All posts by Musikgarten

Ella Jenkins – First Lady of Children’s Music

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Anyone who is involved in children’s music is familiar with the name Ella Jenkins. Given the honorific title “The First Lady of Children’s Folk Song,” Jenkins is an iconic American folk singer, multi-instrumentalist, and perhaps most impactfully, a beloved children’s music writer and performer. Her 1995 album of children’s songs, Multicultural Children’s Songs remains the Smithsonian Folkways most popular release. Jenkins has spent her life devoted to helping children find enjoyment in music, appearing on many children’s television shows including Mr. Rogers’ Neighborhood, Sesame Street, and Barney. And in 2004, Jenkins received a Grammy Lifetime Achievement Award. She remains an inspiration and mentor for many children’s music educators across the globe.

Ella Jenkins’ Humble Beginnings for a Children’s Music Icon

Jenkins’ was born in St. Louis on August 6, 1924, but grew up mainly on Chicago’s South Side. As a child, she loved games, especially those involving music, rhythm, and movement. Jenkins was introduced to the music of renowned blues musicians such as Memphis Slim, T-Bone Walker, and Big Bill Bronzy, by her uncle Floyd Johnson, a harmonica player. As her love and interest in music grew and her family moved to different neighborhoods around the south side, she explored various styles of music, rhythm, and children’s games in the streets as well as local black churches. During this time, Jenkins also enjoyed dance and performing, which allowed her to attend concerts at the local theatre. She often contributes her “sing and response” style of music by hearing Cab Calloway perform there. Graduating High School in 1942, Jenkins went on to earn an associate’s degree from Woodrow Wilson Junior College while working at a Wrigley’s gum factory. It was at Woodrow Wilson that she became interested in music from other cultures through her Mexican, Cuban, and Puerto Rican friends. After graduation, Jenkins moved to California in 1948 in order to increase her opportunities and expand her musical repertoire.

From Music Acolyte to Accomplished Composer

While attending San Francisco State College, Jenkins continued her pursuit into the music of other cultures, learning Jewish songs from her roommates. After graduating with a B.A. in Psychology with minors in Child Psychology and Recreation in 1951, she moved back to her beloved Chicago. Despite having no formal music education, in addition to singing Jenkins learned over the years to play a multitude of musical instruments including the ukulele, pipe organ, harmonica, piano, and a variety of percussion instruments.  Jenkins began writing songs while volunteering at recreations centers, and was soon hired as a Teenage Program Director. While performing with young people on the street one day, she was asked to perform on a local public television show, The Totem Club. Jenkins continued to play various shows and events, and in 1956 decided to become a full-time freelance musician. Moses Arch, the founder of Folkways Recordings heard Jenkins and offered to record her songs. Her first album, Call and Response was published as 10-invh vinyl in 1957. She recalls, however, that times were not always easy in those days, as she slept in different places each night, often facing racial discrimination.

Composing and Performing her way to Beloved Children’s Music Icon

In the 1960s, Jenkins met Bernadelle Richter, who hired her to perform at an American Youth Folk Festival. They soon developed a relationship and within a few years were business partners, with Jenkins composing and performing while Richter handled the business. In 1966, Jenkins released the best-selling title in the history of Folkways (Smithsonian) Records, You’ll Sing a Song and I’ll Sing a Song. She has continued to compose and perform ever since, with her 32nd album Life of Song published in 2011. Other entities continue to publish her classics in different educational compilations, such as the Get Moving Ella Jenkins and recently released 123s and ABCs, which features her core principles of careful listening, singing, and improvisation.

