A major factor that has caused a sharp decline in the popularity of classical genres varieties of our traditional music is the non-availability of quality literature. Since the dawn of independence, very few books on the melodic arts have been published by which inquisitive music buffs could benefit.
Paucity of quality literature has also alienated the practitioners of this sophisticated art from mainstream melodic activities in the country. After August 14, 1947, the situation in neighbouring India changed for the better, where dozens of books on music in English and regional languages were published every year, making it easier for young aspirants to comprehend the sophistries of this finest of the fine arts.
The new literature helped in checking the decline in the popularity of classical music to some extent. In Pakistan, it is a different story, wherein very small quantity of melodic literature was produced during the last 60 years. Hardly 20 books on music have been published in Urdu, a majority of which do not deal with music as an academic discipline. An equal number of books were published in English, which too were not pegged to the theoretical aspect of this performing art.
Professional musicians, with the exception of three, did make efforts to popularise classical music by contributing articles to English newspapers and publishing several books in Urdu. Their contributions to the production of melodic literature in the country won them recognition from connoisseurs and votaries of art music in Pakistan.
However, a vast majority of practising professional musicians was not equipped with the required educational background and enough acumen to write on about this esoteric art. The promotional aspect of music, therefore, became the somewhat unwanted responsibility of educated connoisseurs who, depending upon their own priorities in life, produce some quality literature. However, their efforts fell far short of the desired quantum.
Too much reliance on non-practising musicologists proved counter-productive. First, very little was written, which could educate the people about the practical aspects of various genres of classical music.
Secondly, many wrong ideas and notions about music were spawned by some musically unenlightened, but otherwise educated writers, giving rise to a number of controversies. Thirdly, the practising musicians erroneously considered themselves completely absolved of the responsibility of enlightening music buffs and listeners about their art.
With the passage of time and because of a lack of formal education, the practising musicians in Pakistan became incapable of articulating their points of views. A glaring example in this regard was that of late Ustad Sharif Khan Poonchwale, who had on several occasions, conveyed to me his desire to "complete" his book on sitar music. He even showed me a rough sketch of the manuscript of his proposed book. He seemed serious about accomplishing his mission but lack of good education prevented him from converting his thoughts into a book form.
If classical music, especially its kheyal and thumri/tarana varieties, are to be prevented from fading into history, and if the traditional music of Pakistan is to be protected from the onslaught of Western melodic culture, the practitioners of classical art of vocalisation and instrument playing (or their educated offspring) will have to take care of the academic and promotional aspects of the gharana traditions evolved, circulated and promoted during the past 300 years.
Late Ustad Salamat Ali Khan and his younger brother late Akhter Ali Khan also wrote a book each on music in Urdu but their usefulness for the learners left much to be desired. How one wished these musicians had the time and resources to write more meaningfully on the subject for the benefit of posterity.
Among non-professional musicians, Ustad Badaruzzaman (Lahore), Khalid Malik Haider from Peshawar, Ustad Mehfooz Khokhar from Rawalpindi and Professor Muhammad Muslim Ghauri from Karachi have distinguished themselves by authoring several books, which not only traced the history and philosophy of our classical music, but also contain a large number of asthai-antaras (compositions) of many ragas, which are of immense benefit for the young and inquisitive aspirants. This scribe too, in a modest way, has so far authored four books in English on our system of music and numerous musicians of Pakistan, who have contributed much to the preservation, promotion and refinement of music.
However, what is needed the most are textbook types of literature, which should focus on the fundamentals and theory of our system of music so that educated non gharana music aspirants could benefit from these and learn this art like any other academic discipline.
Music is rightly claimed to be a language, not of words but of sound. Like other languages, it too has its own alphabets, grammar and syntax, which if explained in easily comprehensible terms, will make better sense with votaries of classical music. Not too long the University of the Punjab offered a course in music for which a syllabus was prepared. However, a few years after independence, it ceased to offer the course.
After a long hiatus, the Fine Arts Department of this university has started music classes for post graduate students for which it has acquired the services of a few professional musicians to impart theoretical and practical training to the students. One wonders, if a proper syllabus has been produced for the students to prepare them for the examination.
The credentials of some members of the faculty for the postgraduate course are being questioned by a segment of musicians. Again, it is the paucity of music literature that will create difficulties for the students, a couple of whom have sought my help in finding relevant literature and books to study the history, philosophy, theory and applied aspects of our system of music. Of course, I could not help them much in view of the abysmal shortage of relevant literature in the country.
The urgent need of the hour is the commissioning of qualified professional and/or non-professional practising musicians to produce authentic melodic literature in Urdu and regional languages, under the supervision of acknowledgeable and experienced writers. Slowly but surely this step, if taken by one or more educational institutions in the country, will go a long way in remedying the situation.
The sooner such a step is taken the better it will be, not only for the preservation of rich national heritage, but also for enlightening young music aspirants of which there is no dearth in Pakistan.