Assalaamu `alaykum
Below is an article that I found that disperses any doubts cast about the Isnaad of the Hadeeth. Generally people who claim that Music is okay due to the "weaknesses" in the chain hang on tight to the statement of Ibn Hazm. Pretty sad that people always look for loop-holes in this deen of Allaah.
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Prior to a discussion of the meaning of the part of this hadeeth relevant to this treatise, it is necessary to refute certain unfounded criticisms of its authenticity directed at it by a few scholars of the past and present, struggling under unfortunate misconceptions.
At the beginning of the isnaad, Imam Al-Bukhaari related, "Qaala Hishaamu-bnu Ammaar..."("Hishaam bin Ammaar said...") This statement was misconstrued by Ibn Hazm to indicate that there is a missing link between Al-Bukaari and the next narrator (i.e Hishaam), [1] implying that the hadeeth's isnaad is disconnected (munqati') and therefore not valid as proof in the prohibition of music, song, musical instruments, etc. This type of isnaad, termed mu'allaq, contains a missing link. However, Al-Bukaari's hadeeth is authentic, because there exist fully-connected chains for it which fulfill the condition of authenticity. This was stated by the great critical scholar of hadeeth, Shaykh Ibnus-Salaah, in his celebrated work, Uloomul Hadeeeth (his treatise on the science or methodology of hadeeth criticism and assessment). In his commentary of Saheehul Bukhaari, entitled Fat-hul Baari, Ibn Hajar mentioned Ibnus Salaah's meticulous refutation of Ibn Hazm's statement. [2]
Among the other great critical scholars of hadeeth who mentioned that the isnaad is soundly connected (mowsool) is Ibn Hajar's shaykh, Al-Haafidh Al-Iraaqi. He stated that the isnaad is found connected in Al-Ismaa'eeli's work, entitled Al-Mustakhraj, which collects together other chains of narrators (or similar ones) for the same hadeeths mentioned in Al-Bukhaari's collection.
And finally, there is Ibn Hajar's distinctive work, Taghleequt Ta'leeq, a rare and stupendous masterpiece, which brings together connected, authentic chains (asaneed) of transmitters for those traditions which appear in Al-Bukhaari's compilation in the form of the disconnected (mu'alliq) type of hadeeth, thereby dispelling accrued misconceptions regarding the claim of "weak" hadeeths occuring in the text (matn) of Al-Jaamis As-Saheeh.
After quoting other complete, authentic chains [3] for the tradition under study, along with the sources wherein such chains of transmitters are mentioned, [4] Ibn Hajar concludes by emphasizing (in reference to Al-Bukhaari's narration):
"This is an authentic hadeeth. It has no deficiency or defect, and there is no point of weakness for any attack to be made on it. Abu Muhammed Ibn Hazam labeled it as defective by virtue of his claim that there is a break [intiqaa'] in the chain between Al-Bukhaari and Sadaqah bin Khaalid and because of the difference of opinion regarding the name of Abu Maalik [5] As you've seen, I have quoted nine fully-connected chains of transmission (asaneed) whose narrators are thoroughly dependable. As for the difference regarding the kunyah of the companions, they are all of impeccable repute. Further more, in Ibn Hibbaan's narration, the transmitter stated that he heard from both of them... [6] I have in my possession yet other chains which could be presented here, however, I would not like to prolong this subject further by mentioning them. In what we have stated there is enough proof for the sensible, thinking person. And Allah is the grantor of success." [7]
In short, this particular narration of Al-Bukhaari is authentic and consequently constitutes a valid and binding text to be referred to in determining the ruling (hukm) regarding music.
It should be mentioned that certain modern-day writers, who blindly imitate previous scholars by quoting their views without applying the critical sciences of hadeeth research, have merely parroted the position of Ibn Hazm, and due to this, have caused many unwary persons to go astray regarding this issue. For example, Yoosuf Al-Qardaawi, in his popular book, entitled Al-Halaal wal Haraam fil Islam, [8] says in regard to the extant hadeths on music: "As for what has been mentioned by way of prophetic traditions [relating to the subject of music], all of these have been assessed to have some point or another of weakness according to the fuqahaa of hadeeth and its scholars. [9] The Qaadi Abu Bakr Ibnul-Arabi said, 'There is no authentic hadeeth prohibiting singing.' And Ibn Hazm said, 'Every hadeeth related [prohibiting music and singing] is false and forged." [10]
Unfortunately, the statement that "all" the narrations are weak according to "scholars of hadeeth" is a gross error on Al-Qardaawi's part and is not the result of meticulous critical research. Rather, it is due to an uncritical, blind acceptance of the words of Ibn Hazm and Ibnul-Arabi. Ibn Hazm was no doubt a virtuous, sharp-minded scholar; however, in the area of hadeth assessment and verification (as is the case in many aspects of his school of Dhaahiri fiqh), he has certain untenable and unfounded, even some very abnormal views. [11] The accomplished hadeeth scholar and student of Ibn Taymiyyah, Al-Haafidh Ibn Abdul-Haadi, says of Ibn Hazm that "he often errs in his critical assessment of the degrees of traditions and on the conditions of their narrators." [12] In fact, there is unanimous consensus among the most reputable critical scholars of hadeeth regarding Ibn Hazm's erroneous assignment of a ruling of d'af (weakness) to Al-Bukhaari's hadeeth. Regarding the degree of this hadeeth, the views of Ibnus-Salaah, Ibn Hajar Al-Asqalaani and Al-Haafidh Al-Iraaqi have already been mentioned. Among the qualified scholars who also agree with his assessment are the great scholars, Ibnul-Qayyim and Ibn Taymiyyah. Ibnul-Arabi is similar to Ibn Hazm in that he is quick to give a ruling of forgery or weakness on a hadeeth, without the necessary, detailed analysis and synthesis of all extant chains of narration relating to the subject. Had he executed such an analysis, undoubtedly he would have arrived at a sound decision and avoided much blame and censure.
Having established the authenticity of the aforementioned narration recorded in Imam Al-Bukaari's compilation, the meaning of his hadeeth and its stand as an indisputable proof of the unlawfulness of music may now be discussed. End quote.
For information regarding Mu'allaq Hadith, the following quotations should help rearding the ones in Saheeh Al-Bukhaari:
Al-Haafiz Ibn Hajar (may Allaah have mercy on him) said: “If the hadeeth has only one isnaad, or it includes a number of rulings and needs to be repeated, then in that case he (imam Bukhari) may quote only the text of the hadeeth, or may shorten the isnaad.” [al-Nukat (1/325)]
Al-Suyooti said: “Most of the reports of this type (i.e. Mullaq hadeeth) in al-Bukhaari appear with the full isnaad (mawsool) elsewhere in his book, but he narrated them in mu’allaq form for the sake of brevity and so as to avoid repetition.” [Tadreeb al-Raawi (1/117)]
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As for you akhee, then I expected you to "refute" or trying to make the "truth clear" by posting on this thread.
I find it pretty amazing that you are the one who talks about how one should follow the evidences and not the opinions of scholars in one thread, whereas on another thread you throw away all the authentic narrations and stick to the opinions (regarding the age of `Aa'ishah radiyAllaahu `anhaa).
Wa'alaykumassalam
I am sure they will try to prove this weak also...
"From among my followers there will be some people who will consider illegal sexual intercourse, the wearing of silk, the drinking of alcoholic drinks and the use of musical instruments, as lawful.
