64-606: The All Pakistan Music Conference (APMC) is a volunteer organization founded in 1959 for the promotion of classical arts in Pakistan and continues to preserve and promote Pakistani classical and folk music and dance. It hosts a concert of music every month (except for the summer months) and a 5 day annual festival in Lahore, Pakistan typically in the last weekend of October. It has a chapter in Karachi as well. Ever since its inception, it has been
128-457: A constant source of inspiration for thousands of music lovers nationwide. At the time of the independence of Pakistan in 1947, Pakistan was so beset with insurmountable social, economic and political problems that fine arts virtually remained neglected. Up to that point in 1947, history's largest migration of people had totally upset the equilibrium of the population not only physically but also emotionally and psychologically. During such times,
192-567: A few generations (e.g. the Sham Chaurasia gharana). Meanwhile, the Bhakti and Sufi traditions continued to develop and interact with the different gharanas and groups. Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya ("mentor-protégé") tradition. This system had many benefits but also several drawbacks. In many cases, the shishya had to spend most of his time, serving his guru with
256-452: A mood of elation and are usually performed towards the end of a concert. They consist of a few lines of bols either from the rhythmic language of Tabla , Pakhawaj , or Kathak dance set to a tune. The singer uses these few lines as a basis for fast improvisation. The tillana of Carnatic music is based on the tarana, although the former is primarily associated with dance. Tappa is a form of Indian semi-classical vocal music whose specialty
320-475: A perfect match, which, before Thumri became a solo form, were performed together. Some recent performers of this genre are Abdul Karim Khan , the brothers Barkat Ali Khan and Bade Ghulam Ali Khan , Begum Akhtar , Nirmala Devi , Girija Devi , Prabha Atre , Siddheshwari Devi , Shobha Gurtu , and Chhannulal Mishra . Ghulam Hassan Shaggan Ghulam Hassan Shaggan (1928, in Amritsar – 3 February 2015)
384-434: A rendition of bandish, with the pakhawaj as an accompaniment. The great Indian musician Tansen sang in the dhrupad style. A lighter form of dhrupad called dhamar , is sung primarily during the spring festival of Holi . Dhrupad was the main form of northern Indian classical music until two centuries ago when it gave way to the somewhat less austere khyal, a more free-form style of singing. Since losing its main patrons among
448-533: A voluntary organization under the title of The All Pakistan Music Conference. The main objective of the APMC was to promote music and musicians by organizing concerts, conferences and festivals. It was decided to hold, as soon as possible, a large event on national level to focus attention on our melodic culture. A festival of folk , light, semi-classical and classical music was announced for 19 February 1960 to 23 February 1960. Spread over five evening and two morning sessions,
512-587: Is Gauhar, Khandar and Nauharvani.The living legends of this gharana is Pt. Ramjee Mishra A section of dhrupad singers of Delhi Gharana from Mughal emperor Shah Jahan 's court migrated to Bettiah under the patronage of the Bettiah Raj , giving rise to the Bettiah Gharana. Khyal is the modern Hindustani form of vocal music. Khyal, literally meaning "thought" or "imagination" in Hindustani and derived from
576-411: Is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic. It is said that there are two types of sound: āhata (struck/audible) and anāhata (unstruck/inaudible). The inaudible sound is said to be the principle of all manifestation, the basis of all existence. There are three main 'Saptak' which resemble to
640-453: Is into "melodic modes" or "parent scales", known as thaats , under which most ragas can be classified based on the notes they use. Thaats may consist of up to seven scale degrees, or swara . Hindustani musicians name these pitches using a system called Sargam , the equivalent of the Western movable do solfege : Both systems repeat at the octave. The difference between sargam and solfege
704-562: Is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders of Punjab and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah , the Nawab of Awadh . "Nidhubabur Tappa", or tappas sung by Nidhu Babu were very popular in 18th and 19th-century Bengal. Thumri is a semi-classical vocal form said to have begun in Uttar Pradesh with
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#1732884698752768-573: Is played on instruments like the veena , sitar and sarod . It diverged in the 12th century CE from Carnatic music , the classical tradition of Southern India . While Carnatic music largely uses compositions written in Sanskrit , Kannada , Telugu , Tamil , Malayalam , Hindustani music largely uses compositions written in Hindi , Urdu , Braj , Avadhi , Bhojpuri , Bengali , Rajasthani , Marathi and Punjabi . Knowledge of Hindustani classical music
832-471: Is primarily vocal-centric, insofar as the musical forms were designed primarily for a vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice. The major vocal forms or styles associated with Hindustani classical music are dhrupad , khyal , and tarana . Light classical forms include dhamar , trivat , chaiti , kajari , tappa , tap-khyal , thumri , dadra , ghazal and bhajan ; these do not adhere to
