Music

MUSICAL INSTRUMENTS
Ancient

Pakistan's cultural heritage includes a large number of musical instruments: stringed (plucked or
bowed), wind and percussion. Each instrument has its own peculiar structural and tonal
characteristics, producing unique effects of pitch, loudness, thickness and intensity of tone that
differentiate it from the rest.

Plucked stringed instruments: Sitar, Rubab, Iktara, Soor Bahar, Sarod, Taanpura, Damboora,
Soorsinghar, Banjo, Veena, Vichatra Santoor.

Bowed stringed instruments: Sarangi, Sarinda, Taos, Siroz, Dilruba

Wind instruments: Bansuri, Soornai, Been, Shehnai, Alghoza

Percussion instruments: Tabla, Khunjari, Ghara, Dhol, Tanboor, Dholak, Naqarah,

Chimta,Pikhavaj.

A small number of stringed and percussion instruments, and a seven-key flute, have been
unearthed from the ruins of Moenjodaro and Harappa, indicated their origin at an earlier stage.
According to the Ramain, a Hindu holy book which gives information on primitive musical
instruments, the oldest instrument is said to be the gatra veena, in which sound was produced by
clapping, beating the thighs and chest with the hands, and stamping the feet on the ground.

Bhoomi Dandobi was a primitive percussion instrument. A pit was covered with skin, and this
was played with sticks. The Sarswati Veena was a zither with one hundred strings, and the
mookha veena was another instrument of the same kind. The Sarasvati Veena and Vichatra
Veena are still in use for both solo playing as an accompaniment to vocal music. The sound of
the Veena is supposed to come closest to the human voice. Around eighteen types of veena have
been described in different texts. A melody produced on a veena is really mellow and pleasing.
Historical

Hazrat Amir Khusro (1253-1325 AD), the great Muslim scholar, legendary poet and
musicologist, mentioned 26 musical instruments of his time in the second volume of his book,
Ejaz-e-Khusravi. The unknown author of Koonzaul-Tohaf (15th century AD) has mentioned nine
more musical instruments of Central Asia. Abul Fazal, a great scholar, poet, historian, and senior
minister of the Great Mughal Emperor Akbar, has mentioned 23 musical instruments of his time
in Ain-e-Akbari. Approximately 80 musical instruments have been discovered so far in Pakistan.

By the middle of the 19th century, much had been written about the names and structure of
musical instruments, but little was known about their invention or inventors. Nor had anything
been written to transfer the technique, tuning, or musical repertoire. This is because most books
on music were written by historians, not by musicians or musicologists.
The lack of documentation has left room for countless assumptions and contradictions about the
authenticity and purity of Pakistan's musical heritage. It took almost 2,000 years to agree on a
final grouping of classical melodies and ragas.
CONTEMPORARY INSTRUMENTS
ALGHOZA

This instrument consists of a pair of flutes of nearly the same length and width. One flute is used
for a continuous drone, while the other is played to produce a melody. The alghoza has six holes.

The alghoza originated in Sindh, but its popularity has spread all over Pakistan. Many of the
tunes presented on this instrument are composed in the raga Bheem Pilasi, which is sung soon
after sunset. Bheem Pilasi emanates a romantic mood and is an intense expression of longing and
waiting for the beloved.
BANSURI

The bansuri, or flute, is one of the most primitive instruments of Pakistan. It is played by holding
it horizontally against the lips. It has six holes, which are closed and opened with the finger-pads
in accordance with the melodic phrases. The thumb below supports the flute. The typical flute
has a slanting mouthpiece that can easily rest between lips. The notes of the higher register are
produced by accurately controlling the apertures and by contracting the lips to blow a narrow
stream of air.

Sain Allah Ditta Qadri is known for his flute playing, and Salamat Hussain is a meritorious
flutist who has won the President's Pride of Performance medal.
CHIMTA

The chimta is a pair of fire-tongs still used in Pakistani homes. The chimta used by performers is
approximately one metre long. It is played by hitting the tongs against each other and slapping a
large iron ring at the bottom against the tongs. Popular in Punjab and Sindh, it is used mostly as
an accompaniment to folk and mystic songs.
DHOL

The Dhol or drum, which means "lover" in some regional languages, is a rhythm instrument
enjoying wide popularity in both town and countryside.

The Dhol was originally used for communication over long distances for community
announcements and to summon congregations. Today, the instrument is played on a variety of
occasions, such as folk festivals, dances, horse and catel shows, rural sports, wrestling matches,
weddings, etc.

The Dhol is a two-headed, hollowed-out piece of wood covered with goat skin. It is beaten with
wooden sticks and is certainly an instrument of great antiquity.
GHARA

The Ghara of Punjab (dilu or changer in Sindh, mangay in NWFP, and noot in Kashmir) is
actually a baked clay pitcher normally used for storing drinking water. Used to produce a fast
rhythm, it is one of the most primitive percussion instruments known.

The height of a ghara ranges form 30 to 35 centimeters, with a girth of 80 to 90 centimeters. The
diameter of the mouth is 8 to 10 centimeters. A metallic ghara is known as a gagar or matki. The
performer sits on floor, places the instrument in front of his knees or on his lap with its mouth
up, and beats the side wall with the fingers of the right hand while the left hand strikes the mouth
to produce a stronger ground beat.

Ghara is also used by village people as a float for swimming. The swimmer holds the hollow pot
under the belly, its mouth down, and swims across a river or stream. A popular folk song of
Punjab takes its name from the ghara. It is associated with the romanctic folk tale of Sohni and
Mahinwal. Sohni used a garha to swim across the river Chenab.
HARMONIUM

The harmonium is a keyboard instrument. Thin metal tongues vibrate to a steady current of air
produced by pumping the bellows. The harmonium has a three-octave keyboard.

This compact organ was introduced in the early 19th century by European missionaries to sing
hymns in remote villages, where it was impossible to carry a heavy church organ. Later, it
became a part of the music of the subcontinent. The harmonium in its present form has
completely vanished from the musical scene in the western countries of its origin. In Pakistan,
the harmonium is very popular as an accompaniment to solo singing and Qawwali singing.
IKTARA

This ancient instrument consists of one (ik) wire (tar). It was originally a droning
accompaniment to a sung melody, particularly religious songs. It is played by plucking the
solitary string with a to and fro movement of the forefinger. The same hand holds the instrument.

Its bowl is small and covered with skin. The stem is thin and long. It is played in a vertical
position. The iktara was never meant for solo performance, but Saeen Marna of Balochistan was
first artist to make the attempt, giving a new life to this tiny one-stringed instrument.
JAL TARANG

The jal tarang, a peculiar instrument, consists of 11 to 14 china bowls of varying thickness and
height. Each bowl is tuned by pouring in a certain quantity of water. The cups are arranged in a
semicircular position. Usually, the biggest bowl is tuned to the dominant or sub-dominant tone of
the scale. The player sits in the middle of the semicircle and strikes the rims of the water-filled
bowls with two small sticks to produce a melody. The jal tarang was first mentioned by Aahu
Bal Pandit in Sangeet Parijat (17th century).
RUBAB

The Rubab is a plucked string lute with frets on the upper end of the fingerboard. Its hollow body
is made of wood, and the sound chamber is covered with goat skin. The melody is played upon
strings made of gut, beneath which are a number of resonating metallic strings called tarab.

This instrument is very popular throughout northwest Pakistan. Folk ballads, romantic songs and
popular mystic poetry are sung to the accompaniment of the rubab. The music most frequently
presented on this instrument is a Pashto folk form called lobha. The most famous instrumentalist
of the Frontier, Taj Muhammad, is an acknowledged expert on the rubab.

A more evolved form of this instrument is in use in Azad Kashmir. The Kashmiri rubab is more
complex, having a larger number of strings and resonators. It is beautifully decorated by artisans
with ivory or mother-of-pearl motifs.
SARANGI

The sarangi is a classical bow instrument made of wood, 65 to 70 centimeters in height, with
about three dozen strings of gut, steel and brass. It is played with a horsehair bow held in the
right hand. The richness and variety of sound produced by this instrument has given it its name,
which means "the one with a hundred colours." Besides being used as an accompaniment, the
instrument has an independent identity and can be played solo, accompanied by the tabla.

The sarangi was chosen to present a famous classical raga, Mian Ki Malhar. This raga, created
by the chief court musician of the Moghal Emperor Akbar, Mian Tan Sen, in the 16th century
AD, is traditionally sung in the rainy season.

In Pakistan, Ustad Bandu Khan was a consummate exponent of both the theory and practice of
sarangi playing. Other performers of note include two brothers, Ustad Hamid Hussain and Ustad
Zahid Hussain, who learned the art from their father, Ustad Abid Hussain, and their maternal
grandfather, Ustad Haider Bukhsh. Their style of playing is famous for its purity of notes and
delicate rendering of melody.
SARINDA

Sarinda is the name given to a stringed instrument with a hollow wooden body made from one
piece of wood. The lower part is covered with a thin wooden strip which extends into a finger
board, upon which seven to nine strings are tensioned.

Sarinda comes from the Persian word surayinda, meaning "producer of tunes." The sarinda is
usually accompanied by the rubab and tabla. The most famous tune presented on this instrument
is a lilting melody from NWFP called hyberi, because of its origin in the Khyber Pass.

The finest recorded performer on the sarinda was the late Munir Sarhadi, who was taught by his
father, Ustad Pazir. Since his death, there has been no one to equal his skill and creativity.
SHAHNAI

The shahnai is a double-reed wind instrument consisting of a hollow tube between 35 to 47

centimeters in length, widened toward the lower end, to which a plate of bell metal is fitted. The
shahnai is an instrument for occasions of joy and festivity. A shahnai player typically belongs to
a professional group of musicians and performers traditionally called mirasi.

SIROZE

The siroze is the medium-size local fiddle of northwest Balochistan. This stringed instrument is
also popular in Sindh and NWFP, where it is known as sorendo and sarinda respectively.

Sachoo Khan is considered to be the finest exponent of the siroze. He studied under his maternal
uncle.
SITAR

Playing this complex instrument demands great skill and ability. It consists of a hollow wooden
fingerboard almost four feet long and three to four inches wide, called dand. This is attached to a
half-round ball called tunba (gourd). The face of the gourd is a polished wooden plate
called tabli, decorated with ivory work. Along the fingerboard, two ivory bridges are placed one
after another. The face of the bridge is slanting to keep the instrument's six strings from touching
the moveable brass or steel frets.

The sitar was invented by Hazrat Amir Khusro (1253-1325 AD). It is said that he derived the
idea from the veena. The instrument is played by using the right hand to pluck the strings with
the mizrab, a sort of triangular plectum made of hard steel. The left hand moves up and down the
frets to produce the melody. Many Pakistani musicians have became internationally known for
their artisty on the sitar, among them Ustad Rashid Ali Khan Beenkar and Ustad Sharif Khan of
Poonch.
TABLA

The tabla is a set of twin drums. While occasionally played solo, it is an indispensible
accompaniment for all types of music in Pakistan.

