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Pakistani Singers Eye on Indian Music Industry (Imi)for Exposure

In: Film and Music

Submitted By MADHUVIJHANI
Words 11730
Pages 47
RESEARCH

PAKISTANI SINGER’S EYE ON INDIAN MUSIC INDUSTRY (IMI) FOR EXPOSURE

(-research by MADHU VIJHANI)

TABLE OF CONTENTS

SNo. | Particulars | Page no. | 1. | Introduction | 6-8 | 2. | Problem | 89-10 | 3. | Significance of the research | 11-14 | 4. | Objectives of the research | 15 | 5. | Hypothesis | 16 | 6. | Review of literature | 17-33 | 7. | Methodology | 34-36 | 8. | Data processing and analysis | 37-38 | 9. | Data representation | 39-48 | 10 | Conclusion | 49 | 11. | Bibliography | 50 | 11. | Annexures | 51-55 |

Table of Data Analysis& Reppresentation

SNo. | Particulars | Page no. | `1. | Number of people inclined towards music | 39-40 | 2. | Preference of music by people for different genre | 41-42 | 3.(i) | Number of people preferring Indian singers/music | 43-44 | (ii) | Number of people preferring Pakistani singers | 45-46 | 4. | Number of people favouring Pakistani singers in IMI | 47-48 |

Introduction

The term 'mass' denotes great volume, range or extent (of people or production) and reception of messages. The term 'mass' suggests that the recipients of media products constitute a vast sea of passive, undifferentiated individuals. With the advancement in Media Technology, people are no longer receiving gratification without questioning the grounds on which it is based. Instead, people are engaging themselves more with media products such as computers, cell phones and Internet.
These have gradually become vital tools for communications in society today. The aspect of 'communication' refers to the giving and taking of meaning, the transmission and reception of messages. The word 'communication' is really equated with 'transmission', as viewed by the sender, rather than in the fuller meaning, which includes the notions of response, sharing and interaction.
Mass media refers collectively to all media technologies, including the Internet, television, newspapers, film and radio, which are used for mass communications, and to the organizations which control these technologies.
Since the 1950s, in the countries that have reached a high level of industrialization, the mass media of cinema, radio and TV have a key role in political power. Contemporary research demonstrates an increasing level of concentration of media ownership, with many media industries already highly concentrated and dominated by a very small number of firms.
Mass communication is the term used to describe the academic study of the various means by which individuals and entities relay information through mass media to large segments of the population at the same time. It is usually understood to relate to newspaper and magazine publishing, radio, television and film, as these are used both for disseminating news and for advertising.

Characteristics of Mass Communication * It "comprises both technical and institutional methods of production and distribution., This is evident throughout the history of the media, from print to the Internet, each suitable for commercial utility. * It involves the "commodification of symbolic forms". As the production of materials relies on its ability to manufacture and sell large quantities of the work. Just as radio stations rely on its time sold to advertisements, newspapers rely for the same reasons on its space. * Mass communication's third characteristic is the "separate contexts between the production and reception of information". * The fourth is in its "reach to those 'far removed' in time and space, in comparison to the producers".

* Mass communication, which involves "information distribution". This is a "one to many" form of communication, whereby products are mass produced and disseminated to a great quantity of audiences.
Tools for mass communication * Newspaper * Magazine * Television * Internet * Radio
Today we have twitter for mass communication. All we need to do is post an update there, and people who follow will know immediately, and the others will know when they search.
But until about 100 years ago, before printing was invented, news had to be spread through word of mouth, but then there was not much news to spread like there is today. baby announcements and deaths used to be the primary news, and then perhaps there might have been some trading news in the barter markets of those days.
Impact of Music in Society
Music and society have always been intimately related. Music reflects and creates social conditions – including the factors that either facilitate or impede social change. The development of recording techniques in the latter half of the 20th century has revolutionized the extent to which most people have access to music. All kinds of music are available to most people, 24 hours a day, at the touch of a switch. The down side of this easy availability of music in the Western world is that there is a tendency for it to be taken for granted.
Music's interconnection with society can be seen throughout history. Every known culture on the earth has music. Music seems to be one of the basic actions of humans. However, early music was not handed down from generation to generation or recorded. Hence, there is no official record of "prehistoric" music. Even so, there is evidence of prehistoric music from the findings of flutes carved from bones.
The influence of music on society can be clearly seen from modern history. Music helped Thomas Jefferson write the Declaration of Independence. When he could not figure out the right wording for a certain part, he would play his violin to help him. The music helped him get the words from his brain onto the paper.
Music is a very powerful medium and in some societies there have been attempts to control its use. It is powerful at the level of the social group because it facilitates communication which goes beyond words, enables meanings to be shared, and promotes the development and maintenance of individual, group, cultural and national identities. It is powerful at the individual level because it can induce multiple responses – physiological, movement, mood, emotional, cognitive and behavioural. Few other stimuli have effects on such a wide range of human functions. The brain’s multiple processing of music can make it difficult to predict the particular effects of any piece of music on any individual.
The power of music to act therapeutically has long been recognized. Therapy can involve listening to or actively making music. Increasingly it may involve both. Music can be effective in conjunction with other interventions in promoting relaxation, alleviating anxiety and pain in medicine and dentistry, and promoting well-being through the production of particular endorphins. Its therapeutic uses have been explored extensively with particular groups of patients, the elderly, those with brain damage, and those with persistent pain. It has also been used to promote appropriate behaviour in vulnerable groups and enhance the quality of life of those who cannot be helped medically.
Music can play an important part in human development in the early years stimulating foetuses and infants in such a way as to promote their wellbeing. Early interactions between mother and child have an essentially musical quality which assists in the development of communication skills. Listening to music or being involved in making it does not seem to directly affect intelligence, although active involvement in music making may enhance self-esteem and promote the development of a range of social and transferable skills. Listening to quiet, relaxing background music can improve performance on a range of academic tasks, while exciting music may interfere. Memorisation can be particularly affected. Adults are able to mediate the effects of interference through the adoption of coping strategies.
The increased availability of music seems to be encouraging people to use music to manipulate their own moods, reduce stress, alleviate boredom while undertaking tedious or repetitive tasks, and create environments appropriate for particular kinds of social occasion. In short, music is being used by individuals to enhance the quality of their lives.
One cannot deny the power of music. High school students who study music have higher grade point averages that those who don't. These students also develop faster physically. Student listening skills are also improved through music education. The top three schools in America all place a great emphasis on music and the arts. Hungary, Japan, and the Netherlands, the top three academic countries in the world, all place a great emphasis on music education and participation in music. The top engineers from Silicon Valley are all musicians. Napoleon understood the enormous power of music. He summed it up by saying, "Give me control over he who shapes the music of a nation, and I care not who makes the laws" PROBLEM/STATEMENT

Music is an art form whose medium is sound and silence. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").
To many people in many cultures, music is an important part of their way of life. Greek philosophers and ancient Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies.
The music industry or music business sells compositions, recordings and performances of music. Among the many individuals and organizations that operate within the industry are the musicians who compose and perform the music; the companies and professionals who create and sell recorded music (e.g., music publishers, producers, studios, engineers, record labels, retail and online music stores, performance rights organizations); those that present live music performances (booking agents, promoters, music venues, road crew); professionals who assist musicians with their careers (talent managers, business managers, entertainment lawyers); those who broadcast music (satellite and broadcast radio); journalists; educators; musical instrument manufacturers; as well as many others.
In the late 19th century and early 20th century, the music industry was dominated by the publishers of sheet music. By the middle of the century records had supplanted sheet music as the largest player in the music business: in the commercial world people began speaking of "the recording industry" as a loose synonym of "the music industry". Since 2000, sales of recorded music have dropped off substantially,[1]while live music has increased in importance.[2] Three "major corporate labels" dominate recorded music — Universal Music Group (after purchasing EMI in November 2011, Sony Music Entertainment,[3] and Warner Music Group — each of which consists of many smaller companies and labels serving different regions and markets. The live music industry is dominated by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of Clear Channel Communications, which is the largest owner of radio stations in the United States. Other important music industry companies include Creative Artists Agency (a management and booking company) and Apple Inc. (which runs the world's largest music store, the iTunes Store).

