided it does not involve immoral content, lead to neglect of religious duties, or become an obsession. A middle position, held by others, permits certain forms of music (such as the daff, a frame drum, and unaccompanied singing) while prohibiting others. What is agreed upon across all positions is that lyrics containing obscenity, incitement to sin, or content that contradicts Islamic values are impermissible regardless of the musical accompaniment.
This article presents the evidences and reasoning behind each position, so that the reader can understand the range of scholarly opinion and make an informed decision in consultation with scholars they trust.
Introduction
Few questions in Islamic jurisprudence generate as much everyday discussion as the permissibility of music. The question is not merely academic. Music is woven into the fabric of contemporary life in ways that make it almost impossible to avoid: it plays in shops, restaurants, and public transport; it forms a central part of film, television, and social media; and for many people, listening to or making music is a deeply valued part of their cultural identity and emotional life.
For Muslims, the question carries particular weight because the stakes feel high on both sides. If music is genuinely haram (prohibited), then the extent to which it pervades modern life means that avoiding it entirely requires significant and sustained effort. If it is genuinely halal (permissible), then the considerable number of Muslims who have been told their entire lives that it is sinful have been carrying an unnecessary burden of guilt. And if the truth lies somewhere in between, as many scholars have argued, then the details matter enormously.
This article does not set out to deliver a single ruling. Instead, it presents the strongest evidences and reasoning behind each of the major scholarly positions, so that the reader, whether a practising Muslim seeking depth, a non-Muslim trying to understand the debate, or a young Muslim navigating conflicting advice, can engage with the question with the intellectual seriousness it deserves.
Evidences
Quranic Verses
"And of the people is he who buys the amusement of speech (lahw al-hadith) to mislead others from the way of Allah without knowledge and who takes it in ridicule. Those will have a humiliating punishment." (Quran 31:6)
This verse is the most frequently cited Quranic evidence in the debate. Those who consider music prohibited argue that "lahw al-hadith" (literally "idle/distracting speech") refers to music and singing, based on the interpretation attributed to several companions and early authorities. Those who consider music permissible argue that the verse refers to speech or narratives that actively mislead people away from God's path, and that it does not specifically mention music. The phrase "lahw al-hadith" is linguistically ambiguous, and scholars have disagreed about its scope since the earliest generations.
"And incite whoever you can among them with your voice, and assault them with your horses and foot soldiers, and become a partner in their wealth and their children, and promise them. But Satan does not promise them except delusion." (Quran 17:64)
Some scholars have interpreted "your voice" as referring to music and singing. Others, including Ibn Jarir al-Tabari (d. 310 AH) in his tafsir, understood "voice" more broadly as any call to disobedience, with no specific reference to music.
"So what is there after truth except error?" (Quran 10:32)
This verse is occasionally cited in general arguments against entertainment that distracts from religious duties, but it does not specifically address music.
Hadiths
The Prophet (pbuh) said: "There will be among my ummah people who will regard as permissible adultery, silk, alcohol, and musical instruments (al-ma'azif)." (Sahih al-Bukhari, in a mu'allaq form)
This hadith is the single most important narration in the debate. Those who consider music prohibited rely upon it heavily, reading it as a clear condemnation of musical instruments. However, the hadith's chain of narration (isnad) has been the subject of scholarly disagreement. It appears in Sahih al-Bukhari in a mu'allaq (suspended) form, meaning that al-Bukhari omitted part of the chain. The majority of hadith scholars consider it authentic despite this, but a minority, including Ibn Hazm (d. 456 AH), questioned its reliability on technical grounds. Among those who accept it as authentic, there is further disagreement about whether "regard as permissible" implies a prior prohibition, or whether the condemnation is directed at a specific combination of behaviours listed together (adultery, silk, alcohol, and instruments) rather than each item individually.
