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Pakistani Family Secures Mozilla Backing to Digitise Ancient Khayal

A group of seven South Asian men, traditionally dressed in light-colored shalwar kameez, are seated on a patterned rug outdoors on a paved courtyard, performing devotional music as the Sami Brothers. Framed by a beautifully carved, rustic wooden double door set into a stone wall behind them, the ensemble is nestled under the leafy canopy of a large overhanging tree, with dense green foliage framing the right side of the scene. The musicians are arranged in a horizontal row: on the far left, a man sits cross-legged, clapping along; next to him, another man claps in rhythm. In the center, two vocalists are seated behind wooden harmoniums, actively singing and gesturing with their hands, while a man behind them claps softly. To their right, a man plays a traditional stringed instrument, and on the far right, a musician plays a set of tabla drums, all deeply immersed in their performance.

Devotional performance by the Sami Brothers in a courtyard.

'Infinite Raag' builds artist-owned tools with biometrics and microtonal tracking to keep an 800-year oral tradition out of extractive AI hands

In an era when AI systems scrape vast cultural archives without consent, performing artists are starting to seize control of the tools that shape their work.

One of the clearest examples comes from Pakistan’s Saami family. Their project Infinite Raag has landed among the 20 inaugural grantees of the Mozilla Foundation and the Doris Duke Foundation’s Artists Make Technology initiative.

The $11 million program, announced in October at Mozilla Festival in Barcelona, backs performing artists who build their own technologies. The first cohort shares $2.75 million, with individual grants reaching up to $150,000. Selected from 392 applications, the group includes the Center for Cultural Vibrancy as the U.S. nonprofit partner working with the Saamis.

Led by Rauf Saami of the Saami Brothers and guided by his father, Ustad Naseeruddin Saami, Infinite Raag records hours-long khayal performances. It pairs the audio with biometric sensors and a microtonal pitch tracker that moves far beyond Western 12-tone analysis. Artificial intelligence then helps map moments of deep coherence and transcendence in the singing.

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Five men stand outside a traditional whitewashed building with arched doorways and lush greenery, looking upward and to the side with focused, thoughtful expressions. The central figure is an elderly man with a thin moustache and a prominent cap, wearing a pristine white long-sleeved tunic (kurta), while the four men flanking him—two on either side—are dressed in matching white ensembles layered with long, brown fringed shawls draped over their shoulders. These four men are the Saami Brothers (Rauf, Urooj, Ahmed, and Azeem Saami), prominent Pakistani vocalists from Karachi who are master practitioners and custodians of a historic 800-year-old musical lineage known as the Qawwal Bacha Delhi Gharana.
The Saami Brothers ensemble standing outdoors.

Ustad Naseeruddin Saami, born in 1946, stands as a master of the Qawwal Bacha Gharana. 

The lineage traces back roughly 800 years to the circle of Sufi poet Amir Khusrau. He remains one of the last living practitioners of a rare 49-note microtonal system known as the surti scale. That system divides the octave into far finer pitches than the standard Western or even the common 22-shruti Hindustani frameworks. His sons, including Rauf Saami, carry the tradition forward through rigorous oral training.

Biometric data captures how this demanding practice shapes the singers’ bodies and minds. Sensors track physiological responses during multi-hour vocalisations. The goal is to document both the sonic precision and the physical effects of perfecting khayal.

Rauf Saami framed the effort clearly. “Infinite Raag seeks to challenge extractive uses of AI and advance technology that supports cultural sovereignty, preservation, and exploration of transcendence,” he said. The system stays artist-owned. Recordings and tools remain under family control rather than feeding open training sets for commercial models that already attempt to generate qawwali-style output.

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This approach differs sharply from generic AI music generators. Those systems often flatten microtonal nuance into 12-tone approximations. Infinite Raag builds a tracker designed for the family’s actual 49-note practice. The archive aims to preserve an unbroken oral tradition before external datasets claim it.

An ensemble of traditional Pakistani qawwali musicians performs a live spiritual concert inside a grand, arched hall with towering wooden pillars and gothic architectural elements. In the center, the lead singer stands dressed in a pristine white kurta, raising one index finger high in the air while singing passionately into a microphone. Flanking him are other vocalists and musicians seated on the floor, including one man on the left also in white singing intently, a man standing behind him in a brown shalwar kameez holding a microphone, and two harmonium players accompanied by a percussionist on the right vigorously playing the tabla, all deeply immersed in the devotional performance.
A group of qawwali musicians performing a live spiritual concert. Saami Brothers

The funding and technical resources flow through the Center for Cultural Vibrancy, a U.S. nonprofit focused on traditional heritage practitioners. That structure places the money with an American partner even as the artistic direction stays with the Pakistani family. Questions remain about long-term Pakistani access to the finished archive. The project description stresses ethical, artist-owned tools and cultural sovereignty as the core principles.

Ustad Naseeruddin Saami has spent decades in the “pursuit of the truth of sur,” as Rauf Saami put it. Recent recognition includes an Aga Khan Music Award. Albums released via Glitterbeat brought his work to wider international audiences. Live performances with his sons continue to draw attention for their meditative depth and pitch control.

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Artists Make Technology positions creators at the start of tech design instead of downstream. Similar projects in the cohort tackle haptics for deaf audiences, robotics for disabled dancers, and open specifications for other non-Western scales. For the Saamis, the work turns an endangered living practice into a controlled digital resource. It keeps the knowledge inside the lineage that has carried it for centuries.

Whether the finished system opens pathways for students in Pakistan or remains tightly held will shape its real impact. For now, a hereditary music family has secured resources to teach machines how to hear its tradition correctly, on its own terms.

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