STATEMENT
From inception, India has always believed and promoted diversified culture as a result of which they have always welcomed and honoured the talent of Pakistani singers (Rahat Fateh Ali Khan, Aatif Aslam, Mohd Rafi) irrespective of the geographical boundaries and Indo Pak relations. India being a rich nation in terms of instruments, facilities, knowledge has always cherished the talent of the citizens irrespective of the notions.
Indian music industry is always known for its humble attitude towards talent. They have always been free from the bias behaviour in terms of custom, culture, religion etc. From the era of Nusrat Fateh Ali Khan till the youth era of Aatif Aslam, Indian Music Industry (IMC) has always put their effort in forwarding the talent of the singers.
There were many controversies among the singers of IMC regarding the ruling adoration of the Pakistani singers that why the industry is outsourcing the talent from Pakistan even after having the ample of talent within their own boundaries? The reason for such acceptance of IMC would be purely on the basis of endowment of the singers and thus promoting the diversified culture.
PROBLEM
Why Pakistani singers are engrossed exploring their talent in Indian Music Industry rather than exploring in their own industry?

SIGNIFICANCE OF THE RESEARCH

Research can be defined as the search for knowledge, or as any systematic investigation, to establish novel facts, solve new or existing problems, prove new ideas, or develop theories, usually using a scientific method. The primary purpose for basic research is discovering, interpreting, and the development of methods and systems for the advancement of human knowledge on a wide variety of scientific matters of our world and universe.
A broad definition of research is given by Martin Shuttleworth-“In the broadest sense of the word, the definition of research includes any gathering of data, information and facts for the advancement of knowledge.
Types of Research 1. Exploratory Research * Primary objective is to provide insight into and understanding of the problem confronting by the researcher. * It is used when researcher have to define the problem. * It is flexible and unstructured. * Research is undertaken to gain background information about the general nature of the research problem.

2. Descriptive Research
Objective is to describe something and it aims at: * Describing the characteristics of the relevant groups. * To make specific prediction. * It is pre planned and structured. * It is based on large representative samples.

3. Conclusive Research * It is formal and structured research. * It is based on large representative samples. * Findings are conclusive that’s why taken as an input in decision making. * Data obtained in this research type are subjected to quantitative analysis.

4. Causal Research * It is used to obtain the cause and effect relationship. * It is used to understand which variables are independent(cause) and which variables are dependent(effect) * It requires a planned and structured design.

5. Analytical Research
In this type, the researcher has to use facts or information already available and analyze them to make critical evaluation.

6. Fundamental Research * Its also called pure or basic research. * It is considered with the formulation of theory. * In this, research is concerned with natural phenomenon or pure mathematics/evolution theory or pythagoras theorem.

7. Applied Research * It aims at finding the solution for an immediate problem. * Example: Marketing research

8. Quantitative Research * Its is based on measurement of quantity. * It is applicable to phenomenon that can be measured in quantity.

9. Qualitative Research * It is based on phenomenon that can be related to quality. * Example: Motivational research which aims at discovering underlying motives and desires. * In this we can use techniques like indepth interview, word associaton, story completion etc. * It is important in behavioural science where one has to discover the underlying motives of human behaviour.

Media research is a study of radio, television and print media for the purpose of reaching the optimal consumer audience.
Media research seems to have developed two slightly different meanings. In the 1980’s, media research referred mainly to researching the media, their audience. Thus media research was almost synonymous with content analysis. These days, many people use “media research” to include audience research as well.
Research is the key to any successful media efforts not only in the corporate world, but also in the public and government sector.
Research in media studies focuses on the entire communication process and examines the communication relationships that exist among and between media institutions and their key target groups.

SCOPE OF MEDIA RESEARCH
Various search methods and techniques are practised media studies for the following needs& purposes: * To collect the information that media practitioner and professionals need to know to do their jobs more effectively. * To obtain benchmark study data regarding the views of key target audience groups. * To plan. Develop or possibly refine media programs, activities or affairs. * To track or monitor media programs, activities or events that are important to the organization/institute. * When facing a sudden and unexpected crisis, to put issues involved into proper perspectives through emergency monitoring. * When circumstances allow, providing appropriate support in publicizing or promoting a specific programs, activity or event.

The Indian Music Industry (IMI) is a trust that represents the recording industry distributors in India. It was founded on February 28, 1936 as Indian Phonographic Industry (IPI). Its the 2nd oldest music industry organization in the world that was involved in protecting copyrights of music producers and supporting growth of music entertainment industry. In 1994, it was renamed as Indian Music Industry (IMI) and represented India at the International Federation of the Phonographic Industry (IFPI). IMI has its registered office in Kolkata and Administrative office in Mumbai. It has also been instrumental in launching the IMMIES music awards in collaboration with MTV.
The music of Pakistan includes diverse elements ranging from music from various parts of South Asia as well as Central Asian, Persian,Turkish, Arabic and modern day Western popular music influences. With these multiple influences, a distinctive Pakistani sound has been formed. Various contributors of Pakistan Music Industry are Munshi Raziuddin, Nusrat Fateh Ali Khan, Sabri Brothers, Qawwal Bahauddin, Qawwal Abdullah Manzoor Niazi, Aziz Mian Qawwal and Qawwal Iqbal bandanawaz.
Indian Music Industry plays a vital role in honouring the talent from Pakistan irrespective of geographical boundaries. The efficient initiative of the Pakistani Singers has taken the music industry into the zenith of success. Pak singers have generated the love for music among the youth. From inception, India has always promoted the diversified culture and various initiative in honouring the art, talent by hosting reality shows- Sa re ga ma pa, Indian Idol etc. More often, Pak singers are associated as the soul of the Sufiana Music.

Scope of Music in India

The Entertainment and Media industry in India is at its peak and growing by leaps and bounds. Since music is a big part of these industries and plays an important role, this opens up a multitude of career and job opportunities for all those who are talented and musically inclined.
Interested students can choose from a range of options such as teaching, performing professionally, sound editing and recording, composing, arranging, music software development, virtual reality sound environment creation (for internet, games and programmes), music production and radio jockeying, to mention a few.
Teaching
While many schools employ music teachers, private music teachers are also in demand. Ashley Quiney, who has been taking guitar classes for the past 32 years reasons, “Music has always been popular. With the economy booming and reality shows like Indian Idol and Star Voice of India capturing the fancy of television viewers, an increasing number of youngsters are now keen to learn music.” In fact, many trained students are increasingly taking private lessons for beginners in order to make additional pocket money. The prime advantage of teaching music privately is that the working hours are flexible, only a few hours every week, in most cases.
Production/Direction
Second only to singing (in terms of popularity), music production and direction is an extremely viable option. Professionals can find opportunities in the television as well as film industry. However, the competition is mind boggling and it may take time for one to make a mark in the industry.
Radio Jockey
Not entirely technical, radio jockeying as a career has gathered steam over the last few years owing to the phenomenal growth of the radio industry in the country. The success of every radio station largely depends on its radio jockeys (RJs). An RJ must have in-depth knowledge of the various genres of music to be able to keep the listeners hooked on to the station.
Music Therapy
Quite unlike conventional careers, music therapy is slowly gaining recognition as an important healing science. According to Harendra Khurana, a musician and music therapist, human beings respond to different types of sounds in different ways. These sounds can be used to provide therapy to people suffering from physical pain, high stress, depression, etc. This field is believed to gain a huge following in the coming years and may soon offer excellent career opportunities for those who believe in the concept.
Other worthy options include becoming a musicologist, music business attorney, music reporter, architectural acoustic consultant and arts administrator.
OBJECTIVES OF THE RESEARCH
Indian Music Industry plays a vital role in honouring the talent from Pakistan irrespective of geographical boundaries. The efficient initiative of the Pakistani Singers has taken the music industry into the zenith of success. Pak singers have generated the love for music among the youth. From inception, India has always promoted the diversified culture and various initiative in honouring the art, talent by hosting reality shows- Sa re ga ma pa, Indian Idol etc. More often, Pak singers are associated as the soul of the Sufiana Music. * To understand the relationship of Indian music industry with the Pakistani singers * To study the people preference towards the Pakistani singers * To analyze the effect of Pakistani singers in the Indian Music Industry(IMC) * To understand the role played by IMC for nurturing the talent of Pakistani singers

