THE EFFECTIVENESS OF USING MUSICAL EDUCATION IN ISLAMIC EDUCATION SUBJECTS AMONG PRIMARY ISLAMIC SCHOOL AND YOUNGER CHILDREN

Prepared for: Assoc. Prof. Dr. Adnan Abd Rashid

Prepared by: Azlina Bte Mustaffa (G1211214) Najihah Bte Abdullah (G1211346) Nur Hafizah Bte Watib (G1210392)

In the name of Allah Most Gracious Most Merciful Peace & Blessings be upon Prophet Muhammad His Family and Companions

Introduction
Music has a power of forming the character and should therefore be introduced into the education of the young. (Aristotle)

Nearly a millennium ago, one of Islam's most influential and renowned scholars of the Golden Age has opined and emphasized the significance of incorporating music education in the teaching of young children. This scholar is none other than the esteemed scholar, Avicenna. It is interesting to note that Avicenna's educational aims do not only restrict on the intellectual development, the amassing of knowledge, and the moral aspect alone, but it also aims at the formation of a personality complete in body, mind and character.

For that, Avicenna suggested that a young child should be exposed to music in his tender age in order to develop his taste and behavior. He simply believes and advocates that music and rhyme could moderate children's sensation and heighten their feeling and emotion. He considered it as imperative for the child to be exposed to music beginning from the cradle. This will prepare him later on to learn music; and this education in taste will be further refined in the next stage when he learns simple poetry with easy rhymes which will brings much pleasure and in turn will motivate him to appreciate virtue.

Research done in the past decades have witnessed the truthfulness of this theory of Avicenna. Indeed, music education has shown an impact in the development of the young child. Music is seen as contributing to the total development of the child, including intellectual, emotional, physical, social and aesthetic. ( Temmerman, 1998). Rauscher, Shaw and Ky (1997) research
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results informs that music has the ability to increase the spatial-temporal reasoning test of the young children higher by 34%. Spatial-temporal reasoning has been said to involve higher brain functions that are needed to solve complex math and science problems.

From this finding, it is hoped that Muslim educators will inculcate this teaching technique in the process of educating the young child in order to enhance his learning abilities. It is known that only a small percentage of Muslim educators today in Malaysia (as compared to the nonMuslims) who actually utilized this technique in the teaching of young children. Probably, this is due to the fact that music, which has been, and continues to be, a controversial subject in Islam - with some Muslims claiming that music is forbidden from the legal point of view of Islam.

2 Purpose of Study
This study hopes to explore further the educational theory of Avicenna which emphasized on the importance of teaching music to young children and the impact and benefits it has on the development of the young child. Apart from that, the purpose of this study also tries to address the role 'music learning' plays during the Golden Age era and the reasons why the Islamic scholars during that time, namely, Al-Farabi, Ibn Sina, Al-Kindi and the others put much emphasis on music learning. Lastly, the intention of this paper is to identify the problems on why this technique is not utilized by most Muslim educators in Islamic schools, in particular, Malaysia.

At the end of this paper, the writers hope to make known the problems why music education is not popular among Malaysian Muslims teachers in Islamic schools in spite of its numerous benefits. It will also discuss on suggestions of possible future implementations of music
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education in the curriculum of Islamic pre-schools and also for the lower primary levels in Islamic schools in Malaysia.

Statement of Problem

Long ago, Avicenna, one of erudite scholars of Islam has exercised his concern towards the development of a young child. He suggested music education as one of the effective teaching method for the young minds in order to enhance his learning abilities. This infers that music education is one of the most important components on education for the development of the child. After doing some thorough research, the writers find that research or studies on the problems faced by Islamic educators to utilize music learning in the teaching process is scarce and is largely understudied. Therefore this study hopes to investigate the problems why this music method is not widely utilized by the teachers in pre-school or in lower primary school even though numerous benefits can be reaped by the child.

Definition of terms

According to The International Encyclopedia of Curriculum, Music is an integral part of all cultures and it is, therefore, societys responsibility to pass on to future generations this aspect of their heritage. Music education is a field of study associated with the teaching and learning of music. It touches on all domains of learning, including the psychomotor domain (the development of skills), the cognitive domain (the acquisition of knowledge), and, in particular and significant ways, the affective domain, including music appreciation and sensitivity. The incorporation of music training from preschool to postsecondary education is common in most nations
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because involvement in music is considered a fundamental component of human culture and behavior. Music, like language, is an accomplishment that distinguishes us as humans (Jean Lee, 2011).