896-629: Is set to a melodic pattern called a raga characterized in part by specific ascent ( aroha ) and descent ( avaroha ) sequences, "king" ( vadi ) and "queen" ( samavadi ) notes and characteristic phrases ( pakad ). Ragas may originate from any source, including religious hymns, folk tunes, and music from outside the Indian subcontinent . For example, raga Khamaj and its variants have been classicized from folk music, while ragas such as Hijaz (also called Basant Mukhari) originated in Persian maqams. The Gandharva Veda
960-477: Is taught through a network of classical music schools, called gharana . Hindustani classical music is an integral part of the culture of India and is performed across the country and internationally. Exponents of Hindustani classical music, including Ustad Bismillah Khan , Pandit Bhimsen Joshi , and Ravi Shankar have been awarded the Bharat Ratna , the highest civilian award of India, for their contributions to
1024-409: Is that re, ga, ma, dha, and ni can refer to either "Natural" ( shuddha ) or altered "Flat" ( komal ) or "Sharp" ( teevra ) versions of their respective scale degrees. As with movable do solfege, the notes are heard relative to an arbitrary tonic that varies from performance to performance, rather than to fixed frequencies, as on a xylophone. The fine intonational differences between different instances of
1088-651: Is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and Hindu pandits may sing similar Islamic compositions. Vishnu Digambar Paluskar in 1901 founded the Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music with some historical Indian Music. This was a school open to all and one of the first in India to run on public support and donations, rather than royal patronage. Many students from
1152-461: Is used in instrumental music in dhrupad. Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic alap, where the syllables of the following mantra is recited: " Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan ". The alap gradually unfolds into more rhythmic jod and jhala sections. These sections are followed by
1216-595: The Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system. Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions. Between 1909 and 1932, he produced
1280-525: The ITC Sangeet Research Academy . Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan . Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps ( temperament ) may also vary. The performance
1344-604: The North Indian classical music tradition. His talent was first recognized by French musicologists Gerard Kurgijian and Martina Catella. They invited him to perform in France, Sweden, Spain, Switzerland , Germany and the UK. Ghulam Hassan Shaggan also collaborated with the alternative/ trance band Fun-Da-Mental . This band used an arrangement of his original bandish in Raag Bhopali in
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#17328846987521408-580: The maharajahs and nawabs declined in the early 20th century, so did their patronage. With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of the renaissance in Bengal , giving rise to the tradition of Ragpradhan gan around the turn of the century. Raja Chakradhar Singh of Raigarh was the last of the modern-era Maharajas to patronize Hindustani classical musicians, singers and dancers. Also, at
1472-436: The sitar ) were also introduced in his time. Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions does not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal. Much of
1536-517: The 'Octaves' in Western Music except they characterize total seven notes or 'swaras' instead of eight. These are-- low ( mandra), medium ( madhya) and high ( tāra ) . Each octave resonates with a certain part of the body, low octave in the heart, medium octave in the throat and high octave in the head. The rhythmic organization is based on rhythmic patterns called tala . The melodic foundations are called ragas. One possible classification of ragas
1600-521: The 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas , into a few thaats based on their notes. This is a very flawed system but is somewhat useful as a heuristic. Distinguished musicians who are Hindu may be addressed as Pandit and those who are Muslim as Ustad . An aspect of Hindustani music going back to Sufi times
1664-457: The Dhrupad vocalists of this tradition. A Very ancient 500 years old Dhrupad Gharana from Bihar is Dumraon Gharana, Pt. Tilak Chand Dubey , Pt. Ghanarang Baba was founder of this prestigious Gharana.Dumraon Gharana Dist-Buxar is an ancient tradition of Dhrupad music nearly 500 years old. This Gharana flourished under the patronage of the king of Dumraon Raj. The dhrupad style (vanis) of the gharana
1728-753: The Hindu culture from their kingdoms. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal . The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), a composer in Persian , Turkish and Arabic , as well as Braj Bhasha . He is credited with systematizing some aspects of Hindustani music and also introducing several ragas such as Yaman Kalyan , Zeelaf and Sarpada . He created six genres of music: khyal, tarana , Naqsh, Gul, Qaul and Qalbana. A number of instruments (such as