HYPOTHESIS

* It may be “Indian Music Industry is wide and allows the artists to grow”
OR
* It may be “India is far less culturally artistically conservative”
OR
* It may be “Political and cultural unrest in Pakistan”

REVIEW OF LITERATURE

The Indian Music Industry (IMI) is a trust that represents the recording industry distributors in India. It was founded on February 28, 1936 as Indian Phonographic Industry (IPI). Its the 2nd oldest music industry organization in the world that was involved in protecting copyrights of music producers and supporting growth of music entertainment industry.
All major music labels in India are part of this association. Record companies like Saregama India Ltd. (HMV), Universal Music(India), Tips, Venus, Sony Music Entertainment (India), Crescendo, Virgin Records, Magna sound, Milestone, Times Music and several other prominent national and regional labels are part of the IMI. The IMI represents over 75 % of all legal music sales in India.
In the past couple of years the Bollywood Film Industry was pleasantly surprised by the rising success of Pakistani singers. A whole new musical experience was presented to the listeners and the acceptance was overwhelming. There is enough reason to believe that a Sufi influence song can work its magic and make an album a great success.
The Bollywood music front hasn’t been able to bring out any distinctive elements in their music lately, it has been more about countless remixes of one song which in the end lacks originality and gets quite repetitive. On the other hand, Pakistani singers have really improved and progressed in recent times and has a distinctive charm in their singing. They bring out their own cultural flavours in their songs. Unfortunately, they are unable to get the needed exposure in their country and thus are always on the lookout for bigger and better opportunities and Bollywood is that opportunity, that platform that will give them their deserved exposure. What Pakistani singers brought to the Bollywood music front was uniqueness and that made them succeed. Today, anything with a Sufi influence guarantees success in Hindi movies. It is still unknown if this new trend is just another passing phase or not but one thing is clear, that we will be hearing many more of Sufi influenced music in the near future.
An artist always needs appreciation or positive criticism for his or her work. Those who find both of them in a country, they flourish and those who don’t, they wither away. Some unfortunate artists have potential but the industry in their country does not acknowledge them. Some of these artists feel discouraged and quit while others keep on moving and are hijacked by foreign art lovers. Same is the case with Pakistani singers in the present era. They surely can do wonders if Pakistan’s music industry utilises them and highlights their talent. Having no other option, Pakistani singers usually move to India’s music industry which admires them, utilises their efforts, highlights their USP and pays them handsome.

Pakistani singers are trying their best to make it to Bollywood. Bollywood directors wittingly or unwittingly are letting Pakistani singers render their voice for Hindi movies. Pakistani singers are making it big back home because of mass level exposure and sky rocketing sales of their albums. Then Bollywood singers criticise Pakistani singers and musicians for trying to take over the Bollywood music domain without being thankful to India for letting them sing for Hindi movies. It has become a worrisome situation for local Indian talent.
This should infact has been a worrisome situation since the days when Biddu - the world renowned composer of Indian origin produced the platinum-selling album of the movie Disco Deewane, inducted Nazia Hassan and Zohaib in the Indian music industry and the duo soared to unequivocal heights. That was the beginning of the so-called or rightly-called invasion of Bollywood by Pakistani musicians. A major mix of talent did exist between the two countries until their ties got stressed out by various reasons. But that is not our focal point here.
While trends of movie soundtracks were globally being experimented with and many forms of non-conventional music entered the movie domain, India was still busy making the same run-of-the-mill filmy songs with almost the same century old traditional instruments and not budging out from their pure desi or heavily classical influences. In Pakistan the movie industry had almost vanished but the music industry was flourishing as it was, along with acting on television, the most popular showbiz act here. Had it not been for the emergence of A.R. Rehman’s compositions, India would still be making music on conventional lines - the very filmy music. A.R. Rehman, with his dedicated Kitaro, Claude Challe, Buddha Bar and the New Age influences composed and arranged, created waves in Indian music industry which further led Bollywood directors to realise the need to change and hence opened doors for Pakistani talent.
While India had University of Poona, from where many graduated in filmy/classical music, Pakistan was brimming with underground rock and pop artists churning out their music from their parents’ garages or their own rooms. Jamming on the styles of USA and Brit artists, Pakistani kids – the musicians to be - did not get formal training but experimented and learned by trial and error. Where to an Indian kid, a sitar would be more attractive, for a Pakistani teenager the guitar would do the job. Or let us just say more than do the job. All that we are trying to say is that Pakistani kids were into making music of various genres while Indian kids stuck to filmy and at the most, Brit Bhangra which also faded after the fad ended. Simply put, India was breeding playback singers and Pakistan was breeding Pop, Rock and New Age artists. Pop, Rock and New Age were the future of experimental music and eventually became the choice of masses. This phenomenon outdated traditional filmy playbacks and triggered a stiff competetion.
According to Aakir Patel, a renowned columnist of India, "We have not had a real singer after Kishore Kumar worth mentioning”. Rightly said, as after the demise of Kishore no one actual carried on his legacy. Artists like Sonu Nigam, Shaan and Udit Narayan emerged and did a great job of carrying on with the filmy class of singing but when the need arose for a little diversity, and when the directors wanted a different genre to be introduced according to the movie’s requirements, they had only one place to look at: Pakistan. Pakistani artists were eager for publicity and money. Besides, Pakistani singers also charged less for their music. This started becoming a slight trend when the need of cost effective musical creativity arose. Another major plus point was that Pakistani Pop songs, those that were selected by the Bollywood directors, were already popular and had gone through the fame charts in Pakistan. Instead of just simply copying them, the Pakistani artists could perform them with slight directorial changes, which this new found demographic talent was more than keen to do. The next step was that a song would be developed in Pakistan and then taken on by Bollywood for the movie industry’s consumption. And this is how names like Rahat Fateh Ali, Adnan Sami, Atif Aslam and myriad others made their mark, which sooner, turned into a trend. When local Pakistani talents saw Adnan’s success, they tried to follow suit and it wasn’t a miracle that they soon make their way in the Bollymusic domain. Similar was the case of Nusrat Fateh Ali which was taken forward by Rahat Fateh Ali. Atif Aslam too joined the club. Not the mile high – the trans-border music club.
Many could not make it, and blamed Bollywood’s strategy. But the crux of the matter is that if there really is talent, Bollywood would surely pick it up. This is not biased behavior. This is talking sales and counting the box office pennies falling into the producer’s bank account. Not just the singers and musicians who did not make it to the mainstream of Bollywood complained but louder cries could be heard from Bollywood itself. Many Indian music directors, whose market share was cut, cringed and complained. Blaming it on ethinicity – the Muslim connection. This is surprising since when it comes to money matters no matter who or what religion, people tend to look beyond these boundaries. Ironically, it only pertains to economic viability and nothing more.
Bollywood compositions are still done on harmonium or popularly known as paytee. Whereas, Pakistani musicians and singers going to Bollywood to make their songs on guitars and of course minus cowbells, dholaks, violins and other conventional instruments. Hindi music has not evolved as well as the Pakistani music did. And Pakistani artists are proven to be more talented in diversified musical genres since there were no movies to churn their music for. They relied solely on releasing their albums and then hunting for gigs. The biggest gig they now hunt is Hindi movies. After getting popularity, through Hindi movies, even if they do not become a blockbuster, creates enough ripples for them, since their population is a hundred times more than that of Pakistan.
Here’s a look at the four singers who actually made it big in Bollywood in the past few years:
AtifAslam
Pakistani artists and singers are known for making music of different genres whereas in India most of the music made is the typical filmy sort. And the audience demands variety, so when the need for diversity arose the directors and producers had no choice but to look across the border for fresh talent. And when they did so, their eyes fell directly on Atif Aslam! This was back in 2005 when Atif Aslam crossed the border for the first time to sing for Bollywood and the Bhatts in particular. After ‘Woh Lamhe’ for Zeher, there was no looking back and also I might add, every single song he gave voice to was a hit to say the least. ‘Tere Bin’ topped charts in 2006, ‘Pehli Nazar Main’ did the same in 2008 and ‘Tera Honay Laga Hoon’ and ‘Tu Jaane Na’ were the biggest hits of last year among others. So much so that Atif got nominated for his music in literally every award function last year. Clearly, Atif has made it big in Bollywood with the magic of his voice.
RahatFatehAliKhan
Rahat Fateh Ali Khan has sung the most for Bollywood among all other Pakistani singers. He has contributed in 30 different movies in the past 6 years and all of these movies have been big budget films starring the best that Indian cinema has to offer. His music has been a part of Om Shanti Om, Singh is King, Namaste London, Aaja Nachle, Billu Barber, Love Aajkal, My Name Is Khan, I Hate Luv Stories, We Are Family, Dabangg and many others. Now if a big budget movie comes out without Rahat’s voice in it, it seems incomplete! These days Rahat is the co-judge of a music show with Sonu Nigam which airs in both India and Pakistan. With all these achievements up his sleeve, one can only wonder if even the sky is the limit for Rahat.
Mohd. Rafi
Mohammad Rafi, was an Indian playback singer whose career spanned four decades.[1] He was awarded National Award and 6 Filmfare Awards. In 1967, he was honoured with the Padma Shri awarded by the Government of India.[2]
Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.[3] His singing career spanned about 35 years, and his songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans. After his death, 7 hindi movies were dedicated to Mohd. Rafi ; Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas Paas and Heeralal-Pannalal.

