"It is an exciting story", wrote Dr Curt Sachs, a world renowned American musicologist in his book The Rise of Music in the Ancient World - East and West,"how music has for thousands of years been held in balance between the basic facts that, on the one hand, sound is vibration of matter ruled by mathematical ratios and that, on the other, musical art works are immaterial, indeed, irrational.
And a still greater fascination is to see in how many different ways the two counterpoises have been equal and how, with all these differences, races living far apart went similar ways and met in strange, unwitting terms; Greeks and Japanese, Hindus and Arabs, Europeans and North American Indians".
I have quoted from the book to make the point that unity can be found in the diversity of a number of musical forms and styles. The language of sound has the potential of affecting the moods and emotion of people in different countries in equal measure and success. Already it seems as if a movement on a global scale is on to evolve a single mode of musical expression, which appeals to the sensibilities of all peoples. Some of manifestations of the new thinking are the emergence of fast-paced varieties like pop, disco and ragtime of which the youth all over the world has become enamored.
Like all other forms of art, music too cannot remain static. It has to evolve in consonance with the speed and needs of modern times, reflecting the new realities spawned by industrial, technological and communication revolutions taken place in the 20th century or the Space Age. By the same token, several classical and traditional genres, including the rich folk music in a large number of developing countries are under pressure from the onslaught of the new musical currents and cross-currents resulting in the appearance on the musical firmament of several new modes of expression.
While the concept of integration is being discussed by musicologists in many countries some Pakistani experts and critics are faced with the question as to whether it will be possible to evolve a single mode of musical expression, which will be understood, appreciated and enjoyed to the same extent by the people in all the four provinces. If so, what will be the ingredients which will combine to make one nationally integrated musical idiom?
Looking at the changed world of music from a national perspective, such an effort will be in line with contemporary thought in the world, particularly in those countries, which like ours, have several sub-cultures and ethnic groups. In the words of Marshal MacCluhan, the world has shrunk to the size of a 'global village' in which physical distances have shortened to an unbelievable extent. As a natural corollary of this phenomenon conscious efforts are being made to homogenise many different varieties of heterogeneous creative human endeavours especially music.
Pakistan, which among other things is aimedat creating a feeling of oneness among the inhabitants of different regions, besides forging linguistic integration. By the same token, the evolution and use of a national melodic mode will be effective in fostering national cultural unity. As in the case of Urdu, which should be further refined without adversely affecting the growth and development of regional languages, a single national mode of melodic expression should also be evolved but not at the expense of various varieties of regional folk music.
A perfect example is found in western classical music, which is the vogue throughout Europe and the Americas. Among prevailing genres of melodic cultures two eminently qualify to meet the requirements for the proposed synthetic experimentation.
These are the folk varieties of melodies and the esoteric art of modern ghazal singing. Classical genres, too, have impressive credentials, but as these are practiced, appreciated and enjoyed only by small urban elites, their appropriateness for the suggestive experimentation has limited appeal. Film music, though considered unworthy the practitioners of classical modes is yet another form that merits consideration.
Music, in general, and its folk varieties, in particular, is a functional art, a factor which is retained in all highly developed contemporary systems. In the history civilisation, one discovers that music has been used for political, social, economic and religious purposes. In a political framework, it served most obviously in songs of praise for a leader. One also finds instances of drums regarded as symbols of political power of the royal families. Browsing through the pages of history, one also finds music playing an important role in customs and social interaction among people in different societies.
In economic terms, music serves principally as an aid to co-operative labour. When a rhythmic pattern of the work song is evolved, the work becomes easier. The combined strength of many men and women, using rhythmic coordination is far more productive than it would be if they acted as individuals.
The role of music in religion is varied. In some societies, it is used in the discharge of liturgical obligations of the followers to the Creator. It is also important in a number of religious rites and ceremonies that an event is postponed if the right kind of music is not available.
In almost all countries, folk music has played a pivotal role in shaping religious, social and cultural dispensations of the people. Functional in character, to remained an indispensable component of man's daily chores and covered such domains as agriculture, harvest festivals, fairs, wedding ceremonies, etc.
The people of Pakistan are united in one faith and one landmass. They feel one in their hours of trial and tribulation, singing often merrily with tears rolling down their cheeks. No record of their joy or sorrow can pass unaccompanied by a cry of melody or a wail of plaintive and harmonious melancholy.
Here I am reminded of a PTV programme telecast about two decades ago in which the richness and variety of Pakistani folk melodies were vividly brought out by a fine conglomeration of our best folk singers, who participated in it. Attired in colourful regional raiment, the folk singers presented a fiesta of traditional melodies, which had effervescent sonic appeal for all and also brimmed with visual eloquence.
Frequent telecasting of such programmes will be of help in the evolution of an integrated national melodic mode. We had in the past and still have a number of artistes from different provinces who are equally popular throughout the length and breadth of Pakistan. Their music can be instrumental in fostering national integration.
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