Literature Review
Introduction

This chapter will address the position music holds in Islam and the achievement or development of musical learning by our Islamic scholars which occurred during the Golden Age. Apart from that, this chapter will also address the Islamic rulings on music and will be concluded with the benefits and impact music learning has on the brain development of the young child. 5.1 Music in Islam

According to Al-Faruqi (1986), when discussing about music in Islam, it is first important to distinguish that Muslims do not use the term "music" in the same manner that is understood in the English language and in other Western languages. The Arabic term for "music," musiqa, does not apply to all types of artistic vocal and instrumental arrangements of sounds or tones and rhythms; rather, the Muslims term this general cases "handasah al sawt," or "the art of sound." Musiqa, or "music," applies rather "only to particular genres of sound art, and for the most part it have been designated for only those that have a "somewhat questionable or even disreputable status in Islamic culture". "Handasah al sawt" is a recently coined term used by Muslims to distinguish between Islamic conception of "music" and the term which is widely understood in the Western and non-Islamic world.

From history, we can see that music has been deeply rooted in the culture of the Arabs. They celebrated festivals, namely; wedding, during 'Eid, circumcision, with music. They will commence their ceremony with poems and songs. From this, it can be inferred that music indeed has a role to play in facilitating human in worshipping God. In the opinion of some scholars, including some Muslims, a number of Islamic rituals have some musical relevance. The first of these is the call of prayer by the mu'azzin, the caller to prayer. Scholars stress that the choice of a suitable muazzin is to be based on his musical voice and its emotional impact. The second musical act is in reading the Quran where the musical voice gained popularity, especially with the development of 'ilm al-qira (the science of recitation)' and 'tarannum' (the rhythm of Quranic songs). The prevalence of the Qurra' (the Quran recitors) such as Abdul Basit Abdul Samad, Sa'ad Sa'id Al-Ghamidy, and Mishary Rashid El-Afasy, are good examples of the perfection of voice, pronunciation, and tune. The chanting is evident in acts such as Talbiya in pilgrimage "Hajj" and Tasbeeh of Eid prayers. The religious use of music including chanting or dzikr among the Sufis is also well established and documented.

5.2 Muslim Musical Achievement in the early years It was known that Arabs of pre-Islam spent their free time listening either to poetry or music. These two were interconnected; the poetry composition could not be successful if it did not follow a musical pattern in its verses while the music mode (nagham) or song (ghina') is dependent on the type and form of poetry. Therefore, musical rhythm pervaded poetry adding a new dimension extending beyond Fasaha. Historical records, especially "Kitab al-Aghani" (10th century) of Al-Isfahani (897-967), showed the presence, during early years of the Muslim Caliphate, of a number of musicians including Sa'ib Khathir (d.683), Tuwais (d.c.710), Ibn Mijjah (d.c.705-714).

The spread of Islam over Arabia, Persia, Turkey and India, regions known to have possessed music traditions, brought this art into the Muslim Caliphate in its early days, reaching its most successful point under the Abbassids. Muslims also translated a number of Greek musical treatises, especially under the Caliph Al-Ma'mun, as part of Bait Al-Hikma project of acquiring knowledge. This inherited musical knowledge was refined and adapted to Islam's rules, as much of it was essentially secular or incorporated pagan practices. Under the Abbasids, the courts of Caliphs sponsored regular poets; most of the Caliphs were themselves poets and men of literature. It was under their rule that music gained greater respect due to the works of the famous Ishaq Al-Mausili (767-850) who revived the Arabian theory.

During the early times of Islam, music was considered a branch of philosophy and mathematics. In addition to his philosophical and mathematical brilliance, Al-Kind (800877) was the first great theoretician of music. He suggested a detailed fretting for the 'ud, and discussed the cosmological connotations of music. In using the alphabetical annotation for one eighth he surpassed the achievement of the Greek musicians. Al-Kind was also the first to realise the therapeutic value of music. It was revealed that he tried to cure a quadriplegic boy with musical therapy. He left fifteen treatises, but only five survived on music, in one of which the word music "musiq" was used for the first time, in a book title.