Mohd. Rafi
Mohammad Rafi was an Indian playback singer whose career spanned four decades.[1] He won a National Award and 6 Filmfare Awards. In 1967, he was honoured with the Padma Shri by the Government of India.[2]
Rafi claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980; according to the available figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980. * After his death, seven Hindi movies were dedicated to Mohd Rafi; Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal. * As per newspaper reports,[60] over 9000 musical tributes were organized in July 2011 commemorating the singer's 31st death anniversary.

ADVENT IN BOMBAY
In 1944, Rafi moved to Bombay (now Mumbai),The brother in laws to be took up a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. Here poet Tanvir Naqvi introduced him to some of film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer.[7] Shyam Sunder was in Bombay and again provided an opportunity to Rafi – who got to sing a duet with GM Durrani, ‘Aji dil ho qaabu mein to dildar ki aisi taisi…’, for Gaon Ki Gori, which became Rafi’s first recorded song in a Hindi film. Many other songs followed.[12]Rafi also did brief roles in movies like Laila-Majnu (1945) and Jugnu. In Laila-Majnu, he was seen singing Tera Jalwa as a part of the chorus.[13]
In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song ‘Suno suno ae duniyawalon, Bapuji ki amar kahani…’.[12] He was invited by the Indian Prime Minister, Jawaharlal Nehru, to sing at the latter's house. In 1948, Rafi received a silver medal from Nehru on the Indian Independence Day. In 1949, Rafi was given solo songs by music directors such as Naushad, (Chandni Raat, Dillagi and Dulari) Shyam Sunder (Bazaar) and Husnalal Bhagatram (Meena Bazaar).
Rafi's first song with Naushad was "Hindustan ke hum hain" with Shyam Kumar, Alauddin and others, from A. R. Kardar's Pehle Aap (1944). Around the same time, Rafi recorded another song for the 1945 film Gaon ki Gori, "Aji dil ho kaaboo mein". He considered this song his first Hindi language song.[11]
Rafi also appeared in two movies. In 1945, Rafi appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film Laila Majnu.[11] He sang a number of songs for Naushad as part of the chorus, including "Mere sapnon ki rani, Roohi Roohi" with K. L. Saigal from the film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi(1946) and a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka". Following the Partition of India, Rafi decided to stay in India and had his family flown to Bombay.
Honorary
* 1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.[11] * 1967 - Honoured with the Padma Shri by the Government of India. * 1974 - Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na Rakhenge Qadam Aaj Ke Baad" (Hawas, 1974). * 2001 - Rafi was honored with the "best singer of the millennium" by Hero Honda and Stardust magazine in Mumbai on Jan 7, 2001. Rafi won with 70% of the votes. * Rafi has a record number of Filmfare Award nominations (23).[19] In the earlier years, Filmare used to have only one Best Singer Award (no distinction between a male or female singer). Rafi won it six times.[62]
NATIONAL FILM AWARDS * Winner: Year | Song | Film | Music director | Lyricist | 1977[9] | "Kya Hua Tera Wada" | Hum Kisi Se Kum Nahin | Rahul Dev Burman | Majrooh Sultanpuri | * Filmfare Awards * Winner: Year | Song | Film | Music director | Lyricist | 1960 | "Chaudhvin Ka Chand Ho" | Chaudhvin Ka Chand | Bombay Ravi | Shakeel Badayuni | 1961 | "Teri Pyaari Pyaari Surat Ko" | Sasural | Shankar Jaikishan | Shailendra | 1964 | "Chahunga Main Tujhe" | Dosti | Laxmikant-Pyarelal | Majrooh Sultanpuri | 1966 | "Baharo Phool Barsao" | Suraj | Shankar Jaikishan | Shailendra | 1968 | "Dil Ke Jharoke Mein" | Brahmachari | Shankar Jaikishan | Shailendra | 1977 | "Kya Hua Tera Wada" | Hum Kisi Se Kum Nahin | Rahul Dev Burman | Majrooh Sultanpuri |

AATIF ASLAM
Atif Aslam was born Mohammad Atif Aslam; 12 March 1983 in Wazirabad, Gujranwala, Pakistan) is a Pakistani pop singer. He is widely recognized in South Asia and has given several hit songs such as Aadat, Woh Lamhe, Tere Bin, Bakhuda Tumhi Ho, Pehli Nazar Mein, Tera Hone Laga Hoon, Tu Jaane Na, Tere Liye. Atif released his first solo album, Jal Pari on 19 July 2004, under Sound Master and IC records. Its promoters declared it to be the best-selling album of that year within just 5 months of its release.[2] Besides his native country, he also became popular in India and his career took off to fame in both the countries. In the meantime he also cleared his Bachelors in Computer Science (Hons.) from the University of Central Punjab. His second album, Doorie was released on 22 December 2006.
Atif has also sung many songs for Bollywood films, like Pehli Nazar Mein in Race, Tere Bin in Bas Ek Pal, Bakhuda Tumhi Ho in Kismat Konnection, Tera Hone Laga Hoon and Tu Jaane Na in Ajab Prem Ki Ghazab Kahani and Tere Liye in the film Prince. All of which have been very well-received by the Indian and Pakistani audiences.He also performed background vocals for scenes in Prince.

