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Traditional qawwali practice is built upon a system of hereditary training in which qawwals are part of the service community connected to a particular shrine. Their primary function to the shrine is to service formal activities, primarily the death anniversaries of Sufi saints (Urs).[7]

Since the intention of qawwali is to act as a bridge toward the experience of Sufi mystical love and builds upon religious chants and chanted poetry, the practice is viewed as permissible in what Islamic scholar Lois Lamya al-Faruqi refers to as non-musiqa.[8][9] Qawwals themselves are central figures within qawwali ritual but are not regarded as the focus and are still regarded as part of the servant class.[10]

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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]

A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one (i.e. a left-handed percussionist would play the tabla with his left hand). Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid percussion by hand-clapping.

Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained a predominantly male business and there are still not many mainstream female qawwals.

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 singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an "m", Western singers are apt to stress the vowel following the "m" rather than the "m" itself, whereas in qawwali, the "m" will usually be held, producing a muted tone. Also in qawwali, there is no distinction between what is known as the chest voice and the head voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than what would be acceptable in the West.

Their career and songs authentically capture the sound that Nusrat was known for, perhaps more than any qawwali artist other. Today, one could claim that the true torchbearers of authentic qawwali from the Nusrat Gharana in Pakistan are these brothers. But, the journey to this level had its challenges.

"Kangna," one of the best-known Qawwali songs by the ensemble, appears on the surface to concern a bracelet given in love to someone who seems to be untrue. However, Wazirzada says Qawwali can work on different levels.

A typical traditional place of performance is at the shrine of a Muslim saint. Here, sitting on the ground and facing the tomb of the saint, the musicians perform for the saint, his representatives, his devotees and other Sufis. The audience listens intently to the songs, and when one is affected emotionally by its message, he may suddenly raise his arms, stand, or even rise to move about in a kind of spiritual or ecstatic dance.

Qawwali is performed by soloists who specialize in singing these songs with the accompaniment of a chorus and instrumentalists. For example, the famous qawwali singer Nusrat Fateh Ali Khan was born into a family of qawwali singers, and most in his troupe were closely related to him (brother, nephew, brother-in-law and cousins). A typical qawwali group is all male, and consists of a lead singer, one or two other soloists, a chorus of five or six singers accompanied by harmonium (a small keyboard instrument), tabla (a pair of drums), and percussive hand clapping.

Today, qawwali, as a form of spiritual music sung at shrines of Sufi saints, has undergone a dramatic transformation. Now qawwali has become a secular, commercial genre performed on the concert stage for international audiences. This transformation from a ritual function to one of entertainment; from a traditional community context to an international, commercial one is credited largely to one man: the late Nusrat Fateh Ali Khan of Pakistan. He brought qawwali to the attention of young western audiences by working with Peter Gabriel and the WOMAD (World of Music and Dance) festivals. Through the media of concerts, recordings, film soundtracks and collaborative works with international musicians, Nusrat cultivated an international following that thought of him as synonymous with qawwali. Yet, throughout his life, he remained a traditional qawwali singer who continued to perform at Sufi shrines while also playing the great concert halls of Europe, America and Asia.

Although the words of the songs are of paramount importance, the rhythm of the music is also extremely important because it increases in intensity to bring the listener to an emotional climax. When qawwali is performed in concert for international audiences who do not understand the words of the songs, the driving rhythms become the focus of attention. For many young international audiences, qawwali, as seen on the concert stage or heard on recordings, is thought of as South Asian or World popular music; indeed, many in the audience are inclined to get up and dance in the aisles just as they would at a pop concert.

Just as American gospel music spawned a whole pop industry of soul music, traditional qawwali developed a commercial aspect which attracts young listeners and international audiences. Both forms have transcended their ritual contexts and their traditional audiences, yet, in both cases, the original spirit of devotion and energy remain intact. One does not have to be a Sufi , a Muslim, a Pakistani or of South Asian heritage to listen to and enjoy qawwali. Many examples of traditional and popular qawwali performed by Nusrat Fateh Ali Khan can be found on the Internet; in particular, an array of YouTube video clips.

Among its many melodies, the pice de rsistance is undeniably, the electrifying, extravagant and almost 13-minute long Roshan qawwali Na Toh Caravan/Yeh Ishq Ishq Hai, performed by Mohammad Rafi, Manna Dey, Asha Bhosle and Sudha Malhotra.

Lord Ganesha or Ganpati is one of the most revered Gods not just in India but also outside. Among the various names attributed to him is Vignaharta. It means someone who removes obstacles from your path. It is not surprising to see an unending list of songs dedicated to one of the most worshipped Gods. But it is indeed surprising to see a Qawwali song made on Ganesha.

The contemporary qawwali (mystic chorus) sung and listened with harmonium, tomtom, i.e. with musical instrument, is not lawful according to Shariah. Furthermore, today most of the qawwal (chorister) are clean shaved, drinker and far away from salah. Their qawwali with musical instruments is not lawful at any rate. What is said about some pious personalities that they listened qawwali, actually, they used to listen it from pious persons and the poems used to be good and virtuous. Their qawwali used to be free from musical instruments (i.e. tomtom, harmonium). If any poem is composed of hamd (praise of Allah) and naat or contains the words of wisdom or chastisement, then it is allowable to listen to it. It is also proved from the holy Prophet Muhammad ( ). But, it is absolutely haram to listen to qawwali of unfair contents with musical instruments. It is nothing but sensual pleasure. Every Muslim should avoid it.

Nusrat Fateh Ali Khan was born on Oct. 13, 1948, in Lyallpur (now Faisalbad) in the Punjab province of Pakistan. Members of his family, including his father, had been singing qawwali for six centuries. Mr. Khan was the greatest singer of his generation in the genre of qawwali, which means wise or philosophical utterance. Qawwali songs are based on the devotional poetry of Sufism, a mystical branch of Islam, and often speak of being intoxicated by divine love. He collaborated with secular musicians, Eastern and Western, among them Eddie Vedder of Pearl Jam and Peter Gabriel. He was heard on soundtracks of films made in India and Hollywood such as: Martin Scorsese's ''The Last Temptation of Christ'' and Oliver Stone's "Natural Born Killers".

Qawwali is part of a 700-year-old musical tradition that spans regions of the Indian subcontinent and South Asia. The music is a fusion of Persian, Arabic, Turkish and Indian traditional styles. The songs typically are spiritual in nature and are sung in Persian, Urdu, Hindi, Bengali and Punjabi. ff782bc1db