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Madih nabawi

From Wikipedia, the free encyclopedia
Music in praise of the Islamic Prophet Muhammad
Part ofa series on
Islamic culture

Madih nabawi (Arabic:مديح نبوي, pl. Madā'ih nabawiyah), one of the principal religiousgenres ofArabic music, is a song form dedicated to expressing praises, love and devotion for the Islamic prophetMuhammad and his family. The genre dates from 632 CE, immediately after the death of Muhammad, but the performers address Muhammad. It is also aSufi genre of belletristic Arab literature.[1]

Description and subgenres

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A typical performance includes asolo singer, accompanied by achorus of men withframe drums, the chorus singing arefrain which the soloistimprovisationally answers through variation, paraphrasing, or transformation of the refrain, emphasising the characteristics of the respectivemaqam row or scale.. The chorus sings inunison and a new verse of poetry and prayers or blessings for the audience are added at certain places during the chorus. InNorth Africa, it resemblesma'luf orandalusi nubah, inEgypt thedur, inSyria themuwashshah, and inIraq themaqam al-iraqi.[2]

According to the article about Islamic religious music in theNew Grove Dictionary of Music, "NorthernSudan has a famous madih tradition, going back to Hajj El-Mahi of Kassinger (c 1780–1870), who composed about 330 religious poems of which handwritten copies survive. They are performed by pairs of male singers with the accompaniment of two frame drums (ṭār), at religious festivities, at markets or outside mosques."[3]

Musical genres or subgenres in the madih repertoire includetanzilah ("revelation"),ibtihal ("supplication"),tawassul ("beseechment"),tawshih, andmuwashshah.[4]

Further reading

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  • Al-Mallah, Majd, Madih Nabawi, in Muhammad in History, Thought, and Culture: An Encyclopedia of the Prophet of God (2 vols.), Edited by C. Fitzpatrick and A. Walker, Santa Barbara, ABC-CLIO, 2014.ISBN 1610691776

See also

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References

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  1. ^Touma (1996), p. 161
  2. ^Touma (1996), p. 159
  3. ^Neubauer and Doubleday, 2001
  4. ^Touma (1996), p. 162

Sources

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External links

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