CONTRIBUTION IN BOLLYWOOD

Year | Song | Film | Film Industry | Co-Singer | 2005 | Woh Lamhe | Zeher | Bollywood | None | | Woh Lamhein (DJ Suketu Mix) | Zeher | Bollywood | None | | Aadat | Kalyug | Bollywood | None | | Aadat: Remix | Kalyug | Bollywood | None | 2006 | Tere Bin | Bas Ek Pal | Bollywood | None | 2008 | Pehli Nazar Mein | Race | Bollywood | None | | Bakhuda Tumhi Ho | Kismat Konnection | Bollywood | Alka Yagnik | | Bakhuda Tumhi Ho - Remix | Kismat Konnection | Bollywood | Alka Yagnik | 2009 | Tera Hone Laga Hoon | Ajab Prem Ki Ghazab Kahani | Bollywood | Alisha Chinoy | | Tera Hone Laga Hoon (Remix) | Ajab Prem Ki Ghazab Kahani | Bollywood | Alisha Chinoy | | Tu Jaane Na | Ajab Prem Ki Ghazab Kahani | Bollywood | None | | Tu Jaane Na (Remix) | Ajab Prem Ki Ghazab Kahani | Bollywood | None | 2010 | O Mere Khuda | Prince | Bollywood | Garima Jhingoon | | Tere Liye | Prince | Bollywood | Shreya Ghoshal | | Kaun Hoon Main | Prince | Bollywood | None | | Aa Bhi Ja Sanam | Prince | Bollywood | None | | Prince Theme (Mega Mix) | Prince | Bollywood | Shreya Ghoshal, Alisha Chinoy, Garima | | Rona Chaditta (Mahi Mahi) | Mel Karade Rabba | Bollywood | None | 2011 | Hona Tha Pyaar | Bol | Lollywood | Hadiqa Kiani | | Aaj Bol Do | Bol | Lollywood | Hadiqa Kiani | | Le Ja Tu Mujhe | F.A.L.T.U | Bollywood | None | | Kaise Tumko Itna Chahoon | Rockstar | Bollywood | None |

Jingles for advertisement

Year | Song | Co-singer/band | 2009 | Allahu Akbar For Olpers Qawwali | Dawud Wharnsby | 2010 | Jee Le For Warid Glow | None | 2011 | Q Mobile Party Phone | None |

AWARDS

Year | Group | Award | Result | 2005 | Indus Music Awards | Best Lyrics Aadat | Won | | Indus Music Awards | Best Song Aadat | Won | | Indus Music Awards | Best Composition Aadat | Won | | Sahara Sangeet Awards | Best Playback Singer | Won | | Sahara Sangeet Awards | Best Debut Singer | Won | 2006 | The Musik Awards | Most Wanted Male | Won | | Lux Style Awards | Best Album Doorie | Won | | Filmfare Awards | Best Playback Singer (Male) Woh Lamhe - Zeher | Nominated | 2007 | Lycra MTV Style Awards | Most Stylish Person in Music | Won | | Filmfare Awards | Best Playback Singer (Male) Tere Bin - Bas Ek Pal | Nominated | 2008 | Lux Style Awards | Most Well Dressed Celebrity - Police Dress | Won | | The Musik Awards | Most Wanted Male | Won | | Government of Pakistan | Tamgha-e-Imtiaz (Medal of Distinction) | Awarded | 2009 | International Indian Film Academy Awards | Best Playback Singer (Male) Pehli Nazar Mein - Race | Nominated | | Star Screen Awards | Best Playback Singer (Male) Pehli Nazar Main - Race | Nominated | 2010 | Filmfare Awards | Best Playback Singer – Tu Jaane Na [8] | Nominated | | IIFA Awards | Best Playback Singer (Male) – Tu Jaane Na[9] | Nominated | | GIMA Awards | Best Playback Singer (Male) – Tu Jaane Na[10] | Nominated |

RAHAT FATEH ALI KHAN * Rahat was born in 1974 in Faisalabad, Punjab (Pakistan)[1] into a family of traditional musicians. * Paap (2004), featuring the hit song, Mann Ki Lagan, marked his debut as a Bollywood playback singer. He has become popular in India because of his Bollywood film songs
Pakistani drama soundtracks Serial | Song | Thori Si Wafaa Chahiye | Thori Si Wafaa Chahiye | Khuda Zameen Se Gaya Nahin | Khuda Zameen Se Gaya Nahin | Meri Zaat Zara-e-Benishan | Meri Zaat | Bharday Jholy | Bharday Jholy | Anokha Bandan | Bewafa | Kaisa Yeh Junoon | Kaisa Yeh Junoon | Jhumka Jaan | Zindagi Ishq Hai | Chuban | Ishq Bhi Hai Chuban | Noor Bano | Baat Kar Le | Talluq | Tumse Hai Talluk | Chein Aye Na | Chein Aye Na | Ishq Junoon Deewangi | Ishq Junoon Deewangi | Ijazat | Ijazat | Bahu Rani | Mann Bawra Lage Na Kaheen | Omer Dadi Aur Gharwale | Main Sitara Subh-e-Umeed Ka | Ankh Salamat Andhey log | Koi Diya | Wilco | Dharti | Phir Kab Milo Gay | Phir Kab Milo Gay | Zindagi Dhoop Tum Ghana Saya | Zindagi Dhoop | Zard Patay Sa Yeh Dil | Dil Mera Chotti Si Kuttiyya | Bus Ik Tera Intizar | Bus Ik Tera Intizar | Kaisi Yeh Agan | Kaisi Yeh Agan | Ik yaad Hai | Ik yaad Hai k |

Bollywood film soundtracks Year | Film | Song | Notes | 2003 | Paap | Laal (Alaap)
Mann Ki Lagan | | 2004 | Ishq Qayamt | Maine Use Dekha Hai
Kisi Roz Milo Hamein Shaam Dhaley | Latter song taken from Lollywood film Mard Jeenay Nahi detay | 2005 | Kalyug | Jiya Dhadak Dhadak | | 2006 | Omkara | Naina | | 2007 | Jhoom Barabar Jhoom | Bol Na Halke Halke | | 2007 | Om Shanti Om | Jag Soona Soona Lage | | 2007 | Namaste London | Main Jahaan Rahoon | | 2007 | Aaja Nachle | O Re Piya | Also used in Malaysian movie, Talentime | 2008 | Singh Is King | Teri Ore | | 2008 | Haal-E-Dil | Haal-E-Dil | | 2008 | Woodstock Villa | Koi Chala Ja Raha Hai | | 2008 | Dil Kabaddi | Zindagi Ye | Special appearance | 2009 | Aasma: The Sky Is the Limit | Man Bawra | | 2009 | Main Aurr Mrs Khanna | Rabba | | 2009 | Billu Barber | Jahoon Kahan | | 2009 | Love Aaj Kal | Ajj Din Chadheya | Winner Star Screen Award for Best Male Playback (2010) | 2009 | Dekh Bhai Dekh | Aankhon Mein Kyon
Sapne Bhaye Hain | | 2009 | Jag Jeondeyan De Mele | Jag Jeondeyan De Mele | | 2009 | London Dreams | Khwab Jo | | 2009 | De Dana Dan | Rishte Nate | | 2010 | Veer | Surili Akhiyon Wale & Surili Akhiyon Wale (duet) | | 2010 | My Name Is Khan | Sajda | Winner Mirchi Music Awards Best song In Sufi Tradition (2011) | 2010 | Ishqiya | Dil To Bachcha Hai Ji | Winner Star Screen Award for Best Male Playback (2011)Winner Filmfare Award for Best Male Playback Singer (2011) | 2010 | Toh Baat Pakki | Phir Se | | 2010 | Lahore | Ore Bande | | 2010 | Badmaash Company | Fakeera | | 2010 | Virsa | Mein Tenu Samjhawan | | 2010 | I Hate Luv Storys | Bahara
Bahara (Chill Version) | | 2010 | Milenge Milenge | Ishq Ki Gali | | 2010 | Once Upon a Time in Mumbaai | Tum Jo Aaye
Tum Jo Aaye (reprise) | | 2010 | We Are Family | Ankhon Mein Neendein | | 2010 | Dabangg | Tere Mast Mast Do Nain | Winner BIG Star Entertainment Awards Best Singer (2010)Winner Mirchi Music Awards Best Male Vocalist (2011)Winner 2011 IIFA Awards Best Male Vocalist (2011)Winner Apsara Award for Best Playback Singer (2011) | 2010 | Anjaana Anjaani | Aas Pass Khuda | | 2010 | Aakrosh | Man Ke Matt | | 2010 | Knock Out | Khushnuma Sa Ye Roshan Ho | | 2011 | Yamla Pagla Deewana | Chadha De Rang | | 2011 | Satrangee Parachute | Teri Lori Yaad hai | | 2011 | Good-Bye Chimpanzee | Saari Duniya Rabba Nu | | 2011 | Ready | Meri Ada Bhi | | 2011 | Khap | Aaina Dekha | | 2011 | Bodyguard | Teri Meri
Teri Meri (Reprise) | | 2011 | Mere Brother Ki Dulhan | Isq Risk | | 2011 | Mausam | Rabba Main Toh Mar Gaya Oye | |

