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It is undeniable that Islamic mysticism (tasawuf) has important contribution to Islamic civilization development. But, its complicated and ‘wilderness’ teaching makes it always becomes the object of criticism especially from the scholars of fiqh. Using historic-conceptual trace, this writing reveals the role of Islamic mysticism in developing Islamic civilization such as in philosophy, education, psychology, literature, dance and music. The fundamental concept of sufi wahdah al-Wujûd (the oneness of Being) gives contribution to solve problems related to modern science especially physic. Islamic mysticism like modern physic, teaches the awareness of unity and interrelationship among all things and events, occurrence of all phenomena in this universe as a manifestation of a basic unity. However, its intricate teachings which is difficult to accept by ordinary people frequently lead to misunderstanding. To make thing worst, some practitioners of Islamic mysticism commercialize the spiritual value of the Islamic mysticism for a little price.

The present study discusses the Sufi rituals in Multan performed by the Chishtiyya ʿUbaydiyya order from the 19th century to the present. Drawing from a treatise written by ʿUbaydullāh Multānī, the eponymous master, the study explores both bayʿa (initiation ritual) and samāʿ (spiritual concert) from the doctrinal perspective of the author and from the practical point of view of contemporary Chishtī ʿUbaydī shaykhs. I discuss in detail ʿUbaydullāh’s concept of both bayʿa and samāʿ according to his treatise. In order to do so, I strove to restore the text of Sharḥ Mufaṣṣal Qawl-i faṣl fi l-Bayʿa wa-l-Samāʿ by a comprehensive study of its manuscript. Sharḥ Mufaṣṣal is one of the most significant works of ʿUbaydullāh in which he tried to reinterpret the rules and regulations of bayʿa and samāʿ in a way that integrates sharīʿa with ṭarīqat., La présente étude traite des rituels soufis à Multan pratiqués par l’ordre Chishtiyya ʿUbaydiyya à partir du 19ème siècle jusqu’à nos jours. S'appuyant sur un traité composé par ʿUbaydullāh Multānī, le maître éponyme, notre étude explore à la fois le bayʿa (rituel d'initiation) et le samāʿ (concert spirituel) selon la perspective doctrinale de l'auteur et du point de vue pratique des shaykhs chishtis ʿUbaydī contemporains. Nous analysons en détail la conception que se fait ʿUbaydullāh du bayʿa et du samāʿ dans son traité. Pour ce faire, nous nous sommes efforcés de restaurer le texte Sharḥ Mufaṣṣal Qawl-i faṣl fi l-Bayʿa wa-l-Samāʿ par une étude approfondie de son manuscrit. Le Sharḥ Mufaṣṣal est l'une des œuvres les plus significatives de ʿUbaydullāh dans laquelle il tente de réinterpréter les règles et règlements de bayʿa et de samā de manière à intégrer la sharīʿa à la ṭarīqat.

The research work of this thesis is divided into two main parts: The first part is devoted to the translation of the poetic work of al-Ḥarrāq. While trying to remain as faithful as possible to the original meaning and adopting certain metric and rhetorical measures, we wanted to convey throuth this approach the poetic aesthetics of al-Harraq and his mystical vision as he conceived it. To better understand and appreciate this poetry, each text is preceded by a presentation putting the reader in the aesthetic and thematic conxet. Each poem translation is also accompanied by an explanatory annotation of technical terms, mystical conception and cultural notions. The second part is devoted to the study of the life and work of the poet al-Ḥarrāq. This allowed us to understand his mystical conception and his poetic creation. In fact, the Arrāqian work of creation of rhythmic phenomena (metric and rhetorical) which constitute the singularity of his poetic work. After a careful analysis of these phenomena, we could see that his poetic composition was largely based on musical art and was inspired by Arabic-Andalusian songs. The poetic genres used by the poet (qaṣīd, muwaššaḥ and zağal) reflect a semantic depth a finesse of expression and a metric and rhetorical rythmicity that offers a particular musicality to his poetry., Les travaux de recherche de cette thèse se partagent en deux grands volets : La première partie est consacrée la traduction de l’œuvre poétique d’al-Ḥarrāq. Tout en essayant de rester le plus fidèle au sens originel et en adoptant certaines mesures métriques et rhétoriques, nous avons voulu transmettre par cette démarche l’esthétique poétique d’al-Ḥarrāq et sa vision mystique telle qu’il la concevait. Pour mieux comprendre et apprécier cette poésie, chaque texte est précédé par une présentation mettant le lecteur dans le contexte esthétique et thématique. Chaque traduction de poème est accompagnée également d’une annotation explicative des termes technique, des conceptions mystiques et des notions culturelles.La deuxième partie quant à elle est consacrée à l’étude de la vie et de l’œuvre du poète al-Ḥarrāq. Cela nous a permis de comprendre sa conception mystique et sa création poétique. En effet, la création ḥarrāqienne de phénomènes rythmiques (métrique et rhétorique) qui constituent la singularité de son œuvre poétique. Nous avons pu constater après une analyse minutieuse de ces phénomènes que sa composition poétique reposait en grande partie sur l’art musical et s’inspirait des chants arabo-andalous. Les genres poétiques exploités par le poète (qaṣīd, muwaššaḥ et zağal) reflètent une profondeur sémantique, une finesse d’expression et une rythmicité métrique et rhétorique qui offre à sa poésie une musicalité particulière.

