Islamic Qasida Mp3 Free Download ~REPACK~
Lior Springfield
The classic form of qasida maintains a single elaborate metre throughout the poem, and every line rhymes on the same sound.[1] It typically runs from fifteen to eighty lines, and sometimes more than a hundred.[1] The genre originates in Arabic poetry and was adopted by Persian poets, where it developed to be sometimes longer than a hundred lines.
Qasidas were introduced to Dhaka, and later the rest of Bengal, during the Mughal era by Persians. Subahdar of Bengal, Islam Khan Chisti's naval fleet is said to have sung them after arriving in Jessore in 1604.[3][4] In 1949, Hakim Habibur Rahman spoke of the recent revival of qasidas since that period in his book, Dhaka Panchas Baras Pahle (Dhaka, fifty years ago). The qasidas were promoted by nawabs and sardars across the region, and especially popular during the Islamic month of Ramadan. An old tradition of Old Dhaka is during the time of sehri, groups of people would sing qasidas to wake up the Muslims in the neighbourhood.[5][6]
In Indonesia, qasidah (Indonesian spelling: kasidah) refers broadly to Islamic music in general, rather than a specific style or poetry. Traditional qasidah was historically limited to Arab immigrant and pious Muslim neighbourhoods. Modern qasidah has broadened to include influence from Western and local Indonesian music.
After the 10th century Iranians developed the qasida immensely and used it for other purposes. For example, Nasir Khusraw used it extensively for philosophical, theological, and ethical purposes, while Avicenna also used it to express philosophical ideas. It may be a spring poem (Persian بهاریه, bahâriye) or autumn poem (Persian خزانیه, xazâniye). The opening is usually description of a natural event: the seasons, a natural landscape or an imaginary sweetheart. In the takhallos poets usually address themselves by their pen-name. Then the last section is the main purpose of the poet in writing the poem.
From the 14th century CE Persian poets became more interested in ghazal and the qasida declined. The ghazal developed from the first part of qasida in which poets praised their sweethearts. Mystical poets and Sufis used the ghazal for mystical purposes.
Though Ghalib genuinely appreciated certain aspects of modernity that the British stood for (especially advances in technology), a truth about his attitude on the secular qasida becomes apparent in his letter to the visionary Sir. Syed Ahmed Khan. To quote the scholar Syed Akbar Hyder:
Dr. Khan is an advisory board member of the Journal for the Study of Indentureship and its Legacies, a national university program consultant on diversity, equity, and inclusion issues with a specialty in Africana and Islamic Studies programs. She is also a longstanding member of the advisory board of the U-M Arab and Muslim American Studies Program in the Department of American Culture, and a fellow of the U-M Center for World Performance Studies and the Center for Islam in the Contemporary World at Shenandoah University, VA, for her research on Urdu Indo-Caribbean Muslim qasida devotional songs. She is currently conducting research for a book project on Caribbean hurricanes, regional environmental disasters and oil drilling, and their implications for contemporary migration and economies in the hemispheric Americas.
Al-Akhtal, though a Christian, was a strenuous supporter of the policies of the first Umayyad, Muʿawiyah I. Jarir and Tammam ibn Ghalib Abu Firas (al-Farazdaq) were active at the courts of the Umayyad caliphs and their governors and were ardent supporters of the regime. The two were enemies, however, and they delighted rival tribesmen with their stinging satires against each other. The work of these two poets has furnished historians with a rich vein of material on the social and political climate of Islam during the early 8th century. They used the traditional qasida form with great effect, incorporating a wealth of vocabulary and imagination.
Al-Mutanabbi, one of the greatest Arab poets, was in the mainstream of classical qasida poets, but his work surpassed that of his predecessors in imagination. His compositions were noted for their exaggeration, sound effects, and formal perfection.
Anvari was the most accomplished writer of panegyrics, or formal eulogies, using the qasida form of poetry. His Tears of Khorasan mourns the passing glory of the Seljuk Turks. He was not only well versed in Arabic and Persian literature but was skilled in logic, geometry, astronomy, astrology, music, natural science, and philosophy. In addition to excelling in the art of the qasida, he used the ghazel, robaʿi, qitah, and masnavi with great skill.
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