Ella Jenkins is one of few artists to have recorded both for Smithsonian Folkways and for Moses Asch’s original Folkways label. She has enjoyed a long and prolific career distinguished by a genuine love and appreciation for the minds and hearts of children. Three generations of fans are still singing along with “Miss Ella,” while the next generation of children can learn the ground-breaking songs of Ella Jenkins on Smithsonian Folkways. The accolades Jenkins has received include, but are not limited to, a Pioneer in Early Television citation, the Parent’s Choice Award, a KOHL Education Foundation Lifetime Achievement Award, Best Variety Performer Award from American Academy of Children’s Entertainment, and a Lifetime Achievement Award from the American Society of Composers, Authors, and Publishers. She has also served as a U.S. delegate to numerous countries with the John F. Kennedy Center for the Performing Arts. Generations of children have a deeper understanding of the world through Ella Jenkins participatory music.

Instilling a Love of Music in Children

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When visiting the home or workspace of others, one may notice if they have music playing in the background. Others may be able to, and even prefer to, have music playing while reading or concentrating on a task, while some find it distracting. After so many years, experts are still trying to understand how our brains react to music. While there are always exceptions to the rule, most researchers conclude that listening to music has several beneficial effects on mind, body, and spirit:

The Benefits of Listening to Music

Developmental Benefits of Music to Children

While many of the benefits of enjoying and listening to music continue throughout our lifetimes, there are important developmental advantages that exposure to music at an early age offers to children from as early as the womb. Establishing a strong foundation and exposure to music in children at home and in the classroom helps to develop a lifelong love. We have explored many of these developmental benefits over the years.

For children, music:

Considering the many advantages that a lifelong love of music provides, the key question is – How do I instill a lifelong love of music is my child? For caregivers who already have a love of music and therefore expose children to it at home, church, and the classroom, this may seem like an afterthought. For parents and caregivers who may not know where to start, here are some things that can easily be done from before birth.

Simple Ways to Instill a Lifelong Love of Music in Children

  • Play music to a child in the womb – A child can begin to detect and discern noises from outside the womb at around the 23rd week of pregnancy, and scientists recommend exposing a child to both speech and music.
  • Sing to the womb – As the child develops, it begins to recognize the parent’s voices, as well as that of other family members and caregivers. Singing songs to the child is a great way to create both a bond with family as well as with music. The newborn child will also recognize songs and lullabies that were repeatedly sung to the womb.
  • Listen to Music with your kids – Some of us will remember from childhood that music was almost always on around the house. Music doesn’t have to be loud to create a soothing background for family dinners and house chores. It’s also a chance for families to sing along, dance, and act all around silly. Also consider exposing children to different genres of music, so that they develop a musical “vocabulary” and gain an appreciation of many different cultures and styles.
  • Sing with your kids – Children’s music is more popular than ever, and many a parent will testify that some of it is quite catchy! Whether its children’s songs or mainstream, find what your kids enjoy singing, and sing along! Not only will it make them happy and strengthen your bond, but it will also help them learn to harmonize with others.
  • Take them to see live music – It’s one thing to hear music, sing at home, or see music on a screen, but quite another to show children real live professionals performing music in person. Not only is the sound of live music unbeatable, the other stimuli that a live concert or music festival provides fill the senses. While it’s important to consider the who, what, when, where, and how of taking a kid to a live performance, if done with good planning, the experience should be one they will remember their entire lives.
  • Enroll them in Early Childhood Music Classes – As we have stated above, there are many mental, social, and developmental benefits to music classes for children. From infancy to young adulthood, these programs help kids develop a different language and vocabulary, as well as a lifelong passion for music.

Music transcends age, culture, gender, race, and nationality. With a literal world of choices, listeners can choose music to which they can relate most, and with technology, listen to it just about anywhere on the planet. Music offers individuals a personalized outlet, and the freedom and choice that music offers can produce a love that lasts a lifetime.  

The Benefits of Teaching Children to Give

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This holiday season offers many opportunities for teachers, parents, and caregivers to teach children about both giving and giving thanks. Our last topic covered the many benefits of instilling gratitude in children. While showing gratitude is important for healthy early development, some evidence shows children may actually benefit more from giving than receiving.

