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The Sufis have led the way in creating artistic expressions that allow the average individual to access a higher state of awareness throughout the Muslim world. Sufism is a creative religion, and many Tarriqas encourage and support the creation of culture. Everyone is drawn to this culture's genuine beauty because it is an expression of religion in the form of food, music, art, and poetry. Sufi music reigns supreme among various genres of art. The Sama, a spiritual music and singing ceremony, is centered on music according to the Sufis. The Sama's purpose is to foster an environment in which the human spirit can encounter divine love. The listener experiences an ecstatic love for God as a result of the music. His emotional, mental, and occasionally physical state are briefly altered and begins to recognise the glorious presence of God. Sufi music prays to God, glorifies the Prophet Mohammed, and honors the saints and Sufi masters who have lived magnificent lives. Despite having general characteristics in common with the light classical music of the area, sufi music serves a religious purpose by evoking spiritual love and divine happiness, which is the central practise of Sufism. It also contains elements like magical poetry and an impactful rhythm that suggests endless repetition of God's name (zikr). The center of this culture is sufi music, with the musical performances acting as both art and accompaniment to sacred rites and religious traditions. Sufi Musical Styles The Sufi music can create music for the God, society's thoughts, rituals, festivals, lives as well as for heritage. They use their beautiful and distinctive musical genres to express their love to God. Sufi music is still widely listened today, along with Indian music. Sufi music has progressed by embracing modifications and variations to encourage young listeners. They can win over millennials with their fundamental performances of musical genres. To build up the traditional structure of the style, Sufi music consists of many musical styles, which describes the normal expressions of the need to be close to the divine which are as follows: Sufi Musical Styles 1. Sufiyana Kalam 2. Qaul 3. Hamd 4. Naat 5. Rang 6. Basant 7. Bidaai 8. Naqsh 9. Gul 10. Qalbana 11. Rubai 12. Holi 13. Qwwali 14. Manqabat 15. Tarana

Before writing this research paper the researcher has referred various literature pertaining to Sufism and music. The researcher was surprised that the ample amount of literature was available on Sufism but no literature was sort regarding the musical aspect of sufi dynasties such as Sufism- An account of the Mystics of Islam written by A.J. Arberry; Sufi Saints and Mysticism written by Sadhu Santideva; Sufi Thought written by S.R. Sharda; Sufism- Its Saints and Shrines written by John A subham; Sufism in India and central Asia written by Nasir Raza Khan; Sufi Saints of Kashmir; Sufi Orders in Kashmir written by Sayid Ashraf Shah; Sufism : A Beginner’s Guide written by William C Chittick; Sufism and Religions Brotherhoods in Senegal written by Khadim M backe; The Sufis written by Idries Shah; The way of the sufi written by Idries Shah; The Sufi element in Emerson and Thoreau written by Ali Arian (Phd); Sufi Tradition and culture – A study of Sufi Saints and growth of syncretic Shrines in medieval north East India written by Uz Zaman, Mohd Assad and many more. These books described widely about Sufism but as far as the musical part is concerned in none of these books the researcher has found the musical references that is why the researcher went to various Dargahs, attended URS- mehfil in Nizamuddin Dargah Delhi and Fatehpur Sikri Dargah and all musical references have been acquired from live recordings. As far as historical account of these dynasties is concerned references have been highlighted in this paper from given Literature/ Books/ Thesis

SUFIYANA KALAM-

The word Kalam refers to lyrics, whereas the term Sufiana is associated with Sufis. One of the greatest aspects of lyrics to be discovered anywhere in the world is Sufiana Kalam's. The Khanqahs, Dargahs are a popular location for singing and chanting the Sufiana Kalam tunes. Poetry of Sufi devotion that is typically sung at Sufi Samaa gatherings is referred to as "Sufi Kalam." Qawwali, Kaafi, Khayal, Taraana, and other popular genres are included in the Kalam. A Sufi ceremony known as Sufi Kalam is carried out in the form of Zikr or Dikr. Zikr or dhikr means "remember," whereas sama means "listening." These ceremonies frequently involve singing, playing musical instruments, grooving, praying and reciting poetry, as well as ceremonies such as simply wearing symbolic clothing.

QAUL-

Qawwali, which derives its name from the Arabic word Qaul, which means "to speak," is a musical style through which a group of male musicians, known as qawwals, convey motivational Sufi communications to a predominantly male crowd of devotees. The members of a Qaul ensemble are one or two lead performers, a chorus of hand-clapping qawwals who sing the phrases, a harmonium player who supports the set melody as well as the melodic modifications, and a percussionist who clearly states the melodic framework with a dholak (double-headed drum) or a tabla (a pair of single-headed drums).

