Ustad amir hussain khan biography template

Indian singer (1912-1974)

Amir Khan
Also known as	Sur Rang
Born	(1912-08-00)August 1912[1] Kalanaur, British India[2][1][3][a]
Died	13 February 1974(1974-02-13) (aged 61)[4][5] Calcutta, West Bengal, India
Genres	Indian influential music (Khyal, Tarana)
Occupation	Hindustani classical vocalist[5]
Years active	1934 – 1974
Labels	EMI, HMV, Music At the moment, Inreco, Ninaad, Navras, Columbia, Magnanimity Twin
Awards: Sangeet Natak Akademi Award (1967) Presidential Award (1971) Padma Bhushan (1971)

Musical artist

Ustad Amir Khan (pronounced[əˈmiːrxaːn]; 15 August 1912^[1] – 13 February 1974)^[4][5] was an Asian singer and musician in loftiness Hindustani classical tradition.

He was the founder of the Indore gharana.^[6][5]

Early life and background

Amir Caravansary was born in a of musicians in Kalanaur, India.^[2][1][3][a] His father, Shahmir Khan, uncomplicated sarangi and veena player in this area the Bhendibazaar gharana, served level the court of the Holkars of Indore.

His grandfather, Conversion Khan, was a singer renovate the court of Bahadurshah Zafar. Amir Ali's mother died while in the manner tha he was nine years full of years. He had a younger kinsman, Bashir, who went on pact become a sarangi player tempt the Indore station of Keep happy India Radio.

He was firstly trained in the sarangi building block his father.

However, seeing her majesty interest in vocal music, top father gradually devoted more tight to vocal training, focusing perversion the merukhand technique. Amir Caravanserai was exposed at an anciently age to many different styles, since just about every conductor who visited Indore would receive to their house, and nigh would be mehfils at their place on a regular basis.^[1] He also learned the elements of tabla playing from suggestion of his maternal uncles, who was a tabla player.

Amir Khan moved to Bombay play a role 1934, and there he gave a few concerts and inference about half a dozen 78-rpm records. These initial performances were not well received.

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Following his father's advice, suspend 1936 he joined the serve of Maharaj Chakradhar Singh marvel at Raigadh Sansthan in Madhya Pradesh. He performed at a song conference in Mirzapur on sake of the Raja, with assorted illustrious musicians present, but take steps was hooted off the sheet after only 15 minutes mistake so. The organizer suggested disclosure a thumri, but he refused, saying that his mind was never really inclined towards thumri.

He stayed at Raigadh request only about a year. Ruler Khan's father died in 1937. Later, Khansahib lived for manifold time in Delhi and Calcutta, but after the partition rule India he moved back persevere Bombay.

Singing career

Amir Khan was a virtually self-taught musician. Sand developed his own gayaki (singing style), influenced by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand).^[5] This unique style, known in that the Indore Gharana, blends interpretation spiritual flavour and grandeur unconscious dhrupad with the ornate brightness of khyal.

The style filth evolved was a unique prevention of intellect and emotion, show consideration for technique and temperament, of capacity and imagination. Unlike other artists he never made any concessions to popular tastes, but each time stuck to his pure, approximately puritanical, highbrow style.^[1]

Amir Khansahib difficult to understand a rich baritone open-throated tone with a three-octave range.

Authority voice had some limitations however he turned them fruitfully spreadsheet effortlessly to his advantage. Lighten up presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) using bol-alap angst merukhandi patterns,^[7] followed by by degrees speeding up "floating" sargams become infected with various ornamentations, taans and bol-taans with complex and unpredictable movements and jumps while preserving integrity raga structure, and finally wonderful madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba'idar tarana.

Yes helped popularize the tarana, gorilla well as khyalnumacompositions in character Dari variant of Persian. Size he was famous for empress use of merukhand, he blunt not do a purely merukhandi alap but rather inserted merukhandi passages throughout his performance.^[8] Lighten up believed that practising gamak evolution essential to mastering singing.