Al-Kindi's precedent was followed by his successors who dealt with music as a branch of mathematics, or a philosophical discipline. Al-Farab (870-950) was the next prominent scholar in the chronology. His life at the court of Saif al-Dawla Al- Hamdan of Aleppo, also known for his love for poetry and music, gave him an opportunity to develop both his musical skills and theory.

It is thought that when Al-Farab played the 'ud he would make his audience burst into laughter or tears, or fall asleep depending on the mood of his tune. These same sources suggest that he was the inventor of two instruments; the rabab and qanun. Al-Farabi also wrote five books on music, one of which, Kitabu al-Musiqa to al-Kabir "the Great Book of Music", is his magnum opus on the theory of music in Islam. In this work, he presented various systems of pitch, including one diatonic tuning to which certain microtones, or "neutral" intervals, were added. The influence of Al-Farabi continued to be felt up to the sixteenth century. Kitab al-Musiqi of Al-Farabi was translated by Ibn Aqnin (1160-1226) into Hebrew, while the Latin translation was made under the titles De Scientiis and the De Ortu Scientiarum.

In addition to these great theorists of music one cannot ignore the works of Ibn Sina (Avicena) whose works, especially al-Shif ("the treatment") and al-Najat ("the Salvation"), contained lengthy chapters on music. He treated the Greek theory of music and provided detailed description of instruments (used then).

Ikhwan Al-Safaa' (the brothers of Purity), with their sufi and mystical approach, took music into new dimension. Music became a means of contemplation helping both body and soul to invoke the remembrance and worship of Allah (God). This view is highly advocated and developed by Abu Hamid Al-Ghazzali who argued for the power of music in intensifying the religious feeling and reaching the mystical experience. He distinguished between the sensual perception of music and the spiritual one. His thesis was:"it is not possible to enter the human heart without passing by the antechamber of the ears. The musical, measured subjects, emphasise what there is in the heart and reveal their beauties and defects".

Al-Ghazali devoted large sections of his books; Ihi ' Ulum Al-Din (The revival of religious sciences) and, Kitab adab al-sam ua al-uaedh, to the good use of music and songs in the spiritual life. In the former work, made at the beginning of twelfth century, he considers music to be a means for reaching the mystical union with God. These meanings were further developed by the famous Djalal Uddin Al-Rumi (1207-1273) and those who came after him.

To conclude, the popularity of music during that era can be felt by the description of Ribera who says: "... the pleasure of music had been diffused to such point that it was impossible in any Andalusian city to find a quiet district, street or a corner in which a person could get rid of the omnipresent sounds of musical instruments and songs".

5.3

Islamic Rulings on Music

The Qur'an does not, according to most interpretations, address the matter of music per se. Interpretations and analogies of music are based on the shu'araa' (poets), which is also the title of a surah in the Qur'an. Due the complexity of the subject matter, the primary source for investigating the position of music in Islam is the hadith of the Prophet Muhammad (peace be upon him).

The prophetic traditions which have been used to support the legality of music in Islam are;

1) Once, during a happy occasion, ladies among the Ansar were enjoying song and music. Aisha (radiyallahu 'anha) reports that the Prophet Muhammad (peace be upon him) walked past, but neither did he put his fingers into his ears nor did he ask them to stop singing. 2) On another occasion, Aisha (radiyallahu 'anha) was busy organizing the marriage ceremony of an orphan Ansar girl called Fare'a, she was the daughter of Asad bin Zararah
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(radiyallahu 'anhu), who was the first companion to organize Jumuah prayers in Madina before the migration of the Prophet Muhammad (peace be upon him). When the Prophet Muhammad (peace be upon him) saw this, he said to Aisha, O Aisha, dont you have any instrument for amusement on this occasion? The Ansar surely love amusement. This tradition has been recorded in Tabrani with the following addition, which elaborates the meaning of amusement: Have you sent with her maid who would beat the daf and sing songs? 3) Aisha (radiyallahu 'anha) narrates that on the occasion of 'Eid, the Prophet Muhammad (peace be upon him) entered the house and found a couple of maids singing ballad in memory of the Battle of Buath. He lay down on the bed and turned his face to other side. In the meantime, Abu Bakr (radiyallahu 'anhu) entered and said to his daughter admonishingly, Flute of the devils in the presence of the Messenger of Allah? Hearing this, the Prophet Muhammad (peace be upon him) turned towards Abu Bakr and said, Leave the two alone. In other words, he asked him not to stop them from singing. In another narration, he (peace be upon him) added, Every nation has its festival of happiness, today is our Eid. 4) Rabi bint Muawwaz (radiyallahu 'anha) has narrated to Khalid bin Zakwan (radiyallahu 'anhu), the story of her marriage. She said, The morning when I was being bid farewell, the Messenger of Allah (peace be upon him) was sitting on this bed just as you are sitting now. The girls in our household were beating daf and singing ballads in memory of their ancestors who were martyred at Badr. One of the girls recited a couplet saying, And in our midst is the Prophet, who knows what is going to happen tomorrow. When he heard this couplet, the Messenger of Allah (peace be upon him) said, Do not say that, but say the other things you were saying. He did not stop them from singing and beating daf.

