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In the early periods, Arabic music generally consisted of single maqam called "al-Hidā/al-Hudā" and "al-Nashīd" and plain melodies. Later on, the influence of Iranian music, which started with the conquests, enabled rich melodies and a versatile maqam culture to enter Arabic music. As a result of this effect, Said b. Misjah (d. 96/715) in Mecca, Sāib Ḥāṣir (d. 63/683) in Medina, spread the rich tunes of Iran to the Hijaz. The singer Jamila (d. ?), who is the subject of this article, was also influential in the beginning of a new style in Medina by taking these tunes from her neighbour, Sāib Ḥāṣir (d. ?). Jamila, who combined her God-given talents and beautiful voice with Sâib’s tunes on the oud and enriched them even more, was also known for her good performance on the Persian oud. The cultural life in Medina, described in our article, has been tried to be discussed through the songs sung by Jamila and the poems that are the subject of these songs. Although there is little information in the sources about the singer Jamila, which is the subject of our article, it was prepared on the basis of Kitab al-Aghani as the main source. Apart from authors such as Ibn Qutaybah (d. 276/889), Yaqut al-Hamawi (d. 626/1229), who focused on subjects, literature and history of poetry due to the fact that the relevant source did not specify the style of expression and dates, Ibn Saʿd (d. 230/845), Al-Baladhuri (d. 279/892-93), Ibn Hajar al-Asqalani (d. 852/1449), Andalusian scholar and poet Ibn ‘Abd Rabbih (d. 328/940) were tried to support with the books of tabaqat and rijal. As well as contributing to the understanding of a different aspect of some painful events of the Umayyad period, and the deep sadness it left in the society, the article also tried to shed light on the cultural life of Medina. A female singer named Jamila es-Sulami was active in the social and cultural life of Medina during the Umayyad period (661-750). Jamila married to an unnamed mawla from Benu'l- Ḥārith b. Khazraj, but there is no information in the sources whether they had children or not. His Iranian teacher, Saib Hasir, from whom Jamila learned to sing, contributed to Jamila upbringing and understanding of the perfection in her tunes. Considering that Saib Hasir played his songs accompanied by the oud, we can think that he was one of the first to bring Persian music and Persian tunes to Medina. Jamila has an important place not only in the music history of her period but also in the music history with her softness in her melodies as well as her dominance in high pitched voices. In addition, Jamila, who plays "instrumental tunes" with the oud, also mentioned her name with this feature. Jamila, who did not merely imitate the style of Sāib Ḥāṣir but developed a new style of his own, became an authority visited by famous musicians from Mecca and Medina because of this knowledge, and among them, names such as Ibn Surayj, al-Gharīḍ (d. 98/717?), Saīd b. Misjah and Muslim b. Muḥriz (Ibn Muḥriz) are also seen. It is mentioned in the sources that they gave an open-air concert together in Medina. In Mecca and Medina, although the assemblies were organised with men and women, it is seen that the assemblies had their own sense of decorum and curtains were drawn over the section where concubines sang. We observe that large music assemblies were established in this period and these meetings attended by famous mugannies were accompanied by instruments such as oud and tambourine. In this period, it is seen that the houses of singers played the role of a kind of music school, and it is reported that the well-known mugannis who lived within the period of Jamila in Medina visited her at her house and practice music with her. Jamila, who was among the pioneers of her time, held a mirror to Medina as an important person of culture and art. Shown by the music authorities of the period, as the most accumulated gift of God's blessings on taganni, Jamila stated about how this knowledge was bestowed upon her was inspired not by education, but by inspiration; that it was a kind of God-given. There is no information in the sources about the death or date of death of Jamila, whose reputation exceeded the borders of Medina, who left behind many students who continued her own school and style with immortal melodies, and who inspired the famous musicians of her time. During the relevant period, Medina, where concubines usually sang at weddings and other ceremonies, met concerts attended by many musicians with Jamila, the poems of the great poets of Arabic literature as well as the poets of that period became the lyrics of the mugannis.

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