The drum played by the right hand is the main drum, called the the dayan, while the one played
by the left hand is known as the bayan or dugga/duggi. Both drums are covered with goat skin.
In the centre is a black circle, the siyahi, about 5 centimeters in diameter, which is made by
pasting iron slag powder on the skin surface. Its purpose is to tune the drum to the correct pitch.
CLASSICAL MUSIC

The classical music of Pakistan follows melodic modes called ragas and rhythmic modes
called talas. In instrumental music it is customary to start with a long alap in free rhythm where
the soloist improvises in exploration of the chosen raga and expresses its particular mood. Then
the drum begins, and the soloist presents a fixed composition (gat), to which he returns quite
frequently, in between allowing his imagination to develop such improvisation as his mood and
the parameters of music permit.
AN HISTORICAL PERSPECTIVE

The classical discipline of Pakistani music is a continuation of the Indo-Muslim musical

tradition, which evolved as a result of centuries of Hindu-Muslim cultural interaction. Hindus
possessed a rich tradition of music, but unfortunately, its history is obscure. Books on ancient
Indian music such as Bharta (300 BC), Bhretdari (400 AD) and Sarangadeva (13 century AD)
are so incomprehensible, and at places so contradictory, that it is impossible to discern a single
comprehensible theory. However, there is a consensus among scholars that ancient Indian music
began with the religious life of the Aryans, who chanted verses (ashlokas and mantras) from
the Sama Veda, which the Hindus believe to be the source of all music.

Religious music in the form of chanting mantras, called Dhurpad, was the monopoly of high-
caste Brahmins, who performed their religious rituals in the temples and refused to allow low-
caste Hindus or Muslims to enter the temple and listen to religious music, believing this to be an
act of blasphemy.

Radical change

Since the music sacred to Brahmins was kept secret, Muslims and low-caste Hindus created folk
music which was different from the temple music. This music evolved some extra notes in
comparison with shuddha, or pure music practices. These folk melodies caught the fancy of
Muslim Sufis, who learned local languages, dialects, and melodies to communicate their
teachings more effectively. They composed their mystic songs using local tunes and local
diction. Since these Sufis were already schooled in Persian and Arabian music, a new fusion
arose, and new forms of music evolved.

Over a period of almost eight hundred years, the emerging forms were classified on the basis of
their qualitative differences in tonality and assumed names which are still familiar
today: Tarana, Kheyal, Thumri, Dadra, Qawwali and Ghazal. Hazrat Amir Khusrao is credited
with starting to reclassify these melodies according to the Persian muqqam system. Later, this
work was continued by Sultan Hussain Sharqi of Jaunpur.

Muslim musicians were the torchbearers of high-quality creative music and often received
generous patronage at the courts of both Muslim rulers and Hindu Rajas. During the reign of
Sultan Muhammad Bin Toughlak (1325-1351 AD), music was patronized on a grand scale. The
Sultan is reported to have kept 1,200 musicians in his service. Others renowned for their
patronage of music were Ibrahim Shah Sharqi of Jaunpur (1401-1440) and Sultan Zainul Abedin
of Kashmir (1416-1467 AD). The glory of music reached its zenith during the Mughal reign of
Akbar, Jehangir, Shahjehan, and their successors. Mian Tansen, Baz Bahadur, Meera Bai, and
many other famous musicians of Akbar's period made their mark on history.

The unhindered flowering of music in Muslim India, and the involvement of a large number of
Muslims in the evolution of music, culminated in the emergence of several gharanas (schools or
families) of music which are still in existence.
Evolution Of Gharanas

A gharana is a school of thought in subcontinental classical music. The emergence of

the gharana system has its roots in the ustad-shagird (teacher-student) relationship which is the
hallmark of this musical tradition, shaping the personality and character of future generations of
musician and ensuring continuity of the musical tradition.

The main feature of this highly personalized system is that an accomplished musician takes on
the responsibility of training one student at a time. This person is often a son or daughter, or a
very close relative. The teacher imparts musical knowledge and assists in the culturing of the
disciple's voice with meticulous care and unwavering patience. This long process of talim
(training) goes on for many years until the teacher is completely satisfied.

There are nine authentic gharanas acknowledged in the world of music. They are: Dehli, Agra,
Kirana, Gwalior, Patiala, Talwandi, Qawwal Bachon Ka, Kapoor Thala, and Sham Chorasi.
These gharanas evolved during the period of Muslim rule in India, when most of the court
musicians were followers of the Islamic faith. These gharanas continued to flourish even under
the patronage of Hindu princes, producing musicians of such great fame and calibre as Abdul
Karim Khan and Abdul Wahid Khan (Kirana), Fateh Ali Khan and Bade Ghulam Ali Khan
(Patiala), Amir Khan (Indore), and Fayyaz Khan (Agra).

Each gharana has its own way of presenting a raga, called gharana gaiki (the family style of
singing). Different ways of voice production also separate one gharana from another.
CLASSIFICATION OF CLASSICAL MUSIC

In the 16th century, Mian Tansen, an outstanding and vital figure in music, discovered that there
were nearly 4,000 ragas. He analyzed each and every one and discarded those which were
spurious or repetitious creations, thus reducing the number of melodies to some 400. Scholars
generally agree that it was Tansen who perfected the Indo-Muslim style of singing which later
became known as dhurpad. The scientific classification of classical music comprises a number
of thaths (scales), under which fall the various ragas or tunes. Different styles of singing prevail
in different parts of the subcontinent: the South Indian style, the Maharashtrian style, the Patiala
style, and others. In Pakistan today, the Patiala style is the most prevalent.

During the Mughal period, a great deal of Persian and Arabian music was incorporated into the
subcontinent's classical music system, improving the quality of Indian music. Today, the
favorite ragas in Indian subcontinent are the ones invented by Muslims, such as Darbari, Mian
Ki Malhar, and Mian Ki Todi. These ragas express the mood of different times of the day and
different seasons, and are thus sung at specific times. For example, Bahar is sung in the spring,
while Malhar is sung during the monsoon season.
CLASSICAL MUSIC GENRES
KHEYAL

The kheyal style of singing, which has reigned supreme in the domain of classical music in the
subcontinent since the 18th century, is the most important form of musical composition. Deeply
steeped in Muslim traditions, it took almost 500 years for this genre to reach its pinnacle of
success and glory. It grew side by side with dhurpad, but ultimately eclipsed it.

Like several other musical genres (qawwali, kafi, ghazal), kheyal is unquestionably a Muslim
innovation which has completely revolutionized the music of this part of the world. Hazrat Amir
Khusrao's reclassification of subcontinental ragas according to the Persian muqqam system
served as the natural womb out of which kheyal was born.

Sultan Hussain (1451-1500), the king of Jaunpur, made invaluable contributions to its
nourishment, Sultan Hussain's study of music was deep. Like a professional singer, he underwent
rigorous training for many years. He made his mark in the world of music, composing several
new ragas and earning recognition as one of the pioneers of the kheyal form of musical
expression. However, it is generally agreed that this supreme expression of Muslim musical
genius reached its acme during the period of Muhammad Shah Rangeela (1719-1748). Credit for
perfecting the style goes to Naimat Khan Sadarang, the court musician of Muhammad Shah
Rangeela.

Kheyal literally means fancy or imagination, to visualize a thing in respect of its structural and
emotional aspects. This form of music is so named because it is inherently imaginative in its
subject matter, interpretation, and treatment. The musical composition of kheyal is full of grace.
Simple, straight notes are rarely used; some form of modulation enters into every melodic
phrase. This style of singing predominates in Pakistan, northern India, and Bangladesh. Some
vocalists in Afghanistan have also adopted it. There are several schools (gharanas)
of kheyal exponents which are known for their distinct styles of singing, aesthetic approach, and
methods of voice production. Prominent among them are Patiala, Talwandi, Gwalior, Delhi,
Agra, Kirana and Jaipur. Some of the greatest kheyal singers of the 20th century have been
Abdul Karim Khan (Kirana), Amir Khan (Indore), and Bari Ghulam Ali Khan (Patiala).
DHURPAD

Music has always occupied a very high place in Hindu worship. All forms of classical music
were used as adjuncts in the performance of religious rites.

Raja Maan Singh Tomaar of Gwalior (1486-1526), with the help of his court musicians, took
upon himself the task of establishing some order in the jungle of music. He changed the style of
devotional music by injecting it with such mundane subjects as human love. Until then, only
spiritual topics had been addressed. This new style became known as dhurpad. Of all the styles
of singing, dhurpad is considered the most manly, arduous, and effective in communicating deep
emotions and pathos.

Like any other genre of music, dhurpad has strengths and weaknesses. Its strongest feature is the
strict adherence of its exponents to the two basic principles of rhythmic advance and progression
by determinate degrees. The constant aim of the performer is to create the maximum possible
effect with a few simple, clean notes unaccompanied by any flourishes, shakes, or similar
touches of grace. Its main weakness, however, is the monotonous repetition of notes and strict
avoidance of the use of ornamentation.

The past 800 years have produced great dhurpad singers who were honoured and rewarded
lavishly by the royal courts. The legendary Mian Tansen was one of the most popular exponents
of this genre. However, this style of singing is swiftly vanishing from the musical ethos.
CLASSICAL SINGERS
Amanat Ali Khan
Although two decades have passed since his demise, the captivating melodies of classical
vocalist Ustad Amanat Ali Khan are still fresh and fragrant. His recordings are appreciated by
listeners of all ages. Amanat Ali was tutored under the keen eye of his father, Ustad Akhtar Ali
Khan, a noted musician of the Patiala gharana. Amanat Ali was a master of three musical forms:
the raga, the thumri, and the ghazal.

Classical music was at its peak when Amanat Ali and his younger brother, Fateh Ali, began their
career. Amanat Ali was immediately noticed for his remarkable talent. He created a unique and
innovative style of performing music which helped those not initiated in this art to understand
and appreciate traditional music. He simplified the structures of ragas, sang thumris more softly
and smoothly than any of his contemporaries, and innovated a novel style of ghazal singing
during the last days of his life. His death proved to be an irreplaceable loss to the music of the
subcontinent. In recognition of his remarkable services, the Pride of Performance Award was
conferred upon him in 1969.
Bade Ghulam Ali Khan

Ustad Bade Ghulam Ali Khan, who established himself as a master vocalist and exponent of
the Patiala gharana, began his career as a sarangi player. He was a man of unparalleled and
inimitable virtuosity.

Born in Kasur, he was initiated into instrumental music by his father, Ustad Ali Bakhsh Khan.
He played the sarangi for fifteen years before he started singing. During his youth, he spent
some time with another competent musician, his uncle, Ustad Kaley Khan. The family moved to
Lahore, where young Ghulam Ali lived with his elders in Haveli Mian. He had already
established his melodic credentials and made his presence felt in the musical world of the
Punjab. Like other musicians of that period, Bade Ghulam Ali Khan also took part in theatrical
activities. His younger brothers, Barkat Ali Khan and Mubarak Ali Khan, also earned fame.

Bade Ghulam Ali Khan was at ease with almost all forms of vocal music; khayal, tarana, thumri,
dadra, and kafi. His close associates remember that he also sang Punjabi, Kashmiri, Sindhi,
Purabi, Bengali, and even Nepali folk songs with much gusto. After independence he left
Bombay and settled down in Karachi. Unfortunately, he was alienated by the "supercilious
attitude" of the head of Karachi radio station at a social gathering in Lahore. He returned to India
in 1950, where he was warmly welcomed and eventually honored with the highest award given
to an individual for artistic excellence.

