Media ethics and laws (1)

Media Laws and Ethics

Implementation of PEMRA’s code & conduct on music industry.

Assignment:

Tehreem Ilyas,Yumna Akhtar.

2015Jinnah University for women.

Music.Definition:

he Oxford Universal Dictionary defines music as, "That one of the fine arts which is concerned with the combination of sounds with a view to beauty of form and the expression of thought or feeling".T

The word derives from Greek mousike; "art of the Muses".

Music is an art form, social activity or cultural activity whose medium is sound and silence. The 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.

Different styles or types of music may emphasize, de-emphasize or omit some of these elements. Music is performed with a vast range of instruments and with vocal techniques ranging from singing to rapping, and there are solely instrumental pieces, solely vocal pieces and pieces that combine singing and instruments.

History of music:Music is found in every known culture, past and present, varying widely between times and places. Since all people of the world, including the most isolated tribal groups, have a form of music, it may be concluded that music is likely to have been present in the ancestral population prior to the dispersal of humans around the world. Consequently, music may have been in existence for at least 55,000 years and the first music may have been invented in Africa and then evolved to become a fundamental constituent of human life.

2015Implementation of PEMRA’s code & conduct on music industry.

Page 1Jinnah University for women.

History of Pakistani music:The Music of Pakistan includes diverse elements ranging from music from various parts of South Asia as well as Central Asian, Middle Eastern, and modern-day Western popular music influences. With these multiple influences, a distinctive Pakistani sound has been formed.

Ghazal:

In poetry, the ghazal is a poetic form consisting of couplets which share a rhyme and a refrain. Each line must share the same meter. Etymologically, the word literally refers to "the mortal cry of a gazelle". The animal is called Ghizaal, from which the English word gazelles stems, or Kastori haran (where haran refers to deer) in Urdu. Ghazals are traditionally expressions of love, separation and loneliness, for which the gazelle is an appropriate image. A ghazal can thus be understood as a poetic expression of both the pain of loss or separation of the lover and the beauty of love in spite of that pain. The structural requirements of the ghazal are more stringent than those of most poetic forms traditionally written in English.

The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Exotic to the region, as is indicated by the very sounds of the name itself when properly pronounced as ġazal. Although the ghazal is most prominently a form of Urdu poetry, today, it has influenced the poetry of many languages. Most Ghazal singers are trained in classical music and sing in either Khyal or Thumri.

The ghazals can be sung both for men and women, as an expression of love/beauty.

Abida Parveen has rendered her voice to Ghazal, Kafi, Qawwali and also Classical

and Regional Music.



Qawali:The Mughal Emperor Muhammad Shah was one of the most important patrons of Qawwali and is widely credited for its cultural advancement.

Qawwali is the devotional music of the Chishti Sufis. Qawwali is a vibrant musical tradition that stretches back more than 700 years in India. Originally performed mainly at Sufi shrines throughout the India, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Aziz Mian, Nusrat Fateh Ali Khan and sabri brothers, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Listeners, and often artists themselves are transported to a state of wajad, a trance-like state where they feel at one with God, generally considered to be the height of spiritual ecstasy in Sufism. The roots of Qawwali can be traced back to 8th century Persia, however, Qawwali in the form we know it today was essentially created by Amir Khusrau in the late 13th century.

During the first major migration in the 11th century, the musical tradition of Sama migrated to South Asia from Turkey. Rumi and his Mevlana order of Sufism have been the propagators of Sama in Central Asia. Amir Khusrau of the Chisti order of Sufis is credited with fusing the Turkish, Persian, Arabic, and South Asian musical traditions, to create Qawwali as well as the classical music tradition. The word "Sama" is used (or is the preferred name) in Central Asia and Turkey, for forms very similar to Qawwali while in Pakistan, the formal name used for a session of Qawwali is "Mehfil-e-Sama".

Hamd and NaatThere is a large number of hamd and naat singers in Pakistan. This is a type of Islamic religious music where poetical verses of love for Allah are expressed. Some of the most famous artists include Ustad Nusrat Fateh Ali Khan; along with his nephew Rahat Fateh Ali Khan.There is Sabri Brothers Qawwal, Qawwal Bahauddin Khan from Karachi.



