Media ethics and laws (1)

J i n n a h U n i v e r s i t y f o r w o m e n .
2015
Implementation of
PEMRA’s code & conduct
on music industry.
Assignment:
Tehreem Ilyas,Yumna Akhtar.
Media Laws and Ethics

Implementation of PEMRA’s code & conduct on music industry. 2015
J i n n a h U n i v e r s i t y f o r w o m e n . Page 1
Music.
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".
The word derives from Greek mousike; "art of the Muses".
Music is an art form, social activity or cultural activity whosemedium 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-emphasizeor omit some of
these elements. Music is performed with a vastrange of instruments and with
vocal techniques ranging fromsinging to rapping, and there are solely
instrumental pieces, solely vocal pieces and pieces that combine singing and
instruments.
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.
T

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.
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

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, NusratFateh Ali Khan and sabribrothers, 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 firstmajor 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".
There 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 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.
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.

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.
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.
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. Itis 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.
Generally sindhimusic has “Baits” and “waee” style. Baits style is vocal music in
Sanhoon or Graham. Waee instrumentalmusic is performed in a variety of ways
using a string instrument. Waee is also known as Kafi.
Otherwisesindhimusic has also a spice of “sufi” music known as “shah jo raag”.
The traditional compilations of Shah Jo Risalo by Shah AbdulLatif Bhitai include 30
Surs which are sung as raags. The oldest publications of Shah Jo Risalo contained
some 36 Surs, butlater 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
Pakistanimusic in the 21stcentury revitalized itself. And pop music and rock
music are added in this music saga.
Pop music really started in Pakistan region with the famous playback singer
Ahmed Rushdi's song ‘Ko Ko Korina’ in 1966. Composed by SohailRana, the song
was a blend of 1960s bubblegum pop, rock and roll twist music and Pakistanifilm
music. This genre would later be termed as filmi pop.
Nazia Hassan in 1981, becamethe firstplayback singer to release a pop music
album. Her first album was 'Disco Deewane'. The album brokesales records in
Pakistan and India and even topped the charts in the West Indies, Latin America
and Russia.
“Rapping is "spoken or chanted rhyming lyrics". The components of rapping
include "content", "flow" and "delivery". Rapping is distinct fromspoken-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 Pakistaniorigin 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 fromthe region include Adil Omar, Faris Shafi, S.T.T. (Saber
Toothed Tiger), DesiMachines [Zayn ul Abidin and Zain Shah] fromLahore,
Lazarus and Osama ComLaude.
Most recently, comedian Ali Gul Pir, Kunwer Azlan, Young Stunners and Hashim
Ishaq havecome out of the Karachi music scene with their singles Waderai Ka
Beta, "Taroo Maroo", "Muffte", "SelfiePhobia", "Burger eKarachi", "Baap Ki
sarkar", "Maila Majnu","LaamSeChaurha", "New Entry","StraightOutta Karachi"
and "Dar" Their rapid-firelyrics using Karachi street slang are seen as a sign of
growth of the genre in the country.

Pakistan Electronic Media Regulatory Authority is an independent and
constitutionally established federal institution responsiblefor regulating and
issuing channel licenses for establishment of the mass-media culture, print and
electronic media.
Itwas established on 1st
March, 2002 in the supervision of formar presidentof
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.
The constitutional freedomof speech and press are highlighted in the constitution
of Pakistan. Under the article 19 and article 19A of FundamentalRights in
Constitution of Pakistan. The Constitution grants PEMRA following powers:
1. Improvethestandards of information, education and entertainment.
2. Enlarge the choice available to the people of Pakistan in the media for
news, currentaffairs, 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. Ensureaccountability, transparency and good governanceby optimization
in the free flow of information.
“ Every citizen shall have the rightto freedomof speech and expression, and
there shall be freedomof the press, subjectto any reasonable restrictions
imposed by law in the interest of the glory of Islamor the integrity,
security or defenseof 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 havethe right to
have access to information in all matters of public importance subjectto
regulation and reasonablerestrictions imposed by law. ”
Code & conducts of Pemra for media
broadcasting (also implementation for music.
1: No programshallbe aired which:
A) Contains anything pornographic, obsceneor indecent is likely to deprave,
corruptor injure the public morality.
B) Is againstbasic 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 responsiblefor facilitating and regulating the
establishment and operation of all private broadcastmedia and distribution
services in Pakistan established for the purposeof international, national,
provincial, district, and local or special target audiences.

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.
Firstwe will talk about the vulgarity promoted in Pakistanimusic albums. Someof
the pictures we mentioned are from music albums launched in the year 2007 or
2008 like “SUNRAY SAJANIYA” and “SAJNI”. Thedressing 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 wereno
doubt, the best but the dressing of girls were not so good. One more thing I want
to mention is that some albums encouragethe 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 thosealbums for instance “SAALI TUMAANI 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
composewhatever 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 someclicks from different song.

An itemnumber or an itemsong, in Indian cinema, is a musical performancethat
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 supportto the marketability of the film.
Itemsongs werethe part of bollywood movies which can be explained like a girl
dancing in shortand 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. Itemsongs have
become compulsory in today’s Pakistanifilms. Moreover the dresses worein
these songs areso shameful. Almostevery 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..Pakistaniactresseshave
very huge fan following and no doubt, they are very good and talented actresses
but when it comes to item songs, they worevery exposing and shortclothes
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 startthinking like the despicable lyrics suggests. Little girls tend to be more
affected by these songs dueto obvious reasons. I haveseen little girls performing
on these item songs in severalreality 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 performanceis not bad but I am definitely
against children watching these songs, as theirs is the age wherea mind is
shaped, and an item song or item girl is surely not the brightestchoice.
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:

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 karkuch 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 kirdaarke 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, Wonikli gharki 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, KhudaSe 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
aur gir gai,
Zabardasti usay uthaya wo cheekhi.. chillai, par afsos wahan logo ko koi awaaz na ayi,
Larkay 4 thay aur wo akeli jaan ab kya karti? Kaise apne sharam aur lihaaz ke liye larti,
band kardiya darwaazay aur tezi se gaari chala di, aur yahan se shuru hoti hai uski barbaadi,
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

Rap songs havebecome 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 sortof songs and most of them used to play those songs in their cars on
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 phiruski 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’,
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, KhudaSe Daray Binna Khuda Bannay
Phirtay Khud (x2)

buffers. Teenagers are mostly influenced by thosesongs. The essenceof vulgarity
and slang used in these songs arevery high. Especially name calling is so common
in these sort of songs. Everyoneknows thatrap music have bad influence on
children, teens and young people, becauseof the content of the songs, like drugs,
sex, women degradation, assaults and crimes in general. Teens act according to
behavioralpatterns, and their direct role models are stars music/famous people,
justlike rapers. Rap would be fine if it wasn'tabout sex, drugs, and strip clubs all
the time. Rap is almost always abouthaving sex and doing drugs. . Kids who listen
to this stuff young don't learn boundaries about public vs. privatelanguage.
Mostly rap songs arevery vulger and contain very suggestiveand bad actions.

After analyzing the whole scenario it is concluded that today’s Pakistanimusic is
not following code of conducts….whether it is item numbers. Music albums or rap
songs…every sortof music has somedrawbacks in it .To sumup, music scene in
Pakistan has seen severalfluctuations since its inception. Frommaking tunes
using classroomdesks and writing songs sitting in college cafeterias to molding
and editing voice qualities through latest techno softwareusing various internet
sources. Onething is surecountry’s music scenehas 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)

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