Unquestionably one of the brightest stars in the galaxy of contemporary practitioners of classical
singing, Bade Ghulam Ali Khan was a superb exponent of khayal singing as it was refined by
the Patiala gharana of Punjabi musicians, which came to dominate the entire subcontinental
melodic scene. His recitals of classical formulations, and the variety of effects which his unique
and plangent voice created, held audiences spellbound. During his 30-year career as a vocalist,
his fame attained heights reached by few others. Music lovers still remember his masterly
approach to the structure and unfolding of a raga.

Bade Ghulam Ali Khan's music was as original as it was brilliant. His own classical
compositions (asthais and antaras) inspired a whole generation of vocalists with their profound
melodic content.
Fateh Ali Khan

Ustad Fateh Ali Khan is the most highly acclaimed and celebrated living classical singer of
Pakistan. He is the leading representative of the eighth generation of the Patiala gharana. Fateh
Ali was born in 1934 in Patiala (now in East Punjab). He is the second son of famous classical
singer Ustad Akhtar Ali Khan, who headed the Patiala gharana of classical singing in his own
time, and the younger brother of the renowned Ustad Amanat Ali Khan, with whom he sang for
more than thirty years. Their grandfather, Ustad Ali Bukhsh, was the founder of their musical
dynasty. According to Fateh Ali, his grandfather was awarded the honorary title of "General"
(Jernail) by the music-loving viceroy of India and became popularly known as Jernail Ali
Bukhsh.

Fateh Ali Khan started his musical training at the age of 7 side by side with his brother, Amanat
Ali. The young duo sang on radio for the first time in 1945. They were soon noticed by a well-
known local connoisseur, who invited them to take part in a music conference which was being
held at the YMCA Hall. This was their first public performance.

Fateh Ali Khan has been a bright star in the musical firmament for over three decades. He
recorded several songs for films, proving that classical music can still hold its own in the film
world. A duet composed by music director Rashid Attre for W. Z. Ahmad's Urdu
film "Wada," rendered by Fateh Ali and the late Zahida Perveen, became very popular upon its
release in 1957. He also recorded the title music for "Koel," a film the by famous music director
Khawaja Khurshid Anwar. These successes were followed by other recordings for popular films.

Fateh Ali has performed for Pakistan in Britain, Germany, Canada, Denmark, Norway, Kuwait,
Abu Dhabi, Dubai, Nepal, Burma, India and Bangladesh. An invitation to perform in London's
Albert Hall was a singular honor.

His greatest desire is to transfer his knowledge of classical music to the next generation. To fulfil
this desire, he is grooming his two sons, a nephew, and a few others. He has also accepted an
assignment with a local girls' high school to impart his knowledge to students. However, he is
not satisfied with individual efforts. He believes that something must be done on the national
level to preserve and promote the art of classical singing. Ustad Fateh Ali Khan is a recipient of
the President's Pride of Performance Award.
Roshan Ara Begum

Roshan Ara Begum, originally named Waheedunnisa Begum, was born in Bombay. She lived in
an environment that was alive with music. Her mother, Chanda Begum, a singer of repute, was
quick to discern her daughter's musical talent. She brought her to Ustad Abdul Karim Khan, an
eminent representative of the Kirana gharana, who accepted her as a pupil and prayed, "O Allah,
let this girl illumine the world of music, and let your light rest upon her throat." Her mentor's
prayer was more than amply answered, and she became known as Roshan Ara (Decorator of
Light).

She made her debut as a singer in Bombay, where her songs were broadcast on radio. In 1936
she found an opening as a playback singer for the famous director Sohrab Modi in his historical
film, �Pukar�. Later, she rendered Firoz Niazami's compositions for the films �Jugnu� and
�Kismat�.

In 1944, she received an offer of marriage from a music lover, Chaudhry Ahmed Khan, a senior
police officer in Bombay. She consulted her teacher, Ustad Abdul Karim, and agreed to be
married on one condition: that she would not give up music. She kept her promise and continued
to sing throughout her life. After independence, she and her husband came to Pakistan in 1948
and settled down in Lalamusa, a small town between Gujrat and Jhelum in Punjab. Though
universally acclaimed as "Malika Mauseequi" (Queen of Music) in Pakistan and Saraswati (a
goddess of the Hindu Pantheon) in India, she was a remarkably simple person. Her humility,
sincerity, and gentleness added to her stature as an artist. A devout Muslim, she was an early
riser and began her riyaz (musical practice) after her morning prayers. Being childless, she
adopted a boy and girl, upon whom she showered her maternal love.

As a vocalist, the most important feature of her singing was her stress on melody. She had an
outstanding dexterity and control over a wealth of ragas. At a l954 musical conference in
Bombay, her renditions of Jinjhoti Thumri and Bhairvi Thumri, the raga for which she is still
considered the ultimate interpreter, astonished a group of distinguished Ustads and Pundits with
her divine and soul-stirring voice.

While the Pakistani public has been more receptive to Salamat Ali Khan, Amanat Ali Khan, and
Fateh Ali Khan, these masters still listen to Roshan Ara's recordings for their own entertainment.
She won the President's Pride of Performance Award in 1960 and was the first female vocalist to
be awarded the Sitara-e-Imtiaz.

Roshan Ara Begum's death of a heart attack on 6 December 1982 left the Kirana gharana in
Pakistan totally bereaved, although there are still a few exponents of this school of music in
India.
Salamat Ali Khan

Ustad Salamat Ali Khan, son of Wilayat Ali Khan, was born in Hoshinyarpur on 12 December
1934. He began training as a classical vocalist at the age of 5 under his father's tutelage. His
father recognized his potential as a kheyal singer and advised him to concentrate on this
discipline. At age 7, he sang raga Mian Ki Todi at a festival in Jallandar, where he was further
encouraged by Ustad Bade Ghulam Ali Khan and Ustad Rajab Ali Khan.

Salamat Ali Khan belongs to the Sham Chorasi gharana, which was founded by Suraj Khan and
Chand Khan in the time of Akbar. From 1956 to 1966 he participated every year in the music
conference in Calcutta, where he received many awards. A legendary exponent of classical
music, Salamat Ali Khan is equally known and respected in Pakistan, India, Bangladesh,
Afghanistan, and Nepal for his command over music and his ability to render a raga in its true
spirit.

Salamat Ali Khan has done much to disseminate and popularize classical music. He has revived
such disappearing forms as the Sadhra, Lakshan, Geet, and Tappa and also composed many new
ragas, including Ropavati, Kaliyan, and Kanwal Bhairon. An internationally known performer,
he has appeared in many international music conferences and festivals, astonishing his listeners
with his scintillating renditions. He and his sons also recorded a traditional floor soiree for the
Pakistan National Council of the Arts and Unesco, which are working jointly to document the
work of the major classical artists and gharanas.

Salamat Ali Khan enjoys the honour of having transferred the art of classical music to over 1,000
disciples within and outside Pakistan. A highly celebrated artist, he has received the President's
Pride of Performance, the highest national award in the field of performing arts.
SEMI-CLASSICAL MUSIC

At the end of Muslim rule in the subcontinent, most Mughal court musicians moved from Delhi
to the relative peace and safety of smaller principalities. Here, a new musical movement gained
momentum. This movement sought some relaxation from the structural limitations of the khayal
form to allow singers to express lighter musical thoughts. This new trend resulted in the
emergence of two closely related genres, the Thumri and the Dadra.
THUMRI

The thumri is one of the most interesting forms of music which is still popular among
contemporary classical vocalists. Because it enjoys comparative freedom from the rigid
conventions of orthodox classical music, it is considered a light form of classical music.

The most widely current theory connects the origin of both the thumri and the dadra with the
royal courts of Awadh, especially that of Nawab Wajid Ali Shah, who himself was musician of
great merit.

Thumri is derived from the word thumak, meaning a lady's graceful gait. It is indicative of a
striking note of tenderness, and the themes of its songs are invariably related to some phase of
human love in a state of amorous separation or union. Like other genres, the thumri has its own
distinguishing characteristics. The poetic content of its songs play a major role in creating the
desired pleasing effect. Sometimes its poetic themes have double meanings, referring to matters
both spiritual and mandane. Many musicians therefore consider it the most lyrical of all light
classical forms.

Vocalists recommend that a thumri be rendered in a special quality of voice. The female voice is
generally considered superior to the male voice in producing the desired effect. The thumri can
be accompanied by plucked, bowed, or wind instruments such as the sitar and sarod,
sarangi and violin, or flute and shehnai respectively.

The three most popular styles of thumri are Banarsi, Lucknavi, and Punjabi. The Lucknavi style,
developed by Nawab Wajid Ali Shah, is characterized by a certain grace and flexibility of tonal
embellishments, while the Punjabi style resembles the tappa style of singing.

Among the greatest exponents of both the Banarsi and Lucknavi styles of thumri singing have
been Ustad Abdul Karim Khan and Ustad Fayyaz Khan Payare Sahib, while Ustad Bade Ghulam
Ali Khan and his brother, Ustad Barkat Ali Khan, successfully represented the Punjabi style.
Present-day exponents of the Punjabi style in Pakistan are Ustad Salamat Ali Khan, Ustad Fateh
Ali Khan and Farida Khanum.
DADRA

Considered even lighter than the thumri is the dadra. This style of singing resembles the thumri
in structure, theme and treatment. The main difference is the time measure used for this genre. It
is sung only in a six-beat cycle.
SEMI-CLASSICAL SINGERS
Ghulam Ali

Ghulam Ali, an acclaimed ghazal and thumri singer, was born in 1942 in village Kaley Ke
Naagrey, Daska, Sialkot. His father, Daulat Ali Jaffri, loved music, particularly
the kheyals and thumris of Bade Ghulam Ali Khan and Barkat Ali Khan.

Ghulam Ali began singing as a child, performing for a children's programme broadcast by Radio
Pakistan. When he sang a thumriin Raag Pilu before Bade Ghulam Ali Khan in 1958, the Ustad
immediately recognized the boy's talent. There began a long journey of devotion and dedication
to music. For fourteen years Ghulam Ali studied and served under two luminaries of the Patiala
gharana, Barkat Ali Khan and Mubarak Ali Khan, both brothers of Ustad Bade Ghulam Ali
Khan. Barkat Ali taught him the nuances of the thumri and dadra, while Mubarak Ali Khan
taught him kheyal singing.

In Lahore, he sang for the first time in 1960, rendering a thumri in Raag Pilu and a kafi of Bulleh
Shah at the All Pakistan Music Conference. He sang his first ghazal, "Sham Ko Subhey Watan
Yaad Aiee," in 1964. It received wide acclaim. Over three decades Ghulam Ali has sung about
5,000 ghazals from the works of Ghalib, Dagh, Mir, Ahmed Nadeem Qasmi, Faiz Ahmad Faiz,
and Ahmad Faraz. Almost all Ghulam Ali's renderings are based on his own compositions. His
singing is particularly cherished by Pakistanis and Indians living abroad, who play his cassettes
and remember home.

For the past ten years Ghulam Ali has perforemd regularly at private functions in India. Among
his friends and listeners are Pundit Ravi Shankar, Ustad Allah Rakha, and Hari Parshad
Chaurasiya. They are appreciative of his interpretations of the ghazal and thumri. At home, he
has sung before such well-wishers as Roshan Ara Begum, Ustad Amanet Ali, and Fateh Ali
Khan, Mehdi Hassan, and Farida Khanum. He is a recipient of the President's Pride of
Performance Award.

