Najdi recitation a study from an original

Abstract

The current study tends to introduce Najdi recitation from a descriptive and historical perspective, and to explain the ruling on composition and melody in the recitation of the Holy Qur’an according to Najd scholars. It tries to analyze the rulings related to them, presenting examples from their readers. This is achieved by scientifically rooting the issues and linking them to practice in reality. The study consists of an introduction, three sections, a conclusion, recommendations, and two indexes, relying on the descriptive, analytical, and inductive approaches. The results shows that Najdi recitation of the Holy Qur’an is a vocal performance characterized by several characteristics, and it arose in Najd for reasons, most likely of which are that it was the product of the Najdi environment whose influence was reflected on its owners and became known among them. The time in which Najdi recitation arose is not known specifically, and it is wrong to compare it to the emergence of distinct melodies according to countries in the fourth century AH. Due to ignorance of Najdi history in that period, and the method being different from the original, and the composition being influenced by lyrical theories. According to the scholars of Najd, it is desirable to improve one’s voice when reciting the Qur’an without affectation, and it is forbidden to tune into music that relies on the rules of singing. Najdi Tajweed and recitation scholars hold that Tajweed must be taken into account in terms of parsing and performance, and most Najdi jurists agree with them in taking into account parsing without Tajweed. This is desirable, despite their agreement on the prohibition of explicit melody that changes the structure and meaning. The maqam ratio for Najdi recitation in the language is the maqam ratio in the sense of well-known performance in Najd. As for the conventional use of the maqam, there is no basis in the seven maqams with this name. A distinction must be made between performance and status. Najdi recitation is a performance and a method of reading, and as for the basic or secondary maqam that is attached to it through the distribution of musical melody, it is incidental and incidental to it, and the ruling on reading the Qur’an with it does not differ from the ruling on reading with maqams. Despite the scholars’ differences in its ruling and warning against it, is the correctness of the reading and control of performance. Najdi recitation has the factors of correct reading that call for its survival. It derives its origins from the narration of Hafs on the authority of Asim, and errors should be attributed to the reciter’s practice and not to Najdi recitation itself. Describing the Najdi performance in recitation by neglecting Tajweed is a generalization in the ruling, and it is better to take into account the stage that was associated with it and influenced it, in terms of the type of science in that it is an instrument science that the Najdis did not focus on in a previous period despite the availability of its nucleus and activity, and the doctrine of the general Najdi jurists that Tajweed is desirable.