" in nature, yet each station had a rural section which played folk songs. This classic music is comprised mainly of North Indian Music with Punjab origins. Music of this nature employs the tabla, arangi, harmonium, the sitar, and clarinet4. Composers such as Nazakat Ali, Salamat Ali, Sharif Khan Poonchwala, and Bundu Kan were some of the few who helped develop the classical tradition5. Music in Pakistan had two main non-musical qualities that were important: the construction of Muslim Pakistan identity for their music, and the removal of all Indian influences from their culture. Radio Pakistan was also charged with the task of creating a national music, which it did, yet many Indian influences remained, most notably the instruments. This "national music" was of a choral genre and based on the Urdu!
             on verse of the national poet, Muhammad Iqbal. Compositions were upbeat martial style with rhythm based on a verse meter. Surprisingly enough, both men and women sang6.
             In the mid 1950s, the capital of Pakistan shifted to north. This shift affected the musical identity of the country by causing its development to come to a screeching halt. This was due to the fact that most of the country's musicians were located in the south. The government identified this problem in the 1960s and handled it by creating PIA Art Academy. This institution helped to not only export their music abroad, but encouraging its propagation in Pakistan as well. Regional music also began to gain recognition for its effort in establishing the cultural identity. The National Institute for Folk Heritage, also known s Lok Virsa, not only began research the regional folk music of its rural areas, but they also proceeded to record this music. Due to Lok Virsa's efforts, musical festivals were held more frequently and the magazine Saqafat, which was dedicated to touting Urdu fine arts, was established. The institution also saw...