At concerts in the Far East, Europe, and the United States, Ghulam Ali has covered a wide
repertoire of Urdu poets, from Ghalib to Faiz. He sings to please, not to impress, and the
aesthetic quality is always prominent in his performances.

A widower, Ghulam Ali moved to Islamabad in 1985 with his mother, four daughters, and two
sons. He rehearses daily and tutors his 17-year old son, Nazar Abbass Ali, for two hours in the
morning and two hours in the evening.
Iqbal Bano

Iqbal Bano, born in Rohtas on 16 August 1938, is ranked as one of the best female exponents
of ghazal singing. Her complete grasp on both ghazal and thumri singing reflects refinement and
elegance on one hand, and sensuousness and playfulness on the other. She has adopted a style
which is simple, spontaneous and lyrical, yet subdued and elegant.

Iqbal Bano's father was a strict, conservative Pathan from Swat. Her mother was from Delhi.
Their neighbours, good friends of the family, were Hindus who ran a musical training academy
in their home. Iqbal Bano used to lead the prayers in her school. One day, her neighbours heard
her recite this prayer and were amazed at the quality of her voice. They asked her parents to send
her to their academy for training. Reluctantly, her father agreed. Thus began Iqbal Bano's
journey into music. She studied at the academy and gradually progressed. Her first singing
appearance was with a group of children on a radio programme. After some months, she was
taken to the regular music studios of the radio station, where she was introduced to musicians
and a professional atmosphere for the first time.

She began her formal training under the guidance of Ustad Chand Khan Sahib, who coached her
in the intricacies of classical music for a year and a half. Using her God-given gift, she learned
quickly. Her speed at picking up new notes and combinations was a source of great pride for
herself and her teacher.

Soon after independence, Iqbal Bano and her family moved to Pakistan. Her teacher, who was
losing his star pupil, tried his best to dissuade her father from leaving, but what was lost to Delhi,
became the prize of Lahore.

Her first public performance in Pakistan was at the Lahore Arts Council under the guidance of
Chaudhry Bashir Ahmed. She sang well, and her audience were very appreciative. One concert
soon led to another, and her career was truly launched. When her family moved to Multan, Iqbal
Bano continued to sing for radio, films, and later television. She also won the President's Pride of
Performance Award.

While she has sung for over 50 films (she went to see her first, �Gumnaam�, wearing a burqa
so that she could test the audience's reaction), her first love is still performing for a live audience.
She always inquires about the type of people invited to the gathering, as this helps her to select
what she should sing.
Surriya Multanikar

Surriya Multanikar was born in 1940 in Multan. He earliest childhood memories are of wanting
to excel as a singer. No one in her immediate family could either teach or advise her, so she
taught herself by listening to film songs and copying their tunes and lyrics.

Surriya was only seven years old when Roshan Ara Begum visited her house in Multan. She
taught Surriya a ghazal which Surriya skillfully presented the next day. Impressed by the child's
voice, Roshan Ara asked her parents to provide her with a qualified teacher. A year later she
sang for Pir Sharif, who predicted that the child would someday be famous. Because her family
could not afford to pay for her training, Pir Sharif asked Fauji Khan, his disciple and a well-
known music teacher of Multan, to give Surriya her initial training free of charge. Three months
later, when Pir Sharif died, Surriya went home. No one spoke of music until three years later,
when Fauji Khan came to visit the family. With great difficulty, he persuaded them to let him
teach the young girl in fulfillment of the wishes of his Pir.

At the age of thirteen Surriya sang in front of Ustad Khan Sahib Bundoo Khan, a well-known
classical singer, who was impressed by her voice. She later auditioned for radio, and soon her
career as a child star began. She sang under the name Surriya Begum until her first public
performance in Karachi, where Ustad Khan Sahib Bandoo Khan gave her the name Multanikar.
She started her career in mid fifties and won popularity on the basis of "Barey Bey Murawwat
Hein Yeh Husn waley". She is considered to be a top class singer of Seraiki folk songs and
Khawaja Farid's Kafis. She is equally excellent at rendering ghazals and some of her best
performances are reflected in the singing of Ghalib's ghazals. In her highly individual style of
singing there is a unique combination of folk and classical traditions.

Now in semi-retirement, Surriya Multankiar still sings for Radio Multan on a regular monthly
basis and also performs for Pakistan Television occasionally. She yearns to teach someone who
would learn with the same passion with which she would teach, but she has yet to find a pupil
who fulfills those requirements. She vows that she will continue singing until the last breath
leaves her body. "Music is and will always be my life and soul. it is an integral part of me which
I treasure most religiously," she says. She was awarded pride of performance medal in 1986.
LIGHT MUSIC
GEET

Chronologically speaking, the geet, also known as the naghma (song and lyric), is the youngest
of the musical genres except for pop music. Muslim poets and lyricists contributed substantially
toward its development and maturation. The purpose of the geet is to increase the impact of a
given situation in a film and to accentuate the emotional effect of melodrama. Film music is
flooded with geets, which are now an inseparable part of filmmaking in the subcontinent.

A geet is a short poem of three or four stanzas. It is created primarily to reflect different moods
as required by different dramatic situations. A geet can be witty, sarcastic, sardonic, or
melancholic ,the range is endless. The effectiveness of a geet increases when it is set to tune by a
sensitive musician. As a musical genre, the geet falls into three easily discernible
categories: raga-based, folk-based, or pop-based. Occasionally, a geet mixes these styles.
Creative composers who developed geet composition into a fine art include Master Ghulam
Haider, Khurshid Anwar, and Feroze Nizami.

The popularity of a geet depends largely upon its skillful rendition by a vocalist. During the past
fifty years or so, many great vocalists have lent their voices to geets composed for film, radio, or
television. Prominent among them have been Noor Jehan, Zubeda Khanum, Mala, Masud Rana,
Mahnaz, Nayyara Noor, and Nahid Akhtar in Pakistan. New electronic musical instruments are
adding new tonal coloration to the geet, which keeps changing in response to musical
innovations.
GHAZAL

As a literary form, the Urdu ghazal, a continuation of the Persian ghazal in a new setting, has
enjoyed great popularity over the past two hundred years. Its musical evolution, however, is a
comparatively recent phenomenon.

Tracing the history of the melodic evolution of the ghazal is an uphill task when so few recorded
examples of its earlier varieties are available. However, with the advent of the gramophone,
the ghazal began to emerge as a distinct and vibrant musical genre, and there is recorded
evidence to vouch for its traditional purity. Judging from early recordings, it can be safely
assumed that the ghazal was influenced by the dhurpad, kheyal, and thumri styles during the
embryonic stage of its development.

During the Mughal period and the British Raj, ghazal singing was considered only an adjunct to
light music. It had limited appeal and it did not occupy a high place in the musical hierarchy. At
that time, its scope was restricted within the confines of a metrical system expressly tailored for
poetical expression and not suitable for musical elaboration. In pre-independence days, a large
number of talented and innovative vocalists made conscious efforts to reshape the contours
of ghazal singing in such a way as to allow sufficient room to accommodate some characteristics
of the thumri and tappa forms with ease. During this period, ghazalsinging became the pride of
many celebrated classical vocalists. The leading lights among the exponents of this modified
version of the ghazal were Gohar Jan, Shamshad Bai of Agra, and Pyare Sahib.

The new style deeply appealed to listeners, and many other vocalists created a name for
themselves by adopting it, including Barkat Ali Khan, Muhammad Hussain Nagina, Akhtari Bai
Faizabadi, and Bhai Chhela. In the early 1940s Saigol, Malika Pukhraj, Kamla Jharia and several
other vocalists developed song-accented ghazals which became extremely popular Among the
pioneering composers of the song-accented ghazal, Anil Biswas can easily be singled out. His
first experiment with this style in film "Pehli Nazar" became an instant hit. The song, based on
the rudiments of Raag Darbari, became the true representative of a newly emerging style of
ghazal singing.

With the gradual shift to heavily orchestrated and western-oriented composition in film music,
and the induction of modern electronic instruments into movie orchestras, ghazal singing began
to absorb the new influences of opulent orchestration.

Today, the ghazal remains one of the most popular forms of music. It has benefitted
tremendously both from past traditions and from the rich contributions made by contemporary
exponents such as Ghulam Ali, Mehdi Hassan, Farida Khanum, and Iqbal Bano.
LIGHT MUSIC SINGERS
Abida Parveen (1957- )

The most famous singer of the works of the Sufi poets, especially Sindhi kafis, is undoubtedly
Abida Parveen. Born in 1957 in Larkana, Sindh, she received her initial musical training from
her father, Ustad Ghulam Haider. Later, she studied under Ustad Salamat Ali Khan of the Sham
Chorassi gharana of classical music.

When in 1970 she performed in public for the first time at the Urs of Hazrat Shah Latif, a new
era began in the world of music. But she says, "It is the kalam [works] of the Sufi saints, not my
voice, that involves the listeners in my music." Abida Parveen first sang for radio in 1977 and for
television in 1979. Her popularity reached new heights after she sang �Gharooli�," a Punjabi
kafi, for Karachi Television's "Awaaz-o-Andaaz" in 1980. Until then, Sufi songs were seldom
presented on the national hookup, but Abida's renditions changed that.

Her fame travelled through Pakistan and across the seas, and she toured USA, UK, and France in
1985 and 1988. Her 1988 performance in Chicago was recorded by the Hazrat Amir Khusro
Society of Art and Culture, which issued a long-play record of her renderings, and her 1989
performance in London's Wembly Conference Hall was recorded by the British Broadcasting
Corporation and aired for an hour. She has represented Pakistan in India and has performed for
huge audiences in Pakistan and the Middle East. Abida Parveen sings semi-classical and classical
music, ghazals and geets, and kafis in Sindhi, Punjabi, and Seraiki with equal ease.

Her classical training enables her to render folk and traditional music with great sophistication
without losing its regional flavour. Her command of the kafis of Sufi poets Shah Latif, Sachal
Sarmast, Bulley Shah, Khawaja Farid, and Shah Hussain is unmatched. As a ghazal singer,
Abida prefers the poetry of Nasir Kazmi, Mustafa Zaidi, Ibne Insha, and Faiz Ahmed Faiz.

Abida Parveen is the recipient of many awards: the Shah Abdul Latif Award (twice,) the Sindh
Graduate Association Award, the Sachal Sarmast Award, the Pakistan Television Award, the
Qalandar Lal Shahbaz Award, and of course the President's Pride of Performance.

Although she is a famous figure in the world of music, Abida Parveen is simple, soft-spoken, and
courteous woman. In 1975 she married Sheikh Ghulam Hussain of Radio Pakistan, Hyderabad.
She is the mother of two daughters and a son.
Ataullah Khan Esakhelvi (1951- )

Ataullah Khan Esakhelvi, popularly known as the �Ambassador of Pain�, is a light-hearted,

soft-spoken, modest Pathan from the tribal area of Esakhel, Mianwali. Popular among young and
old alike, his singing especially appeals to the sensitive, who delve deep into the fathoms of his
romantic lyrics.