'Hamd' is also used extensively in Christian religious music from Pakistan and all over the world where people from this region are found.'Hamd' is not the exclusive domain of any religion. As pointed out – it denotes praise to God; it is more extensively used in the Muslim world. It is usually used in conjunction with the Sanna and referred to as 'Hamd – o – Sanna'. 'Naat' denotes praise to the prophet Muhammad.

Classical music of Pakistan: Classical music of Pakistan is based on the traditional music of South Asia which was patronized by various empires that ruled the region and gave birth to several genres of classic music including the Klasik and Hindustani classical music. The classical music of Pakistan has two main principles, ‘sur’ (musical note) and ‘lai’ (rhythm). The systematic organization of musical notes into a scale is known as a raag. The arrangement of rhythm (lai) in a cycle is known as taal. Improvisation plays a major role during a performance.

The major genres of classical music in Pakistan are dhrupad and khayal. Dhrupad is approaching extinction in Pakistan despite vocalists like Ustad Badar uz Zaman, Ustad Hafeez Khan and Ustad Afzal Khan have managed to keep this art form alive. Khayal is the most popular genre of classical music in Pakistan as is also enjoyed with much enthusiasm in Afghanistan.

Regional music of Pakistan:A trio of Pakistani folk singers performing at a local gathering

Pakistani folk music deals with subjects surrounding daily life in less grandiose terms than the love and emotion usually contained in its traditional and classical counterpart. In Pakistan, each province has its own variation of popular folk music.



Balochi music:

Baluchi music is very rich and played with varieties of traditional instruments. Due to their demographics and strong cultural values, the Baluch people have been able to keep their rich traditional heritage alive.

Before the 1950s the Suroz, a Baluchi folk violin, was only played in the Balochistan region.

The most commonly used instruments in Baluchi folk music are Tanbur, long-necked lutes. Dohol a large cylindrical drum with two skin heads, it is the principal accompaniment for the Surna an ancient Iranian woodwind instrument that dates back to the Achaemenid Dynasty. Ney which is commonly played using single or double flutes. Other Baluchi musical instruments include the Tar and Saz.

Panjabi music:

Folk music of the Punjab is the traditional music of Punjab produced using the traditional musical instruments like Tumbi, Algoze, Dhadd, Sarangi, Chimta and more. There is a wide range of folk songs for every occasion from birth to death including marriage, festivals, fairs and religious ceremonies.

Life-cycle songs mostly “coincide with ritual occasions and they often mark stages in a ceremony” and can vary in topic ranging from birth to marriage.For example, family members and friends sing these songs during wedding festivities, by doing so help protect the traditional rituals associated with each step of the marriage. Suhag or ghorian, which is sung for bride and groom respectively, typically give praise to God and ask for blessings from God.

Short verse forms of some folks like thapa, dhol, mahiya are included.

Bhangra describes dance-oriented popular music with Punjabi rhythms, developed since the 1980s. The name refers to one of the traditional and folkloric Punjabi dances. Thus in bhangra music the emphasis is usually on the music and less on the singer and the lyrics. Bhangra music is appreciated all over the globe.



During the past century, Punjabi folk musicians used 87 instruments, 55 of which are still used today. Like, Algoza, Dhol, Chimta, Dholki, Kanjari, Kato, Dhad.

Pashto music:

Major styles of Pashto music are these Tappa, chartaba, Neemakai, loba, shaan, badla and rubai.