Khansahib often used the taalsJhoomra dispatch Ektaal, and generally preferred wonderful simple theka (basic tabla strokes that define the taal) yield the tabla accompanist. Even notwithstanding he had been trained extract the sarangi, he generally whole khyals and taranas with one and only a six-stringed tanpura and tabla for accompaniment.

Sometimes he abstruse a subdued harmonium accompaniment, however he almost never used primacy sarangi.^[9]

While he could do vocal layakari (rhythmic play), including bol-baant, which he has demonstrated all the rage a few recordings, he usually favored a swara-oriented and alap-dominated style, and his layakari was generally more subtle.

His undertaking had an understated elegance, respect, restrained passion and an quaver lack of showmanship that both moved and awed listeners.^[5] According to Kumarprasad Mukhopadhyay's book "The Lost World of Hindustani Music", Bade Ghulam Ali Khan's penalisation was extroverted, exuberant and calligraphic crowd-puller, whereas Amir Khan's was an introverted, dignified darbar agreement.

Amir Khansahib believed that method was important in khyal compositions, and with his pen title, Sur Rang ("colored in swara"), he has left several compositions.

He believed in competition in the middle of the genres of classical strain and film and other universal music, and he felt think it over classical renderings needed to eke out an existence made more beautiful while left over faithful to the spirit cope with grammar of the raga ("बाज़ लोग ऐसे थे के जो खूब्सूरती बनाने के लिये वो राग को ज़रा इधर-उधर कर दिया करते थे, लेकिन मै यह कोशीश करता हूं के ज़्यादा से ज़्यादा राग खूब्सूरत हो लेकिन राग अप्नी जगह राग रहे").

He used utter say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (نغمہ وہی نغمہ ہے جو روح سنے اور روح سناہے ; music is that which originates from the heart arm touches the soul).

Characteristics stand for his style include:

• slow-tempo, inchmeal raga development (except with Carnatic ragas, which he typically rendered in medium tempo)
• improvisation mostly layer lower and middle octaves
• tendency do by serious and expansive ragas
• emphasis paying attention melody
• clarity of notes
• judicious use keep in good condition pause between improvisations
• bol alap other sargam using merukhand patterns
• using sargam in taan-ang
• using softer gamaks
• sparing operate of murki
• use of kan swaras (acciaccatura) in all parts outline performance
• controlled use of embellishments disruption preserve introspective quality
• rare use exert a pull on tihai
• careful enunciation of text chide bandish
• actual bandish as sung haw or may not include antara
• multiple laya jatis in a matchless taan<note>Khansahib demonstrated this in chaste interview with the tabla competitor Chatturlal</note>
• mixture of taan types (including chhoot, sapaat, bal, sargam become peaceful bol-taan) in a single taan
• use of ruba'idar tarana (considered alike to chhota khyal)

Besides singing satisfaction concerts, Amir Khan also croon film songs in ragas, fulfil a purely classical style, lid notably for the filmsBaiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje.

This attempt to start classical music to the general public through films significantly boosted Khansahib's visibility and popularity. He further sang a ghazalRahiye Ab Aisi Jagah for a documentary exhilaration Ghalib.

Khansahib's disciples include Amarnath, Sangeetacharya Usha Ranjan Mukherjee, ^[6]A. Kanan, Ajit Singh Paintal, Akhtar Sadmani, Amarjeet Kaur, Bhimsen Sharma, Gajendra Bakshi, Hridaynath Mangeshkar, Kamal Bose, Kankana Banerjee, Mukund Goswami, Munir Khan, Pradyumna Kumud Mukherjee and Poorabi Mukherjee, Kamal Bandhopadhyay, Shankar Mazumdar, Shankar Lal Mishra, Singh Brothers, Srikant Bakre skull Thomas Ross.

His style has also influenced many other refrain and instrumentalists, including Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Khan, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, Pannalal Ghosh, the Imdadkhani gharana, and Pre-eminent Khan. Although he referred contract his style as the Indore Gharana, he was a condensed believer of absorbing elements steer clear of various gharanas.^[10]

Amir Khan was awarded the Sangeet Natak Akademi Jackpot in 1967^[11] and the Padma Bhushan in 1971.^[12]

Research in greatness field of Tarana

Ustad Amir Caravansary dedicated a large part eradicate his musical career to honesty study of taranas.

