Syed Aley Raza (1896-1978) was a renowned ghazal and marsiya poet. He was born in Unnao, and practiced law in Lucknow before moving to Pakistan in 1947. A pupil of Arzu Lakhnavi, Raza was one of the boldface names of the modern marsiya. He is more widely remembered for penning the salam-e akhir (farewell salutation), which was recited by Nasir Jahan and ended the Ashura transmission each year on Radio Pakistan and Pakistan Television. Raza was a proponent of the modern style of tehetul lafzkhwani. Tehet is a form of non-melodic marsiya recitation, delivered with a sensitivity toward poetic meter and semantic connotation. The 1965 essay featured in this episode provides a history of tehetul lafzkhwani in Karachi after the creation of Pakistan. Raza begins with the state of the marsiya in Lucknow at the turn of the century, how a new style of oratory was being popularized by Maulana Sibte Hasan, and how the traditional Mir Anis style of affected marsiya recitals was going out of vogue. He explains the logic, not only behind his breaking from tradition in writing the marsiya, but also behind his style of recitation, and how it differed from the theatrical style of Zulfiqar Ali Bukhari, which gained widespread popularity over the airwaves. Raza provides insight into the city's cultural scene during the early years of independence, and into the modern marsiya tradition and its 'philosophical' pretensions.Featured recitations:

1. Syed Aley Raza - Shahadat se Pehle

2. Zulfiqar Ali Bukhari - Bakhuda faris-e maidan-e tahavvur tha Hur

Mumtaz Shireen (1924-1973) was a pioneering Urdu critic and short story writer. Born in Hindupur and raised in Mysore, she migrated to Pakistan in 1947 and soon became a prominent voice against the autocratic tendencies of the Progressive Writers' Movement. In this reportage, written some time between 1958 and 1961, Shireen provides an account of the editor and musicologist Shahid Ahmed Dehlvi's series of lectures and workshops on Pakistan's musical heritage. Dehlvi toured Bangkok, where Shireen briefly resided, under a Southeast Asia Treaty Organization (SEATO) arrangement, and was invited to address audiences as part of a broader cultural exchange between member states. While describing the contents of Dehlvi's presentations, Shireen elaborates on his unique expertise in both music and literary production, and how the two came together in his enduring contribution as an editor and essayist.Featured music:

Turab Ali Khan - Raag Hemant

Nasim Ahmed (d. ?) was a writer based in East Pakistan, who frequently contributed to Urdu and Bengali periodicals. The essay featured in this episode provides an overview of the culture of Bengali lullabies in the cities and villages of Pakistan's eastern wing. Published in 1963, the essay covers the various themes that feature in these lullabies, including the topography of the Bengal region, its flora and fauna, and the mother's prayers for the safety and success of her child. The conversation is punctuated by translations of various Bengali lullabies in non-standard Urdu, which is spoken by various communities in the region.

Mufti Muhammad Shafi (1897-1976) was a leading scholar and jurist of the Deoband school in Pakistan. In this episode, we revisit an essay from his Arabic treatise on the permissibility of music, translated by Muhammad Abdul Muiz. The essay examines from a Hanafi standpoint the German philosopher Arthur Schopenhauer's proverbial phrase about music being food for the soul.Featured recitation:Muzaffar Warsi - Wohi Khuda Hai

Rafiq Ghaznavi (1907-1974) was a pioneering musician and actor of Indian and Pakistani cinema. In this essay, written in 1953, Ghaznavi attends to a most fundamental question: can there be such a thing as Pakistani music? Ghaznavi holds Pakistan's broadcasting czar Zulfiqar Ali Bukhari responsible for deliberately pushing for a separate Pakistani musical identity, distinct from its Indian counterpart. The essay was republished as part of anthology by Professor Shahbaz Ali in 2012.Featured music:1. Ustad Shahid Pervez - Yaman Kalyan2. Aziz Mian Qawwal - Aasman se utara gaya

Muhammad Qasim Hindu Shah Firishta (d. circa 1623) was a Persian historian who served the Sultanate of Bijapur in the Deccan. His seminal work, the "Gulshan-i Ibrāhīmī" (The Garden of Ibrahim) is a long history of the Muslim conquest of India. It was named after his patron, Sultan Ibrahim Adil Shah II. The essay featured in this episode is based on an excerpt from the book's first volume. It tells the story of the famous trial of Nizamuddin Auliya (d. 1325) in the court of Sultan Ghyasuddin Tughluq at the Tughlaqabad Fort in Delhi. Displeased with Nizamuddin for failing to return an endowment, Sultan Tughluq convened a court to try him for his Sufi practice of samā' (listening). The excerpt was translated into Urdu by Khwaja Abdul Hameed Yazdani and published in 1966.

Zulfiqar Ali Bukhari (1904-1975) was a pioneering broadcaster, as well as a poet and musicologist. Born in Peshawar, Bukhari was among the earliest administrators of All India Radio, and the founder of Radio Pakistan. In this essay, excerpted from his autobiography that was serialized in an Urdu newspaper between 1962 and 1966, Bukhari recalls the days of Hindu-Muslim disputation over All India Radio airtime. He talks about his resentment for the harmonium, the origins and instant popularity of Muharram programming. Written many years after Partition, the essay’s tenor recalls the political atmosphere of 1940s British India, and the familiar trappings of Urdu musicology.Featured music and recitations:1. Ustad Shahid Parvez - Des2. Ustad Habibuddin Khan - Harmonium3. Agha Maqsood Mirza Dehlvi - Aye salami hashr ke din4. Aftab Ali Kazmi - Behek rahay ho kyun

Muhammad Hasan Askari (1919-1978) was a critic, essayist and short story writer. Born in Bulandshahr, Askari spent his most productive years in Delhi, Lahore and Karachi. The essay featured in this episode was written circa 1956-57 as an ode to the sarangi legend Ustad Bundu Khan. Keeping Bundu Khan's person as a centerpiece, Askari meanders through his various intellectual preoccupations with Indo-Islamic culture, drawing upon Urdu musicology, Sufi practices, and his reading of Hindu metaphysics.Featured music:1. Bundu Khan - Yaman Kalyan2. Gundecha Brothers - Bhopali3. Salamat Ali Khan, Nazakat Ali Khan - Bhopali