The first teacher to bring Islamic mysticism to the West presents music’s divine nature and its connection to our daily lives in this poetic classic of Sufi literature. Music, according to Sufi teaching, is really a small expression of the overwhelming and perfect harmony of the whole universe—and that is the secret of its amazing power to move us. The Indian Sufi master Hazrat Inayat Khan (1882–1927), the first teacher to bring the Islamic mystical tradition to the West, was an accomplished musician himself. His lucid exposition of music's divine nature has become a modern classic, beloved not only by those interested in Sufism but by musicians of all kinds.

First published in 1923, this classic volume contains timeless teachings on the nature of vibration and harmony as the basis of all creation. Transcending the barriers of religious traditions, The Mysticism of Sound explores profound and universal truths in a personable manner that will appeal to any seeker on the path of illumination.

Teachings on sound presenting a vision of the harmony which underlies and infuses every aspect of life. Science of breath, law of rhythm, the creative process, healing power and psychological influence of music.

In this volume, the second of The Sufi Message of Hazrat Inayat Khan, an attempt has been made to group together most of the Sufi mystic's teaching concerning sound and music – sound as the basis of creation and music as an essential means towards spiritual development. Having been a musician of renown before he gave up his art in order to dedicate himself entirely to the Sufi Message with which he was entrusted, Inayat Khan readily followed the practice of the ancient Sufis in expressing esoteric truths in terms of sound and music. He once described this as follows: 'I gave up my music because I had received from it all that I had to receive. To serve God one must sacrifice what is dearest to one; and so I sacrificed my music. I had composed songs; I sang and played the vina; and practicing this music I arrived at a stage where I touched the Music of the Spheres. Then every soul became for me a musical note, and all life became music. Inspired by it I spoke to the people, and those who were attracted by my words listened to them, instead of listening to my songs. Now, if I do anything, it is to tune souls instead of instruments; to harmonize people instead of notes. If there is anything in my philosophy, it is the law of harmony: that one must put oneself in harmony with oneself and with others. I have found in every word a certain musical value, a melody in every thought, harmony in every feeling; and I have tried to interpret the same thing, with clear and simple words, to those who used to listen to my music. I played the vina until my heart turned into this very instrument; then I offered this instrument to the divine Musician, the only musician existing. Since then I have become His flute; and when He chooses, He plays His music. The people give me credit for this music, which in reality is not due to me but to the Musician who plays on His own instrument.'

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

Explores how jazz helped propel the rise of African American Islam during the era of global Black liberation Amid the social change and liberation of the civil rights and Black Power movements, the tenor saxophonist Archie Shepp recorded a tribute to Malcolm X’s emancipatory political consciousness. Shepp saw similarities between his revolutionary hero and John Coltrane, one of the most influential jazz musicians of the era. Later, the esteemed trumpeter Miles Davis echoed Shepp’s sentiment, recognizing that Coltrane’s music represented the very passion, rage, rebellion, and love that Malcolm X preached. Soundtrack to a Movement examines the link between the revolutionary Black Islam of the post-WWII generation and jazz music. It argues that from the late 1940s and ’50s though the 1970s, Islam rose in prominence among African Americans in part because of the embrace of the religion among jazz musicians. The book demonstrates that the values that Islam and jazz shared—Black affirmation, freedom, and self-determination—were key to the growth of African American Islamic communities, and that it was jazz musicians who led the way in shaping encounters with Islam as they developed a Black Atlantic “cool” that shaped both Black religion and jazz styles. Soundtrack to a Movement demonstrates how by expressing their values through the rejection of systemic racism, the construction of Black notions of masculinity and femininity, and the development of an African American religious internationalism, both jazz musicians and Black Muslims engaged with a global Black consciousness and interconnected resistance movements in the African diaspora and Africa.