Born on 19 August 1951, this very successful singer once worked as a bus conductor and truck
driver. Singing has been his passion since childhood. While attending high school in Esakhel, he
used to sing national songs and participate in every literary gathering. This interest flourished
over the years. His father, Ahmad Khan Niazi, who was in the transport business, wanted his son
to adopt this line of work, but Ataullah at that time was interested only in the harmonium.
Rebelling against his circumstances, family traditions, and tribal customs, Atullah left home in
1967 after completing his F.A. He went to Karachi, where he stayed until the 1971 War. He
spent the next few years moving from Islamabad to Lahore to Faisalabad. When cassette
recorders became popular in the late 1970s, Ataullah used to sing for his friends, who would
record his voice. One of these cassettes reached the market and was heard by Chaudhry Rehmat
Ali, who seized the opportunity to produce Ataullah's first album. His Urdu song, �Idhar
Zindagi Ka Janaza Uthey Ga�, was an overnight hit and changed the fortunes of both singer
and producer.

Ataullah can mesmerize a crowd for hours with folk songs in Urdu, Saraiki, Punjabi, Pushto, and
Sindhi. He is a tireless performer and has performed charity shows to raise funds for flood
victims. He has recorded dozens of albums, mostly in Saraiki but also in Urdu. For his lyrics, he
selects poetry by Farooq Rokhri, Malik Sona Khan, Munawar Ali Malik, Fata Khan, and several
little-known poets of Esakhel. Atullah Niazi is married and has three children, two boys and a
girl.
Ghulam Ali

(SEE GHULAM ALI IN SEMI CLASSICAL SINGERS)

Mehnaz (1957- )

Mehnaz, born in 1957 in Karachi, is one of the finest singers in Pakistan. After Madam Noor
Jehan, she has sung the largest number of songs for the Pakistani film industry. Mehnaz is
equally at ease in rendering semi-classical, folk or pop numbers in Urdu, Sindhi, Punjabi, Pushto,
and Persian.

Her mother, Kajjan Begum, a respected semi-classical singer who migrated from Lucknow
(India), was the first to encourage Mehnaz in music. Her career was also influenced by composer
Nazar Hussain and Pundit Ghulam Hussain, the elder brother of ghazal singer Mehdi Hassan.
She also considers famed singer Noor Jehan as her spiritual ustad (teacher).

Salim Gilani of Radio Pakistan, Karachi, introduced Mehnaz for the first time on radio in 1973.
The same year, Ameer Imam, a Karachi television producer, signed her on for a musical
programme entitled "Naghmazaar," which introduced Mehnaz to television audiences. She was
quickly noticed by film composers, and she was approached by A. Hameed, who recorded her
voice for his compositions in �Jehaz�. She recorded several songs composed by Robin Ghosh
for "Aina" and "Bandish" which became extremely popular.

In 1981, Mehnaz toured the United States and Canada, where she sang for large audiences in
Chicago, New York, San Francisco, Los Angeles, and Toronto. Three years later, she visited the
United Kingdom, where she also attracted a large audience.

Mehnaz has recorded more than 2,500 songs for radio, television, and films and remains as
popular today as she was when her first recording was broadcast on radio in 1973.
Nayyara Noor (1950- )

Nayyara Noor was born in 1950 in Assam. She belongs to a business family from Amritsar
(India) who had settled in Gohati, Assam (India). Her father was an active member of the
Muslim League, and in 1958 the family migrated to Pakistan. As a child, Nayyara took her
inspiration from the bhajans of such old-time nightingales as Kanan Devi and Kamla. Later, she
became enthralled by the ghazals and thumris sung by Begum Akhtar. Although she has no
musical family background and no formal training, Nayyara knows more about music than many
of her contemporaries.

It was Professor Israr, a music lover and a teacher of physics at Islamia College, Lahore, who
introduced Nayyara to the public after hearing her sing for her friends and teachers at an annual
dinner at the National College of Arts, Lahore, in 1968. He asked her to sing for Radio Pakistan's
university programme. The first time she went on air, she sang a poem by Mirza Ghalib, set to
music composed by G. A. Farooq. She first appeared on television in 1971 in �Akkar Bakkar�,
a weekly programme from Lahore, and she appeared two years later in the popular �Such
Gup�. Soon she was recording a programme every week. In less than five years, Nayyara had
established a reputation as a true exponent of eastern semi-classical music. Her geet and ghazal
renditions in "Such Gup" opened the doors of the film world to Nayyara Noor. Her very first
song, sung for the film "Gharana" and composed by M. Ashraf, became a hit. It was soon
followed by other hit songs composed by Nisar Bazmi and Robin Ghosh. Later, Khawaja
Khurshid Anwar recorded three songs in her voice based on classical ragas for the
film "Tansen." Unfortunately, this film was never completed due to the death of Ustad Amanat
Ali Khan, who was playing the title role.

Nayyara Noor has successfully imbibed the colour and beauty associated with the music of the
past. Her singing holds tremendous appeal for both the common man and the intelligentsia.
People like Faiz Ahmed Faiz, Ahmad Nadeem Qasmi, Ashfaq Ahmad, and many others have
paid written tribute to her musical genius. In 1980 she visited, Nairobi, Kenya, with her husband,
Shehryar Zaidi, also a singer. Their troupe, led by Mehdi Hassan, gave five performances before
a big crowd.

Nayyara Noor finds very few composers who can match her mood. Her favourites are Arshad
Mehmood, Robin Ghosh, Khaleel Ahmed, and Amjad Bobby. Among producers, she says she
owes much to Shoaib Hashmi, who introduced her to Faiz's poetry and to the public through his
programmes.

She has to her credit cassette recordings of well-known ghazals by Faiz Ahmad Faiz and
popular geets and ghazals recorded live for Pakistan Television's "Meri Pasand". She has won
three gold medals in the All Pakistan Music Conference and a Nigar Award for the best female
singer.
Noor Jehan (1928- )

Madame Noor Jehan stands out among the geet singers who have enchanted audiences and
enlivened film, radio and television entertainment. Affectionately called "the Melody Queen,"
Madame Noor Jehan is a versatile singer.

Born in 1928 in Kasur and named Allah Rakhi, she was the youngest child of middle-class
parents. Her mother observed purdah, and her father, Mian Madad Ali, was a very religious man.
As the youngest, she was her mother's favourite. Love and attention, and her natural good looks,
gave this precocious girl the confidence that has lasted throughout her life. At the age of only
four, Noor Jehan would copy Akhtari Bai Faizabadi and Mukhtar Begum after listening to their
records. Her eldest cousin discovered this talent and suggested that she be taught classical music.
She began studying under Ustad Ghulam Muhammad Khan, who taught her selflessly and
remained with her throughout his life. By the time she was nine, she had developed a passion for
singing.

She was only ten when she was cast in a film, "Gul Bakaoli." She first appeared as a heroine
in "Chaudhary," and her next film, "Khandan" (1942), was a big hit. Though her fort was
singing, she preferred starring in films to working as a playback singer. She soon caught the eye
of film director Shaukat Hussain Rizvi, who married her and gave her the leading role
in "Zeenat," for which she was awarded a gold medal by Z. A. Bukhari. Many other awards
followed, of which the most memorable for her was the President's Pride of Performance medal
for "Intizar."

After independence, Quaid-e-Azam Muhammad Ali Jinnah invited a group of noted filmmakers
to reestablish the industry in Pakistan. Well-known directors Mehboob, Kardar, and Shaukat
Hussain Rizvi came to Pakistan to survey the situation, but Noor Jehan and her husband were the
only couple who decided to stay on. Once settled in Lahore, the couple established Shah Noor
Studios from scratch, enabling Madam Noor Jehan to create history later by becoming the first
Pakistani woman director. Her first effort was "Chan Way," a Punjabi film produced by her
husband.

Later, she married film actor Ijaz Durrani, who asked her to stop acting and singing. She
willingly gave up acting but refused to abandon singing, saying it was like telling her to stop
breathing. "I would prefer to leave a thousand such husbands," she remarked.

By the mid-1960s Madam Noor Jehan was the biggest name in singing. She cemented her
position in history during the troubled times of the 1965 war by singing very emotional and
beautiful songs which lifted the people's morale. At that time her husband was away in Kaghan,
and Noor Jehan was alone in Lahore with her daughters. She used to go to work in the morning
wondering whether she would see her daughters again in the evening. Noor Jehan volunteered to
sing national songs at a time when even instrumentalists were hard to find. Her renderings of
Sufi Tabassum's "Mera Sohna Shehr Kasur Ni" and "Ai Putar Hattan Tey Nahin Vikday" are still
among her own favourites.

Her rich voice, fine modulations, and immense range have made Noor Jehan a rarity among
Pakistani singers. She is an enchantress with the ghazal and the geet, but she is at her best when
rendering Punjabi songs. Having been associated with show-biz for over half a century, Madam
Noor Jehan is now writing her autobiography under the guidance of well-known writer Hijab
Imtiaz Ali Taj. Madam Noor Jehan has sung over 2,500 songs for feature films. She says, "My
life has been and will be devoted to music until my last breath. I live to sing, and singing is my
life. For me, fame and glamour are secondary. The appreciation of my listeners is my true
reward."
Tina Sani

Tina Sani, a well known geet and ghazal singer, was born in Dhaka. She studied in Kabul before
moving to Karachi, where she earned a diploma in design and began working for an advertising
agency in 1977. She was involved in all the creative aspects of advertising business, including
listening to and evaluating the music that is an integral part of advertising. One day a friend who
had heard her sing casually at home asked her to record a jingle. This led to her career as a
singer.

Encouraged by her obvious talent, her parents engaged a music teacher to give her formal
training at home. Her career was launched in 1987, when she accepted an offer to sing for
Karachi Television's "Tarang". This was her breakthrough; its title song "Khari neem key
neechey" became a household song. Then she began to take her singing very seriously. Teaching
sessions and a daily practice schedule became a routine.

Tina had taught briefly at the International School in Karachi, so when Karachi TV offered
her "Rang Tarang," she accepted immediately. The show, a series for children, was an instant
success, and Tina contributed to the script, the music, the concepts, and of course the singing.
Around this time Tina met for some time composer Arshad Mahmud, who has been her friend
and guide. He began to work with Tina on her interpretation and rendering of the poetry of Faiz
Ahmad Faiz. By singing Faiz, Tina feels that she is taking his message to the people, who have
been wonderfully receptive to her efforts.

Tina is a skillful ghazal singer in the traditional Punjabi style. Her debut rendition of a Punjabi
song, "Akhiaan Chham Cham Waseeyaan," became an instant hit. Later, she tried singing pop
selections and traditional naghmas, eventually graduating to ghazals. Tina Sani was lucky
enough to achieve nearly instant acclaim and is very popular among younger music buffs.
MYSTIC MUSIC
KAFI

The Sindhi kafi is an indigenous musical form of Sindh. The word kafi, is of Ararbic origin, used
in the sense of "final" or "enough" in the expression �Allah Kafi�, which means, �God
Almighty is Supreme�. Thus the kafi is a devotional form of music composed in a particular
form derived from a mixture of classical, semi-classical, and light music forms (specifically,
the kheyel, tappa, thumri, and geet). The mystic poetry of the Sufi saints is usually sung in this
mode.