Bu araştırmada, hadisçilerce rivayetin kabulüiçin zorunlu görülen, senedde ittisâl şartı irdelenmiştir. İttisâlingerçekleşmesi için gereken hususlar ve semâ şartı ele alınmıştır. Bir hadisinmuan’an olarak rivayet edildiğinde kabul edilip edilemeyeceği şayet kabuledilecekse de semâ şartı olup olmadığı tetkik edilmiştir. Bu hususta ilk dönemhadisçilerden bize ulaşan nakiller değerlendirilerek o dönemdeki uygulamalardikkate alınmıştır. Daha sonra müen’en hadisin kullanımı incelenerek muan’anhadisle aralarındaki farka değinilmiş ve bu yöntemle nakledilen hadisin kabulolabilmesi için aranan şartlara dikkat çekilmiştir. Hadislerin rivayetinde buiki yöntemle rivayet edilmesindeki amaçların neler olduğu ve bunların,hadislerin sihhati açısındaki etkisi araştırılmıştır. Bu hususta mütekaddimûnhadisçilerin yaklaşımları esas alınarak değerlendirmelerde bulunulmuştur., For acceptance of a hadith narration, mutaqaddemun (early) hadith scholars require the ittisal al-sanad (continuity of the narrator chain) which is subject to sama' (hearing) condition. In this paper, we address the necessary conditions in order to count a narrator chain as continuous. First, we investigate whether a hadith is acceptable when it is narrated as mu'an-an and examine whether it holds the sama' condition if it is accepted. In this regard, narrations of mutaqaddemun hadith scholars and their applications are taken into consideration. Second, we focus on the distinctive features between mu'en-en and mu'an-an hadiths, then investigated the acceptance conditions of mu'en-en hadiths. Finally, we studied the purpose of narrating hadiths by these methods and their impacts on the sihha (genuineness). Furthermore, these methods are evaluated based on mutaqaddemun hadith scholars' approaches.

Samâ‘ in Tasawuf has been a very important element in the dissemination of this spiritual dimension of Islam. Yet, it has received very little both from the practitioners of Tasawuf and its intellectuals. This paper tries to expose this simply in a hope to make it heard in the academic and popular circle. Here, samâ‘ is not only understood as a form of music, as many would do, but also as an art of listening of which music is certainly part. The paper will explore the meaning and definition of this term, putting emphasis on its many-faceted function in the formation and development of one’s soul and spirituality. It is argued that soul is musical and artistic. Using art and music to talk to soul is therefore the proper way and means. The paper will also try to show that samâ‘ is also an indispensable part of spiritual method to reach and know God. Knowledge of God in other words, can be gained through this practice. Hence, samâ‘ is treated not only as a form of entertainment, but also a kind of practical epistemology.

Sama’ means to find Allah in one’s souls under the influence of music, to feel excitement, and to whirl like moths. This whirling is not done just by bodily movements. It should be performed with the entire soul, spirit, love, faith, material and spiritual being. In this whirling the lover of Truth is saved from his imaginary existence and ego, and disappears in Allah. It is the disappearance of the part in the Whole and ascendance of an atom whirling towards the Sun. It is not even necessary to concentrate on the important place of sama’ in Maulana’s life and works. By looking into a few examples we can see how Maulana combined various trends in his understanding of sama’. The pre-eternal and post eternal Friend as mentioned in his quatrains manifests Himself dancing on the curtains of the heart so that He teaches the art of whirling during sama’. This sama’ has a deep meaning; water of life gushes forth from the earth at the place where the beloved stepped his feet during his dancing. Music is universal like mysticism. Both have almost universal rules and come together through practices particular to themselves and both of them are distinguished from others by the practices of different people. Be it during a sama’ or not there is such a special relation between the dervish and the music. Music completes a dervish’s remembrance.