The Prophet (pbuh) said to Abu Bakr (ra), when Abu Bakr tried to stop two girls from singing in Aisha's house on the day of Eid: "Leave them, O Abu Bakr, for every nation has a celebration, and this is our celebration." (Sahih al-Bukhari and Sahih Muslim)
Those who consider music permissible cite this hadith as direct Prophetic approval of singing. Those who consider it prohibited argue that the singing in question was unaccompanied and on a specific occasion (Eid), and therefore represents a narrow exception to a general prohibition.
Aisha (ra) reported that she sent a bride to an Ansari man, and the Prophet (pbuh) said: "O Aisha, did you not have any entertainment (lahw)? For the Ansar love entertainment." In one version he added: "Did you not send a girl with her who could sing and beat the daff?" (Sahih al-Bukhari)
The Prophet (pbuh) permitted the playing of the daff (frame drum) at weddings and on Eid. This is reported in multiple authentic narrations and is agreed upon by virtually all scholars as permissible. The debate centres on whether this permission is limited to the daff specifically, or whether it establishes a broader principle.
Companions' Opinions
Abdullah ibn Mas'ud (ra) is reported to have interpreted "lahw al-hadith" (Quran 31:6) as singing, and to have sworn by Allah three times that this was its meaning. This is one of the strongest companion-level evidences cited by those who hold music to be prohibited.
Abdullah ibn Umar (ra) is reported to have blocked his ears upon hearing a shepherd's flute, and to have asked his companion whether he could still hear the sound, only unblocking his ears after it had stopped. He is also reported to have said that the Prophet (pbuh) did likewise. However, some scholars, including Ibn Hazm, noted that Ibn Umar did not ask the shepherd to stop, nor did he leave the area, suggesting that his action was one of personal piety (wara') rather than an indication of binding prohibition.
Abdullah ibn Ja'far (ra), the Prophet's nephew, was known to listen to music with instruments, and his practice is cited by those who argue for permissibility.
Aisha (ra), as noted above, facilitated singing in the Prophet's presence and her narrations form a key part of the evidence for those who consider singing permissible.
Traditional Scholars' Quotes
Ibn Hazm (11th century): In "al-Muhalla," Ibn Hazm conducted one of the most rigorous examinations of the hadith evidence on music and concluded that there was no authentic, unambiguous prohibition. He argued that the hadiths cited against music were either weak in their chains or ambiguous in their meaning, and that the default ruling in Islam is permissibility (ibahah) unless a clear prohibition is established.
Al-Ghazali (11th to 12th century): In "Ihya Ulum al-Din," al-Ghazali devoted an entire chapter to the question of listening to music (al-sama'). He argued that music is not prohibited in itself but that its ruling depends on its context, content, and effect on the listener. If it leads to spiritual elevation, it is praiseworthy. If it leads to sin, it is blameworthy. If it is neutral in its effect, it is permissible. He criticised those who issued blanket prohibitions as being excessively rigid and those who were heedless of music's potential dangers as being excessively lax.
Ibn Taymiyyah (13th to 14th century): In his fatawa, Ibn Taymiyyah took a firmly prohibitive stance on musical instruments, arguing that the hadiths against them were authentic and that the consensus of the early generations was against their use. He acknowledged that the daff was permitted for weddings and celebrations but held that this exception did not extend to other instruments.
Yusuf al-Qaradawi (contemporary): In "The Lawful and the Prohibited in Islam," al-Qaradawi argued that singing and music are permissible on the conditions that the lyrics are not immoral, that the manner of performance is not sexually provocative, that the listening does not lead to neglect of religious duties, and that it does not become excessive or obsessive. He cited the hadith evidence for permissibility and argued that the prohibitive hadiths were either weak or referred specifically to contexts involving alcohol and immorality.
Ibn al-Qayyim (14th century): In "Ighathat al-Lahfan," Ibn al-Qayyim argued strongly against music and musical instruments, considering them paths to spiritual ruin. He documented the views of scholars from all four schools who held music to be prohibited, and regarded listening to music as incompatible with sincere devotion to the Quran.