Tappa is the oldest and most popular genre of the Pashto poetry. The Tappa is a composition of two unequal meters, in which the first line is shorter than the succeeding one, yet it reflects all human feelings and aspirations elegantly. It is the only song sung in the time of grief and on the occasion of marriage. In music it is sung with the traditional Pashto musical instruments rubab and mangai. Tappa has up to 16 different models of harmony and is being sung with full orchestra. In hujrah it's sung with rubab and sitar.There are four kinds of Charbetta. Normally, it's a poem of four lines but might also have six or eight lines. All aspects of life are discussed in it. That includes the heroic deeds and heroism by legendary figures and sometime expresses the romantic feelings. The tempo is usually very fast and is sung by two or more singers as part of a chorus in which ones singer reads the first line while the others follow the remaining. The singing or recitation of a Charbetta is called Tang Takore. Traditionally Charbetta is started just after the finishing of a Tappa.Neemakai has many different forms and normally women compose it. It is usually very short 1 to 3 lines. The first lines are repeated in the middle of the song and Tappa is usually added according to the subject and circumstances. Loba is very popular among the masses and are added within Tappas occasionally. This is a form of folk music in which a story is told. It requires 2 or more persons who reply to each other in a poetic form. The two sides are usually the lover and the beloved.Shaan is sung during happiness such as marriages and or the birth of a child, and are sung in private congregations and social gatherings.



Badala is a professional form of folk music and consists of an epic poem or a ballad. Instruments used include the rubab, harmonium, mungey or tabla. In Badala, tribal traditions are the main theme as well as heroism, tragedies and romance. It is sung traditionally at night.Rubayi is a Pashto form of a Ghazal. The Rubayis of Rehman Baba are popular among the masses and is sung before the starting of Badala.

Sindhi music:

Generally sindhi music has “Baits” and “waee” style. Baits style is vocal music in Sanhoon or Graham. Waee instrumental music is performed in a variety of ways using a string instrument. Waee is also known as Kafi.

Otherwise sindhi music has also a spice of “sufi” music known as “shah jo raag”.

The traditional compilations of Shah Jo Risalo by Shah Abdul Latif Bhitai include 30 Surs which are sung as raags. The oldest publications of Shah Jo Risalo contained some 36 Surs, but later most of the linguists discarded 6 Surs, as their language and content did not match with the Shah's style.

The traditional 30 Surs included in Shah Jo Risalo are:

Bilawal, Kalyaan, Yaman Kalyaan, Khanbhaat, Suri, Raag, Samundi, Sohni, Sasui, Aburi, Maazuri, Desi, Kohyari, Husaini, Laila, Chanesar, Mumal, Ranu, Marvi, Kaamod, Ghatu, Sorath, Kedaro, Sarang, Asaa, Ripp, Khahori, Barwo Sindhi, Ramkali, Kapa'iti, Purab, Karayal, Pirbhati and Dahar.

Common instruments used in Sindhi regional music include:

1. Ektara known as Yaktaro in Sindhi

2. Tanpura known as Danburo in Sindhi



3. Alghoza Flute

4. Bansuri

5. Pungi known as been in Sindhi

6. Narr

7. Naghara

Pakistani music in the 21st century revitalized itself. And pop music and rock

music are added in this music saga.

POP MUSIC:

Pop music really started in Pakistan region with the famous playback singer Ahmed Rushdi's song ‘Ko Ko Korina’ in 1966. Composed by Sohail Rana, the song was a blend of 1960s bubblegum pop, rock and roll twist music and Pakistani film music. This genre would later be termed as filmi pop.

Nazia Hassan in 1981, became the first playback singer to release a pop music album. Her first album was 'Disco Deewane'. The album broke sales records in Pakistan and India and even topped the charts in the West Indies, Latin America and Russia.

RAP MUSIC:

“Rapping is "spoken or chanted rhyming lyrics". The components of rapping include "content", "flow" and "delivery". Rapping is distinct from spoken-word poetry in that it is performed in time to a beat. Rapping is often associated with and a primary ingredient of hip-hop music”.

By the middle of the decade, hip hop artists of Pakistani origin such as California based Bohemia. Netherlands-based Imran Khan and Waqas Ali Qadri of the Danish band Outlandish had started exploring lyrics in Punjabi.



Other popular artists from the region include Adil Omar, Faris Shafi, S.T.T. (Saber Toothed Tiger), Desi Machines [Zayn ul Abidin and Zain Shah] from Lahore, Lazarus and Osama Com Laude.