The present article deals with the visibility of samā‘ in manāqib literature, biographical dictionaries, Sufis manuals and juridical production of the Maghreb from the 7th/13th to the 10th/16th century. It examines attested forms of this practice, in the madyanī, šāḏilī, rifā‘ī and ‘Arūsiyya-Salāmiyya circles in Tunis, Kairouan, Ifrqiyan littoral and Tripoli’s area. It explores the great variety of jurist’s positions about this practice and the Sufis authorities attempts to elucidate the scriptural, doctrinal and ethical foundations, which punctuate the codification process of both dhikr and samā‘. Despite the suspicion created by “innovations” considered as blameful and stigmatized by some cheikhs who recommended a suspension of this practice, yet the intention is to regulate, to avert, more than forbid such practices. Samā‘, beyond the words used to designate it, seams to be a practice endowed with a great capacity of resistance: its importance attests its resonance in sanctity experiences in the Maghreb all along the Middle Ages, Este artículo aborda la cuestión de la visibilidad del samā‘ en la literatura de los manāqib, los diccionarios biográficos, los manuales de sufismo y la producción jurídica del Magreb de los siglos VII/XIII a X/XVI. Se examinan las formas atestiguadas de esta práctica, en los madyanī, šāḏilī, rifā‘ī y los ‘Arūsiyya-Salāmiyya, en los círculos literarios de Túnez, Qairawān, el litoral de Ifrīqiya y el área tripolitana. Se explora la gran variedad de posicionamientos de los juristas magrebíes con respecto a esta práctica, así como los intentos de dilucidar, por parte de las autoridades sufíes, los fundamentos escriturales, doctrinales y éticos del ḏikr y el samā‘ que han jalonado los procesos de codificación de estas dos prácticas. A pesar de la desconfianza generada por las «innovaciones», consideradas blasfemas y estigmatizadas por algunos šayjs que recomendaban la supresión de estas prácticas, percibimos más bien una intención de regular, de prevenir, más que de prohibir dichas prácticas. El samā‘, más allá de las palabras utilizadas para designarlo, parece ser una práctica dotada de una gran capacidad de resistencia; su importancia atestigua su resonancia en las experiencias de santidad en el Magreb a lo largo de la Edad Media.

The present article deals with the visibility of samā‘ in manāqib literature, biographical dictionaries, Sufis manuals and juridical production of the Maghreb from the 7th/13th to the 10th/16th century. It examines attested forms of this practice, in the madyanī, šāḏilī, rifā‘ī and ‘Arūsiyya-Salāmiyya circles in Tunis, Kairouan, Ifrqiyan littoral and Tripoli’s area. It explores the great variety of jurist’s positions about this practice and the Sufis authorities attempts to elucidate the scriptural, doctrinal and ethical foundations, which punctuate the codification process of both dhikr and samā‘. Despite the suspicion created by “innovations” considered as blameful and stigmatized by some cheikhs who recommended a suspension of this practice, yet the intention is to regulate, to avert, more than forbid such practices. Samā‘, beyond the words used to designate it, seams to be a practice endowed with a great capacity of resistance: its importance attests its resonance in sanctity experiences in the Maghreb all along the Middle AgesEste artículo aborda la cuestión de la visibilidad del samā‘ en la literatura de los manāqib, los diccionarios biográficos, los manuales de sufismo y la producción jurídica del Magreb de los siglos VII/XIII a X/XVI. Se examinan las formas atestiguadas de esta práctica, en los madyanī, šāḏilī, rifā‘ī y los ‘Arūsiyya-Salāmiyya, en los círculos literarios de Túnez, Qairawān, el litoral de Ifrīqiya y el área tripolitana. Se explora la gran variedad de posicionamientos de los juristas magrebíes con respecto a esta práctica, así como los intentos de dilucidar, por parte de las autoridades sufíes, los fundamentos escriturales, doctrinales y éticos del ḏikr y el samā‘ que han jalonado los procesos de codificación de estas dos prácticas. A pesar de la desconfianza generada por las «innovaciones», consideradas blasfemas y estigmatizadas por algunos šayjs que recomendaban la supresión de estas prácticas, percibimos más bien una intención de regular, de prevenir, más que de prohibir dichas prácticas. El samā‘, más allá de las palabras utilizadas para designarlo, parece ser una práctica dotada de una gran capacidad de resistencia; su importancia atestigua su resonancia en las experiencias de santidad en el Magreb a lo largo de la Edad Media.

