The study is particularly relevant to Qur’an education because mujawwad is not simply about producing a beautiful voice. The style combines melody, vocal expression, and careful application of tajwid. It is commonly heard at formal religious events and Qur’an recitation competitions, where both technical accuracy and vocal quality are important.
Why Mad, Gunnah and Tempo Matter
Qur’an recitation requires more than correctly pronouncing individual letters. Readers must also understand how sounds should be lengthened, where nasal resonance is applied, and how quickly verses should be delivered.
Muhajir and Naisabur note that some Qur’an readers still have limited understanding of the different forms of mad far’i, the characteristics of gunnah, and appropriate recitation tempo. These gaps can affect both tajwid accuracy and the aesthetic quality of a recitation.
The researchers therefore examined the three elements as interconnected components rather than isolated technical rules.
Literature-Based Research
Muhajir and Naisabur used a library research design with a descriptive qualitative approach. Instead of conducting experiments with Qur’an readers, they examined existing literature dealing with tajwid and Qur’anic recitation.
Their primary sources included classical works such as An-Nasyr fi al-Qira'at al-'Asyr by Ibn Al-Jazari and Al-Itqan fi Ulum al-Qur'an by Al-Suyuthi. They also reviewed modern tajwid books, scientific journals and relevant Islamic education literature.
The researchers collected and reviewed the literature, selected information relevant to mad far’i, gunnah and recitation tempo, organized the findings, and then drew conclusions from the material analyzed.
Mad Far’i Controls the Length of Recitation
One of the central elements identified by the study is mad far’i, a type of lengthening that occurs because of specific conditions involving hamzah or sukun. The article discusses several forms of mad far’i, including Mad Wajib Muttasil, Mad Jaiz Munfasil, Mad Lazim Mutsaqqal Kilmi, Mad Lazim Mukhaffaf Kilmi, Mad Layyin, and Mad ‘Arid Lissukun. It also covers Mad Shilah, Mad ‘Iwad, Mad Badal, Mad Tamkin, and Mad Farqi.
The importance of mad far’i goes beyond technical correctness. In mujawwad recitation, the length of a sound gives the reciter space to develop melody and transition between tones.
The article explains that Mad Wajib Muttashil may be read at around four to five harakat, while Mad Lazim reaches six harakat in the framework discussed by the authors. Reading a sound too briefly or extending it beyond its applicable rule can disturb the rhythmic balance of the recitation.
Gunnah Gives the Voice Its Distinctive Character
The second element is gunnah, a nasal resonance produced through the nasal cavity, or khaisyum. The article associates gunnah with conditions involving the letters nun and mim, including tasydid, ikhfa’, idgham bighunnah and iqlab.
Muhajir and Naisabur distinguish between gunnah ashliyah, which is described as an inherent characteristic of nun and mim, and gunnah ‘aridliyah, which occurs because of particular tajwid conditions. The latter is described as clearer and stronger, with a duration of approximately two harakat in the conditions discussed.
In mujawwad recitation, the balance of gunnah matters. A nasal sound that is too short can weaken its distinctive character, while one that is excessively long can interfere with the rhythm. The researchers therefore emphasize control of vocal strength, duration and continuity.
Four Levels of Recitation Tempo
The study identifies four recitation tempos: tahqiq, tartil, tadwir and hadr.
Tahqiq represents a very slow and deliberate reading, with careful attention to pronunciation and tajwid. Tartil is a slower, measured reading that also emphasizes reflection on meaning. Tadwir occupies a middle position between tahqiq and hadr, while hadr refers to faster recitation while maintaining tajwid accuracy.
For mujawwad, the authors stress that an appropriate tempo does not simply mean reading as slowly as possible. A stable rhythm allows the reciter to regulate breathing, maintain vocal consistency and preserve the clarity of each letter. It also provides space for the use of melodic patterns or maqamat.
The Three Elements Must Work Together
The main conclusion from Nurulhusna Muhajir and Nanang Naisabur of STAI Al-Falah Cicalengka is that mad far’i, gunnah and tempo should be mastered as an integrated system.
“Mad far’i provides the dimension of tone length, gunnah enriches the character of the voice, while tempo regulates the continuity of rhythm,” the researchers explain in their analysis. Their findings indicate that the quality of mujawwad depends on the harmonious combination of these elements rather than mastery of only one aspect.
This has practical implications for Qur’an education. The researchers recommend practicing complete verses under teacher guidance rather than learning each component entirely separately. Such practice can help students coordinate sound length, nasal resonance, breathing and rhythmic flow at the same time.
The study also proposes future research using digital voice-analysis technology to objectively measure harakat accuracy, gunnah stability and recitation tempo. Such technology could support more measurable approaches to modern tajwid education.
Author Profiles
Nurulhusna Muhajir is a researcher affiliated with the Postgraduate Program at STAI Al-Falah Cicalengka, Indonesia and the corresponding author of the article. Her work cited in the paper includes research on tajwid learning and improving Qur’an recitation quality.
Nanang Naisabur is also affiliated with the Postgraduate Program at STAI Al-Falah Cicalengka, Indonesia. His contribution to the article focuses on tajwid, Qur’anic recitation and the integration of technical and aesthetic elements in mujawwad reading.
The journal article does not state the authors’ academic degrees, so no degree titles are attributed to them here.
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