1792-527: The Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar , music and dance also flourished. In particular, the musician Tansen introduced a number of innovations, including ragas and particular compositions. Legend has it that upon his rendition of a nighttime raga in the morning, the entire city fell under a hush and clouds gathered in the sky so that he could light fires by singing
1856-460: The Persian/Arabic term, is a two- to eight-line lyric set to a melody. Khyal contains a greater variety of embellishments and ornamentations compared to dhrupad . Khyal 's features such as sargam and taan as well as movements to incorporate dhrupad-style alap have led to it becoming popular. The importance of the khyal's content is for the singer to depict, through music in the set raga ,
1920-536: The School's early batches became respected musicians and teachers in North India. This brought respect to musicians, who were treated with disdain earlier. This also helped spread of Hindustani classical music to masses from royal courts. Ravana and Narada from Hindu tradition are accomplished musicians; Saraswati with her veena is the goddess of music. Gandharvas are presented as spirits who are musical masters, and
1984-643: The Sindh Sangeet Mandal in Mumbai . During the same 1962 tour of India, he was presented with a certificate of recognition by sarod maestro Hafiz Ali Khan of India . In 2014, Ustad Ghulam Hassan Shaggan was honoured with the first Lifetime Achievement Award of the Lahore music forum . Ghulam Hassan Shaggan died on Tuesday, 3 February 2015 in Lahore , Pakistan at age 86. His son, Qadir Shaggan, reportedly said that his father had been suffering from heart disease. When his condition suddenly deteriorated, he
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2048-541: The arts could not get attention of the people or the government. Pakistani music was neglected more than all else. People only heard Radio Pakistan play some music now and then. The memory of live music concerts lingered in the minds of a few. If lovers of music had nostalgic memories, the musicians were totally frustrated and felt neglected. The height of despair was reflected in the decision of Ustad Bade Ghulam Ali Khan to leave his birthplace Pakistan to go back to India . Soon after, Roshan Ara Begum announced that she
2112-496: The arts. Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music .The central notion in both systems is that of a melodic musical mode or raga , sung to a rhythmic cycle or tala . It is melodic music, with no concept of harmony. These principles were refined in the musical treatises Natya Shastra , by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE). In medieval times,
2176-470: The band's 2001 album, There Shall be Love! Even in his final years before his death in 2015, he continued to perform in public with youthful enthusiasm with the characteristic vigor of the Gwalior gayaki . He received countless awards and titles during his 1962 tour of India . He was conferred with the titles of Sangeet Rattan, Sangeet Alankar, Sangeet Samrat, Sindh Sangeet Mandalam and King of Music from
2240-480: The court of Nawab Wajid Ali Shah , (r. 1847–1856). There are three types of thumri: poorab ang, Lucknavi, and Punjabi thumri. The lyrics are primarily in older, more rural Hindi dialects such as Brij Bhasha , Awadhi , and Bhojpuri . The themes covered are usually romantic in nature, hence giving more importance to lyrics rather than Raag, and bringing out the storytelling qualities of music. The need to express these strong emotional aesthetics makes Thumri and Kathak
2304-472: The discerning eye were brought to the forefront. The late Hayat Ahmad Khan (1921 – 6 February 2005) had been the moving spirit behind All Pakistan Music Conference. He was not only one of its founding members but also a long-serving secretary. To encourage the classical musicians/vocalists living in obscurity after the independence of Pakistan in 1947, and particularly influenced by Roshan Ara Begum 's probable intention to give up her 'Riyaz' due to
2368-583: The earliest musical composition sung in the classical tradition called Ashtapadi music . In the 13th century, Sharangadeva composed the Sangita Ratnakara , which has names such as the Turushka Todi ("Turkish Todi "), revealing an influx of ideas from Islamic culture. This text is the last to be mentioned by both the Carnatic and the Hindustani traditions and is often thought to date the divergence between
2432-404: The earliest periods of the common era . Narada 's Sangita Makarandha treatise, from about 1100 CE, is the earliest text where rules similar to those of current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the Persian influences introduced changes in the system. Jayadeva 's Gita Govinda from the 12th century was perhaps
2496-602: The emotional significance of the khyal. The singer improvises and finds inspiration within the raga to depict the khyal. The origin of Khyal is controversial, although it is accepted that this style was based on dhrupad and influenced by other musical traditions. Many argue that Amir Khusrau created the style in the late 14th century. This form was popularized by Mughal Emperor Mohammad Shah through his court musicians; some well-known composers of this period were Sadarang , Adarang , and Manrang . Another vocal form, taranas are medium- to fast-paced songs that are used to convey
