Sociology instructor finds her voice through Pakistani classical music

Sana Illahe always knew she had a talent for singing, but Pakistani classical music ignited her passion.

“The first time I heard [my music teacher] explain this music to me and I started singing, I felt a very deep connection,” said Illahe, a Pakistani native, an instructor of sociology at Virginia Tech, and a trained vocalist. “There was a recognition within me that maybe my voice has always been searching for this genre.”  

Pakistani classical music is a centuries-old tradition and rigorous artform passed down through generations of musical families. Illahe met a guru, or teacher, from a lineage of musicians in Pakistan in 2016, and she was accepted as a student with this lineage to learn and study their music. 

During her performances, she plays stringed instruments, such as the swarmandal and tanpura, and a wind instrument called the harmonium. One of Illahe’s latest performances was last February at Virginia Tech's Squires Student Center.  

“When I performed at Virginia Tech, it was such a receptive and fun audience,” Illahe said. 

What was your experience learning Pakistani music from a guru?  

The families pass on music from generations to generations and they are very protective of their techniques. They have put 30 to 50 years of their lives into cultivating the artform, then they pass it on to their sons or daughters. From centuries ago, this music is being passed on orally within these families. At first, I met with a young music teacher and trained with him for a year, and then once they felt I was ready, I started learning from his father, who is a renowned classical music maestro. My experience with them is very special. I am fortunate that they accepted me as part of the lineage because I am considered an outsider in the classical music tradition. Now they call me their family and take a lot of responsibility for my growth in the musical space. 

What is your creative process when composing a new piece?  

I sing both previously composed pieces and pieces I have composed myself. Sometimes I am just playing around with my harmonium and within a specific set of notes, and then a tune will start recurring. I know that I want to stay in that, so a song will slowly start taking shape there. 

Sometimes poetry is the starting point. One time, I had this piece of poetry that I wrote, and I started singing in a way that the song came together.  

There are times when I work with other musicians, such as a pianist. If they are improvising a tune on a piano, and I recognize that the tune has potential, I start to add lyrics and compose a song. 

What do you hope that audiences will take away from your performances?  

There is a lot of hierarchy drawn in music styles and almost an authority given to western music, but I feel like those who come to my concerts automatically see the dismantling of that hierarchy. They can tell that this music has existed for centuries and doesn’t need to be compared with other music to be recognized. I want them to walk away with that recognition. 

The second piece is a moment with themselves. It is grounding and calm music that has its own meditative ways, so I invite the people in the audience to use the time for their own selves. 

How does it feel to perform in front of audiences? 

I love it. It is one of my favorite things to do, especially with a receptive audience. I feel like there is a communication happening between the singer and the audience. I can feel the energy of the audience and I sing and improvise according to that energy. It really becomes a two-way communication. Sometimes with a specific audience, a singer can take more risks.  

Why should students attend your performances? 

It is unique and different. I think everyone deserves that kind of exposure. If that exposure is automatically coming to you, I would say it is almost a responsibility to show up and educate yourself to something new to you.  

How does teaching sociology connect to your music? 

It does connect. For example, during this past concert, there was one song where we picked up on themes of gender and gender fluidity. I teach a gender relations class, so that song felt like a lecture from my class. There are themes about class, cast, and gender in songs as well, that directly relate to sociology , and I often present my own analysis on the song as well. 

Written by Brooke Van Beuren '25