There is a Punjabi variant of kafi singing. Like Sindhi kafi, the mood and the theme of Punjabi
Kafi may also be termed as secular and humanistic. In their Kafis Shah Hussain (16th century)
and Bulhe Shah (18th century) have adopted a strategy to communicate their thoughts, serving
the humanity in a powerful and effective way. The satirical tone of these Kafis, sometimes,
depicts true picture of political situations and social conditions of their own days.

The Sindhi kafi is short, simple, and lucid in composition and tone. Shah Abdul Latif Bhitai, a
renowned Sufi saint and mystic poet of Sindh (d. 1752), contributed considerably to the
development of the Sindhi kafi, writing many verses and composing tunes which he
named �The Sur of Shah Latif�. His tunes are still popular.

The late Zahida Parveen was a master of kafi singing. Her daughter, Shahida Parveen, possesses
her mother's command of the form and her devotional urge. Yet today's trends, and perhaps
necessity, have led her away from kafis and towards the geet, the ghazal, semi-classical and folk
forms. Abida Parveen is another renowned kafi singer of Sindh, but she too sings in many other
genres.
QAWWALI

Qawwali as a musical form is closely linked with the Sufi tradition of Islam and the particular
practices that Sufi scholars developed to achieve closeness to God. When Muslim Sufis came to
India, the first thing which struck them was the important role which music played in the socio-
religious life of the local inhabitants. They realized that music would help them to communicate
with the people and attract their attention towards the tenets of Islam. Already well versed in
Turkish, Persian and Arabic forms of music, they began studying local forms of folk music.

Al-Ghazali's famous book "Ihya Ul Ulum al-Din" ("Revivifying the sciences of faith"), written in
the beginning of the 12th century AD, is one of the most important treatstises on Sufism. From
this source and other contemporary writers, it is possible to reconstruct a description of a
ceremony called Sama�a means listening to a musical concert in order to receive a spiritual
message. By the end of the 11th century, the sama�a was an established devotional form in
which verses were sung, sometimes by a soloist, sometimes by a chorus, including instrumental
elements of varying importance.

The sama�a evolved into the qawwali during the time of Khawaja Moeenuddin Chishti. The
faithful listened to the music while seated. In a state of inner contemplation, they allowed
themselves to be gradually overcome by trance.
Qaul and Tarana

Hazrat Amir Khusrau (1253-1325), a famous Sufi saint and an expert in both Indian and Persian
music at the court of Alauddin Khilji, Sultan of Delhi (1296-1316), is credited with introducing
Persian and Arabic elements into South Asian music. Of particular importance are two musical
forms, tarana and qaul, which are said to be the origin of the qawwali.

The word qawwali is derived from �qaul�, literally meaning speech, a form of musical
composition set to a tune and suitable for a mystic gathering. The �tarana� is a composition
devoid of words. Instead of words, only meaningless syllables are skillfully vocalized at fast
tempo. The tarana was created by Amir Khusrau.

However, there is evidence that the qawwali form predates Hazrat Amir Khusrau. The great Sufi
masters of the Chishtiya and Suhrawardia orders of South Asia were admirers of the qawwali,
and the saint Hazrat Qutubuddin Bakhtiar Kaki is said to have died in 1236 while in a musical
trance induced by a qawwali.

Significance of Qawwali

The strength and power of qawwali as a form is its capacity to convey a mystic religious
message. The best qawwals (qawwali performers) excel at the skill of capturing and holding the
attention of a heterogenous audience.
Today's qawwals are carrying on a popular tradition with a very wide appeal to our most basic
and yet abstract emotions. The qawwal knows the precise effect of his performance on the
listener. Every qawwal knows that the magic of his performance resides as much in the verse as
in its rendering. The words are largely responsible for creating a state of transport. The
continuous repetition of certain words is therefore imperative if the words are to produce the
effect. Its combination of the personal with the universal makes the qawwali unique in its appeal.
QAWALS OR QAWALI SINGERS
Nusrat Fateh Ali

Nusrat Fateh Ali Khan (originally named Pervez), an internationally renowned qawwali singer,
has introduced a unique style which beautifully amalgamates Eastern and Western music. Born
on 13 October 1948 in Faisalabad, he comes from a modest but well-known musical family.He
belongs to �Qawal Bachoon ka Gharana�.

Nusrat completed his Matriculation in 1964 from Pakistan Model High School, Faisalabad. He
received his early training in singing from his father, Ustad Fateh Ali Khan. Nusrat Fateh Ali
Khan made a radical change in the style of qawwali singing in order to win back the attention of
the younger generation and to promote this fading art. He was also interested in building trans-
cultural affiliations with Western artists in order to make it easier to understand each other's
traditions.

He was inspired when his voice was recorded to highlight a scene depicting Christ's crucifixion
from "The Last Temptation of Christ," a film directed by Peter Gabriel. Nusrat sang Raag
Darbari in a Western mode. Later, he recorded a series of qawwalis set to Western music in
collaboration with Peter Gabriel.

Young listeners everywhere were captivated, and his renderings became so popular in the West
that he was offered a professorship in Oriental music at an American university. He won the
President's Pride of Performance Award in 1987 and is the first Pakistan artist to win the French
Grand Prix and French Cultural Award for his musical achievements.

Nusrat Fateh Ali is satisfied with the standard of qawwali in Pakistan and is happy that this form
has taken an unexpectedly popular turn. He has visited dozens of countries and is keen on
touring Central Asia with the aim of renewing Pakistan's cultural links with this area.
Haji Ghulam Farid Sabri

Haji Ghulam Farid Sabri and his brothers Haji Maqbool Ahmed Sabri, Kamal Ahmad Sabri, and
Mahmud Ghaznavi belong to an old family of musicians. They were trained in qawwali singing
by their father, Inayat Khan.

Ghulam Fareed Sabri, the leader of this group, was born in Kalyana, District Roahtak in 1930.
He started singing at the age of 10. His younger brother is a good composer and tabla player.
This group has won popular acclaim, and in 1978 they were awarded the President's Pride of
Performance medal. They have toured widely, enthralling foreign audiences and earning praises
in the Western press. UNESCO has recorded a selection of their qawwalis. Ghulam Fareed Sabri
was also introduced to the film industry by the late Zafar Khurshid, the producer of �Ishq-i-
Habib�.

To aid the cause of the Bosnian Muslim, the Sabri qawwals recorded a cassette and donated the
proceeds of its sale to the Bosnians.Ghulam Fareed Sabri died of a heart attack.a few year ago.
POPULAR MUSIC

In the 1980s, Western-style pop music entered the Pakistani music scene with its characteristic
fast pace, steady beat, and electronic instruments, continuing an evolutionary change over time
from classical, to semi-classical, to popular forms. Pop's swift rise to predominance can be
attributed to the wide appeal of an ever-increasing range of electronic musical instruments and
modern orchestration to the average listener. The change began several decades ago, when pop-
oriented film music utilizing Western instruments opened the floodgates of change.

Contemporary pop music in Pakistan is a combination of Eastern improvisation, African

rhythms, and Western polyphonic musical expression, including interchanging scales. It has
more rhythmic than melodic appeal, especially for younger listeners, who fall under the sway of
its almost amorous quality. The best known among young Pakistani singers who pioneered pop
are Nazia Hassan and Zohaib Hassan, who learned, composed, and recorded their songs abroad.

Pop music in Pakistan is undergoing a healthy expansion. Young bands enjoy wide exposure and
must compete with talented new entrants to the field. Outstanding bands which have
distinguished themselves in the pop genre include Vital Signs, Janoon, Strings, Akash and Awaz.
A few of these have gained international exposure and recognition when their songs were aired
on satellite television.
POP MUSIC SINGERS
Ahmad Rushdie

Ahmed Rushdie, born in 1934, earned a name for himself in school as an expressive and talented
Qari (one who recites the Holy Quran). His close friends knew he liked to sing, and with their
encouragement, he appeared for an audition at Radio Pakistan in 1955. The legendary Z. A.
Bokhari greeted the 21-year-old singer and made a conscious effort to make him feel at home
during the audition. When Rushdie attempted a very famous (and difficult) song by Talat
Mahmood, Bokhari suggested he try a simple song of Muhammad Rafi. Bokhari, floored by
Rushdie's performance, hired him to conduct a children's programme. In less then a year,
Rushdie's rendition of "Bandar Road Se Keemari," a Mehdi Zaheer song, became a nationwide
hit.

1956 saw Rushdie launched in the film industry with songs in "Kaarnama." Then came "Tere
Shehr Mein." From then on, there was no turning back. While Rafi and Kishore ruled the Indian
film music scene, Ahmad Rushdie swept Pakistani audiences off their feet with such songs
as "Jab Pyar Mein Do Dil Milte Hain" and "Akelay Na Jaana." In 1961 Rushdie, persuaded by
composer Shabab Keranvi, moved to Lahore, where he made a sudden impact in "Saperan." He
won a Nigar Award for his song, "Chand Sa Mukhra." Rushdie broke the hold of such talented
senior singers as Masud Rana and Muneer Hussain to make a name for himself. His voice,
sounding so much like Rafi's, became instantly recognizable all over the country. The Pakistani
film industry's top heroes took pride in having Rushdie as their playback singer, as his voice
suited all of them.

In 1968, Rushdie made critics sit up with a perfect disco song, "Ko Ko Korinna," composed by
Sohail Rana for the blockbuster film "Armaan." His ability to depict the true mood of the
situation, whether comic, tragic, or romantic, became Rushdie's forte. Poet Suroor Bara Bankwi
chose Rushdie as the playback singer for actor Nadeem's "Chakori." With music directed by
Robin Ghosh, the film went on to break all previous box-office records.

"Kabhi To Tum Ko Yaad Aayengee" became the talk of the town, and Rushdie was flooded with
offers from directors in Dhaka. His songs for such East Pakistan super hits as "Chote
Sahab" and "Tum Mere Ho" were leagues ahead of those sung by any other singer of his time.
Rushdie and singer Mala formed a hit pair, and they were an ideal choice for such leading silver
screen pairs of as Ali-Zeba, Waheed-Rani, and Nadeem-Deba.

A favorite with all music directors, Ahmad Rushdie relished singing for Nisar Bazmi, Robin
Ghosh, Feroze Nizami, and Sohail Rana. In the late 1970s Rushdie made a thumping comeback
after he had been written off. "Dil Ko Jalana, Hum Ne Chor Diya"was a runaway hit. In the
1980s all emerging singers considered Rushdie their inspiration.

Rushdie also appeared in four films. Later, with producer Javed Fazil, he launched his own
film, "Amaanat," but he did not live long enough to complete the venture. He died on April 11,
1983
Alamgir

Alamgir was born in 1954 in East Pakistan. He left home at the age of 16, in search of destiny.
He brought with him his guitar an extra shirt and a small tape recorder. He did not know anyone
in Karachi and desperately was in search of a job. After few days he found work at Tariq Hotel,
where he used to play Guitar and sing popular song to the clients in the evening. His
remuneration was a free meal at the hotel. Someone from the audience in the hotel liked his
Guitar playing and told him about the programme at the T.V. station called `Ferozan' where
Khushbakht Aliya was conducting a show for the youth. He gave his audition, Khushbakht liked
his Guitar playing but she had already selected someone else. It just so happened that Sohail
Rana, the music director was in the next studio and asked someone to call Alamgir to his car
outside the T.V. station. He said, he liked his (Alamgir's) playing and asked if he would like to
perform for children. This is how he entered in the formal world of Music.

