لماذا أستعمل الموسيقى في قناتي؟ شاهد بقية الفيديوهات و الأدلة في قائمة تشغيل " ملف الموسيقى"

Overview

The video responds to repeated questions about why the presenter uses music on her channel. After studying the ruling on music in Islamic jurisprudence, she frames the discussion as an effort to pursue truth and urges viewers not to rush into judgments or approach the topic with bias.

She also criticizes people who insult her or dismiss Islamic rulings out of arrogance or by relying on inherited opinions without evidence.

Core arguments and legal method

• Rulings must be based on evidence, not personal opinion or people’s status. The presenter stresses that fatwas and claims are not valid unless supported by clear Quran/Sunnah texts and acceptable proofs from the principles of jurisprudence.

• Juristic process: The primary sources are presented as:

  • Quran
  • Sunnah
  • Consensus (ijma‘) She notes differing scholarly approaches to whether statements of the Companions count as evidence, while maintaining that the Companions’ rank does not override the Quran and Sunnah.

• Weak/incorrect hadiths are rejected. She argues that many hadiths popularly circulated online to prohibit music are weak or fabricated, and that scholars would not build rulings on such reports.

Quranic evidence she addresses

• “Idle talk” verse (misleading from God’s path): Opponents commonly cite a narration (disputed in chain/interpretation) that allegedly connects the verse about “idle talk” to musical instruments.

• Her response: Even if the wording is linked to instruments in some narrations, she argues the Quranic wording is general and interpretive. In Arabic, the phrase “for him” can refer to anything that distracts from something else—such as music, media, phone use, etc.

• Another Quranic episode (Friday sermon, leaving for trade/entertainment): She uses the episode where people leave the Prophet during Friday prayer due to trade/entertainment to argue that condemnation is for abandoning worship at the proper time—not for entertainment in every circumstance.

Sunnah / hadith arguments she disputes

For hadiths used to prohibit music, she claims:

• Many are not authentic or are misrepresented.
• A widely cited report in Sahih al-Bukhari is described as “suspended” (i.e., not treated as fully decisive in terms of authentication/connection), so it is not considered definitive proof for total prohibition.
• She argues that other hadiths used against music (e.g., flute-related reports attributed to Ibn Umar and others) would actually indicate permissibility, given how the Prophet is reported to have allowed related listening behavior.

Scholarly tradition and historical examples she uses

• She argues that major scholars and early Muslim generations did not adopt absolute prohibition, and that evidence exists for singing and musical instruments being accepted in certain forms.

• She lists various reports and claims attributed to scholars and generations such as:

  • Reports that scholars like Malik permitted certain forms of singing and instruments.
  • Claims that there was no disagreement in Medina regarding permissibility of the lute.

• She also provides historical-cultural rebuttals, including:

  • Music being taught in institutions, mentioning her reference to Saladin’s era and the “Al-Aziziyya” school alongside other sciences.
  • Rebutting the claim that “music caused the fall of Andalusia” as unsourced and mockable.

Reconciling prohibition with conditional permissibility

A key conclusion is that music/singing is not absolutely forbidden in all forms. Instead, the ruling depends on conditions, including:

• Content matters: Lyrics must not promote forbidden themes (e.g., immorality, praising tyrants/oppressors, or corrupt messaging).

• Performance matters: If the performance involves deliberate provocation, inciting desires, or obscene behavior, it becomes prohibited.

• Association with other haram matters: If it is tied to alcohol, immodesty, or uncontrolled mixing, then the gathering/practice becomes forbidden.

• Time and excess matter: Even permissible entertainment can become blameworthy if it wastes time, prevents worship, or turns into extravagance.

She compares Islamic jurisprudence to “pharmacy”: what is permissible in one context may become impermissible in another due to surrounding factors.

Critique of “absolute haram” fatwas

• She criticizes scholars who issue rulings of absolute prohibition without strict evidence or using weak proofs.
• She warns that calling something “haram” is serious and must rest on clear textual proof, not conjecture, personal whim, or weak hadiths.
• She argues that overly rigid bans can create doubt and push some people (especially students abroad, as she claims) away from Islam—potentially toward atheism.

Final framing

She concludes by reaffirming that:

• her episode is grounded in transmitted knowledge from early generations and scholars,
• viewers should distinguish between different types of singing/music and their contexts,
• and she encourages respectful engagement rather than insults.

She also quotes a saying attributed to al-Ghazali about responsiveness to music and nature imagery as a closing moral/intellectual support for her position.

Presenters / contributors and figures referenced

Presenter

• Presenter/reciter (unnamed in subtitles): the main speaker throughout the episode.

Referenced scholars and authors

• Dr. Abdullah Al-Judaie
• Dr. Muhammad Amara (not Ahmad Amara)
• Sheikh Al-Qaradawi
• Imam Abu Hamid al-Ghazali
• Imam Malik
• Imam al-Shafi‘i
• Imam Abu Yusuf
• Imam Ahmad ibn Hanbal
• Ibn Hazm
• Ibn al-Qayyim (mentioned)
• Ibn Jarir al-Tabari (al-Tabari)
• Abdullah ibn Mas’ud (mentioned)
• Jabir ibn Abdullah (mentioned)
• Abdullah ibn Umar (mentioned)
• Hassan ibn Thabit (mentioned)
• Umar ibn Abd al-Aziz (mentioned)
• Saladin al-Ayyubi (mentioned)
• Judge Abu Bakr ibn al-Arabi (mentioned)
• Ibn Tahir (mentioned)
• Abu Mansur al-Baghdadi al-Shafi‘i (mentioned)
• Judge Shurayh (mentioned)
• Sa‘id ibn al-Musayyib (mentioned)
• Ata’ ibn Abi Rabah (mentioned)
• al-Zuhri (mentioned)
• al-Sha‘bi (mentioned)
• al-Shawkani
• Sheikh Abdul Ghani al-Nabulsi
• Tantawi (sheikh Tantawi, mentioned)
• Imam “the Proof of Islam, Abu Hamid Al-Ghazali” (as named in subtitles)
• Nafi‘ (mentioned)
• Al-Furani, Al-Qaffal, Shu‘bah, and others are mentioned in passing (based on subtitle text)

Note: Ibn Kathir is not mentioned (not shown in subtitles).

Religious figures referenced

• Prophet Muhammad ﷺ
• Companions including Umar, Uthman, Abd al-Rahman ibn Awf, Abu Ubayda ibn al-Jarrah, Ibn Ja‘far, Ali, etc. (mentioned in the narrative)