The songs which constitute the qawwali repertoire are primarily in Persian, Urdu, and Hindi,[13][14] although Sufi poetry appears in local languages as well (including Punjabi, Saraiki, and dialects of northern India like Braj Bhasha and Awadhi.)[15][16] The sound of regional language qawwali can be totally different from that of mainstream qawwali, as in the case of Chhote Babu Qawwal, whose style of singing is much closer to the Bengali Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.
The central themes of qawwali are love, devotion and longing for the Divine. The Sufi poets whose texts have made up the qawwali repertory often used worldly images to convey mystic spiritual love. As such, it is not uncommon to see mentions of worldly or forbidden concepts such as romantic longing, wine, and drunkenness, which are used as metaphors for the mystic state.[17] Qawwals bear the responsibility of maintaining a spiritually appropriate context for such songs, so as not to distract from the religious focus of the Qawwali occasion.[18]
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The longest recorded commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.
The soundtrack was composed by Koti with two of the songs adapted from songs in original Malayalam version, which was composed by Vidyasagar.[14] The song "Kallalloki Kallu Petti" was based on "Maataraani Mounamidi" from Maharshi (1987) since Ravi Kishore who's a big fan of that song requested Koti to use it.[14] Lyrics were penned by Sirivennela Seetharama Sastry and Bhuvana Chandra.
In qawwali, the lyrics are composed in qual or qalbana. Qual refers to Arabic verses that sing praises of the Prophet or his divine sayings. Combined with tarannum or melody, it creates a complete musical repertoire. The songs are also composed in qalbana which refers to verses that are derived from Arabic and Hindi.
An outcome of the Sufi and Bhakti fusion has left its mark on the music of Bengal through the Baul-Fakiri songs as well as Kirtan (devotional music and dance practiced by Vaishnavas of Bengal) that have influenced generations of musicians.
Later, several other acclaimed vocalists such as Rahat Fateh Ali Khan, Abida Parveen, Farid Ayaz, and Sabri Brothers worked towards making qawwali songs enjoyable for the contemporary audience across the globe, while keeping the traditional flavor intact as well.
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