Analysis: Is Music Haram in Islam?
The scholarly debate on music in Islam is genuinely complex, and any honest treatment of the question must acknowledge that qualified scholars, drawing on the same primary sources, have reached substantially different conclusions. The following analysis attempts to lay out the reasoning behind the major positions fairly.
The prohibitive position, held by the majority of Hanbali scholars, many Shafi'i scholars, and significant figures across other schools including Ibn al-Qayyim, rests on several pillars. The first is the hadith in Sahih al-Bukhari about those who will "regard as permissible" musical instruments, which, if accepted as authentic and as indicating a general prohibition, provides a strong textual basis. The second is the interpretation of "lahw al-hadith" (Quran 31:6) as referring to music and singing, supported by the companion Ibn Mas'ud (ra). The third is the reported practice of certain companions who avoided music, understood as reflecting a broader understanding among the earliest Muslims that instruments were not acceptable. Scholars in this camp typically permit the daff at weddings and unaccompanied singing (anasheed) on religious or celebratory occasions, viewing these as specific exceptions to a general rule.
The permissive position, held by Ibn Hazm, al-Ghazali (with conditions), prominent Maliki jurists, and contemporary scholars including al-Qaradawi, rests on different but equally substantive grounds. The first is that the hadith about "al-ma'azif" has been questioned on technical isnad grounds by some authorities, and even if authentic, its meaning is contested (whether the prohibition targets each item listed or the combination of behaviours together). The second is the multiple authentic narrations in which the Prophet (pbuh) explicitly permitted and even encouraged singing in his presence, including the Eid narration and the wedding narration, which suggest that the default ruling is not prohibition. The third is the principle of ibahah (original permissibility), which holds that all things are permissible unless a clear and unambiguous prohibition exists. Scholars in this camp impose conditions: the content must not be immoral, the activity must not lead to neglect of prayer or other obligations, and it must not become obsessive or lead to other prohibited behaviour.
The middle position, articulated most fully by al-Ghazali, attempts to navigate between these poles by focusing on the effect of music rather than its form. In this view, music is a neutral medium whose moral character depends on its content, its context, and its impact on the individual listener. Music that inspires reflection on God, that accompanies celebration, or that provides innocent recreation is permissible. Music that involves immoral lyrics, that is consumed in environments of sin, or that distracts from religious obligations is prohibited. This position avoids the rigidity of a blanket ban and the permissiveness of an unconditional approval, and it has significant support in the classical tradition.
What all positions agree upon is instructive. All scholars agree that the daff is permitted for celebrations. All agree that nasheeds (religious songs) without instruments, or with the daff, are permissible. All agree that lyrics containing obscenity, incitement to prohibited behaviour, or content that glorifies what Islam forbids are not permissible regardless of the musical accompaniment. All agree that any permissible activity becomes impermissible if it leads to neglect of prayer, causes genuine harm, or becomes an obsession that dominates one's life.
For the individual Muslim navigating this question, several points are worth noting. First, this is a matter of genuine scholarly disagreement (ikhtilaf), not a case where the evidence is one-sided. Second, in matters of ikhtilaf, the Muslim is encouraged to follow the opinion of a scholar they trust and to respect those who follow a different opinion. Third, the strongest evidence against music relates specifically to musical instruments in contexts associated with other prohibited activities (alcohol, sexual immorality), and the strongest evidence for permissibility relates to singing in contexts of celebration and joy. The space between these two poles is where the real debate lies. Fourth, even those who hold music to be generally permissible acknowledge that not all music is equal, and that content, context, and personal effect matter enormously.
5 Misconceptions about Music in Islam
"All scholars agree that music is haram." This is not accurate. While a significant and respected body of scholars holds music to be prohibited, another substantial body of equally qualified scholars, including al-Ghazali, Ibn Hazm, and al-Qaradawi, holds that it is permissible under certain conditions. The question is a matter of legitimate scholarly disagreement, and presenting one position as though it were unanimous consensus misrepresents the tradition.
