The past Ramadan reminded us that Tatarstan holds a unique treasure. While the khatmas resounded in mosques, a sense of concern for the future of the Tatar maqam grew alongside them. This distinctive manner of reciting the Quran is now on the brink of extinction. When heritage is threatened, its true value is felt more acutely. The fact that Kazan has been declared the cultural capital of the Islamic world in 2026 gives special significance to the task of reviving this distinctive maqam. The rich history of Tatar Quran recitation is the best proof that this thousand-year-old city is worthy of this lofty status.
First, it's important to understand why melodic recitation of verses is so important. The Quran was revealed fifteen centuries ago for people to read, study, and live by. And the Almighty commanded that the words be recited in a singsong voice, beautifully and soulfully: this way, the words are more easily conveyed to the heart, and felt to the point of tears. This tradition was established by the Prophet Muhammad himself (peace be upon him), and was continued by his companions and righteous people. This recitation is based on maqam — a special scale upon which the melody is constructed: it has a strict sound foundation but a free rhythm, making the recitation lively, with improvisation, but within the bounds of canon. It is also important to adhere to the rules of at-tajwid — the precise pronunciation of each sound — for the main goal is to convey the Word of the Almighty without distortion. The melodic side is no less important: states such as khuzn (sadness) and buka (crying) create that very soulful mood for which people gather to listen to the Quran.
The Tatars and Bashkirs historically developed a common tradition of chanting the Quran, thanks to the similarity of languages, folk music, and the shared Islamic path in the region. This tradition was based on the concept of mon — a soulful, intimate sound that evokes the Quran's recitation in a manner reminiscent of drawn-out folk chants. Over time, the so-called "Tatar maqam" developed — a local manner of recitation that combined Arabic and Turkic intonations. It was distinguished by its distinctive melody and warmth, but today it is almost lost, although theological writings and descriptions still survive.
The roots of this tradition date back to the pre-Mongol era: as early as the 10th century, after the Volga Bulgaria region adopted Islam, the Arabic maqam culture arrived via pilgrims and merchants. Local reciters mastered tajwid, but sang in their own way, drawing on their native ear and ethnic chants. The ancient genre of ozon-kuy — long-drawn-out chants — testifies to the high musical talent of the peoples, while Islam brought new forms — baits and munajats. The pinnacle of that era was the poem "The Tale of Yusuf," which was recited in a singsong voice. Thus, an entire culture developed in Bulgaria: from simple rural chants to the complex ornamental singing of professional reciters.
During the collapse of the Golden Horde, the Kazan Khanate already had its own stratum of professional reciters who looked up to Middle Eastern schools. For example, it is known that the famous Central Asian musician Gulam Shadi visited the court of the Kazan Khan. At the same time, musical thinking also absorbed Mongol influences — that same smooth rhythm that can still be heard in kurai playing. In rural settlements, folklore and religious tradition constantly intertwined, and local chants naturally found their way into the recitation of the Quran.
In the pre-Soviet period, especially since the reign of Catherine the Great, the tradition of Quran recitation among the Tatars and Bashkirs truly flourished and reached a professional level. A central figure was Waliuddin bin Hasan, a native of Baghdad who settled in the Orenburg region. As a hafiz who knew the Quran in several versions, he laid the foundations of the local school. Among them, particularly prominent were Taghir bin Subhankul al-Pitraksi, who mastered various maqams, and his student Abubakir bin Yahuda, who studied the art of recitation in Egypt for ten years. Even then, local characteristics had already formed: a narrower range than that of the Arabs, moderate volume, and a reliance on folk ozon-kuy with their melodiousness and improvisation.
In the 21st century, the only way to save the Tatar maqam is to raise the issue again and again. In 2024, a separate forum was even dedicated to this topic at the All-Russian Forum of Tatar Religious Figures. Danis Shakirov, head of the executive committee of the World Congress of Tatars, cited dismal statistics: those who currently recite the adhan in the Tatar maqam can be counted on one hand. Among them are Marsel Akhmadullin, Marsel Vagizov, and the shakirds of the madrasah named after the 1000th anniversary of the adoption of Islam.
The forum brought together those who are making real efforts to ensure that the tradition continues to exist: madrasah teachers, scholars from the Russian Islamic Institute, and researchers like Rezeda Safiullina, organizer of the "Ilahi Mon" spiritual heritage competition. Over the course of several years, the competition has become a true outlet — a place where people meet for whom the Tatar maqam is not an empty phrase. Rezeda khanum's initiatives did not go unnoticed; they were also noted by the Mufti of Tatarstan, Kamil hazrat Samigullin.
The RBM RT is aware of the problem and has been systematically working on it for a long time. Mufti Kamil hazrat Samigullin notes that at international competitions, a representative of Turkey or the Arabian Peninsula can be immediately identified by their style, while Tatar recitation remains unrecognizable. Progress toward change is being made step by step. In 2021, Aznakayevo hosted its first recitation competition specifically for the Tatar maqam. The winner, Nurislam Absalyamov, learned the maqam by listening to elders during tarawih prayers. According to Nurislam hazrat, the Tatar maqam represents the soul of the people, their history, and their mentality.
The Usman ibn Affan Hafiz Training Center operates at the Kazan Islamic University. Together with the RBM RT, it offers courses for anyone wishing to learn to read the Quran. At a recent meeting, Rezeda Safiullina pointed out a sad fact: the topic is so poorly represented on social media that only a few audio recordings of reciters in the Tatar style can be found.
In 2025, during the holy month of Ramadan, another step was taken: Ilnaz Khaziev, a graduate of the Hafiz Training Center, recorded a series of videos featuring Quran recitations in the Volga-Ural style. The recordings were posted on social media by the publication "Billion.Tatar" to give the Tatar maqam a live performance.
Revitalizing this style requires more than theory alone: it requires the living practice of reciting with a traditional melody and revisiting folk songs. Modern technologies, including artificial intelligence, can help restore what has been lost, but only if authenticity is not sacrificed. Competitions and educational programs already exist. Now we need the personal initiative of those who truly value it. Only then will this voice continue to resonate.
GSV "Russia - Islamic World"
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