Qaul begins during a mehfil-e sam, also known as a "grouping of religious hearing." On the day that marks the death of the saint connected to the shrine, the most remarkable of these assemblies actually happen in Sufi shrines. Each year, smaller mehfil-e-sama are held on Fridays, the day of prayer, or on Thursdays, when Muslims remember the deceased. On other remarkable occasions, qaul singers organise to provide spiritual enlightenment.

HAMD-

In both written and spoken, the Arabic word "hamd" only expresses praise for God. As a result, the phrase "al-amdu li-llh"—also known as the Tahmid—which follows the term "Hamd" has always been preceded by the divine name (Allah).  After the Bismillah, the first lyric of the Qur'an, al Fatiha Mubarak, begins with the epithet "Hamd," which is taken directly from the Qur'an.

The Hamd is recited throughout the Muslim world, from Indonesia to Morocco, and is typically written in Arabic, Persian, Turkish, Bengali, Punjabi, or Urdu. At least one Hamd, traditionally performed at the start of a Qawwali presentation. Every Muslim must recite the phrase "Hamd" to help them remember it. Hamd signifies adoration, love, and exaltation of the creator. Hamd is sincere and true praise; therefore, Mahmood, which derives from the word Hamd, is used when honoring those who are most deserving. Alhamdulillah, which means "praise be to Allah," derives from the Arabic word Hamd. A Muslim may express gratitude or adoration to Allah for his favors and bounty through the act of devotion or by reciting the Qur'an. 

NAAT-

 Additionally, this form of verse is sung with reverence. The poet who composes Naat-e-Sharif is generally referred to as Naat Go Shayar, and the singer is known as Naat Khawan. Poetry written in tribute to the Islamic prophet Muhammad is known as naat which is also found in Bengali; Punjabi and Urdu.  The language is also commonly used in South Asia (Bangladesh, Pakistan, and India). Sanaa-khuaans, also known as Naat Khawan, are those who recite Naat. To distinguish it from 'Naat,' Hamd itself is "Praise to Allah" and Allah alone. Poetry that praises Muhammad is frequently referred to as naat shareef.  Although the latter term can be used to describe any kind of religious writings, Naat is most commonly known in Arabic as madih (praise) or nasheed (lyrical).

RANG-

 "Rung" belongs to Khwaja Nizamuddin Aulia's Noor (energy, light, greatness), and Faiz (beauty). Amir Khusrau, a Sufi poet who lived in the 13th century, composed the Qawwali Aaj Rang Hai (Today There Is a Glow), also known as Rang or Rung (transl. Color), in the Hindavi and Braj Bhasha language groups. In the song, Khusrau sings to his mother about how happy he was to have found Nizamuddin Auliya, a Sufi saint, as his murshid (spiritual master). The Rung is a central part of the majority of Musical performances in North India and Pakistan, particularly in Delhi's Chishti shrines. It is customarily sung as the final song to wrap up a Musical session.

The Rung is a famous piece of Sufi music with a celebratory tone. The literal meaning of the word "rang" or "rung" is "colour."

Applications of Raga and Taal

Sufi singing styles are musically dominant. Sufi saints related to Sufi music taught the common man a steady life in which their first goal is to love each other. Love is the only means to reach God through music. As it has been mentioned earlier that Sufi music will be musical even if you want to remember God, if you want to praise or praise God, then there will be music in the background. It can be said that the life of devotees, followers, poets, singers related to Sufi music is devoted to music only. The contribution of all these is dependent on each other. Poet or Sufi poets compose poetry with the feeling of devotion. Singers and instrumentalists use those creations by making them musical with their own feelings. All these singers or musicians are devoted to the art of singing and playing instruments. These are the artists learned by the families and their aim is to offer their art in the court of God. These artists get complete knowledge of raga and taal.

It is well known that the way music is used in Sufi music, it is not found anywhere else. In order to compose any composition, they have complete knowledge of the emotion and raga selection contained in the literature of the composition. Along with this, there is complete knowledge of taal and instruments. There is also a lot of knowledge about the growth of raga, use of raga elements, rhythm, specific vocal accompaniments and aesthetic elements. All these ragas are selected and elements are used with great understanding. There are groups performing various singing styles in Sufi music. Groups in Hazrat Nizamuddin Dargah like: Niazi Nizami Brothers, Nizami Brothers etc and in Fatehpur Sikri there are only two groups which is Salim Hasan Chishti and Mohammad Aziz Chishti. The different instruments such as Harmonium, Dholak, tabla etc are played in sync to produce rich-class sufi music.