"Islam is against all forms of art and beauty." Islam has a long and rich tradition of artistic expression, including calligraphy, architecture, poetry, and literature. The Prophet (pbuh) said: "Allah is beautiful and loves beauty" (Sahih Muslim). The debate about music is a specific juristic question about the permissibility of a particular activity, not an indication of a general hostility towards aesthetics or culture.
"The hadith about musical instruments in Sahih al-Bukhari settles the matter conclusively." While this hadith is indeed in Sahih al-Bukhari and is accepted as authentic by the majority of scholars, its chain of narration has been questioned by some authorities (notably Ibn Hazm), and its meaning has been interpreted differently by those who accept it. A single hadith, however authentic, does not automatically override other authentic narrations that appear to permit singing, nor does it render the scholarly disagreement illegitimate.
"Nasheeds are just a loophole for Muslims who want to listen to music but cannot admit it." Nasheeds have a long and honoured history in Islamic culture, predating the modern debate about recorded music. The companions sang poetry in the presence of the Prophet (pbuh), workers chanted while building the mosque in Madinah, and religious poetry has been a vehicle for spiritual expression across every Muslim civilisation. Nasheeds are not a compromise; they are a tradition in their own right.
"Muslims who listen to music are bad Muslims." Making blanket moral judgements about individuals based on a matter of scholarly disagreement is itself contrary to Islamic etiquette (adab al-ikhtilaf). The Prophet (pbuh) instructed his companions to avoid suspicion about one another, and scholars across the tradition have emphasised that differences of opinion on secondary (furu') matters should not become grounds for condemnation or division.
5 Objections Addressed Regarding Music in Islam
"If the Prophet (pbuh) allowed singing at weddings, why do some scholars extend the prohibition to all contexts?" Scholars who hold the prohibitive position argue that the wedding and Eid narrations represent specific exceptions (rukhsah) to a general rule, much as travellers are permitted to shorten their prayers without this implying that shortened prayers are the norm. They interpret the permissive narrations as limited in scope rather than establishing a general principle. Scholars who disagree argue that the presence of multiple permissive narrations across different contexts (weddings, Eid, the return of travellers, daily life in Aisha's home) suggests a general permission with exceptions, not the reverse.
"Does the widespread availability of music in modern life not make the prohibition impractical?" Scholars who hold the prohibitive position acknowledge the difficulty but argue that the prevalence of a practice does not change its ruling. Many prohibited things are widespread, and the obligation to avoid them remains. They advise Muslims to do their best to minimise exposure and to seek alternatives such as nasheeds, Quran recitation, and Islamic lectures. Scholars who hold the permissive position note that the impracticality of total avoidance supports the view that a blanket prohibition was never intended.
"Is it not inconsistent to permit the daff but prohibit other instruments?" Those who permit the daff alone argue that it is specifically mentioned in authentic hadiths and that extending the permission to other instruments constitutes reasoning by analogy (qiyas) in the presence of specific texts, which is not universally accepted. Those who argue for broader permissibility note that if the principle behind the daff's permissibility is the enhancement of celebration and joy, then the principle should extend to other instruments that serve the same purpose.
"What about Sufi devotional music, which is practised by millions of Muslims worldwide?" The Sufi tradition of sama' (spiritual listening) has a long and rich history, with major scholars including al-Ghazali, Jalal al-Din Rumi, and many others not only permitting but actively advocating the use of music and poetry in devotional practice. The practice remains widespread and deeply valued in Sufi orders across the Muslim world. Those who oppose sama' argue that it is an innovation (bid'ah) without Prophetic precedent. Those who support it argue that it falls within the broad category of permissible means of remembering Allah (dhikr) and that its spiritual benefits are attested by the experience of millions of Muslims across centuries.