Later he was invited by Zia Moheyuddin who was hosting his famous show to sing a Spanish
song. Alamgir agreed. He sang "Kwan Tara Mera" which was an instant hit. The song which was
the turning point of his career was "Dekha-na-tha" followed by "Albela Rahi" and so on.
Alamgir today feels elated to see all those hallowed portals of the music world that was reserved
for a few `Gharanas'. He believes that to create music one must be a devotee of the goddess of
`Sur', which demands total allegiance.

He has no other hobby as music for him is his life, his soul and the reason for his existence. Elvis
Presley is his idol and also admire Hemant Kumar, Cliff Richard and Mehdi Hassan. Alamgir
has also computerized his music. Songs like "Gori Panghat Pai" and "Main Ne Tumharee Gagar
Se" have back ground all created by the computer.

Alamgir's voice gives his song that haunting and lifting rhythm that long after the notes die out,
vibrates in memory. He is presently residing in Karachi with his wife and two children.
Nazia Hassan & Zohaib Hassan

Trendsetting pop music duo Nazia and Zohaib Hassan, sister and brother, earned wide acclaim in
a very short span of time. They have tried to introduce new elements and new ideas in the pop
music while keeping in touch with latest techniques. Both singers have a good educational
background and started pursuing music as a hobby, not a career. Their mother, Muneeze Baseer,
is active in various women's organizations and cultural activities, and their father, Baseer
Hassan, is a successful businessman.

Strange as it seems, the duo's first collection of hits, "Disco Deewaney," was rejected at first as
being too commercially risky by the same company which eventually marketed it. The duo's
family recorded, financed and marketed the first four of their nine cassettes. In 1984, the
recording companies realized their mistake and nearly fell over one another to sign a contract
with these young vocalists from Karachi.

So immense and spontaneous was the popularity of their songs among young music buffs in the
subcontinent that the annual 1984 issue of a popular Indian magazine included Nazia Hassan
among "the 50 people who have changed our lives." Her hit song "Aap Jaisa Koi Meri Zindagi
Main Aaye" converted millions of teenagers in the subcontinent into literal "disco
dewaney" (disco-mad).

Both in their mid-twenties, Nazia and Zohaib have vocationally satisfying careers. Nazia works
for the United Nations Security Council and has completed a report on the Occupied Territories,
including Palestine, Kashmir and Afghanistan. Trained in corporate law, Nazia switched to
international law and is very keen on studying human rights and international decision making.
Meanwhile, Zohaib is constantly experimenting with computers, blending and mixing new and
traditional music. Coming from a family of hard taskmasters for whom quality takes precedence
over quantity, both Nazia and Zohaib practice music regularly and record during their summer
vacations.

Nazia and Zohaib are trying to motivate the younger generation to stay away from drugs. They
have spent more than three years gathering data on the extent of drug abuse in Pakistan, and two
years ago they launched BAN (Battle Against Narcotics), a privately funded non- governmental
organization. Their latest venture, "Camera Camera," is music with a cause (fighting drug
abuse), and they are working on two documentaries on drug abuse for Pakistan Television.
Success and fame have not affected Nazia and Zohaib in a negative way. For them, serious
activities come first, and they look toward the future with cheerful optimism.
FOLK MUSIC

The folk music of Pakistan represents the real culture of the people: their love and hates, their
joys and sorrows, their colourful ceremonies and festivities, and above all their spiritual entity. It
includes all the songs and dances spontaneously originating among the people of different
regions.

Like folk songs all over the world, these songs are predominantly strophic in pattern (the same
music is repeated for each stanza). This pattern is most suitable for simple lyrical pieces with a
regular meter and uniform verses. Similarly, the epic love poems of Heer Ranjha, Mirza Sahiban,
Sohni Mahinwal and Umer Marvi are each sung in a specific mode (sur), and each has its own
distinct style of presentation.

Contemporary folk artists like Alam Lohar, Sain Akhtar, Reshman, Munir Sarhadi, Khamisoo
Khan, Faiz Mohammad Baloch and Misri Khan Jamali have performed all over the world. The
National Institute of Folk Heritage (LOK VIRSA) works to preserve and promote folklore and
folk music.
FOLK SONGS
Loba (NWFP)

Loba is a popular and important form of Pushto folk song. The word loba means "a game." Its
simple poetry and enchanting composition are the primary characteristics of the loba. It is
usually sung by females, but the lobas which are sung as a male-female duet are considered to be
the best.

The poetry of the loba approaches free verse. A complete loba ranges from three to
six bunds, each consisting of two verses or lines. Each bund, and sometimes each line, has a
different character and meter. The first two lines are called the mukhra or soor(face). These lay
the foundation and are repeated as a refrain.

The pessimistic theme of the loba centres around the pangs of separation, the vicissitudes of
traditional love, and the mishaps of human life. Some lobas express the common man's hatred
for capitalist society and feudal lords.
Mahiya (PUNJAB)

The mahiya is a popular love song of Pakistan. It derives from the word mahin, meaning cattle.
Figuratively, it means the lover, deriving from the popular romance of Sohni and Mahinwal in
which the hero, Mahinwal, was a cowherd. The content of the mahiya generally refers to this
folk tale.
Nimakai (NWFP)

Nimakai is the simplest form of Pushto folk music. The nimakai is a love song. It is a developed
form of the landai or tappa, the difference being that the nimakai is always sung in a solo female
voice , whereas the other two forms are sung by a female chorus for group dancing. Nimakai is
sung on festive occasions, while picking cotton, or when village girls get together during the full
moon or at the village well.

Each stanza of the nimakai consists of three verses following a consistent pattern. After the
second verse, the first line or verse recurs as a refrain.
Shahbaz Qallander/Dhamal (SINDH)

The dhamal song, or Shahbaz Qallander, is devotional folk song of Sindh which has attained
nationwide popularity. It relates to the ecstatic dance rites of the faqirs and malangs (devotees) of
the renowned saint, Shahbaz Qallander of Sehwan Sharif (a town of Sindh).

The theme of the song is devotion and praise for the murshad (spiritual guide). It is sung and
danced by the followers of Shahbaz Qallander as a tribute and homage. Rhythmical
accompaniment for the song is provided by the dholak, dohal or Sindhi naqqaras, while the iktara
and dumboora (one- and three-stringed plucked lutes) provide the drone and melodic
accompaniment respectively. The rhythm is 2/4 (presto), with a regular strong accent on the first
beat of every bar.
FOLK SINGERS
Allam Lohar

Allam Lohar was born in the small village of Aach Goach outside Gujrat, Punjab, into a family
of blacksmiths. He was gifted with a melodious voice and began singing as a child. Strongly
attracted to music, he took little interest in his studies and dropped out of school to pursue a
singing career, much to the dismay of his father, until Malik Shah, his spiritual guide, intervened
on his behalf. Once he achieved the freedom to sing, Alam Lohar developed a new style of
singing the Punjabi warm, an epic or folk tale. He is famous for his rendition of Waris Shah's
Heer, which he has memorized in 36 styles and forms. He recorded his first album at the age of
13 and has outsold all other singers in Pakistan, with 5,000 albums to his credit.

Allam Lohar organized a full-fledged theatre with a complete orchestra. His troupe toured all of
Punjab for religious and seasonal festivals. He also travelled several times to the United
Kingdom at his own expense to perform for Pakistanis living overseas, who were delighted by
his colourful clothes and thrilling voice, traditional chimta in hand.
Allan Fakir

Allan Fakir was born in 1932 in the ancient village of Aamari in Dadu district, Sindh. His mother
died soon after his birth. He spent his childhood in Manjhand, a town outside Hyderabad. He
belongs to the Mangarhar caste. Literally, this means "beggar," but in Sindh, the Mangarhars are
believed to bring happiness and welcomed on festive occasions for their gift of melody.
According to the traditions of this caste, Allan Fakir's father used to beat the drum and sing
traditional songs at weddings.

When he was only a teenager, Allan Fakir developed a habit of singing melancholy songs which
his father did not like. Deprived of a mother's love, he went off in search of someone who could
replace that love. He arrived at the tomb of Shah Abdul Latif Bhitai in Bhit Shah and started
living there. Hearing the traditional Latifi raga sung every night touched his heart. Encouraged
by Faqir Zawar Qurban Ali Lanjwani and Moolchand Maharaj, he began singing Bhitai's poetry
at the shrine and ultimately spent twenty years there until meeting Mumtaz Mirza, who
introduced him to Radio Pakistan in Hyderabad and helped him to learn the correct
pronunciation of Bhitai's poetry. Eventually, he became a performing legend.

In appreciation of his services to folk culture, he was given a job and a small house at the
Institute of Sindhology. He was originally appointed as an officer to help promote Sindhi culture,
but due to his illiteracy, he was eventually demoted to the post of peon.

Allan Fakir received the President's Pride of Pperformance award in 1980, the Shahbaz Award in
1987, the Shah Latif Award in 1992 and Kandhkot Award in 1993.
Hidayatullah

Hidayatullah was born in 1940 in Peshawar. His father's name is Saadullah Khan Khattak. As a
student at Edwardes College, Peshawar, he was well known among teachers and students alike as
a brilliant student and an excellent debater. Pursuing an interest in music, he requested Ustad
Andaleeb, the father of the famous musician G. M. Durrani, to be his teacher. He commenced his
life as a singer at Syed Abdul Sattar Baja's gatherings for singing devotional songs. People were
so impressed that he began receiving invitations from all over Pakistan.

Hidayatullah has performed for radio and television and produced several commercial
recordings. He has also served as music director for a Pushto film. His repertoire includes
ghazals and other light classical selections in Urdu, Punjabi, Hindko and Pushto, and he is a
skilled player of the harmonium, banjo, flute and tabla. He is known and admired not only in
Pakistan but also in Afghanistan, where the royal family invited him to perform at a festival.
Khameesu Khan

Khameesu Khan was born in 1917 in a village of Sindh. His father was a farmer, and Khameesu
Khan spent his childhood working on the farm. His uncle, Mohammad Ismail, was very fond of
playing the alghoza or beena, as it is called in Sindh. Listening his uncle play, Khameesu Khan
wanted to learn to play too, but he was not allowed to touch his uncle's beena. Secretly, he began
practicing when ever he could find an opportunity. Soon he was an expert. One day, he was
caught red-handed by his uncle, who instead of being furious was delighted to hear the music
which flowed from Khameesu Khan's beena. Guided by another uncle, Syed Ahmad Shah, he
became one of Pakistan�s finest alghoza players.

Khameesu Khan has a large number of fans who are entranced by his music. They invite him to
play regularly. Khameesu Khan is Pakistan's unparalleled and universally acknowledged master
of the alghoza.
Pathanay Khan

Pathanay Khan (Ghulam Muhammad) was born in 1920 in village Basti Tambu Wali, situated in
the heart of the Thal Desert, several miles from Kot Addu (Punjab). When he was only a few
years old, his father brought his third wife home, so his mother decided to leave his father. She
took her son along and went to Kot Addu to stay with her father.