Popular Sufi Styles

Sufis were divided into 12 orders, defined as Silsilahs. A prominent divine who resided with his followers in a Khanqah typically led a Silsilah. The four main silsilas that established themselves in India were:

Sufi Silsilas

SUHRAVARDIYYA     CHISHTIYYA      QADIRIYYA      NAQSHBANDIYYA

       SILSILA                    SILSILA            SILSILA             SILSILA

Chishti Silsila 

The Chishti Silsila is thought to have originated in a village called Chisht, which is located sixty miles east of Herat in Afghanistan. However, on the Indian subcontinent, Hazrat Khwaja Muinuddin Chishti (d. 1236) played a crucial role in establishing the Chishtiyya silsila and other aspects of Sufism. Muinuddin, was also known as Khwaja Garib Nawaaz, arrived in Delhi in 1193 but later moved to Ajmer after the Delhi Sultanate seized control of that city. The people of the region were awarded by the silsila because of its liberal and brotherly spirit. All were encouraged at all times to enter the Chishtiyya khanqas. With its kindness, gentleness, modesty, this silsila played a significant role in the expansion of Islam in central and southern India. Chishti saints who settled in the Indus region, in Sindh, Punjab, and Multan, had a significant impact on Sufism's growth into a mass movement. Khwaja Qutbuddin Bakhtiyar Kaki (d. 1235) who carried out the Chishtiyya work in Delhi was one of Muinuddin's most significant disciples. His successor was the legendary Punjabi sufi poet Shaykh Fariduddin or Baba Farid (d. 1265), whose student was the great saint Nizamuddin Auliya (d. 1325), whose student was the iconic poet and musician Amir Khosrau (d.1325). Many compositions and many works were done in this time and there was a big contribution to the sufi music.

Chishti school of thought was founded in India by Moinuddin Chishti. Not only this but Chishti silsila is the only silsila in India which became the most popular and famous. Chishti is the first ancient Sufi order of India. The Chishtis adopted many specialties and customs of the Indian tradition while living in India. The Sufi saints believed in the worship of God through zikr (chanting the name of God) and sama (worship) i.e. gathering of spiritual music which is also characteristic of the Bhakti tradition. Auliya's disciple Amir Khusrau gave a distinctive shape to the sama of Chishti silsila by introducing qaul. Qaul was used at the beginning of Qawwali and at the end. Saint Mehboob-e-Ilahi of this series popularized the form of music singing Sama. The knowledge of music during the Sultanate period is very limited. We find the most important stage of the development of music at the time of Khusrau. It is said that in this era the rise of Qawwali mode took place. He also invented new musical instruments such as the sitar, which is a mixture of the Indian veena and the Persian tambura. In the southern region, instruments like Rabab and Sarangi became famous. The Chishti order formed Khanqahs to reach out to the local communities.

Suhravardi Silsila

When the influence of Chishti Silsila was increasing, at the same time the Suhrawardi silsila was gaining its hold in Multan and Sindh. The founder of this silsila was Shahabuddin Suhraward. He did not spend his life like a Chishti, but accepted the services of the state and established centers at many places. In terms of popularity, the Chishti silsila is followed by the Suhrawardi silsilas. On breaking the principle, the disciple who surrenders in the Suhrawardi tradition has to make atonement first. After this, they had to follow Islamic rules like Namaz, Roza etc. regularly. The Suhrawardi tradition had a significant contribution in the spiritual field. This was the only series that accepted that there is no obstacle in the way of devotion and religion by taking government posts and gifts. In this tradition, the evening prayer is often followed by qawwali and dance before nightfall. Especially in the mosque in the temple of Bahauddin Zakaria built in Multan. Sufi Silsilas developed in India in two clear streams. The liberal sect was under the first section. The Chishti silsila was moderate. Suhrawardi Silsila, though not so liberal, adopted a coincidental and friendly approach. After this, the Qadiri and Naqshbandi silsilas were developed.

Qadiri Silsila

Abdul Qadir Jilani was the founder of Qadiri Silsila in Baghdad in the 12th century. The Qadiri Silsila aspired to propagate orthodox Islam. These people wanted to convert Hindus into Muslims. There was no place for music in this connection. From this point of view, there was a difference of land and sky in Qadiri, quite different from Suhrawardi and Chishti tradition.       

Naqshbandi Silsila

The Naqshbandi sequence was established in India in the fourteenth century. Naqshbandiya is a family of Sufism. Their main principle is to restore the lost prestige of Islam. In this regard, he was ready to accept music as far as he supported the teachings of Islam. These saints used to make different types of maps in relation to spiritual elements and used to fill them with colors, hence their followers were called Naqshband. The Naqshbandi saints also opposed the music and did not give any importance to sufi music. The statement of Khwaja Afzal Nizami of Nizamuddin is that the first silsila which became famous is Naqshbandi Silsila, whose fourth khalifah Hazrat Ali, for whom Hazrat Muhammad had said, Maan Kunto Maula- Fali Un Maula, i.e. whose May Maula, his Ali Maula but for him Only Islam, the orthodox religion, was considered at the top.

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