Music is regarded by religious zealots in Pakistan as an immoral and abhorrent pursuit in life and its practitioners are considered 'dishonourable persons'. Unfortunately, they take this finest of the fine arts (without plausible justification) as a Hindu dissipation, which according to their hazy perception is haram.
In fact, their knowledge of music and Islam seems to be incomplete, which does not qualify them to sit judgement on the efficacy of this performing art as an essential social accoutrement in a society.
In my judgement, which is supported by the opinion of a number of religious scholars, Islam does not disapprove of musical activities in a Muslim society. Still, a large number of Pakistanis are advised by the Mullahs to treat musicians as individuals of loose morals, which again is a totally wrong perception.
Classical music, especially its unfettered alap segment, which was refined and promoted during the 800-year long Muslim rule in India, is unique in its attraction and is a gift from Oriental musicians to their counterparts in the Western world. The richness and variety of ragas in our system of music, for example, are not to be found anywhere else in the world.
To clear our perception of music and its status in a Muslim society one should consult two books - Mauseeqi ki sharaee hassiaat, which is an Urdu translation of Imam Ghazali's treatise on music by Professor Rafi Ullah Shahab and Syed Naseer Shah, and Islam aur Mauseeqi by Maulana Shah Muhammad Jafar Phulwari before formulating an opinion. In these books, the learned authors have discussed in detail the status of music in an Islamic polity and have quoted relevant Aahadees in support of their contention.
Music, of which classical varieties are the best, has been variously described as the speech of the angels, an echo of the invisible world and the universal language of humankind. It knows no geographical bounds and is not limited by ethnic constraints or religious edicts. In fact, the followers of major religions use it as an essential medium in the discharge of their liturgical obligations to the Creator, because worship with musical accompaniment, they believe, enhances its impact on the minds of the faithful.
However, in Pakistan, the soul of music has been injured by a number of unjustifiable taboos, stigmas and indignities that have been wrongly attached with this sophisticated performing art.
Good music is that which penetrates the ears with facility and quits the memory with difficulty. The more one hears some of the wonderful and highly melodious compositions of great maestros of yore like Ustad Abdul Karim Khan, the saint among musicians; Ustad Bade Ghulam Ali Khan, the Taan Sen of the 20th century, Ustad Ameer Khan, the king of Tarana vocalisation, and Malika-e-Mauseeqi Raushan Ara Begum, the smiling empress of melody, the more meaning one reads in their music.
In a majority of their compositions, the commingling of sense and sound attains its perfection, as their asthai-antras are at once the acme of poetic beauty and melodic richness. Their appeal is wider, sweeter and more enduring than the compositions of other vocalists. Their music is so unique in its unaffected grace, spiritual fervour and transcendental sublimity that like a wide ocean; it is not easy to comprehend fully.
Their compositions are masterly creations of the delicate art, carefully conceived, elaborately developed and consummately completed. While listening to their music one cannot help thinking that some extraordinary divine power seemed to have propelled and guided them. They were the greatest ambassadors of goodwill who created mutual understanding and friendship among the people of different countries on a large scale.
At present, only two broad and distinct systems of music are practised in the world, the Eastern or melodic system, and the Western or harmonic system. Melody is purely emotional and intuitive, whereas harmony is intellectual.
A vocal rendening, sans tunefulness, or which does not come sweet on the ears of the listeners fails to communicate the real beauty of classical music. Mere throaty gimmickries or raucous syncopations combined with jugalbandis with rhythm keepers cannot be fully enjoyed or appreciated by uninitiated listeners.
Music is not merely the birthright of a human; it is a necessary agent to convey one's cultural aspirations and yearnings. It is a powerful medium, which can be used for the moral uplift and spiritual development of a person.
Paradoxically, over the years, interest in our classical music has grown in the countries of Europe and North America where music buffs seemed to be more responsive to the alap segment of a raga, which creates in them a feeling of serene exaltation, an environment of peace, equipping them with the ability to get a glimpse of ethereal heights and a feeling of otherworldliness. It is a magic, which leaves an lasting impact on their minds and souls.
By and large, our classical vocalists in the not too distant past were devout Muslims. They regularly said their daily prayers and quite a few among them even performed Hajj. However, at the same time, they breathed music and lived for it.
Take the examples of Ustad Bismillah Khan, a saint among greatest instrumentalists and a peerless shahnai player who brought happiness, solace and peace of mind to millions the world over. Even on his deathbed he did not forget to say his daily prayers. Ustad Talib Hussian Pakhawaji, another devout Muslim tabla player from Lahore, died in a local mosque of injuries inflicted by terrorists' bullets, when he was offering his Fajr prayers. Ustad Karim Bakhsh Pairna, the master tabla player, who spent the evening of his life serving Radio Pakistan, Quetta performed Haj during his tenure. Ustad Muhammad Sharif Khan Poonchwale, the world class sitar maestro was known for his impeccable character. Music to them was a medium for spreading the message of the universal brotherhood of humankind.
And, we should not forget Ustad Nusrat Fateh Ali Khan, whose contributions in bringing the people from the five continents emotionally closer together through his immortal songs, cannot be measured in terms of tangibles. The enduring friendship and mutual understanding he fostered among the people of the world should not be ignored in any reckoning. His input in creating a congenial environment for peace was more than the combined efforts of hundreds of ambassadors. He was the most sought after musicians in Pakistan, India, UK, France, Germany, the United States, Canada and Australia. Agreeably, the most powerful hypnotic suggestion could only act with enduring impact as was conveyed by the sublimity of music created and demonstrated by that great Pakistani practitioner of classical and qawwali music.
In all humility, these musicians believed that music was an ocean in which they could take just a few dips. The brilliance of their absorbing performances and matchless talent kept the audiences spellbound whenever they chanced to listen to their emotionally energising music. They upheld the dignity of vocal musical traditions and the instrumentalists among them created music approximating to vocal excellence.
Did Amir Khusrau, the Sufi poet, musician and scholar/politician of the 13th century adopt an avocation that was forbidden in Islam? Can a person of average IQ call Ustad Abdul Karim Khan, Ustad Bade Ghulam Ali Khan, Ustad Ameer Khan and Malika-e-Mauseeqi Raushan Ara Begum evil persons? Who in his right mind will consider Ustad Nusrat Fateh Ali Khan the pursuer of an abhorrent profession? For them music was a gift of God.
To appreciate classical music, which is a supreme example of Muslim creative genius in the sub-continent, it is not necessary for one to fully comprehend its intricacies.
What is essential is that it should come sweet on one's ears, as the litmus test of a musical composition is that it should hit the guts of the listeners.
(Edited version of a Paper to the organisers of the three-day. Art for Peace Festival held in Lahore from August 2 to 4, 2007)