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For a while, among the theoricians of the Arabian music, the poetic meter was used as a model for the analysis of rhythm, for instance Avicenne. Then, this model was progressively left for a more performing mathematical tool. Nevertheless, an "archeological" study of the relations between poetical meter and musical rhythm allowed us to discover in the Yemeni contemporary music some forms in which meter and rhythm use the same global structure which specialists of Arabian poetry called "quantitative" and which musicologists called "bichrone". The article explores these continuous relations in three forms of sung poetry in Yemen, the sama' from Hadramawt, the mawâl from Tihâma and the madîh, the Prophet's panegyrics. It is noteworthy that, when these rhythms have a cyclic form, the basic foot of the rajaz meter is used as the model for rhythmic cycles which can be indifferently realized as 7/8 or 11/8. Thus, appears the importance of this cognitive relation between meter and rhythm, which I chose to call "quanto syllabic", In order to distinguish it from other forms of metrico-rhythmic convergences like the "giusto syllabic" conceived by Constantin Brailoiu (in the Rumanian sung poetry), the "syllabic song" (like the zâmil in Yemen) or the "isosyllabic meter", for Instance the qarrâdî in Lebanon., Longtemps chez les théoriciens de la musique arabe, la métrique poétique a servi de modèle à l'analyse du rythme, notamment chez Avicenne. Puis ce modèle a été progressivement abandonné pour un outil mathématique plus performant, ou supposé tel. Or une archéologie des relations entre métrique poétique et rythmique musicale permet de redécouvrir dans les musiques contemporaines, notamment au Yémen, des formes où métrique et rythmique font appel à la même structure globale, structure que les spécialistes de poésie arabe ont appelé "quantitative" et que les musicologues ont appelé "bichrone". L'article explore ce continuum dans trois formes de récitatif dans la poésie chantée yéménite, le sama' du Hadramawt, le mawâl de la Tihâma et le madîh, panégyrique du Prophète. Il est remarquable que dans le cas où ce rythme acquiert une forme cyclique, le pied de base du mètre poétique rajaz sert de modèle cognitif à des cycles rythmiques qui peuvent se réaliser indifféremment sous deux formes, 7/8 ou 11/8. Ainsi apparaît l'importance de cette relation cognitive entre métrique et rythmique, que j'ai choisie de qualifier de "quanto syllabique" pour la distinguer d'autres formes de convergence métrico-rythmique comme le "giusto syllabique" de Constantin Brailoiu (dans la poésie chantée roumaine), le "chant syllabique" (par exemple le zâmil au Yémen) ou le "mètre iso-syllabique", par exemple le qarrâdî au Liban.

This dissertation is an attempt to understand and map the development of Persian writings on music, focusing on their various approaches and variations of topics from the beginning of the 11th century to the end of the 15th century which can be called the classical period of Persian writing on music. The rise of Persian musical literature as a part of Persian learned literature was a result of the political and cultural decentralization of the Abbasid Caliphate. Like most other genres of learned literature in Persian, translation and abridgements of and commentaries (šarhs) on Arabic works played a crucial role in the rise and es-tablishment of Persian musical literature. The most important conclusions to be drawn from the present study are that we can distinguish between two main approaches in Persian writings on music, viz the religious and non-religious approaches, and that there is a pattern in the development of Persian writings on music which provides us with a periodization of the develop-ment of this literary genre. According to the macro periodization of Persian writings on music which is presented in this study, we can identify five different stages in the development of the genre; 1) the initial period: ca 1000-1110; the first intermezzo: ca 1110 up to 1175; 3) the period of establishment: ca 1175-1299; 4) the first Golden Age of the genre: ca 1300-1435; 5) the second intermezzo: ca 1435-1500.