Some of the Health Benefits of Giving

Giving and showing generosity has many health benefits, including physical, psychological, and spiritual well-being. When instilled in children, giving provides benefits that will pay back for their entire lives. A few of the many benefits of giving include:

The Developmental Benefits of Teaching Children to Give

These results of giving help the young and old alike, but teaching children how to give provides some important developmental benefits as well:

Teaching Children the Joy of Giving

Most children are naturally inclined towards giving from a very early age. Research has shown that from the age of two, toddlers are actually happier giving than receiving. A study of children as young as 18 and 30 months old showed children voluntarily giving and helping in various altruistic ways, such as giving a blanket to a cold researcher. However, cultivating skills around kindness and giving should be nurtured by caregivers. Here are a few tips for reinforcing the natural inclination for children to give:

  1. Be a role model and explain why you are giving – Research shows that children are more likely to be kind if at least one parent models that behavior for them. In younger children, facial expressions of happiness and gratitude can show intent. As they grow older, it’s important for parents to have conversations with their kids about generosity.
  • Create opportunities and give together – Look for opportunities in everyday life to model giving and invite your child to participate in the process. Whether it’s a toy to a playmate or taking dinner to an elderly neighbor, the reactions of others will also demonstrate the value of being generous.
  • Help them understand and see the impact – While giving money or donating to a charity is helpful in teaching giving, letting children see the end results of generosity will make a longer lasting impression on them. Volunteering time often involves coming into contact with the recipients of giving, which can demonstrate the positive impact it makes.

Of the many studies and research that have been performed on the developmental benefits of giving, nearly all reiterate instilling generosity in children early and often. From an early age, children’s tendencies to do so should be identified and rewarded, and at a later age discussed and praised. In this season of giving, there are many opportunities to reinforce what already comes natural to most children.

The Science of Gratitude

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Last Thanksgiving season, we considered different ways that teachers and children’s music studio owners can teach thankfulness in the classroom. Since then, more and more scientific studies have been conducted to explore exactly how gratitude works with the chemistry of mind and body. While harder to measure, the practice of gratitude and its spiritual benefits have been taught by major religions across the globe. The benefits of gratitude are numerous and affect emotional and social well-being, personality, career, and health.

Just a Few of the Many Benefits of Gratitude

Scientific studies have shown us that realizing, practicing, and demonstrating gratitude…

  • Makes us happier – Noticing what we already have makes us feel positive about our lives.
  • Increases our psychological well-being and self-esteem – It enhances our positive emotions and discourages suicidal tendencies in depressed and stressed individuals.
  • Makes us more likable and expands social connections – Gratitude improves our romantic relationships, improves our friendships, and increases our social support network.
  • Increases optimism and spiritualism – It makes us more giving, reduces our materialism, and enhances our optimism.
  • Enhances our careers and reduces work related stress – Gratitude makes us better managers by increasing patience and improving decision making while helping us to find meaning in our work, contributing to reduced turnover.
  • Improves our overall physical health – It reduces our blood pressure, improves our sleep habits, reduces depressive symptoms, and encourages exercise.

Scientific Evidence on the Benefits of Gratitude

So how do we know about these apparent positive benefits of practicing gratitude? More and more scientifically based studies are being conducted year after year, with encouraging findings. It is important to note because many of these studies are behavioral, they cannot absolutely prove cause and effect. However, most support a strong association between gratitude and an individual’s well-being. For example, a 2018 study on individuals seeking mental health guidance showed that those participants who wrote letters of gratitude reported feeling better and recovered sooner than those who did not. Hypothalamic regulation, which is triggered by gratitude and simple acts of kindness, has been shown to help with deeper and healthier sleep. Another study conducted by psychologists specializing on research into gratitude asked participants to write about events that affected them, positive or negative. The study found that those who wrote more often about gratitude were more optimistic and felt better about their lives. Finally, a 2019 study in the Journal of Happiness Studies found that there is a link between gratitude and happiness in children by the age of 5, while another found the same results in children ages 11 to 13.