RESEARCH METHODOLOGY

Research in common parlance refers to a search for knowledge. Once can also define research as a scientific and systematic search for pertinent information on a specific topic. In fact, research is an art of scientific investigation. Research is an academic activity and as such the term should be used in a technical sense. According to Clifford Woody research comprises defining and redefining problems, formulating hypothesis or suggested solutions; collecting, organising and evaluating data; making deductions and reaching conclusions; and at last carefully testing the conclusions to determine whether they fit the formulating hypothesis. OBJECTIVES OF RESEARCH The purpose of research is to discover answers to questions through the application of scientific procedures. The main aim of research is to find out the truth which is hidden and which has not been discovered as yet. Though each research study has its own specific purpose, we may think of research objectives as falling into a number of following broad groupings: 1. To gain familiarity with a phenomenon or to achieve new insights into it (studies with this object in view are termed as exploratory or formulative research studies); 2. To portray accurately the characteristics of a particular individual, situation or a group (studies with this object in view are known as descriptive research studies); 3. To determine the frequency with which something occurs or with which it is associated with something else (studies with this object in view are known as diagnostic research studies); 4. To test a hypothesis of a causal relationship between variables (such studies are known as hypothesis-testing research studies). eRsearch methodology is a way to systematically solve the research problem. It may be understood as a science of studying how research is done scientifically. In it we study the various steps that are generally adopted by a researcher in studying his research problem along with the logic behind them. It is necessary for the researcher to know not only the research methods/techniques but also the methodology. Researchers not only need to know how to develop certain indices or tests, how to calculate the mean, the mode, the median or the standard deviation or chi-square, how to apply particular research techniques, but they also need to know which of these methods or technique are relevant and which are not, and what would they mean and indicate and why. Researchers also need to understand the assumptions underlying various techniques and they need to know the criteria by which they can decide that certain techniques and procedures will be applicable to certain problems and others will not. All this means that it is necessary for the researcher to design his methodology for his problem as the same may differ from problem to problem Research Design A research design is not just a work plan. A work plan details what has to be done to complete the project but the work plan will ¯ow from the project's research design. The function of a research design is to ensure that the evidence obtained enables us to answer the initial question as unambiguously as possible. Obtaining relevant evidence ntails specifying the type of evidence needed to answer the research question, to test a theory, to evaluate a programme or to accurately describe some phenomenon. Research design `deals with a logical problem and not a logistical problem' . Too often researchers design questionnaires or begin interviewing far too early ± before thinking through what information they require to answer their research questions. Without attending to these research design matters at the beginning, the conclusions drawn will normally be weak and unconvincing and fail to answer the research question. Research Design for this research will be descriptive as via this I will describe the characteristics and make specific prediction. It will be planned and structured design.

Research Approach
Approach for the research will be QUANTITATIVE as I will quantify the data in terms of the inclination of youth/people towards the love for sufiana music( Pakistani Singers).

Research Technique
Sampling technique will be SIMPLE RANDOM. Probability sampling technique) where in sample from the universe will be randomly selected.

Sample Size- 100 Data Collection starts from the month: October

Data Collection
Primary data collection:
This involves collecting data by means of direct interactions with the human subject. Examples of such methods used are interviews, questionnaires, observations, measurements, and abstractions from medical records. These primary data collected are unique to you and your research and, until you publish, no one else has access to it. The data can be quantitative or qualitative in nature.
Questionnaire: A questionnaire is a research instrument consisting of a series of questions and other prompts for the purpose of gathering information from respondents. Although they are often designed for statistical analysis of the responses, this is not always the case. The questionnaire was invented by Sir Francis Galton.
Questionnaires have advantages over some other types of surveys in that they are cheap, do not require as much effort from the questioner as verbal or telephone surveys, and often have standardized answers that make it simple to compile data. However, such standardized answers may frustrate users. Questionnaires are also sharply limited by the fact that respondents must be able to read the questions and respond to them. Thus, for some demographic groups conducting a survey by questionnaire may not be practical.

Secondary data collection data: "Secondary data is neither better nor worse than primary data; it is simply different. The source of the data is not as important as its quality and its relevance for your particular purpose. The major advantages of using secondary data are economic: using secondary data is less costly and time-consuming than collecting primary data. Its disadvantages relate not only to the availability of sufficient secondary data but also to the quality of the data that is available. Never use any data before you have evaluated its appropriateness for the intended purpose." In the research, various published articles are being used in interpreting the data/

DATA ANALYSIS

Data Processing and Analysis
Processing of data includes: * Editing: It is a process of examining the collected raw data to detect errors and omissions and to correct these when possible. As a matter of fact, editing involves a careful scrutiny of the completed questionnaires or schedules. Editing is done to assure that the data are accurate, consistent with other facts gathered, uniformly entered, as completed as possible and have been well arranged to facilitate coding and tabulation. In the research I have edited questions and deleted few questions to which I found to be incorrect and is not helping me in completing my research. * Coding: It refers to the process of assigning numerals or other symbols to answers so that responses can be put into a limited number of categories or classes. Such classes should be appropriate to the research problem under consideration. They must also possess the characteristics of exhaustiveness (i.e. there must be a class for every data item). And also that of mutual exhaustively which means that a specific answer can be placed in one and only one cell in a given category set. Another rule to be observed is that of uni dimensionality by which is meant that every class is defined in terms of only one concept. Coding is necessary efficient analyses and through it the several replies may be reduced to a small number of classes which contain the critical information required for analyses. Coding error should all together be eliminated or reduced to the least. In the research, I have coded questions which are of similar nature under one classification.

SNo. | Coding | 1 | Q-1-6, 18&19 | 2 | Q-7-10 | 3 | Q-11- 15 | 4 | Q-16,17,20 & 21 |

* Classification: It means to arrange data in groups or classes on the basis of common characteristics. Classification can be done in any of the following two types: * According to attributes: Data can be classified on the basis of common characteristics which can either be descriptive like literacy, gender or numerical like age, height, income. Descriptive characteristics refer to qualitative phenomenon which cannot be measured qualitative. Data obtained on the basis of certain attributes are known as statistics of attributes. * According to class interval: unlike descriptive characteristics, the numerical characteristics refer to qualitative phenomenon which can be measured through some statistical unit. Such data can be known as statistics of variables and are classified on the basis of class interval.
In the research, I have classified data according to the attribute (age). Under which data can be analysed based on the descriptive characteristics of the people under different age groups.

SNo. | Coding | Classification | 1 | Q-1-6, 18&19 | Number of people inclined towards music | 2 | Q-7-10 | Preference of music by people for different genre | 3(i) | Q-11- 15 | Number of people preferring Indian singers/music | (ii) | | Number of people preferring Pakistani singers | 4 | Q-16,17,20 & 21 | Number of people favouring Pakistani singers in IMI |

* Tabulation: when mass of data have been assembled, it becomes necessary for the researcher to arrange the same in some kind of concise and logical order. This process is called tabulation. It is the process of summarizing the raw data and displaying the same in compact form for further analysis. It is an orderly arrangement of data in columns and rows. Tabulation can be done manually as well as mechanically. The choice depends upon the size and type of study, cost consideration, time pressure and availability of tabulating machine or computer.