When the boy fell seriously ill, his mother took him to a Syed's house, a place which was
respected by all. The Syed's wife looked after him and his mother to change his name because it
seemed too heavy for him. Her daughter commented that he looked like Pathana (in that region, a
name symbolising love and valour), and so from that day onwards he was known as Pathanay
Khan. His mother credited the new name with saving the child's life.

Pathanay Khan was very attached to his mother. She took good care of him, tried to educate him,
and gave him the love and protection he needed. However, he inherited many of the attributes of
his father, Khameesa Khan. He liked wandering, contemplation, and singing. His nature lured
him away from school after Class 7th. He began singing, mostly the kafis of Khawaja Ghulam
Farid, the famed saint of Bahawalpur. His first teacher was Baba Mir Khan, who taught him
everything he knew. Pathanay Khan was poor, and singing alone did not earn him survival, so he
started collecting dry logs for his mother, who used to prepare bread for the villagers. This
enabled the family to earn a poor living.

He remembers his childhood days with tears in his eyes. His love for God, music, and Khawaja
Farid gave him strength to bear the burden. Pathanay Khan adopted singing as a profession in
earnest after his mother's death. His singing has the capacity to bewitch his listeners, and he can
sing for hours on. He is a winner of the President's Pride of Performance Award. Pathanay Khan
is married, with seven daughters, four sons, and an adopted son, Yaseen.
Reshman

Reshman was born to a Pakkhiwas(gypsy) family in Rajasthan one year after Independence.
They traded in horses, cows and goats. She belonged to a tribe which had converted to Islam.
Her tribe migrated to Karachi shortly after Independence.

Gifted with a melodious voice, Reshman did not receive any formal education. She spent much
of her childhood singing at the mazars (shrines) of the mystic saints of Sindh. When she was
hardly twelve years old, she was spotted by a music director, Salim Gilani, who arranged for her
to make a recording for radio. She became an instant hit, and since that day, Reshman has been
one of the most popular folk singers of Pakistan, appearing on television in the 1960s, recording
songs for both the Pakistani and Indian film industry, and performing at home and abroad.
Whereever she goes, she mesmerizes the audience with her husky voice.

Reshman lives very simply in Lahore. She is proud of her gypsy heritage and married a man
from the same tribe. Her four sons and three daughters also married within the tribe. She still
loves going to the mazars, where several of her pirs (holy men) reside. She has been visiting Pir
Mushtaq Hussain, Pir Shafqat Hussain in Okara for the last twenty-five years. She also visits the
mazar of Shahbaz Qallander.
Shaukat Ali

Shaukat Ali was born in Malikwal, Punjab into a family of musicians. He received his musical
training from his elder brother, Enayat Ali. He sang for the first time onstage when he was a
student at Government College, Lahore.

He began his career as a professional singer by participating in radio programmes. Gradually, he

became popular among the people of Punjab. He is well-known for his high-pitched renditions of
folk and national songs. He is also a poet who has written the lyrics to a number of his songs.
Both urban and rural dwellers alike appreciate his tappas and his dastans of Mirza Sahiban, Saif-
ul-Maluk and Heer Ranjha for their emotional depth. He also sings ghazals (a light classical
form) with equal ease.

When television was introduced, Shaukat Ali quickly became popular. He has travelled widely
as a cultural ambassador of Pakistan and received numerous awards.
Shazia Khushk

Shazia Khushk was born in Jamshoro, Sindh, in September 1970. Her forefathers had migrated
there from the Neelam Valley. Her childhood love of music led her to study with classical master
Ustad Fateh Ali Khan, under whose tutelage she blossomed into an accomplished singer in
eleven regional languages (Sindhi, Urdu, Saraiki, Balochi, Brahui, Punjabi, Pushto, Gujrati,
Pahari, Kashmiri and Hindko).

Once, during vacation, she visited her remote home village with her father, a teacher at the
University of Sindh, Jamshoro. There she became acquainted with the nomads of Thar and
learned more about their lifestyle. She embraced their philosophy and their love of music, and
she adopted their traditional dress after they gave her a suit as a token of love. Her musical
output so far includes five albums. She sings the poetry of Shah Abdul Latif Bhitai. She has also
recorded a film song.

A knowledgeable music lover, Shazia Khushk maintains a home music library which contains
hundreds of audio cassettes and books by her favourite Sufi poets. She is studying for a
bachelor's degree and busy researching Sindhi folk songs and their origins, on which she plans to
write a book.
Tufail Naizi

Tufail Niazi was born to a family of music lovers. He received his early training in classic
singing from his father, who played the dhurpadi mardang (a form of drum). He made his first
public appearance as a singer when he was only eight years old. Before Independence, he used to
sing at the famous Harbalb Mela (festival) near Jullander, where the top Indian singers used to
perform.

After Independence, he migrated to Multan, where he began selling milk and curd until 1949,
when a police inspector recognized him and arranged for him to sing at a concert. He soon
became well known in the cultural circles of Multan, where he established a theatre and became
a popular actor, singing on occasion for Radio Pakistan and performing on television when it was
introduced.

Tufail Naizi, skilled in the art of classical music, excelled in aarr (singing between the beats)
and adhob (amalgamating the notes of two or three ragas). He worked tirelessly to help set up the
National Institute of Folk Heritage, travelling all over Pakistan to gather folk treasures. A winner
of the President's Pride of Performance award, he died on September 21, 1990.
MUSIC COMPOSERS
Khawaja Khurshid Anwar (1912-1984)

A man of startling versatility (poet, revolutionary, producer, director, playwright, and musician),
Khurshid Anwar is acknowledged to have been one of the best composers of the subcontinent
who undoubtedly created much of the best film music in Pakistan.

Born in Mianwali on 21 March 1912, Khurshid Anwar completed his schooling at the Central
Model School, Lahore. He participated in revolutionary activities in late twenties and joined
Bhagat Singh's Naujawan Bharat Sabha. Soon, he was arrested and was kept in jail for few days.
He was pardoned by the British authorities on the request of his family. When Khurshid Anwar
showed an interest in music during childhood, a family elder advised him to study the tabla in
order to understand the complex rhythmic patterns of subcontinental classical music. Besides his
musical talent, Khurshid Anwar was a poet of considerable merit. During his school and college
days, he used to write poetry which attracted attention. In 1935 he earned his master's degree in
philosophy from the University of Punjab, Lahore.

Although Khurshid Anwar's first movie, "Kurmai" (Punjabi, 1941), was not much of a success, a
few of its songs became quite popular. His second film, "Ishara" (Urdu), fared better. In this
movie he introduced the Haryana variety of Punjabi folk music. In terms of quantity, Khurshid
Anwar trailed behind some of his contemporaries, but qualitatively, few could match his talent.
During forty years of association with the film industry, he wrote the score for only 28 movies,
nine from Bombay (six before Independence) and 19 from Lahore (one before Independence).
Half of these enjoyed tremendous box office success, (including "Ishara," "Parwana,"
"Singhar," "Intezar," "Heer Ranjha," and "Koel") and four others were moderately successful.

His tunes radiated subtle romanticism but were firmly based upon classical structures. His
compositions were imbued with an indigenous vitality. His distinct style won him recognition
from both professional musicians and the public. Several times during his eventful career he was
acclaimed as the best composer of the year in Pakistan or India. Khurshid Anwar was perhaps
the most gifted artist of our age. He has certainly proved to be the most durable.
Master Ghulam Haider (1906 - 1953)

Fifty years ago, a film song, "Tu Kaunsi Badli Mein Merey Chand Hai Aaja", held music fans of
the subcontinent spellbound. It was sung by Noor Jehan for "Khandan" and music was composed
by Master Ghulam Haider. Ghulam Haider was born in Hyderabad (Sindh) in 1906. Trained as a
dentist, he left for Calcutta as a young man. There he spent six years studying music, though
little is known about his training. He started his career as a composer for theatre companies and
had broken into film by 1936. His first big hit was "Khazanchi" (1941), produced by studio
owner Seth Dilsukh Pancholi. According to the story, Pancholi once visited the Master's clinic
for a tooth problem. After treating him, the Master took out his harmonium and asked Pancholi
to listen to his music. Pancholi was so pleased with what he heard that he offered Ghulam Haider
a job.

Master Ghulam Haider had the privilege of introducing a number of renowed singers to the
public: Shamshad Begum, Noor Jehan, Zeenat Begum, Umrao Zia, and Qamar Jalalabadi. Some
even credit him with having introduced Lata Mangeshkar. "Majboor" was his last film in India.
He migrated to Pakistan in 1950 and composed music for Nazeer Ajmeri's film "Parwana."

Master Ghulam Haider was acknowledged as a trend-setter who introduced the "dholak" to
create a powerful rhythmic effect. He was skillful at intermingling Bengali tunes with classical
ragas and a masterful composer of choral segments.
Mian Muhammad Munir Alam Sheharyar (1927- )

A veteran with over 45 years of experience in film, stage, radio, and television, Mian Sheharyar
has outshone a number of his contemporaries despite the inherent handicap of not belonging to a
family of professional musicians. Born in village Harbanspura (Lahore District) in 1927 into a
family of agriculturists (Arain), Mian Sheharyar had a natural inclination for music, especially
singing. As a teenager, he used to recite naats (verses written in honour of the Prophet) and sing
folk songs, to the delight of his neighbours and classfellows. His ambition was to be a radio or
playback singer.

Popular radio singer Sharif Ghaznavi began teaching him folk singing. He made his debut as a
singer in the year 1948, when he took part in a music programme broadcast by, Radio Pakistan,
Lahore. He went on to study under Feroze Nizami in 1951 and later under Master Niaz Hussain
Shami and Khurshid Butt, a promising disciple of the late Ustad Sardar Khan Delhiwaley.
Meanwhile, he earned a master's degree from Punjab University, Lahore. He continued his
musical training in the evening while working during the daytime at the Punjab Board of
Revenue.

Mian Sheharyar had a brave stiff competition from professional musicians, who jealously guard
their musical heritage. He was disappointed with the attitude of one of his teachers, who he
believed did not teach him with an open mind and heart. When composer Feroze Nizami went
back on a promise to use Mian Sheharyar's voice in "Hamari Basti," he gave up his ambition to
sing and turned to composing. His first Punjabi song was recorded in 1954 in the voice of
Munawwar Sultana. It turned out to be an instant hit and helped him establish his credentials as a
composer.

In 1956, poet Ashoor Kazmi asked him to compose tunes for a film, and his compositions for
Urdu films "Begunnah" and "Mumtaz" reached the lips of millions. His reputation was further
enhanced by the new medium of television. In May 1965, Melody Queen Noor Jehan recorded
his patriotic song, "Aiy Watan Kay Sajeelay Jawaanon," which became a legend. During the
1965 war with India his patriotic song "Mein Hoon Mauseeqar Watan Ka," recorded in the voice
of Mehdi Hassan, profoundly stirred the public.

Mian Sheharyar often experiments with different genres of classical and folk music. In his TV
music programme, "Jal Tarang," he skillfully meshed the traditional rhythmic cycles into
fascinating compositions. Among his latest releases are two cassettes entitled "Tazaa
Hawa" and "Samandar," featuring the voices of Ghulam Ali, Tarannum Naaz, Fida Hussain,
Amjad Parvez, and Hamid Ali Khan.

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