The evidence for the positive benefits of practicing and demonstrating gratitude point to greater mental, physical, and spiritual well-being in both children and adults. In this season of giving thanks, showing children how to practice gratitude can help them become healthier and happier throughout their lives. Whether at the family dinner table, in social circles, or even the children’s music classroom, coaching gratitude is beneficial to both learner and teacher alike. 

A Brief History of Group Piano Teaching

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Around this time last year, we presented a short history of the piano, tracing its most rudimentary origins as far back as the monochord in ancient Greece. Many piano historians, however, will point to Bartolemo Cristofri’s invention of the pianoforte as being the most prominent relative to the modern piano. But the evolution of the piano is only one part of why it remains an extremely popular instrument across the globe today. Throughout history piano teachers have spread the knowledge and love for the instrument, through one-on-one instruction as well as children’s music studio classes and programs.

Played Mostly by Women, yet Dictated by Men

In the early 1770s, keyboard instruments such as the harpsichord were played mostly by women and girls who were fortunate enough to come from wealthy families. As the pianoforte began to take over from the harpsichord, this population of talented women evolved along with the technical and commercial advances in the instrument. However, as was with most things in society at the time, men dominated the most lucrative aspects of music. Men were almost exclusively the only concert pianists, and as women were not allowed to attend university, men were considered the only suitable teachers and scholars for most subject matter of the time.  

The Earliest Piano Teaching Methods

In earliest days of piano instruction, the most prevalent method of teaching was the master/apprentice model. It is as such that Carl Czerny, a pupil of Beethoven, was the first to conceive and create an entire library of teaching pieces for piano based on numbering the fingers and creating exercises based on that numbering. In the mid to late 1800s, several other great piano teachers emerged, with somewhat different schools of thought to deal with the emerging trends in musical pieces but based on the “classic” or “old school” approach developed by Czerny. As the popularity of the piano grew and the need for more piano teachers rose, women began to teach piano. In fact, by 1861, it appears that sixty percent of all piano teachers in London were female.

The Emergence of Group Piano Teaching

 As the demand for piano instruction increased, teachers recognized the potential of teaching in groups. In the early 1800s, German Musician Johann Bernhardt Logier began instructing piano classes in groups. Often containing up to 30 students, these classes ranged from beginners to the more advanced. Educators from America and Europe attended Logier’s classes and then introduced group piano teaching to their own countries. Many famous nineteenth century pianists taught in a group class setting, including Liszt, Chopin, and Clara Schumann. It is believed that the first group piano classes in America can be traced to girls’ schools in the Southern United States. As the United States led the world in piano production in the early nineteen hundreds, elementary school group programs grew tremendously. Unfortunately, due to the depression, World War II, and the invention of the radio, school group piano programs suffered a serious decline.

The Electric Piano and the Internet

The introduction of the electric piano created a new opportunity for piano teachers and group classes. Because of their relatively small size and weight, teaching group piano became much more cost efficient. As with most industries, the Internet has had a substantial impact in how music instruction is distributed and marketed. While there are thousands of options to learn piano online, most professional musicians will point to the importance of in-person instruction for pianists (and other instruments) at all levels. As children’s group piano classes continue to be offered in person, the importance of that teacher pupil relationship is reminiscent of the very first piano teaching model of master and apprentice. 

How Music Instruction Reduces Screen Time for Kids

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Parents and teachers alike understand the challenges that screen time poses to children as well as adults. Prior to the Covid pandemic, kids ages 8-18 were spending up to 7.5 hours on average in front of a screen for entertainment. More than half of that time was spent watching television. COVID-19 and the lock-down made matters even worse. Despite the need to attend online classes for school, overall digital device usage increased by 5 hours, with adolescents averaging even higher at 8 hours a day.

As our children’s screen time has increased substantially over the past decade, the ill effects of it on the physical and mental well-being is being studied more and more. Pediatric health professionals and children’s educators alike highly recommend other means of entertainment for children to offset this epidemic. Children’s music education is one such means of entertainment that helps reduce screen time.