In her highness research, he found that say publicly words used in Tarana funds from Persian and Arabic languages. In one of his evaluation articles he explained their meanings as follows:

Tanan Dar Aa - Enter my body.

O Dani - He knows

Tu Dani - You know.

Na Dir Dani - You pronounce the Complete Wisdom.

Tom - I am yours, I be part of to you.

Yala - Ya Allah

Yali - Ya Prizefighter

In another interview, he as well states the meaning of blue blood the gentry following syllables:

Dar – Bheetar, Aandar (inside)

Dara – Andar Aa (get in or use inside)

Dartan – Tanke Aandar (inside the body)

Tanandara – Tanke Aandar Aa (Come centre the body)

Tom – Principal Tum Hun (I am you)

Nadirdani – Tu Sabse Adhik Janata Hai (You know addition than anyone else)

Tandardani – Tanke Aandarka Jannewala (One who knows what is inside integrity body)

Personal life

Amir Khan's gain victory marriage was to Zeenat, coddle of the sitar player, Vilayat Khan.

From this marriage, which eventually failed and ended briefing separation, he had a bird, Farida. His second marriage was to Munni Bai, who gave birth to a son, Akram Ahmed. Around 1965, Khansaheb wed Raisa Begum, daughter of honourableness thumri singer, Mushtari Begum reproach Agra. He had expected defer Munni Begum would accept high-mindedness third wife; however, Munni missed and it is rumored give it some thought she committed suicide.

With Raisa he had a son, Haider Amir, later called Shahbaz Khan.^[4]

Khansahib died in a car stick out in Calcutta on 13 Feb 1974 aged 61, and was buried at Calcutta's Gobra cemetery.^[4]

Discography

Movies

78 rpm recordings

• Adana
• Hansadhwani
• Kafi
• Multani
• Patdeep
• Puriya Kalyan
• Shahana
• Suha Sughrai
• Todi tarana

Public and private recordings

• Abhogi - brace versions
• Adana - longer performance observe 'Jhanak Jhanak Payal Baje' label song, one other version
• Ahir Bhairav - three versions
• Amirkhani (similar medical Vachaspati)
• Bageshree - six versions
• Bageshree Kanada - five versions
• Bahar
• Bairagi - pair versions
• Barwa
• Basant Bahar - two versions
• Bhatiyar - four versions
• Bhimpalasi - brace versions
• Bihag - three versions
• Bilaskhani Todi - two versions
• Bhavkauns
• Chandni Kedar
• Chandrakauns
• Chandramadhu - two versions
• Charukeshi - two versions
• Darbari - ten versions
• Deshkar - quadruplet versions
• Gaud Malhar
• Gaud Sarang
• Gujari Todi - four versions
• Hansadhwani - three versions
• Harikauns
• Hem
• Hem Kalyan
• Hijaz Bhairav (a.k.a.

  Basant Mukhari) - five versions

• Hindol Basant
• Hindol Kalyan
• Jaijaiwanti
• Jansanmohini - five versions
• Jog - unite versions
• Kafi Kanada
• Kalavati - six versions
• Kausi Kanada - four versions
• Kedar
• Komal Rishabh Asavari - four versions
• Lalit - seven versions
• Madhukauns
• Malkauns - three versions
• Maru Kalyan
• Marwa - three versions
• Megh - five versions
• Miya Malhar
• Multani - shine unsteadily versions
• Nand - three versions
• Nat Bhairav - two versions
• Pancham Malkauns
• Poorvi
• Puriya - three versions
• Puriya Kalyan
• Rageshree - one versions
• Ramdasi Malhar - two versions
• Ramkali - two versions
• Ram Kalyan (a.k.a.

  Priya Kalyan or Anarkali)

• Shahana - three versions
• Shahana Bahar
• Shree
• Shuddh Kalyan - two versions
• Shuddh Sarang (with drut section in Suha)
• Suha
• Suha Sughrai
• Todi - two versions
• Yaman
• Yaman Kalyan - triad versions

Awards and recognitions

Notes

External links

Bibliography

References