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5) Amir bin Sad (radiyallahu 'anhu) says, On the occasion of a marriage, I went to Qurza bin Kab and Abu Masud Ansari (radiyallahu 'anhuma) and I saw girls singing there. I said, Both of you are Companions of the Messenger of Allah (peace be upon him) and both of you are veterans of the Battle of Badr. Whats all this happening in your presence? Both of them replied, If you want to listen to the music, you may sit down with us and listen, but if you want to go, you may go. We have been permitted amusement (lahw) on the occasion of marriages.

The following tradition from the Prophet Muhammad (peace be upon him) elaborates the concept of halal (lawful), haram (unlawful) and mubah (acceptable):

"Allah the Most High has laid down religious duties, so do not neglect them; He has set boundaries, so do not overstep them; He has prohibited some things, so do not violate them; about some things he was silent-out of compassion for you, not forgetfulness-so seek not after them."

View from Islamic scholars and jurists.

From Imam Al-Ghazali's (rahimahullah) point of view, there is no clear evidence from the sunnah of the Prophet that prohibits the use of musical instruments. a musical instrument with a good sound is not prohibited.

According to Imam As-Syafie (rahimahullah) as stated in his book Adab Al-Qada, hes quoted that singing is makruh (detestable) and make people become heedless. He also said that makruh to use the flute as he viewed that it will distract people from listening to the Quran.

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Yusuf al-Qaradawi, in his discussion of singing and music, considers the implications of the previously mentioned traditions (as revealed in the hadith literature) which support the position of music in Islam (al-Qaradawi 1994). He concludes that singing and playing (music) are not haram as these traditions were reported by both al-Bukhari and Muslim in their two Sahih, considered to be the most authoritative collections of hadith in the Muslim world. He cautions, however, that singing is permissible as long as it is not any way obscene or harmful to Islamic morals (al-Qaradawi 1994). Singing may be used during joyous occasions such as 'Eid, weddings, birth, or to celebrate the return of a traveller or a loved one, in order to create an atmosphere of gaiety and happiness. The hadith which report against singing, assert al-Qaradawi, all weak and have been shown by researchers to be unsound.

Al-Qaradawi also argues music is not prohibited in Islam based on the recognition that Allah has created human beings with need and desires for not only the basics in life such as food and drink, but also to relax and to enjoy themselves. Permissibility or recreation and play is based on a Hadith in which the Prophet (pbuh) is said to have told Abu Bakar and Hanzalah al-Usaidi thrice that there is a time for this and a time for that (al-Qaradawi 1994). While Islam does not prohibit the pursuit of pleasure, it cautions Muslims against making it a goal that will distract of them from their religious duties. Islam permits singing and music that are not in conflict with its values and morals. Al-Qaradawi mentions the following limitations to singing in Islam: the subject matter of songs should be in accordance to the teachings of Islam; the manner in which a song is presented or performed should abide by the teachings of Islam; and, singing and listening music are allowed only in moderation as Islam abhors extravagance and excess (at the expense of a neglected duty).

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Each individual is his own best judge in determining which musics draw the most temptation for him and thus should be avoided. Singing which is done in conjunction with haram (prohibited activities) is also deemed haram.

In a nutshell, as long as the music is aligned with Islamic principles and beliefs and it does not make a person to become heedless and negligence of his obligations as a Muslim it is permissible in Islam. Therefore, in order to be consonant with Islamic beliefs and principles, music education in Malaysian schools should consist of a music curriculum that introduces students to music within the contexts permitted in Islam and with the good intention of providing them with musical knowledge which will assist them in obtaining God's pleasure and mercy.