Most recently, comedian Ali Gul Pir, Kunwer Azlan, Young Stunners and Hashim Ishaq have come out of the Karachi music scene with their singles Waderai Ka Beta, "Taroo Maroo", "Muffte", "SelfiePhobia", "Burger e Karachi", "Baap Ki sarkar", "Maila Majnu","Laam Se Chaurha", "New Entry","Straight Outta Karachi" and "Dar" Their rapid-fire lyrics using Karachi street slang are seen as a sign of growth of the genre in the country.



PEMRA.Pakistan Electronic Media Regulatory Authority is an

independent and constitutionally established federal institution responsible for regulating and issuing channel licenses for establishment of the mass-media culture, print and electronic media.

It was established on 1st March, 2002 in the supervision of formar president of Pakistan R. general Parvez Musharaf.

Pemra's principal objectives are to facilitate and regulate the private electronic mass-media industry and to improve the standards of information, education and entertainment.

Constitutional status and definition.The constitutional freedom of speech and press are highlighted in the constitution of Pakistan. Under the article 19 and article 19A of Fundamental Rights in Constitution of Pakistan. The Constitution grants PEMRA following powers:

1. Improve the standards of information, education and entertainment. 2. Enlarge the choice available to the people of Pakistan in the media for

news, current affairs, religious knowledge, art, culture, science, technology, economic development, social sector concerns, music, sports, drama and other subjects of public and national interest.

3. Facilitate the devolution of responsibility and power to the grass roots by improving the access of the people to mass media at the local and community level.

4. Ensure accountability, transparency and good governance by optimization in the free flow of information.



“ Every citizen shall have the right to freedom of speech and expression, and there shall be freedom of the press, subject to any reasonable restrictions imposed by law in the interest of the glory of Islam or the integrity, security or defense of Pakistan or any part thereof, friendly relations with foreign States, public order, decency or morality, or in relation to contempt of court, [commission of] or incitement to an offence.

Article 19(A) — Right to information: Every citizen shall have the right to have access to information in all matters of public importance subject to regulation and reasonable restrictions imposed by law. ”

Code & conducts of Pemra for media broadcasting (also implementation for music.

1: No program shall be aired which:

A) Contains anything pornographic, obscene or indecent is likely to deprave, corrupt or injure the public morality.

B) Is against basic cultural values, morality and good manners.

C) Denigrates men or women through the depiction in any manner of the figure, in such a way as to have the effect of being indecent or derogatory.

The Authority is responsible for facilitating and regulating the establishment and operation of all private broadcast media and distribution services in Pakistan established for the purpose of international, national, provincial, district, and local or special target audiences.

MUSIC ALBUM.



Definition:In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats.

Discussion:First we will talk about the vulgarity promoted in Pakistani music albums. Some of the pictures we mentioned are from music albums launched in the year 2007 or 2008 like “SUN RAY SAJANIYA” and “SAJNI”. The dressing of girls shown in that album is not portraying our actual culture. Similarly, the way those girls are dancing and camera focusing on their figure was so disgusting .The songs were no doubt, the best but the dressing of girls were not so good. One more thing I want to mention is that some albums encourage the relationship of boys and girls and motivate their closeness which is not the part of our culture and society. And if it’s not the lyrics then it’s the video that succeeds in disgusting me. I also want to point out the language used in those albums for instance “SAALI TU MAANI NAHI” . We should not use these types of slangs as we know that everyone is listening whether they are young or child…

I know that all music is art, that every musician has the right to write and compose whatever he or she wishes. BUT I also believe that the art of a particular time is the best reflection of the people of those times; the best reflection of the collective inner state of humanity at that time. So music albums should be made in a way that actual reflects the society.

Here are the some clicks from different song.



ITEM NUMBERS.

Definition:An item number or an item song, in Indian cinema, is a musical performance that is often shown as a part of the movie but most of the times without any importance to the plot of the movie. The main aim of an item number is to entertain and also to lend support to the marketability of the film.