The Health Effects of Screen Time in Children

Children’s health professionals point to many issues that may arise in children that are exposed to an excessive amount of screen entertainment:

  • Impaired emotional and social intelligence.
  • Sleep deprivation and disturbed sleep cycles.
  • Mood problems such as irritability, depression, anxiety, and ADHD.
  • Poor self-image, weight problems, and body image issues.
  • Vision issues such as eye strain and myopia.
  • Neck pain and carpal tunnel syndrome.
  • Social isolation and fear of missing out (FOMO).
  • Phantom Vibration Syndrome, where a person imagines their phone is ringing or vibrating when it’s actually not.
  • Obsessive, excessive, compulsive, and impulsive use of digital devices.

Children’s Music Education to Reduce Screen Time

Pediatric health care professionals recommend exposing children to other activities to reduce their screen time as well as increase their interests in other entertainment. Teachers of children’s music education have long known the positive impacts that music classes have on a child’s well-being during their developmental years and beyond:

It is clear that as technology increases at a greater and greater rate, it will compete for the attention of humans in developed societies. Children are even more susceptible to the negative impacts of excessive screen time in their developmental years. Supplemental music lessons offer an alternative to screen time while providing all of the benefits that music instruction offers to kids – including self-imposed limitation of screen time; increased problem-solving skills, time management and prioritization; increased self-awareness and social skills, and more.

Leveraging the New School year for Your Music Studio

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With late Summer and early Fall comes a return to school for children, and during that time parents are starting to organize their new schedules. Unlike the Summer months, where both student families and music teachers alike have vacations and travel, the school year creates a more consistent and expected routine. This time of mental scheduling and organization presents an opportunity for children’s music studio owners to re-establish connections with students, while prospecting new students as well.

Reaching out to Present Music Student Parents

This may seem like a no-brainer, but as music studio owners prepare their classrooms and curriculum for new fall classes, they sometimes overlook the “low hanging fruit.” The school year is a time of transition for children and parents alike, when they both weigh what commitments they want to make and what they want to leave behind. As children grow, parents want to give them more and more power to make decisions over their lives.

“Do you want to play soccer this year?”, or “Do you want to continue with music class this year?”, may be some of the questions asked when preparing for school. To make sure that your music studio is top of mind with parents, here are some tips:

Tips for Keeping Your Children’s Music Studio “Top of Mind”

  • Reach Out – Just before the school year begins, provide a schedule of your fall classes. Do this by email, phone call, text, or ALL THREE! If you use more than one “touchpoint” method, spread them out over a few weeks before your enrollment. Parents have different preferences for receiving information, so using several is a good idea both for initial touch as well as multiple touches.
  • Provide Options – The regular school day of 8 AM to 3 PM is a thing of the past for many parents. Provide several class options at different days and times in the afternoon, so that parents can find what suits their new schedule best. For infants and toddlers, morning classes often provide the best options. Think about a classes that are just after average school drop-off or pick-up so that parents can combine trips with younger children and older siblings.

Reaching Out to New Music Students

Most children’s music studio owners understand that it costs much less to retain current customers than to attract new ones, but they also want their business to grow. With the new school year comes new opportunities to gain new students to the children’s music classroom. Here are a few tips to leverage the school year to gain new students:

  • Join and Support Organizations – If your music studio classes are occupied by students from one or two main schools, get involved with those schools through both time and monetary support. If you do not have a child in the school and cannot join the PTA, support them through sponsorships. With elementary school funding diminishing every year, PTAs, clubs, and sports organizations are always finding new ways to raise money through business sponsorships. These printed publications, signage, and apparel sponsorships are often much less expensive than traditional advertising channels, and much more focused on your target audience. Think about offering an incentive to encourage first time parents, such as first music lesson is free, a discount on first course, etc.
  • Offer Referral Programs – Parents talk, and WOM (word-of-mouth) advertising is one of the best forms of marketing your business. Offer existing parents a discount on classroom materials or course fees if they refer a friend to your music studio. Make this program known through the same communication methods listed above, as well as handouts after classes. You can also provide a discount for two new parents that join the class together. Be creative with your referral promotions!
  • Offer Classes to Pre-K – Many Pre-K administrators are looking for creative and enriching ways to fill their student’s days. Consider approaching these centers and offering a single introductory session with babies or toddlers in exchange for the administrators including your marketing offer in their communication with parents. While you may have to create a different kind of class than normal for a classroom with just a few teachers instead of parents, it is a good way to network with the pre-K organizations. Teachers talk to parents about what their child enjoyed that day, and your music could be a part of it!

Above are just a few examples of how to leverage the new school year to grow your children’s music studio. As parents settle into a new routine, they are looking for some extra-curricular activities for their children throughout the school year. Music and the arts is an important part of balancing a child’s healthy growth in mind, body, and spirit.

The History of Music in Judaism

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In this last leg of our journey to explore the relationship of music and the major religions of the world, this brief condensation of sacred music in Judaism cannot fully explain the extent of music and its relationship with Jewish life. As with our posts on the other major religions of the world: Buddhism, Christianity, Hinduism, and Islam, these are attempts to provide an overview of each, rather than a comprehensive account. There are undoubtedly many omissions for each religion as well as content that is open for debate. Because one or two blog posts cannot accurately depict the full relationship that music holds with the world’s major religions – this has not been our attempt in this series. It aims to show how from the very beginning of recorded music, sacred and worship music has been centrally intertwined in our society as a whole. Judaism is no exception to this. 

Early Written Records of Music and Judaism

From the very beginning of biblical times, music has been seen as a integral part of Jewish life. At the very recorded moment of Israel’s birth as a nation, Exodus tells that Moses led the people of Israel in a song of divine praise. It is said that Jewish music stems from prayer chants of the Levant and influences the musical notation in the bible that is still practiced today. The bible goes on to describe the use of many different instruments as a part of synagogal music in the ancient Temple in Jerusalem. According to the Mishnah, the first major written collection of Jewish oral traditions, the regular Temple orchestra consisted of a choir of twelve singers, as well as an orchestra of twelve instruments including a harp (Nevel), lyre (the Knnor), ram’s horn (Shofar), trumpet (chatzultzera), small drum (tof), cymbal (metziltayim) bell (paamon) and flute (halil).

After the destruction of the Temple, a consensus developed in Judaism that all music and singing would be banned, although this custom was soon understood that only as a ban outside of religious services. Within the synagogue, the custom of singing soon re-emerged, often in the mode of singing prayers. Known as hazzanut, or “the art of being a hazzan (cantor),” this tradition was introduced into the liturgy as passages that were regarded as to demand special vocalization.

Example of David’s harp.

The Three Areas of Sacred Jewish Music

While Jewish music has its roots in the Middle East, its traditions are not limited to any geographical area. Just as history tells how Jewish society was one of “wanderers,” sacred music came from many influences from those outside of Israel or Dispora. This cross-cultural phenomenon gave birth to many different sub-genres within sacred Jewish music, but three main areas have been categorized – Ashkenazic, Sephardic, and Mizrahi. Music of the Ashkenazim was very popular with European Jews. Klezmer, its most popular form, was performed by traveling musicians who would entertain villages with folk dances and traditional songs sung in Yiddish. Sephardic music, sung in ancient Spanish origin, contains some of the melodies and rhythms of Mediterranean regions while Mizrahi from the Jewish communities of North Africa and Arab countries often contains Arabic lyrics. As a result of these many cross-cultural and geographic differences, religious as well as secular Jewish music is a blend of many different languages and styles.