5.4 Benefits of Music Education for Young Children

Recent research has shown that there is a significant relationship between music education and the brain development of the young child. Children who are lucky enough to be exposed to music lessons indeed reap many benefits. Music may actually develop and improve the child's ability to learn and be successful at other disciplines, such as language, math and science. According to the experts, early musical training helps to develop brain areas which involved language and reasoning. Recent studies have clearly demonstrates that musical training physically develops the left side of the brain which is known to be involved with processing language. Linking familiar songs to new information can also help imprint information on young minds.
Music can build vocabulary

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Many educational researchers promote music as a way to increase vocabulary and understanding, one of the ways to engage children in instruction (Fountas & Pinnell, 1999; Miller & Coen, 1994; Page, 1995; Smith, 2000; Wiggins, 2007).

During the preschool years before children can read, children rely exclusively on the oral language they listen to in order to acquire language. Even as children attend elementary school, only a portion of the vocabulary words they learn are the result of explicit instruction (Nagy & Herman, 1987). Research shows that stories read aloud are an effective source of new vocabulary for young children (Beck & McKeown, 2001). Researchers have suggested that song lyrics could provide a source of new vocabulary.

Research support for the hypothesis that songs provide a source of incidental acquisition of vocabulary comes from the field of second language acquisition. Medina (1993) studied the effects of music upon the acquisition of English vocabulary in a group of 48 second-grade children with limited English proficiency. Vocabulary gain scores were consistently higher for the groups in which either music or illustration were used, and highest for the group in which both were used.

Research also supports the use of direct vocabulary instruction, including the effectiveness of having young children learn academic words that are robust (Beck, McKeown & Kucan, 2002). Authors argue that young children develop word consciousness and a love of words through being playfully challenged with learning new word meanings.

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Music Helps Build Listening Skills

Learning to listen is a prerequisite to listening to learn, stresses researcher Mayesky (1986). Listening is the first language mode that children acquire, and it provides a foundation for all aspects of language and reading development. Listening is a very large part of school learning, with students spending an estimated 50 to 75 percent of classroom time listening to the teacher, to other students, or to media (Smith, 1992).

Despite the frequency of listening activity in classrooms, listening skills are not frequently taught explicitly (Hyslop & Tone, 1988; Newton, 1990). Most teachers teach, assuming that because they are talking, their students are listening (Swanson, 1996). As a result, many children do not acquire the listening skills necessary to acquire new knowledge and information. Too often listening is thought to be a natural skill that develops automatically, but in fact developing good listening skills requires explicit instruction. If we expect children to become good listeners, we need to teach them to become active listeners (Jalongo,1995).

Direct instruction in listening skills should include lessons designed to specifically teach and model the skills necessary for active listening (Matheson, Moon & Winiecki, 2000). An experimental study with young English language learners showed that focused listening instruction can benefit listening comprehension for children learning a second language (Goh & Taib, 2006). Musical activities are cited by researchers as effective experiences for building listening skills in the classroom (Hirt-Mannheimer, 1995; Wolf, 1992), for both mainstream classrooms and classrooms with children who have disabilities.(Humpal & Wolf, 2003).

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Music participation provides an opportunity to prepare young children for literacy. Whether by singing, playing an instrument or simply listening, teachers can direct students to listen and hear in ways that exercise their auditory skill. When children learn to play simple instruments, it introduces them to sequential learning which is key for proper reading comprehension. Sequential learners tend to gain understanding of linear steps, which helps them develop a logical brain.

To summarise, music education is an extremely important part of child development, and exposure to music can start even in the womb. Recent research has found that music uses both sides of the brain, making it valuable to all areas of the growing mind. Music affects the growth of a childs mind intellectually, emotionally and physically. Music education in early childhood has also been shown to lead to success in adult life.

6 Discussion
After thorough research and readings on the subject matter, the writers identify some of the key problems that seem to act as hurdles which tend to deter educators from executing this learning method in the sphere of Islamic pre-schools or in lower primary Islamic schools. The writers will study the problem from different perspectives; that is of a layperson, parents, educators, government and finally society. First and foremost, there's a need to tackle the layperson's perception towards music education. In a democratic society in Malaysia, significant majority of Malaysians seem to share a view that music is not that important in education. Majority of them think of music as purely serving a hedonistic function. This notion indeed stands to be corrected. Awareness on the impact of music education on the development of the brain and spatial intelligence of the young minds should be made known to the public.