"Modern music often contains explicit content, so is it not safer just to avoid it all?" The principle of being cautious (wara') about what one consumes is indeed valued in Islam, and Muslims who choose to avoid music entirely out of personal piety are acting within a valid and respected tradition. However, applying personal precaution as a universal ruling on others is a different matter. Scholars across the tradition have distinguished between what an individual may choose for themselves out of piety and what they may impose on others as a binding obligation. The existence of music with harmful content does not necessarily mean that all music is harmful, just as the existence of harmful speech does not mean that all speech is prohibited.
FAQs: Is Music Haram in Islam?
"Is listening to nasheeds with a daff (frame drum) permissible?" Yes. There is near-universal scholarly agreement that the daff is permissible, based on multiple authentic hadiths in which the Prophet (pbuh) explicitly permitted and encouraged its use at weddings, Eid, and other celebrations. Nasheeds accompanied by the daff are considered permissible by virtually all scholars.
"What about background music in shops, films, or public spaces that I cannot avoid?" Even scholars who hold a strict prohibitive position recognise that involuntary exposure to music (such as background music in a shop or on public transport) is not sinful, as sin requires intention and choice. The prohibition, in their view, applies to deliberately choosing to listen to music, not to incidental exposure that one has not sought out and cannot reasonably avoid.
"Can I play a musical instrument as a hobby or profession?" This depends on which scholarly position one follows. Scholars who hold the prohibitive view would advise against it. Scholars who hold the permissive view would permit it provided the content is appropriate and it does not lead to neglect of religious duties. A Muslim who is uncertain should consult a scholar whose knowledge and judgement they trust.
"Is it true that listening to music and listening to the Quran are spiritually incompatible?" Ibn al-Qayyim argued that the heart cannot fully appreciate both the Quran and music simultaneously, and that devotion to one diminishes appreciation of the other. Al-Ghazali disagreed, arguing that music, when approached with the right intention, can actually soften the heart and make it more receptive to spiritual experience. This disagreement reflects deeper differences in how the scholars understood the relationship between aesthetic experience and spiritual life.
"What should I do if my family or community holds a different view from me on this question?" Islam encourages respect for legitimate scholarly differences. If your community considers music prohibited and you follow a scholar who permits it, the Islamic etiquette of disagreement (adab al-ikhtilaf) advises sensitivity, respect, and avoidance of unnecessary provocation. Equally, if you follow the prohibitive position, the same etiquette advises against condemning or judging those who follow a permissive opinion based on qualified scholarly authority. The unity of the Muslim community is more important than any individual fiqhi disagreement.
Conclusion
The question of whether music is haram in Islam does not have a single, simple answer, and any claim that it does misrepresents the breadth and depth of the Islamic scholarly tradition. Qualified scholars, drawing on the same Quranic verses, the same hadiths, and the same principles of jurisprudence, have reached genuinely different conclusions. The prohibitive position is well-grounded in specific textual evidence and the practice of several prominent companions and scholars. The permissive position is equally well-grounded in other authentic narrations, the principle of original permissibility, and the analysis of major classical authorities.
What the Muslim can take away from this debate is not confusion but a deeper appreciation of how Islamic law works. The shari'ah is not a monolithic set of rules handed down without context or discussion. It is a living tradition of scholarship in which qualified individuals engage seriously with the sources, acknowledge ambiguity where it exists, and arrive at reasoned conclusions that may differ from one another. In matters of genuine scholarly disagreement, the Muslim's responsibility is to seek knowledge, follow qualified scholarship, act according to conscience, and respect those who reach different conclusions through equally sincere engagement with the same tradition.
References: Sahih al-Bukhari, Sahih Muslim, Sunan al-Tirmidhi. Ibn Hazm, "al-Muhalla." Al-Ghazali, "Ihya Ulum al-Din" (Book of Listening). Ibn al-Qayyim, "Ighathat al-Lahfan." Ibn Taymiyyah, "Majmu' al-Fatawa." Al-Qaradawi, "The Lawful and the Prohibited in Islam" (1960). Quran translations referenced from Sahih International.
<<Show less
