Аннотация
This conceptual article examines sacred sound as a medium of spiritual formation and religious identity in Kazakh Islamic culture. It treats dhikr, devotional singing, poetic recitation and culturally embedded vocal practices as forms of religious remembrance, not simply as aesthetic performance. Drawing on Qur'anic language, sound studies, Sufi reflection on samāʿ and Central Asian scholarship, the article develops a cultural-theological reading of how voice, rhythm, repetition and listening contribute to Islamic consciousness. Particular attention is given to the Yasawī heritage, including the sung ḥikmet of Aḥmad Yasawī and traditions of vocal remembrance (dhikr-i jahr), as a historically grounded Kazakh case in which poetry, sound and devotion converge. The article argues that sacred sound links individual piety with collective memory: dhikr trains attention towards God; devotional sound gives affective form to religious meaning; and Kazakh oral-poetic traditions carry ethical and spiritual values across generations. It also addresses the contested status of music in Islamic discourse by distinguishing devotional sound from secular entertainment and by avoiding universal claims about musical permissibility. The article's main contribution is a five-stage conceptual model in which sacred sound supports embodied remembrance, affective discipline, communal belonging and cultural continuity, with ethical orientation shaping the whole process. The Kazakhstani context is presented as a significant case for understanding how Islamic spirituality, oral-poetic heritage and national-cultural identity intersect in contemporary religious life.