2560-433: The evening and lasted for five to six hours with the last evening closing a couple of hours after sunrise – a glorious day had dawned. The festival was the first major step which gave new lease of life to music in Pakistan. Followed by monthly concerts, it helped promote this noble art. Simultaneously, the festival helped project musicians. Great masters of whom the general public had not even heard and who were hidden even from
2624-465: The festival was an instant success. Musicians from all over the country had participated. People from all walks of life, from all the big cities, Dhaka , Quetta , Karachi and Peshawar , and from towns and villages all over Pakistan attended the concerts in large numbers. This music festival has recently been held at the Alhamra Arts Council in Lahore . The programme started daily at eight in
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2688-583: The fundamental melodic structures similar to the raga . The names of the Jatis reflect regional origins, for example Andhri and Oudichya . Music also finds mention in a number of texts from the Gupta period ; Kalidasa mentions several kinds of veena (Parivadini, Vipanchi ), as well as percussion instruments ( mridang ), the flute ( Vamshi ) and conch ( Shankha ). Music also finds mention in Buddhist and Jain texts from
2752-653: The gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana , the Naga king Ashvatara asks to know the swaras from Saraswati . While the term raga is articulated in the Natya Shastra (where its meaning is more literal, meaning "color" or "mood"), it finds a clearer expression in what is called Jati in the Dattilam , a text composed shortly after or around
2816-610: The government-run All India Radio , Bangladesh Betar and Radio Pakistan helped bring the artists to public attention, countering the loss of the patronage system. The first star was Gauhar Jan , whose career was born out of Fred Gaisberg 's first recordings of Indian music in 1902. With the advance of films and other public media, musicians started to make their living through public performances. A number of Gurukuls , such as that of Alauddin Khan at Maihar , flourished. In more modern times, corporate support has also been forthcoming, as at
2880-404: The hope that the guru might teach him a " cheez " (piece or nuance) or two. In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent, it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general, looked down upon as a frivolous practice. First, as the power of
2944-751: The junior Dagar brothers, Nasir Zahiruddin and Nasir Faiyazuddin Dagar ; and Wasifuddin , Fariduddin , and Sayeeduddin Dagar . Other leading exponents include the Gundecha Brothers and Uday Bhawalkar , who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family of Darbhanga tradition of musicians; some of the leading exponents of this tradition were Ram Chatur Mallick, Siyaram Tiwari , and Vidur Mallick. At present Prem Kumar Mallick, Prashant and Nishant Mallick are
3008-443: The lack of interested listeners in Pakistan, Mr. Hayat along with several music connoisseurs laid the foundation of APMC. This project, he hoped, would rejuvenate interest in classical music in Pakistan. Many well-established artists like Roshan Ara Begum , Akhtari Bai , Rasoolan Bai , Ustad Bade Ghulam Ali Khan , Ustad Fateh Ali Khan , Ustad Salamat Ali Khan and Ustad Ghulam Hassan Shaggan have performed at APMC concerts. Over
3072-520: The melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro , and later in the Mughal courts, noted composers such as Tansen flourished, along with religious groups like the Vaishnavites . Artists such as Dalptaram , Mirabai , Brahmanand Swami and Premanand Swami revitalized classical Hindustani music in the 16-18th century. After
3136-645: The monumental four-volume work Hindustani Sangeeta Paddhati , which suggested a transcription of Indian music, and described the many traditions in this notation. Finally, it suggested a possible categorization of ragas based on their notes into a number of thaats (modes), subsequent to the Melakarta system that reorganized Carnatic tradition in the 17th century. The ragas that exist today were categorized according to this scheme, although there are some inconsistencies and ambiguities in Bhatkande's system. In modern times,
3200-558: The musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak . This can be seen as part of a larger Bhakti tradition (strongly related to the Vaishnavite movement) which remained influential across several centuries; notable figures include Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE). As
3264-451: The organization stand as evidence. Hindustani classical music Hindustani classical music is the classical music of the Indian subcontinent 's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet . The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It
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#17328846987523328-480: The raga "Deepak". At the royal house of Gwalior , Raja Mansingh Tomar (1486–1516 CE) also participated in the shift from Sanskrit to the local idiom ( Hindi ) as the language for classical songs. He himself penned several volumes of compositions on religious and secular themes and was also responsible for the major compilation, the Mankutuhal ("Book of Curiosity"), which outlined the major forms of music prevalent at
