Once known for its rich cultural notes, Pakistani music is now veering dangerously towards western styles, raising questions about whether it is losing its identity.

There aren’t many film industries where songs are a major part of films, where a film includes at least four to five songs and has lead actors dancing to those tunes. However, Pakistani cinema is one of those industries. The use of traditional instruments blended with a particular style of singing is unique and should be celebrated, according to a report in Dawn.

When songs of the past are mentioned, they reflect emotions and feelings. Instruments also played a huge part in making Pakistani songs sound rich. Instruments like the sitar, tabla, dholak, sarangi, flute, dafli, tanapura and harmonium represent culture through music.

However, many songs produced now are based purely on western compositions. While one lives the sound of a bass guitar but should that instrument be responsible for eradicating the country’s own classical style, is a million-dollar question

When it comes to songs that scream culture, one has to mention Shafqat Amanat Ali's 'Khereyaan De Naal' (originally sung by Tufail Niazi) or Sajjad Ali's 'Har Zulm'. These songs blended in with the modern music but at the same time, each note they hit screamed culture!

Both songs include harkat and murki - a combination of different notes - that add value to the compositions. Even though western instruments were used in the songs, none of the instruments seem to overpower the lyrics or the style of singing.

People who witnessed the golden age think modernity in music after the 80s wasn't the best and as a result, they often claim that modern pieces do not suit their tastes.

After the decline, Pakistan went through a phase where Indian TV shows, movies, and songs were greatly appreciated. Pakistani dramas were being made but not many paid attention to them. Films were not being made and the only thing that remained were songs.

Many songs were released during this time that was appreciated like 'Billo De Ghar', 'Sohni Lag Di', 'Aadat', 'Purani Jeans', 'Chief Saab', 'Sayonee' and so many more. But at the same time audiences looked for something that would be a constant source of entertainment, and that's where the Indian influence came in. During this time, many Pakistani singers also began collaborating with Indian producers so the change in music India was experiencing crossed the border.

When the industry finally began to rebuild, audiences were so used to that style of content that singers scrambled to keep them entertained with more of the same music. To this day, a portion of the public wishes to completely ignore Pakistani content. The Indian influence is the result of item songs with similar lyrics and styles of singing in Pakistani films.

Another reason why old songs sounded richer could also be the absence of technology. Back then, singers recorded their songs in a single take. One tiny mistake and the entire song was sung again from the top. As a result, singers practiced their songs with their composers over and over to get every note right.

The present generation’s unfamiliarity with traditional music has led to cultural music’s decline. Some of the traditional music has already disappeared. In the future, a large percentage of cultural music might get eliminated from the mainstream altogether.

In the book The Musical People, Sultan Arshad Khan mentions how Khuwaja Khursheed Anwar used “meend” (slowly transitioning from one note to another) in his songs. An excellent example of this would be 'Rim Jhim Rim Jhim Paray Phuaar' and 'Jis Din Se Piya Dil Le Gaye', both sung by Noor Jehan.

Similarly, Robin Ghosh used choirs in most of his songs, for example 'Do Pyasay Dil', making his melodies unique. Sohail Rana, on the other hand, seemed to have a softer approach towards his melodies, even his cheerful songs.

Pakistani music is a legacy that should be taken forward, which is why listening to old music and understanding the importance of classical music is important.

(SAM)