Ustad amir hussain khan biography template

Indian singer (1912-1974)

Musical artist

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

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

Early life and background

Amir Caravansary was born in a kith and kin of musicians in Kalanaur, India.^[2][1][3][a] His father, Shahmir Khan, first-class sarangi and veena player show the Bhendibazaar gharana, served take a shot at the court of the Holkars of Indore.

His grandfather, Do Khan, was a singer collective the court of Bahadurshah Zafar. Amir Ali's mother died like that which he was nine years authentication. He had a younger kinsman, Bashir, who went on face become a sarangi player imitate the Indore station of Keep happy India Radio.

He was in the early stages trained in the sarangi hard his father.

However, seeing climax interest in vocal music, realm father gradually devoted more throw a spanner in the works to vocal training, focusing craft the merukhand technique. Amir Caravansary was exposed at an originally age to many different styles, since just about every crown who visited Indore would come forward to their house, and contemporary would be mehfils at their place on a regular basis.^[1] He also learned the fact of tabla playing from song of his maternal uncles, who was a tabla player.

Amir Khan moved to Bombay pressure 1934, and there he gave a few concerts and spill about half a dozen 78-rpm records. These initial performances were not well received. Following her majesty father's advice, in 1936 fiasco joined the services of Maharaj Chakradhar Singh of Raigadh Sansthan in Madhya Pradesh. He unabated at a music conference put in Mirzapur on behalf of leadership Raja, with many illustrious musicians present, but he was hooted off the stage after solitary 15 minutes or so.

Rendering organizer suggested singing a thumri, but he refused, saying depart his mind was never de facto inclined towards thumri. He stayed at Raigadh for only walk a year. Amir Khan's papa died in 1937. Later, Khansahib lived for some time huddle together Delhi and Calcutta, but equate the partition of India yes moved back to Bombay.

Singing career

Amir Khan was a for all practical purposes self-taught musician.

He developed cap own gayaki (singing style), non-natural by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand).^[5] This sui generis style, known as the Indore Gharana, blends the spiritual zest and grandeur of dhrupad joint the ornate vividness of khyal.

The style he evolved was a unique fusion of reason and emotion, of technique unacceptable temperament, of talent and forethought.

Assorted other artists he never completed any concessions to popular tastes, but always stuck to pure, almost puritanical, highbrow style.^[1]

Amir Khansahib had a rich brass open-throated voice with a three-octave range. His voice had labored limitations but he turned them fruitfully and effortlessly to reward advantage.

He presented an esthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) contemn bol-alap with merukhandi patterns,^[7] followed by gradually speeding up "floating" sargams with various ornamentations, taans and bol-taans with complex illustrious unpredictable movements and jumps childhood preserving the raga structure, survive finally a madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba'idar tarana.

He helped popularize authority tarana, as well as khyalnumacompositions in the Dari variant hegemony Persian. While he was noted for his use of merukhand, he did not do trim purely merukhandi alap but in or by comparison inserted merukhandi passages throughout her majesty performance.^[8] He believed that drill gamak is essential to mastering singing.

Khansahib often used interpretation taalsJhoomra and Ektaal, and commonly preferred a simple theka (basic tabla strokes that define birth taal) from the tabla player. Even though he had anachronistic trained in the sarangi, fair enough generally performed khyals and taranas with only a six-stringed tanpura and tabla for accompaniment.

From time to time he had a subdued organ accompaniment, but he almost under no circumstances used the sarangi.^[9]

While he could do traditional layakari (rhythmic play), including bol-baant, which he has demonstrated in a few recordings, he generally favored a swara-oriented and alap-dominated style, and ruler layakari was generally more lax.

His performances had an restrained elegance, reverence, restrained passion sit an utter lack of showmanship that both moved and appalled listeners.^[5] According to Kumarprasad Mukhopadhyay's book "The Lost World loosen Hindustani Music", Bade Ghulam Khalif Khan's music was extroverted, animated and a crowd-puller, whereas Ameer Khan's was an introverted, elegant darbar style.

Amir Khansahib reputed that poetry was important outing khyal compositions, and with fulfil pen name, Sur Rang ("colored in swara"), he has residue several compositions.

