THE VOCAL PERFORMANCES IN THE HOLY QURAN AND ITS IMPACTS ON THE PRODUCTION OF SUGGESTIVE SIGNIFICATIONS IN THE STORIES OF MUSA AND YUSUF(PBUT) | ||
| Journal of Univesity of Thi-Qar | ||
| Article 1, Volume 11, Issue 3, September 2016, Pages 1-34 | ||
| Abstract | ||
| It is no secret that a voice is a manifestation of emotional symptom; the emotion is, by its nature, the cause of the diversity of voices insomuch as it contains duration, pitch contours, nasality, and as it reflects disorders through different gestures offered in a successive way and as much as what is inside the self. Furthermore, the emotion turns the voice into brachylogy, oxymoron, circumlocution, extension as much quality and utilization as it has. All that matters in the vocal performance in the Holy Quran lie in two points: First, there is the fact that the Holy Quran has an inherent rhythm in terms of pitch, toning that go in harmony with the contents of the Holy Quranic verses. Secondly, there is a passionate reciter who sensors from inside the rhythm, trying to highlight it and turn it from potentiality into actuality. That a reciter sensors the contents of Quran while performing, that he tries to deliver it to the listener vocally or in an art form, should be, as such, an excellent model reciter. This is evident through some elitist reciters of whom our research paper singles out without precedent, that is, examining the expressive power of solely Egyptian reciters at the level of performance brought about by their verbal practices, for they possess unique vocal tastes in recitational performances which are expressive and interpretive of the Quranic words. They are also unique in employing the agreed-upon technical tools of the art of Tajweed (Recital of the Quran) used to express the secrets inherent in the Quranic text in an art style that is capable of drawing a picture, highlighting the meanings, and convincing the receiver. This is evident in the stories of the Quran, especially those of Musa and Yusuf (Peace be Upon Them.) The Quran combines both semantic and aesthetic functions; as the Quran presents a story, it does so from within its own realistic horizon, and so it, first, fills the void on literal level of the story, and secondly, charges it with emotions, that is, the Quran exceeds the problematic conception that the Quranic stories are only a reproduction of reality in accordance with an artistic vision that might not conform to that reality, but more than that, the Quran, as this conception goes, makes up a lot of matters that are a figment of its author’s imagination and brainchild( ). It can be noted that every speech, even every-day speech, formulated in some way or another, might contain toning; its toning ability does not, though, imply that its underlying meanings are detectable or that one meaning might shadow the other. The case is radically different in the case of the Quran. That the Quran requires toning is an indicative of the fact that it is deeply and vitally connected with, if not auto-related to, a particular tone. Hence, the art of vocal Maqamats (Modalities) and their expressive tones, along with their accompanying personal opinions, have appealed to the receiver, such as extension, pause, starting, and readings. The elites’ vocal performances and the two samples that our research paper chose have reflected a form of rare and inspired vocal geometry, leading to a heartfelt reverence, to feelings far from rupturing, trembling, and saddening. Rather than tunes or good voices, the recitation of Quran is an end in itself. It is an act which leads to a heart-touched nostalgia and ears relaxation when listening to. Furthermore, the Quran is the rhythm housing that is too big and too great that a tune would not improve or adorn it, no matter how great its psychological effect would be on the listener’s heart. This is the same matter as Arab Eloquence Scientists would rather say, by way of analogy, “I offered the camel a water bucket than, I offered a water bucket the camel.” By the same token, we have endeavored to prove throughout this research paper that the whole point is to pour into the Qur'an, and not vice versa. That the Quran is technically and rhythmically infallible is like a container whose wordings are restricted to intention- oriented meanings. Therein lie the secrets of artistic miracles exemplified in its composition. Hence, we can note that the power of suggestion generated from the level of performance - Recitation and Chanting or Tajweed- has the ability to transform the Quranic language from the spiritual level into sensory and mental levels, in other words, the act of Recitation, Chanting or Tajweed of the Quran, if performed by a high mastery level reciter, can turn a Quranic verbal meaning from its spiritual or substantive connotation to a sensuous connotation, whether concrete or mental. This would, in turn, raise the verbal level of performance to its trans-verbal. | ||
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