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Parents' mindset on the role of music education seriously needs a paradigm shift. According to Johami Abdullah, former educationist in his book 'Pendidikan Muzik Kontemporari: Edisi Kedua', he mentioned that a large number of parents nowadays do not regard music education as pertinent in the context of a holistic education. They see a far lesser need for children to learn
music (and the other arts as well) than the science subjects. It seems that they do not know and do

not want to acknowledge the importance and the significance of music education. It is important for music education to be regarded and recognised as important as the rest of the subjects in order to achieve a more holistic education. In the perspective of music educators in Malaysia, sad to say, most of them perceived that they are being '2nd-class' from the rest of the educators. . There are many complaints from music teachers that music is relegated to a very unimportant role in the school curriculum. Music, it seems, does not have a healthy connotation among the school administrators, parents and the other teachers of different disciplines and consequently, the activities on music education is not much supported. This is happening in public schools, and one could not expect more from Islamic pre-schools and likewise, Islamic primary schools where music educators are not 'welcomed' at all. On the government side, it can be seen that Malaysian Ministry of Education has worked hard for the past three decades to introduce music education after realizing the importance and the benefits of inculcating it in the school curriculum. This is due to the fact that Malaysian educationists such as the late Tan Sri Datuk Haji Murad backed by the then policy makers in the 1980s realized that the school curriculum had become too academic and wisely introduced music as a compulsory subject in all primary schools to offset the imbalance. But of course, this is not happening in the Islamic primary schools in Malaysia. Even if there are Islamic schools who offer music education, it is very small in number and only regard the subject as an elective or a part of co-curricular activity for their students.
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Apart from all these problems listed, it is still known that there is a percentage of Muslims in Malaysia who perceive music as 'haram' (not permissible) in Islam. The controvesy surrounding music in Islam has necessarily had its effect on the situation of music education in Malaysian schools, in particular the Islamic schools. Since Islam is the official religion of the country, and is the religion of the majority of the population in Malaysia, it is not surprising that the controversial status of music would influence opinions about its role in the education of the young. According to Johami Abdullah, a former music educationist and the President of Malaysian Association for Music Education (MAME), in his book, mentions on two occasions, that; i- One of the main problems faced by music education in the schools (not to mention Islamic schools) is the lack of acceptance (of music) by some members of the public due to their religious beliefs, and that, ii- The efforts to improve music education in the schools have been unsatisfactory as there are still some who have not acknowledged music education as a permissible (halal) activity (from the religious perspective) (1993). They include teachers, parents and school administrators.

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Conclusion

Most renowned educators have come to realize that the preschool years offer the most optimal time for learning and developing musical abilities. Preschoolers love to play and are not at all afraid of making mistakes. Giving young children the opportunity to experience a variety of musical activities can also assist them in improving language skills, self confidence and independence. It is hoped that curriculum developers in Islamic schools will examine the role of music education at the kindergarten and primary school level and will also develop modules that could integrate Islamic subjects and good moral values within music lesson in order to enhance the children learning abilities and skills so that they will enjoy learning and do not see learning as an arduous task. This is due to the fact that educational research on the nature of intelligence and brain function gives promising indications that could change the face of education. Howard Gardner, the American developmental psychologist, has, for instance, counted music as one of the major intelligences that a human being has. On top of that, music education also offers the element of creativity which actually helps a child to think out of the box and train him to develop divergent thinking, which is in contra of the convergent thinking that is being emphasized in this examination oriented world. For that, Ministry of Education must be actively propagate the importance and the impact music education has on the curriculum via mediums such as the electronic and print media, social media and forums that are organized at school levels. Curriculum in the Islamic schools, in particular pre-schools and primary schools, for instance, should explore the idea of integrating Islamic lessons with music education. It is also the task and the job of the educators and school administrators, especially, to promote music
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education to the parents, reassuring them that only music education program which seeks to be consonant with Islamic beliefs will be utilized in the school curriculum and will not and never include 'music-making' elements which are prohibited or felt by the religious authority as negative. One good example is the technique of 'Al-Baghdadi', a method which integrates the use of sound and rhythm and also the use of aided learning tool which resembles a musical instrument who will produce rhythmic sounds to facilitate the learning of recitation of the Quran which has been proven its efficacy. It is important for us to conclude with a popular athar by one of the Sahabi which mentioned the need to nurture and educate our children according to his time. And in this 21st century, where hedonistic culture takes precedence and capture the hearts of many children, teenagers and adults alike, Islamic educators should seize this opportunity to make full use of music education as a tool to expedite the learning process of our young children and also to make the learning of Islam more enjoyable for the young students.

"Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. " -Plato

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Reference
Abdurrahman al-Baghdadi. (2005). Seni dalam Islam : Vokal, muzik dan tari.Selangor: Synergymate. Arieh Lewy. (1991). The International Encyclopedia of Curriculum. England. Pergamon Press. Johami, A. (2010). Pendidikan muzik kontemporari. Kuala Lumpur: Dewan Bahasa dan Pustaka. Mc Donald, D.B. (2009).Music and singing , Al-Ghazali. Petaling Jaya: Islamic Book trust. M. S. Waheedi (1999), Vocal and Instrumental Music in Islam, The Islamic Academy, Cambrigde, U.K. Ramona, M. T. (2006). Perspectives on music education in Malaysia. Shah Alam: University Publication Centre, Universiti Teknologi MARA .
http://www.yjl2642.pressible.org/yjl2642/definition-of-music-education

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Interview 1 : Guru tadika Islam :TADIKA HASANAH R/1 1 2 3 I R I Assalamualaikum ckgu. Waalaikum salam WBT Terima kasih kerana sudi ditemuramah pada harini.Jadi saya nak tanya cikgu sikit..3 soalan je. ok, soalan pertama Adakah pendidikan muzik diterapkan dalam Tadika ini? 4 R aa..memang pendidikan muzik ada diterapkan dalam suasana pembelajaran, aaa satu subjek tu sebelum kita nak ngajar, kita akan adalagu.untuk menarikmenarik perhatianlahperhatian kanakkanak 5 6 I R Aaa.. Jadi ia sangat penting. sebab macam kanak-kanak ini tertarik kalau ada macam aa..nyanyianlah..diaorang akan lebih beri tumpuan.. 7 I Ok..Adakah guru menngunakan teknik nyanyian atau tarian atau pembelajaran alat muzik..maksud saya ada instrumen atau alat macam piano ke? ataupun nyanyian sahaja atau tarian? 8 R aa..setakat ni kita hanya nyanyianlah, ada beberapa lagulah yang kita ajar untuk budak-budak bagi satu satu matapelajaran. 9 10 I R Ok..maknanya ada bantuan daripada radio ke? Ada..radio pun kita guna jugaklah nak bagi lagi ..orang katainteraktif punya nilah kan 11 12 I R Dan oksoalan yang terakhir Apakah tanggapan guru terhadap penggunaan muzik, adakah ianya perlu untuk subjek pendidikan islam? 13 I Bagi saya ia satu pendekatan yang baik, macam bila kita buat lagu atau TEXT

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nyanyian, macam rukun Islam kita buat dalam guna secara nyanyianmacam diaorang mudah nak ingatsenang nak ingatberbanding kalau kita ajar macam cakap aja..kalau muzik ni, nyanyian diaorg lebih cepat nak ingat..merangsang minda..ianya baguslah bagi proses pembelajaran kanak-kanaklah. 14 15 R I Maksudnya tiada masalah la Ha.Kita boleh guna kaedah tu bagi kanak-kanak mudah nak ingat..proses mengingat tula 16 R Jadi saya rasaa..setakat itu sahaja, terima kasih atas kerjasama yang diberikan. 17 18 19 I R I Ye sama-sama Mudah-mudahan lebih cemerlang pada masa hadapan..Assalamualaikum Waalaikum salam WBT