Discussion;Item songs were the part of bollywood movies which can be explained like a girl dancing in short and exposing clothes between hundreds of men in a cheap song. But now, like other trends..This trend is also being adopted by our society. Our film industry is rising day by day with a huge rise in vulgarity. Item songs have become compulsory in today’s Pakistani films. Moreover the dresses wore in these songs are so shameful. Almost every item song lyrics portray girls in a bad light and demean their value in the society. According to item songs, all girls are supposed to do is, please men with their attractiveness..Pakistani actresses have very huge fan following and no doubt, they are very good and talented actresses but when it comes to item songs, they wore very exposing and short clothes

whether it is MEHWISH HAYAT,SOHA ALI OR AYESHA UMAR. Another disturbing thing about these item songs is their indecent lyrics like …

“Tere aangan mein hi chamke gi meri ye shookh jawani”

and

“Gutka main hun chaba le, Baaja main hun baja”

and many more like this..

Due to minimum or no parental guidance, children freely watch these item songs and start thinking like the despicable lyrics suggests. Little girls tend to be more



affected by these songs due to obvious reasons. I have seen little girls performing on these item songs in several reality shows and they have been appreciated, but nobody bothered to tell these kids that these songs are not suitable for their age. Watching a good song and enjoying the performance is not bad but I am definitely against children watching these songs, as theirs is the age where a mind is shaped, and an item song or item girl is surely not the brightest choice.

LIST OF FAMOUS PAKISTANI ITEM SONGS:

1: ISHQ KAMLA (HALLA GULLA)

2: SELFIYAN (WRONG NUMBER)

3: TUTTI FRUTTI (KARACHI SAY LAHORE)

4: MASTANI (8969)

5: JAWANI (JALAIBEE)

6: BILLI (NAMALOON AFRAD)

7: NAUGHTY SAIYAN (THE SYSTEM MOVIE)

8: SONAY DI TAWATRI (SALTANAT)

9: MASTI MAY DOOBI RAAT HAY (MAIN HOON SHAHID AFRIDI).

We found some clicks of these item numbers. Here they are:



Rap

music.





Hawwa Ki Beti ka qissa mein btata hu, Shaitan kya kuch karwa sakta hai mein dikhata hu,

Jo kahu ga 100 feesad sach hai, tum suntay jao, aur saath saath dimagh mein tasveer banao,

Lekin agar tum wo ho jo sach sun na nahi chahtay tou jaakay koi sasta music channel lagao,

is gaanay mein na maza na tafree na sur na taal is gaanay mein samjhau ga tumhein mein surat e haal, a

ik larki jo badsurat tou nai par haan bad naseeb thi, ameer baap ke bigray bete ke uspe gandi niyat thi,

us larki ke teri tarah kuch chotay motay khuaab thay, parh likh kar kuch ban jau par khuaab sirf khuaab thay,

paise jor jor ke daala usay aik baray school mein, jahan ameero ke bachay aya kartay fazool mein,

us baa parda larki ki aankhein jhukki rehti thein,aankhein kirdaar ke baaray mein sab kuch kehti thein,

Par uski izzat se tera aur mera kya lena dena? Jahan kuch galat ho tum foran ban jao nabeena,

Aam sa din, School chutta, Wo nikli ghar ki taraf, Ghar pe Maa intizaar mein dekhe darwaazay ki taraf,

Chorus: Roti Hawwa Ki Beti, Adam Ka Beta Hansta, Iblees Dimagh Mein Nahi Humaray Dilo Mein Basta,

Dil Pathar Ke Hain Aur Hum Sab Chaltay Phirtay Bu’tt, Khuda Se Daray Binna Khuda Bannay Phirtay Khud (x2)

Verse2: Wo chaltay chaltay soch rahi thi ghar pohonch jau, maa thakki hogi jaake uske haath battau,

aik dum haath aya dupattay pe uskay aur wo dar gai, larkay ne dupatta khencha tou wo bhaagi



Hawwa Ki Beti ka qissa mein btata hu, Shaitan kya kuch karwa sakta hai mein dikhata hu,

Jo kahu ga 100 feesad sach hai, tum suntay jao, aur saath saath dimagh mein tasveer banao,