Benefits of tabulation * It consumes space and reduces explanatory and descriptive statement to a minimum * It facilitates the process of comparison * It facilitates the submission of items and the detection of errors and omission * It provides basics for various statistical comparison

In the research, data is analyzed under 4 classifications and is represesnted as follows:

TABLE A Number of people inclined towards music

SNo. | Age group(years) | Statistical representation | Numerical representation | 1 | Under 18 | | 9 | 2 | 18-21 | | 56 | 3 | 21-25 | | 20 | 4 | 26-30 | | 12 | 5 | 31-35 | III | 3 | | | TOTAL | 100 |

INTERPRETATION: It has been analyzed that people of all age are inclined towards music. Especially, people lying in the age group of 18-21(youth) have more inclination that that of people in other age groups.

TABLE B Preference of music by people for different genre

SNo. | Age group(years) | Statistical representation | Numerical representation | 1 | Under 18 | | 9 | 2 | 18-21 | | 52 | 3 | 21-25 | | 18 | 4 | 26-30 | | 12 | 5 | 31-35 | TOTAL | 190 |

INTERPRETATION: Music is an art form whose medium is sound and silence. It is being observed that people are prefering music for various genre like the music which defines themselves, their mood and many more. Youth lying in the age group of 18-21 is preferring music for different genre followed by peope lying in theage group of 21-25, 26-30, under18 and 31-35 respectively.

TABLE C (i) Number of people preferring Indian singers/music

SNo. | Age group | Statistical representation | Numerical representation | 1 | Under 18 | | 5 | 2 | 18-21 | | 25 | 3 | 21-25 | | 9 | 4 | 26-30 | | 5 | 5 | 31-35 | - | - | | | TOTAL | 44 |

INTERPRETATION: Data represented above depicts the preference of people towards Indian singers/music. Although people of all age groups prefer Indian music but it has a booming impact onto the people aging between 18-21 and then follows the people of age group 21-25 years and ten so on. Also people lying in the age group of 31-36 have no preference with respect to India singers/music.

TABLE C(ii) Number of people who prefer Pakistani singers

SNo. | Age group | Statistical representation | Numerical representation | 1 | Under 18 | | 4 | 2 | 18-21 | | 31 | 3 | 21-25 | | 11 | 4 | 26-30 | | 7 | 5 | 31-35 | TOTAL | 356 |

INTERPRETATION: Although, the relative percentage of people(18-21) who prefer pakistani singers is comparatively less than that of Indian singers but it is posed by the people of all age group thoseof whom lying in the group of 21-25, 26-30,under 18 and also by the people who lie in between 31-36.

TABLE D Number of people favouring Pakistani singers in IMI

SNo. | Age group | Statistical representation | Numerical representation | 1 | Under 18 | | 9 | 2 | 18-21 | | 52 | 3 | 21-25 | | 20 | 4 | 26-30 | | 12 | 5 | 31-35 | | 3 | | | TOTAL | 96 |

*IMI- Indian Music Industry

INTERPRETATION: It has been interpreted that a large number ofpeople are in favour of the adoption of pakistani singers by the Indian Music Indusrty(IMC). People of all age group are favouring the trend being adopted by the Indain Music Industry(IMC) providing the space and nurturing the talent of pakistani singers irrespective of the geographcal bounderies.

CONCLUSION Indian Music Industry plays a vital role in honouring the talent from Pakistan irrespective of geographical boundaries. The efficient initiative of the Pakistani Singers has taken the music industry into the zenith of success. Pak singers have generated the love for music among the youth. From inception, India has always promoted the diversified culture and various initiative in honouring the art, talent by hosting reality shows- Sa re ga ma pa, Indian Idol etc. More often, Pak singers are associated as the soul of the Sufiana Music.

It has been concluded that youth (18-25) are in favour of respecting the talent of Pakistani singers by Indian Music Industry(IMC).People of all age group believe that via this way of honouring talent of Pakistani singers irrespective of the geographical boundaries are able to bridge the Indo Pak relations. It has also been observed that people believe that Pakistani singers have soul in their voice than the Indian singers. It has also been analyzed that India is less conservative in outsourcing the talent irrespective of the geographical boundaries. This way of honouring the Pakistani talent is all because of the reality shows conducted in India ,which always motivate in building the Indo Pak relations by allowing them to participate in the contest. It has also been observed that Indian Music Industry is big enough to hold and support the talent.

People of all age group are in favour of the way of Indian Music Industry(IMI) which is helping the upcoming Pakistani singers to get recognition in the industry. India being a nation of diversified nation has always promoted and tries to build the Indo Pak relations.

DISCLAIMER: This research would have been more elaborated and accurate if the time period for doing so will be more.

BIBLIOGRAPHY

Websites * http://www.scribd.com/doc/60463527/Pakistani-singers-eye-on-Indian-Music-Industry
Title: Pakistani eye on Indian music industry Author: Mahmuud Farhaaz * http://en.wikipedia.org/wiki/Rahat_Nusrat_Fateh_Ali_Khan
Title:Rahat Nusrat Fateh Ali Khan Author:Non Profit Organization

* http://en.wikipedia.org/wiki/Atif_Aslam
Title:Aatif Aslam Author: Non Profit Organization

* http://en.wikipedia.org/wiki/Mohammed_Rafi
Title: Mohommad Rafi Author: Non Profit Organization

* http://grammar.about.com/od/rs/g/secsourceterm.htm
Title: Mohommad Rafi Author: Non Profit Organization

Newspaper * http://www.deccanherald.com/content/97729/india-just-like-pakistan-say.html
Title: Examples and observations Author: -IAN

ANNEXURES
QUESTIONNAIRE

Name:Gender: * Female * Male Age: * Under 18 * 18-21 * 22-25 * 26-30 * 31-35 * 36+Email id: ________________________________Occupation: * Student * Full time job * Part time job * Unemployed |

1. Do you like music? Yes
No

2. If yes, what is music to you?
__________________________________________________________________________________________________________________

3. Do you buy CD’s or download music from respective sites?______________________________________________________

4. If yes, which sites do you frequently use to download?
___________________________________________________________

5. Which kinds of music do you like the most? * Sufiana * Gazals * Bollywood * Rock/Pop * All

6. How much do you listen to per day? * Under 1 hour * 1-2 hours * 2-3 hours * 3-4 hours * 4-5 hours * 5+ hours

7. What was the last song you listened to?
___________________________________________________________

8. Which song sums you up?
___________________________________________________________

9. In which song you like the lyrics but not the singer/music?
___________________________________________________________

10. With which singer would you like to hang out for a day?
___________________________________________________________
RAPID FIRE

11. Mohit Chauhan or Aatif Aslam ________________________

12. Mohd. Rafi Gazals or Mohd. Rafi’s Bollywood music compositions? 13. Rahat Fateh Ali Khan’s controversy or his music?
___________________________________________________________

14. Atif as a performer or Sonu Nigam _________________________

15. You prefer:- * Asha Bhosle’s “ Jhuka ke sar ko pucho”
Or
* Nazia Hasan’s “ Aap jaisa koi”

16. Do you think Pakistani singers have soul in their voice? * Yes * No

17. Do you think any song being voiced by Atif Aslam would be a hit no matter what the lyrics would be? * Yes * No

18. Do you watch out movies which have one or two songs being voiced by a specific singer? * Yes * No 19. If yes, then whose song would you prefer in a movie?
___________________________________________________________

20. Do you support Indian Music Industry (IMC) way of honouring Pakistani Singers’ talent irrespective of geographical boundaries? * Yes * No 21. Are you in favour of building Indo-Pak relations via this way of welcoming the talent by IMC? * Yes * No
QUESTIONNAIRE

Name:Gender: * Female * Male Age: * Under 18 * 18-21 * 22-25 * 26-30 * 31-35 * 36+Email id: ________________________________Occupation: * Student * Full time job * Part time job * Unemployed |

22. Do you like music? Yes
No

23. If yes, what is music to you?
__________________________________________________________________________________________________________________