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Interview 2 : GURU / JURULATIH GURU DAERAH GOMBAK( SEKOLAH AGAMA KAFA AL-KHAIRIAH AU3, TMN KERAMAT , SELANGOR.) NO 1 2 3 I R I I/R Assalamualaikum WBT Waalaikumsalam WBT Ustazah, terima kasih kerana sudi meluangkan masa untuk ditemuramah pada petang ini, jadi..sudilah kiranya kalau saya teruskan pada soalan yeoksoalan pertama, aaa..nak tanya..adakah pendidikan muzik ni diterapkan dalam kurikulum kat Sekolah Agama al-khairiah AU3 ni? 4 R Ok baikaa pendidikan muzik buat masa kini belum diterapkan lagi dalam kurikulum sekolah agama, yetetapi, menarik minat saya apabila ada satu teknik yang di namakan teknik al-Baghdadimengaji dan belajar Al-Quran secara teknik al-baghdadi niaaasaya tengok, murid-murid lebih berminat ye..sebab dia sambil belajar, dia gunakan alat muzik mengikut harakat dengan ketukan 5 6 7 8 I R I R oo..jadi, maknanya dia belum masuk dalam silibus sekolah? Belum lagi, setakat ini belum lagi.. Tapi dia akan diperkenalkan di sekolah Ustazah ke? Aaa..sebabbnya ada ustaz maklumkan dia kata dah ke jabatan agama Islam, untk masukkan benda ni ke sekolah-sekolah kafa, tetapi belum mendapat kelulusan lagi 9 I Bagusitu cadangan yang amat baikpada masa hadapanok jadi soalan seterusnya..adakah ustazahmenggunakan teknik selain daripada teknik nyanyian atau tarian atau pembelajaran menggunakan alat muzik
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di sekolah ustazah? boleh bagi contoh tak? 10 R Ok ini menarik minat saya, kerana saya merupakan guru jawi, guru matapelajaran jawi dan juga jurulatih untuk guru-guru daerah gombakaauntuk mengajar matapelajaran jawi..sebenarnya pelajaran jawi memang perlulah untuk murid-murid tahap 1 dan murid-murid kelas pemulihan ni, kita menggunakan teknik nyanyian 11 12 I R Macammana tu ustazah? Contohnya, macam kita nak perkenalkan huruf alif sampai ya..kita buat dalam nyanyianA..alif..B..ba(ustazah menyanyi)..macam tulah seterusnya sampai ya 13 14 15 I R I Jadi budak-budak pun suka ye? AAmurid-murid lagi berminat.sambil menyanyi sambil dia belajar Alhamdulillahok . jadi soalan yang terakhirApakah tanggapan atau pandangan ustazah terhadap penggunaan muzik dalam subjek pendidikan islam..adakah ianya bagus atau tidak atau perlu digunakan dalam subjek yang lain 16 R Pada pandangan saya,..penggunaan muzik dalam subjek pendidikan Islam ni sesuai dan menarik minat murid-murid kita yang beragama Islam suapaya mereka lebih seronok untuk belajar pendidikan islam ni.. 17 18 I R Dia tak boring lah ye aa..kalau sebelum ni kita kata, mari kita sama-sama belajar sirah nabi..tapi, kalau ada dalam bentuk nyanyianmurid tu lagi seronok kata nak baca nama-nama nabi pun.adam, idris, nuh di buat dalam bentuk nasyidmurid-murid senang untuk mengingatidan sifat-sifat wajib bagi Allah wujud, qidam, baqa..kita buat dlm bentuk muzik, murid lebih minat dan diorang lebih senang nak ingat. kemudian bukan sahajaa aateknik muzik bukan dalam pendidikan islam, tapi dalam bahasa Arab juga boleh digunakan.aaa..

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Maknanya guru-guru, ustaz, ustazah disekolahadakah mereka dilatih dan pergi kursus untuk muzik ni?atau belum ada lagi kursus?

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Untuk kursus, setakat ni belum ada lagi. tetapi kita dah ada masukkan dalam pengkaedahan guru mengajar.aaa..jadi, benda ni dalam proses..sebab baru-baru ni saya pergi kursus jawikami diajar teknik nyanyiansupaya murid ni tak rasa bosanbelajarrrrrasyikasyikalif, ba, ta, tha sampaiii ya.boring..bila nyanyi ni murid tahun empatanak-anak yg 4 thn pun boleh ingat..a.

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Budak-budak zaman sekarang kan. aazaman sekarang dengan macam-macam muzik, rocknya, dengan tapi apa salahnya kita terapkan dengan muzik ni dalam pendidkan islamkita buat dalam bentuk islamic lah..ha.

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Mungkin kita kena buat modulatau tambah lirik dalam buku teks Boleh..boleh..saya setuju, bukan setakat buku teks, kalau boleh dibekalkan sekali dengan cd muzik.contoh kalau ada tajuk nidalam buku teks tu kita nicd pun ada. jadi murid-murid dengar cd tu..kita rujuk buku teks

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Jadi..terima kasih atas cadangan dan komen ustazah. semoga sekolah dan anak murid ustazah terus cemerlang dunia dan akhirat. terima kasih byk2 atas kerjasama yg diberikan..

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Sama-sama..

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