Tariq Mahmood Awan
The quality of Pakistani music of different genres is subjective and may vary depending on the listener’s preferences, tastes, and expectations. However, one can evaluate the theme based on objective criteria such as originality, creativity, diversity, innovation, production, and cultural relevance. Accordingly, different genres of music will depend upon other criteria. I am not an expert on music; still, I love to listen to music and understand the appeals of musical aesthetics.
Classical/Semi-classical music is based on the traditional music patronized by various empires that ruled the region and gave birth to several subgenres such as Klasik, Ghazal, Thumri, and Khayal. The classical music of Pakistan has two main principles: sur (musical note) and lai (rhythm). The systematic organization of musical notes into a scale is known as a Raag. The arrangement of rhythm in a cycle is known as taal. Improvisation plays a significant role during a performance. Many families from Gharanas of classical music inherited the music from their forefathers and are still performing. Some famous gharanas are: Qwaal Bacha gharana (Ustad Nusrat Fateh Ali Khan and Rahat Fateh Ali Khan belong to this gharana), and Patiala Gharana (Shafqat Amanat Ali Khan belongs to this gharana). Ustad Ghulam Farid Nizami, a prominent sitar player and a Sufi singer, belongs to the Senia Gharana. Several other gharanas are present in Pakistan which serve classical music. Some classical musicians like Ustad Badar uz Zaman do not belong to any famous Gharana but have helped classical music enormously. The legendary sitar player Mohammad Sharif Khan Poonchwaley belongs to Poonch gharana of sitar. Ustad Rais Khan is another prominent sitar player of Pakistan. Shaukat Hussain, Tari Khan and Tafo Khan have been exponents of classical tabla playing from Pakistan.
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The quality of classical/semi-classical music in Pakistan is generally high, as it reflects the rich heritage and culture of the region. The musicians are well-trained and skilled in their craft and have preserved the genre’s authenticity and purity. However, some challenges that this genre faces are the lack of exposure, appreciation, and patronage from the mainstream audience and media, as well as the competition from other genres that are more popular and accessible. Following are some recommendations to improve the quality of this genre.
Promoting and supporting classical/semi-classical musicians and gharanas through various platforms such as festivals, concerts, awards, scholarships, and media coverage is necessary. Furthermore, educating and inspiring the younger generation about this genre’s history, theory, and practice through formal and informal channels such as schools, colleges, workshops, online courses, documentaries, podcasts, etc., is essential. Then, there is also a need to collaborate and innovate with other genres and artists to create fusion music that can appeal to a broader audience and showcase the diversity and versatility of this genre.
Pop/Rock is a genre that combines traditional Pakistani classical music and Western influences of jazz, Rock and roll, hip hop and disco sung in various languages of Pakistan, including Urdu. The popularity of music is based on the individual sales of a single, viewership of its music video or the singer’s album chart positions. Apart from within Pakistan, Pakistani pop music has also achieved an influential following and popularity in neighbouring countries and is listened to by members of the Pakistani diaspora, especially in the Middle East, Europe and North America. Pakistani pop music is attributed to have given birth to the genre in the South Asian region with Ahmed Rushdi’s song “Ko Ko Korina” in 1966. Pakistani pop is thus closely related to Indian pop music, Bollywood music and Bangladeshi rock. Subgenres of Pakistani pop music include:
- Qawwali (a form of Sufi music).
- Pakistani Rock (including Sufi rock).
- Pakistani hip hop.
- Disco (related to Bollywood disco).
Veterans like Runa Laila and Alamgir started the pop industry in Pakistan. In contrast, the fifteen-year-old pop sensation Nazia, with her brother Zohaib Hassan, ushered the birth of pop music all over South Asia, tailing on the success of her British endeavours. Other famous Pakistani pop artists that followed include Abrar-ul-Haq, Fakhre Alam, Strings, Aamir Zaki, Awaz, Aamir Saleem, Haroon, Faakhir Mehmood, Hadiqa Kiyani etc. The Qawwali singer Nusrat Fateh Ali Khan was also a prominent influence on Pakistani pop music. From Rushdi’s pop hits to songs sung by the Hassan siblings to bands including Junoon, Vital Signs, Jal, Strings, etc., the Pakistani pop industry has steadily spread throughout South Asia and today is the most popular genre in Pakistan and the neighbouring South Asian countries. Songs sung by Pakistani pop artists are a regular feature on soundtracks of most of the Bollywood movies. The genre has always been accepted in the mainstream youth culture, but hindrances came from changing governments, cultural conservatism, foreign influences and stiff competition from neighbouring countries.
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The quality of pop/rock music in Pakistan is variable, as it depends on the artists’ and producers’ creativity, originality, and innovation. Some pop/rock music is highly acclaimed and appreciated for its catchy tunes, meaningful lyrics, and fusion of styles. In contrast, some pop/rock music is criticized for being repetitive, superficial, and imitative of Western or Indian music. Some challenges this genre faces are the need for more funding, infrastructure, and recognition from the local industry and authorities, as well as the piracy, censorship, and security issues affecting the artists and their work. Therefore, improving the quality of this genre is significant, and the following may be some recommendations. It is vital to encourage and support pop/rock artists and bands through various platforms such as labels, studios, awards, sponsorships, and media exposure. Then, foster and nurture the talent and potential of emerging and aspiring artists and bands through various channels such as competitions, mentorships, collaborations, and online platforms. For the growth of the genre, it is also critical to experiment and explore different genres and styles to create unique and diverse music that can reflect the identity and culture of Pakistan.
The folk music of Pakistan is rich in sweetness and culture. It is also a popular genre of music in Pakistan. Fold music of all provinces and that of Gilgit, Baltistan, and Kashmir is also popular. One of the primary reasons for its popularity is the emotional and aesthetical coolness of the people. Then, the native languages are critical for the people. They take pride in their languages and related cultures. Therefore, the native languages are the best expression for showcasing aesthetical pleasures and musical tastes. Ataullah Khan, Mansor Malngi and others are the folk legends in Pakistan.
Lastly, there is a need to shun cultural taboos around music in Pakistan. Pakistan has an incredible tradition for music, and it is the best genre to represent Pakistan softly across the world and provide aesthetical pleasure to music lovers worldwide.
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