Written by: Mahnaz Shujrah
Posted on: November 19, 2021 | 
| 中文
Faizan and Nadir Ali Khan, grandsons of Ustad Salamat Ali performing at All Pakistan Music Conference 2021 at Alhamra Arts Council
As the All-Pakistan Music Conference kicked off in Lahore, the cultural heartland of Pakistan, music echoed through the hearts of the audience. The event, which took place at Alhamra Art Council on Mall Road, lasted from 16th–20th November. The event commenced at 7 pm each day and ran late into the night.
The All-Pakistan Music Conference (APMC) was established in 1959 by a group of concerned citizens who were committed to keeping the musical stage alive in Pakistan. This year it is holding its 62nd conference, which provides a platform for classical, light classical, and folk music traditions. The organization is run on a volunteer basis, which highlights the role that citizens play in keeping the cultural heritage of Pakistan alive. APMC also provides a platform for students of music to showcase their craft before an audience with pride.
A picture taken during the initial years of the formation of All Pakistan Music Conference
The musical landscape of South Asia is exceptionally diverse. Beautifully distinct instruments, which include but are not limited to the tabla, tanpura, harmonium, sarangi, bansuri, sitar, sarod, and vina, are used in this region. A wide range of styles and different contexts can also be witnessed in performances. For instance, North Indian music generally includes the drupad, khayal, thumri, and ghazal, and the APMC mainly revolved around these themes. While South Indian music, which is also known as Karnatic, includes varnam, and kriti. A category for devotional music also exists in the subcontinent, which includes bhajans, sankirtan, and qawallis. Ghazals and qawwalis have largely been incorporated into popular culture in Pakistan since multiple platforms continue to explore new renditions of classical music.
One must be familiar with the basics of classical music to truly appreciate the APMC. It consists of four basic categories of sounds, which have both have Western and Sanskrit names. The first is Chordophones, which comprises of stringed instruments such as the sitar and the sarangi. While the second category is aerophones, which includes wind instruments such as bansuri. Whereas the third category comprises of drums, such as the tabla and dholak, whose skin is stretched over a hollow instrument. The last category comprises of instruments such as cymbals, where sound is made by striking the instrument itself.
South Asian classical music comprises of two main elements, namely the melod, or raag, and the rhythm, or taal. Raag or raga is a Sanskrit word which means “to color”. The concept is deeply rooted in ancient tradition and is not transferable to Western music. In technical terms, the raag is set of different scales which serve as the basis of composition. As a concept, raag is an emotional experience which transcends the material reality. Different raags have distinct attributes and rules. Some raags can only be played at certain times of day or during specific seasons. Raag is also used to arouse different moods and can be associated with various colors or changes in weather. Taal, on the other hand, is the musical meter within composition which refers to tapping or clapping one’s hands to measure a beat. It forms the life cycle of composition and is signified by the beat.
Vocalist Sheharyar Ali Khan with Zohaib Hasan on Sarangi
There is a proper format as well as etiquette, or adaab, of performing and attending a classical performance. The musicians are always seated on the floor upon mats or cushions, rather than chairs. The soloist is situated in the center, with the drummer instruments on his right and the melody instruments on his left. The individual playing the drone, which is the harmonic effect that can be heard throughout most of the performance, is either seated behind the other musicians or to their left. Live performances generally consist of five to six musicians working together, and their creativity as well as improvisation plays an important role in the execution of the event. The performers also symbolically ask for ijazat, or permission, from their ustads, or teachers, prior to starting the performance. This emphasizes the ustad-shagird (teacher-student) relationship which forms the core of this form of music. The performance progresses through different stages, it begins with an introduction to the raag, and then accelerates to reach a climax, after which it slows down for the conclusion. The duration of the performance is subject to variability.
A photograph of Qawalls performing at Alhamra in 2018
Music in the subcontinent is passed on and learnt through oral traditions—the notation is not very formal. However, there is the concept of identifying different pitches through sargam, which refers to the names of the scale degrees, sa-re-ga-ma-pa-dha-ni-sa.
There were several performances throughout the evening, and each was unique in its form. One of my favorites was Raag Malkauns, which was performed by Aris Ali Khan. Raag Malkauns can only be performed during specific time and it must be concluded before midnight.
Ustad Salamat Ali Khan
Another mesmerizing performance was given by the duo Faizan Ali Khan and Nadir Ali Khan. They performed Raga Madhuvanti in Thaat, parent scale, of the dharmvati/todi. The Vadi/ Samvadi was Pa/Sa, with vadi being the most significant note in the raag and samvadi being the second most important. The vilambat taal, which is the slower tempo part of the performance with 10 to 40 beats per minute, was referred to as Punjabi dhamaar. The drut, the concluding section which comprises of 160–320 beats per minute, was wrapped up in teen taal, or 16 beats—which is one of the most common taals in classical music. Aris, Faizan, and Nadir Ali Khan are grandsons of Ustad Salamat Ali Khan, who is one of the greatest classical singers of the subcontinent. These performances incorporated several surs, or musical notes that start from the base and then ascend. Another noteworthy performer was delivered by Zohaib Hasan, who played the sarangi beautifully.
Amanat Ali on Tabla
There is something unexplainable about music that touches the soul. Often overlooked as a mere form of entertainment, it is much deeper than it is given credit for. Classical music is a form of life, and true artists have dedicated their entire lives to this craft. It is important to recognize the real torch bearers of our cultural heritage as they struggle to keep the indigenous sounds of this land alive.
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