Secular and Modern Sacred Jewish Music

Jewish music encompasses many genres of religious, semi religious, and folk music used in the synagogue and in the Jewish home as well as classical music using Jewish texts or themes. Jewish music today includes a wide diversity of musical traditions and Jewish songs sung in many different languages. There seems to have been a polarization over the last few generations between the Orthodoxy and Reform Judaism, with each treating its sacred music differently. Increasingly, Jewish musicians produce work with noticeably external, modern influences influenced by a new generation. North American Jewish music, for example, reflects a delicate attempt to uphold distinct Jewish identity while participating in the broader North American culture.

The rise of North American Jewish folk music, as well as the revival of traditional music such as klezmer, is a testament to this phenomenon. Indeed, many of North Americas most famous composers and songwriters are Jewish, including Aaron Copeland, George Gershwin, Irving Berlin, Carole King, and Bob Dylan. The scope of contemporary Jewish music embraces a wide range of genres and styles, including music for the synagogue, folk and popular music on religious themes, modern creations based on traditional musical styles and languages, and classical music. Every sector of the Jewish community – from orthodox to secular – participates in the Jewish music endeavor, creating, performing, and listening to the particular music that meets its taste and needs.

As we have explored the strong and reciprocal relationship between the major religions of the world and music, one common theme has emerged across all. Music in Buddhism, Christianity, Hinduism, Islam, and Judaism have each been influenced not only by the sacred scriptures and texts they adhere to, but also the geographical and cultural influences each has adopted over time.

The Relationship Between Music and Islam

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Continuing our exploration of music and its relationship with the major religions of the world, the following is a brief and imperfect discussion of Islamic civilization and musical influence. Our last blog post covered Hindu music and its nearly inseparable relationship to musical worship. One cannot discuss Islam and musical traditions without various conflicting opinions, and even contradictions in terms. Generic terms for ‘music’ or activity recognized as involving ‘music’ have never been applied orthodox practice of Sunni and Shi’a Islam. The view of scholars and theologians vary widely as whether music in Islam is strictly forbidden to generally forbidden but with varying restrictions that do not lead listeners into temptation. 

Music and the Quran

Part of the source of disagreement in the Muslim world about music and Islamic worship stems from the term ‘music’ and that the Quran does not explicitly refer to music itself. However, scholars on both sides of the argument have interpreted certain passages for and against tolerance. Those who contend that music is strictly forbidden in Islam point to phrases such as “And of mankind is he who purchases idle talks to mislead others from the path of Allah…”, whereas ‘idle talks’ has been translated as the amusement of speech or theatrics.

Others refer to Allah giving the prophet David the ‘gift of the Psalms’, poetic in structure and character, as evidence of allowing music as long as it did not lead to sinful acts. There are some Sunni movements of Islam, including the Salafi and Deobandi who strictly interpret the Quran and hadith (a record the words, actions, and silent approval of the prophet Muhammad as translated through chains of narrators), prohibit music in all forms as haram (forbidden).  

Some Exceptions for Music in Islam?

There is also wide variety of opinions over what expectations can be made to the prohibition of music for Muslims. Examples of what is allowed can range from vocals but not instruments, only certain instruments (such as a one-sided drum and tambourine) or vocals only if the audience is of the same gender. In the opinion of some scholars, including some Muslims, a number of Islamic rituals have at least some musical relevance. The first of these is the call of prayer by the mu’ethín, the caller to prayer, which they believe provides the choice of the right mu’ethín to be based on his musical voice and its emotional impact to worship.

The second cited example of a musical act is in reading the Quran where the musical voice gained popularity, especially with the development of ‘ilm al-qiráa , “science of the recitation”. Indeed some Shia and Sufi orders use instrumental accompaniment to music as part of their worship. Many Muslims believe that it is not music itself that must be forbidden by Islam, but that the subject matter of the music itself does not mention forbidden practices such as alcohol, sexual connotations, or presented in a sexually coercive manner. For many, judgement seems to be the key.