3392-523: The regular musical sittings held at APMC over the past 59 years as of 2017. The APMC programmes, held on a monthly basis greatly enrich the cultural ethos of Lahore. Besides these monthly mehfils, APMC also hosts a yearly six-day festival in which musicians/vocalists from all over Pakistan perform till the wee hours of morning. Few would know that APMC has also been instrumental in promoting classical dance in Pakistan. Classical dance performances of Naheed Siddiqui, Gopi Krishna and Sheema Kermani hosted by
3456-550: The rigorous rules of classical music. Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tambura and a pakhawaj as instrumental accompaniments. The lyrics, some of which were written in Sanskrit centuries ago, are presently often sung in brajbhasha , a medieval form of North and East Indian languages that were spoken in Eastern India. The rudra veena , an ancient string instrument,
3520-451: The royalty in Indian princely states, dhrupad risked becoming extinct in the first half of the twentieth century. However, the efforts by a few proponents, especially from the Dagar family, have led to its revival. Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the senior Dagar brothers, Nasir Moinuddin and Nasir Aminuddin Dagar ;
3584-491: The same swara are called srutis . The three primary registers of Indian classical music are mandra (lower), madhya (middle) and taar (upper). Since the octave location is not fixed, it is also possible to use provenances in mid-register (such as mandra-madhya or madhya-taar) for certain ragas. A typical rendition of Hindustani raga involves two stages: Tans are of several types like Shuddha, Koot, Mishra, Vakra, Sapaat, Saral, Chhoot, Halaq, Jabda, Murki Hindustani classical music
3648-462: The same time as Natya Shastra . The Dattilam is focused on Gandharva music and discusses scales ( swara ), defining a tonal framework called grama in terms of 22 micro-tonal intervals ( shruti ) comprising one octave. It also discusses various arrangements of the notes ( Murchhana ), the permutations and combinations of note-sequences ( tanas ), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called Jati , which are
3712-545: The time. In particular, the musical form known as dhrupad saw considerable development in his court and remained a strong point of the Gwalior gharana for many centuries. After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Awadh , Patiala , and Banaras , giving rise to the diversity of styles that is today known as gharanas . Many musician families obtained large grants of land which made them self-sufficient, at least for
3776-456: The turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system. Vishnu Digambar Paluskar emerged as a talented musician and organizer despite being blind from age of 12. His books on music, as well as
3840-496: The two. The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who, in turn, started taking an increasing interest in local musical forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from
3904-486: The years, APMC has also brought forth several amateurs in the field of classical music. Notable names include Fahim Mazhar, Abdur Rauf, Sara Zaman and several others. APMC attracts music luminaries and aspiring artists alike to keep the classical music alive in the country. Not only that, both vocalists and instrumentalists from Afghanistan , Turkey , India , Japan , the United States and Germany , have benefited from
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#17328846987523968-1016: Was a Pakistani classical music singer of the Gwalior Gharana from the Hindustani classical music genre. Ustad Ghulam Hassan Shaggan was the recipient of numerous awards including the Pride of Performance (1988) and Sitara-e-Imtiaz (2000) (Star of Excellence) from the Government of Pakistan . His father's name was Bhai Lal Mohammad (died 1962), who belonged to the Gwalior- Kapurthala Gharana. Ghulam Hassan Shaggan, along with his father and family, moved to Pakistan in 1947 and settled in Lahore . Ghulam Hassan Shaggan lived in Iqbal Town, Lahore with his sons Qadir Shaggan (vocalist and music director) and Mazhar Shaggan ( rabab and mandolin player). Ghulam Hassan Shaggan's father Bhai Lal Mohammad
4032-562: Was appointed music supervisor at Radio Pakistan . His son, Ghulam Hassan Shaggan, had opportunities to perform at the radio station. Over a period of 12 years, as Shaggan gained recognition, he started performing more frequently at Radio Pakistan , at the All Pakistan Music Conference , and other events in Pakistan and abroad. In the 1990s, Ghulam Hassan Shaggan had received recognition in Europe as an outstanding representative of
4096-410: Was giving up Riyaz ( music practice ) as no one seemed interested in listening to her music. Her announcement jolted concerned citizens into action. Accepting the challenge, they decided to find ways and means to revive and rejuvenate the seemingly lost but rich and glorious heritage of classical music. On 15 September 1959, these concerned citizens met at the famous Coffee House of Lahore and launched
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