Lekin agar tum wo ho jo sach sun na nahi chahtay tou jaakay koi sasta music channel lagao,

is gaanay mein na maza na tafree na sur na taal is gaanay mein samjhau ga tumhein mein surat e haal, a

ik larki jo badsurat tou nai par haan bad naseeb thi, ameer baap ke bigray bete ke uspe gandi niyat thi,

us larki ke teri tarah kuch chotay motay khuaab thay, parh likh kar kuch ban jau par khuaab sirf khuaab thay,

paise jor jor ke daala usay aik baray school mein, jahan ameero ke bachay aya kartay fazool mein,

us baa parda larki ki aankhein jhukki rehti thein,aankhein kirdaar ke baaray mein sab kuch kehti thein,

Par uski izzat se tera aur mera kya lena dena? Jahan kuch galat ho tum foran ban jao nabeena,

Aam sa din, School chutta, Wo nikli ghar ki taraf, Ghar pe Maa intizaar mein dekhe darwaazay ki taraf,



Verse2: Wo chaltay chaltay soch rahi thi ghar pohonch jau, maa thakki hogi jaake uske haath battau,

aik dum haath aya dupattay pe uskay aur wo dar gai, larkay ne dupatta khencha tou wo bhaagi

Wo larkay nidar ho kar uski haalat pe hans rahay thay, aur wo bechari, jiske aansu nahi tham rahay thay,

wo jaise he boli ke khuda ke liye aisa mat karna, thappar maaray kapray phaaray karne lagay zanna

Baari baari chaaro ne zanna ka gunnah kiya, Haath mu pe rakha usay kuch na kehne diya,

bohot azziyat mein thi bechaari kuch keh bhi nahi paa rahi, soch rahi hai ke usay maut kyun nai arahi,

Un mein se aik larka, jo tha hawas ke nashay mein andha, Larki ka zor se haath mora tor diya kandha, Wo bhi kisi ki behen hai ye kisi ne na socha, Aur phir usne hawaa ki beti ka galla daboch,

Saans na mil saka tou wo haath pair maarne lagi, Na zinda ghar jaanay ki phir uski umeed jaggi

Dimagh uska band aur uska, aur wo sehem gai, Aur larkay nashay mein dhutt, hosh nahi, ‘mar chuki hai saali, Aik larka hans kar kehta, waise maal virgin tha, varna itna khoon na behta’,



Discussion;

Rap songs have become so popular in Pakistan nowadays and are mostly sung by teenagers. If we talk about Pakistan rap songs, they are mostly composed to taunt on something..Whether it is on politics or any other social issue. Youngsters like these sort of songs and most of them used to play those songs in their cars on buffers. Teenagers are mostly influenced by those songs. The essence of vulgarity and slang used in these songs are very high. Especially name calling is so common in these sort of songs. Everyone knows that rap music have bad influence on children, teens and young people, because of the content of the songs, like drugs, sex, women degradation, assaults and crimes in general. Teens act according to behavioral patterns, and their direct role models are stars music/famous people, just like rapers. Rap would be fine if it wasn't about sex, drugs, and strip clubs all the time. Rap is almost always about having sex and doing drugs. . Kids who listen to this stuff young don't learn boundaries about public vs. private language. Mostly rap songs are very vulger and contain very suggestive and bad actions.

Fan following ratio of famous rap songs in social websites.



CONCLUSION:

After analyzing the whole scenario it is concluded that today’s Pakistani music is not following code of conducts….whether it is item numbers. Music albums or rap songs…every sort of music has some drawbacks in it .To sum up, music scene in Pakistan has seen several fluctuations since its inception. From making tunes using classroom desks and writing songs sitting in college cafeterias to molding and editing voice qualities through latest techno software using various internet sources. One thing is sure country’s music scene has proved, it is there to stay for a long time no matter what impacts are followed by the society. The music icons has a great impact on the lifestyle of youth of the country we should revised our music in a way that will best reflect our own culture and society.



Media ethics and laws (1)

Education

Transcript of Media ethics and laws (1)