 Music and Islam in Modern Society

Despite the prohibition of music by some Islamic scholars, devotional/religious music as well as secular music is very well developed and popular. Secular and folk musical styles can be found in Arabic, Egyptian, Iranian, Turkish, Algerian, Moroccan, Maldivian, and others. Music is used in many public Islamic religious celebrations today across the globe, including Ta’zieh, Ashurah, Manzuma, and Thikiri. Secular music of all kinds also abounds in the Muslim world, including such familiar genres as rap, rock, jazz, and folk, and pop. In some places where strict Islamic interpretations are enforced, however, this music must be played and enjoyed behind closed doors and in secret.

The subject of music in Islamic civilization continues to be the subject of debate between scholars and theologians. Above all, the debate seems to stem around whether it is music itself that is forbidden through hadith or that it is the subject matter, intent, or delivery of music that deems it sinful and forbidden. We will conclude our series on the relationship between music and the five major religions of the world next with an exploration of Judaism.

The Relationship Between Music and Hinduism

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Over the last several months, we have been discovering the inseparable relationship between music and the world’s major religions. Beginning with the connection that prehistoric worship and utility shared with rhythm and voice, we have continued our journey by exploring those links into more formalized musical forms as practiced in Buddhism and Christianity. As with these two world religions, Hinduism also has a rich history and tradition of music in worship.

The Mythological and Historical Roots of Hindu Music

Indian music, called Sangeet, has mythological roots that is associated with heavenly singers, the Gandharvas. It was decided to bestow this celestial art upon humankind, but a suitable person was required to receive it into the world. The god-sage Narada, a traveling musician and storyteller predating the second century BCE is believed to be one of the mind-created children of Brahma, the great creator. Narada was chosen as the recipient of the musical art form, which Hindus say arouses the senses and creates spiritual vibrations that enhance devotion. Repetition and chanting often found in Hindu music helps connect devotees to humankind and their spirituality.  

Hindu Musician
Hindu Musician

Teaching Music in the Hindu Tradition

From the very early days, Hindu music was considered a means of moral and spiritual redemption rather than mere entertainment. The oldest musical texts are the Sema Veda, consisting of melodies or hymns for reciting during ritual sacrifice. The process of learning to play this music is believed to closely resemble traditional spiritual disciplines. Guru Mukha-Vidya, or knowledge which must come from a teacher, is based on three divine qualities that are inherent in the musical traditions – The guru (teacher), Vinaya (humility), and Sadhana (regular and disciplined practice). This pedagogical tradition of guru transferring knowledge to the disciple is the same approach that many children’s music programs and curricula teach today.

The Evolution of Sangeet and Hindu Music

In the second century BCE, Bharata Muni, a sage who is considered the father of Indian theatrical art forms, laid the foundations for two important principles upon which Indian music is now based – raga being the melodic scale, and tala being the rhythm. The resulting nine principle “mood” or “tastes” that Bharata Muni outlined were based on nava-rasa, or the belief that the primary goal of performance and arts is to transcend the audience into another reality to experience the essence of one’s own consciousness.

Modern Hindu Music and Worship

In Hindu music, there are both ancient traditions and contemporary songs, with mysticism and dynamism being common threads. Much of this framework is provided by two main classical music forms – Hindustani, from northern India, and Carnatic, from the south. Hindu Music is also as varied as Christian Music in the US, including rock, rap, and jazz, as well as taking influences from other cultures and nations such as Arabic and British songs. Instruments have also played a major role in Hindu music. The sitar, a stringed instrument, is common in Hindustani music, in which flexibility and improvisation shape songs. Carnatic songs are beat heavy and commonly feature a drum called the mridangam. Classical hindu instruments also include the tabla, include the flute, vina, sitar, sarangi, santoor, and shenai.

Despite all of the variances in musical styles, nearly all Hindu music is considered to be divine, providing a means by which listeners and performers alike can concentrate on blessings and remember the good things in life. Its pedagogical approach to disciplined learning and practice under a teacher or guru can be seen in many children’s music education programs today. In our next post of this series on music and the world’s major religions, we will explore the relationship between Islam and music.