24. Do you buy CD’s or download music from respective sites?______________________________________________________

25. If yes, which sites do you frequently use to download?
___________________________________________________________

26. Which kinds of music do you like the most? * Sufiana * Gazals * Bollywood * Rock/Pop * All

27. How much do you listen to per day? * Under 1 hour * 1-2 hours * 2-3 hours * 3-4 hours * 4-5 hours * 5+ hours

28. What was the last song you listened to?
___________________________________________________________

29. Which song sums you up?
___________________________________________________________

30. In which song you like the lyrics but not the singer/music?
___________________________________________________________

31. With which singer would you like to hang out for a day?
___________________________________________________________
RAPID FIRE

32. Mohit Chauhan or Aatif Aslam ________________________

33. Mohd. Rafi Gazals or Mohd. Rafi’s Bollywood music compositions? 34. Rahat Fateh Ali Khan’s controversy or his music?
___________________________________________________________

35. Atif as a performer or Sonu Nigam _________________________

36. You prefer:- * Asha Bhosle’s “ Jhuka ke sar ko pucho”
Or
* Nazia Hasan’s “ Aap jaisa koi”

37. Do you think Pakistani singers have soul in their voice? * Yes * No

38. Do you think any song being voiced by Atif Aslam would be a hit no matter what the lyrics would be? * Yes * No

39. Do you watch out movies which have one or two songs being voiced by a specific singer? * Yes * No

40. If yes, then whose song would you prefer in a movie?
___________________________________________________________

41. Do you support Indian Music Industry (IMC) way of honouring Pakistani Singers’ talent irrespective of geographical boundaries? * Yes * No 42. Are you in favour of building Indo-Pak relations via this way of welcoming the talent by IMC? * Yes * No

India is just like Pakistan, say reality show contestants | New Delhi, Sep 19, (IANS): | Be it the food, the streets, the people or the music, Pakistani children who are contestants on Indian reality shows hardly feel any difference between the two neighbouring nations. For them, it's like a home away from home. | | | Karachi-based Wanya Jibran, a participant on STAR Plus' music reality show "Chhote Ustaad", says she was apprehensive about travelling to India with her mother but felt extremely well settled once she touched Mumbai.

"I was scared of travelling alone with my mom. But my parents were very supportive and said it's a lifetime's opportunity. And when I came to Mumbai, I found no major difference. It's like my Karachi. People here are also so nice; they take good care of us," the 13-year-old told IANS.

Wanya says she fails to understand the constant refrain about the two nations being at loggerheads.

"I don't know why people keep talking about tensions between India and Pakistan. I have never felt for a single moment that these two countries have bitter relations. I think relations are good and friendly," she added.

Wanya is one among 10 children shortlisted from Pakistan to take part in "Chhote Ustaad", which has one Indian child teamed with a Pakistani child to denote unity.

There are others too like Rouhan Abbas, 13, and Rosemary Mushtaq, 11, who are enjoying the Indian hospitality and their newfound friends across the border.

"Mujhe yahaan vada pav bahut achha lag raha hai (I have been enjoying eating vada pav in Mumbai). I have made so many friends here and have learnt so much from all judges that I will always remember India with a smile," said Rouhan, who lives in Lahore, and is a big fan of Indian singers Sonu Nigam and Hariharan.

Rosemary, also from Karachi, says she enjoys the rehearsals and the fun they have off-screen. She too is not concerned about the supposedly strained relations between the two countries.

Sonu Nigam and popular Pakistani singer Rahat Fateh Ali Khan, who has given several Bollywood hits, are the judges on the singing contest.

Children apart, Khurram Iqbal, the only Pakistani contestant on Zee TV's "Sa Re Ga Ma Pa Singing Superstars", says people had taunted him before coming to India for the show. But now he is glad he didn't pay heed to them.

"My parents and friends gave me a lot of support, but I heard that many others were saying things like - 'India kyun jaa raha hai yeh ladka (Why is he going to India)'. I was frankly scared of coming here," Iqbal told IANS.

"But believe me, I have spent three-and-a-half months here in India now, and I have not missed home at all. I don't feel I'm away from Pakistan," said the 21-year-old, who dreams of becoming a Bollywood singer.

Khurram is still overjoyed that he got a chance to come face-to-face with his idol - Salman Khan. It's such simple moments of joy that these contestants will take back with them.

In the past, established singer Abhijeet Bhattacharya had expressed his displeasure about Pakistani singers coming to India, but Sonu Nigam feels this exchange of culture will go a long way in changing attitudes.

"Children have impressionable minds; so inculcating positivity and a feeling of brotherhood in them from this age will result in a very good future. Our show is a good initiative and I hope people will appreciate it," the singer said.

Rahat Fateh Ali Khan, who has sung tracks "Teri Ore" and the recent "Tere Mast Mast do Nain", said the show "encourages brotherhood between India and Pakistan, advocates peace and that love should be the foundation of everything".

Over the years, many Pakistani singers have found a foothold in the Indian industry like Adnan Sami, Atif Aslam and Shafqat Amanat Ali apart from Rahat Fateh Ali Khan.

And Ashish Golwalkar, creative head (non-fiction) of Zee TV, says, "Raag Bhairavi does not change in Pakistan. The basics of music are the same everywhere. It is just all about bringing the best of talent on one stage and spreading peace." |

The Emergence of Pakistani Singers in Bollywood
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By Sara
Posted on September 1st, 2006 in Music
In the past couple of years the Bollywood Film Industry was pleasantly surprised by the rising success of Pakistani singers. A whole new musical experience was presented to the listeners and the acceptance was overwhelming. There is enough reason to believe that a Sufi influence song can work its magic and make an album a great success. It was back in 2003 when a small budget movie in the name of Waisa Bhi Hota Hai Part II starring Arshad Warsi was released. Does it ring a bell? No. Well that’s not surprising as the movie itself wasn’t a success but it did introduce the now successful singer, Kailash Kher who became an overnight sensation after his debut song “Allah Ke Bande”. A year later, in 2004, in Pooja Bhatt’s directorial venture, Paap, a Pakistani artist named Ali Azmat was introduced who composed the background music. In the Paap album, a song that was immensely popular was “Mann Ki Lagan” and what made the song a winner was the reminiscent voice of Rahat Fateh Ali Khan. Being the nephew of the legendary and late Nusrat Fateh Ali Khan, Rahat Fateh Ali Khan has his own distinctive and mesmorizing voice that enthralled listeners. Following the success of “Mann Ki Lagan”, Pakistani singers have proven to be a good luck charm for the Bhatt camp. From Zeher to Gansgster, their music albums have been great hits regardless of the fate of the movie and at times it was the success of the music that drove people to watch the movie. Besides the Bhatts, Madhur Bhandarkar in his recent directorial venture, Corporate, included a Sufi rendition of the song “O Sikandar” sung by Kailash Kher. And how can we forget about Karan Johar who joined the Sufi trend and gave us “Mitwa” sung by Shafqat Amanat Ali Khan (lead singer of the Pakistani band, Fuzon) in his Kabhi Alvida Na Kehna. Needless to say that both were chartbusters.
The question now is why this sudden entry of Pakistani singers? What is it about their singing that captivates listeners? The Bollywood music front hasn’t been able to bring out any distinctive elements in their music lately, it has been more about countless remixes of one song which in the end lacks originality and gets quite repetitive. On the other hand, Pakistani singers have really improved and progressed in recent times and has a distinctive charm in their singing. They bring out their own cultural flavours in their songs. Unfortunately, they are unable to get the needed exposure in their country and thus are always on the lookout for bigger and better opportunities and Bollywood is that opportunity, that platform that will give them their deserved exposure. What Pakistani singers brought to the Bollywood music front was uniqueness and that made them succeed. Today, anything with a Sufi influence guarantees success in Hindi movies. It is still unknown if this new trend is just another passing phase or not but one thing is clear, that we will be hearing many more of Sufi influenced music in the near future.…...

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