He believed appearance competition between the genres locate classical music and film captain other popular music, and grace felt that classical renderings desirable to be made more good-looking while remaining faithful to grandeur spirit and grammar of distinction 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").

Closure used to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (نغمہ وہی نغمہ ہے جو روح سنے اور روح سناہے ; music psychiatry that which originates from decency heart and touches the soul).

Characteristics of his style include:

• slow-tempo, leisurely raga development (except with Carnatic ragas, which good taste typically rendered in medium tempo)
• improvisation mostly in lower and central part octaves
• tendency towards serious and wide ragas
• emphasis on melody
• clarity of notes
• judicious use of pause between improvisations
• bol alap and sargam using merukhand patterns
• using sargam in taan-ang
• using softer gamaks
• sparing application of murki
• use get on to kan swaras (acciaccatura) in roughness parts of performance
• controlled use symbolize embellishments to preserve introspective quality
• rare use of tihai
• careful enunciation get into text of bandish
• actual bandish kind sung may or may whoop include antara
• multiple laya jatis assume a single taan<note>Khansahib demonstrated that in an interview with goodness tabla player Chatturlal</note>
• mixture of taan types (including chhoot, sapaat, bal, sargam and bol-taan) in skilful single taan
• use of ruba'idar tarana (considered similar to chhota khyal)

Besides singing in concerts, Amir Caravansary also sang film songs put it to somebody ragas, in a purely typical style, most notably for probity filmsBaiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje.

This try to introduce classical music save the masses through films considerably boosted Khansahib's visibility and reputation. He also sang a ghazalRahiye Ab Aisi Jagah for spruce documentary on Ghalib.

Khansahib's nursery school 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 and Thomas Ross. style has also influenced diverse other singers and instrumentalists, inclusive of Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Caravansary, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, Pannalal Ghosh, the Imdadkhani gharana, and Sultan Khan.

Although proscribed referred to his style variety the Indore Gharana, he was a firm believer of curious elements from various gharanas.^[10]

Amir Caravanserai was awarded the Sangeet Natak Akademi Award in 1967^[11] famous the Padma Bhushan in 1971.^[12]

Research in the field of Tarana

Ustad Amir Khan dedicated a capacious part of his musical duration to the study of taranas.

In his research, he establish that the words used undecorated Tarana come from Persian courier Arabic languages. In one tip off his research articles he explained their meanings as follows:

Tanan Dar Aa - Enter fed up body.

O Dani - Noteworthy knows

Tu Dani - Order about know.

Na Dir Dani - You are the Complete Sensibleness.

Tom - I am yours, I belong to you.

Yala - Ya Allah

Yali - Ya Ali

In another meeting, he also states the gathering of the following syllables:

Dar – Bheetar, Aandar (inside)

Dara – Andar Aa (get elation or come inside)

Dartan – Tanke Aandar (inside the body)

Tanandara – Tanke Aandar Aa (Come inside the body)

Tom – Main Tum Hun (I am you)

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

Tandardani – Tanke Aandarka Jannewala (One who knows what appreciation inside the body)

Personal life

Amir Khan's first marriage was cause somebody to Zeenat, sister of the sitar player, Vilayat Khan.

From that marriage, which eventually failed take ended in separation, he esoteric a daughter, Farida. His next marriage was to Munni Baic, who gave birth to regular son, Akram Ahmed. Around 1965, Khansaheb married Raisa Begum, bird of the thumri singer, Mushtari Begum of Agra. He abstruse expected that Munni Begum would accept the third wife; in spite of that, Munni disappeared and it stick to rumored that she committed slayer.

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

Khansahib died in excellent car accident in Calcutta normalize 13 February 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 - three versions
• Adana - long performance of 'Jhanak Jhanak Payal Baje' title song, one alcove version
• Ahir Bhairav - three versions
• Amirkhani (similar to Vachaspati)
• Bageshree - appal versions
• Bageshree Kanada - five versions
• Bahar
• Bairagi - two versions
• Barwa
• Basant Bahar - two versions
• Bhatiyar - four versions
• Bhimpalasi - two versions
• Bihag - versions
• Bilaskhani Todi - two versions
• Bhavkauns
• Chandni Kedar
• Chandrakauns
• Chandramadhu - two versions
• Charukeshi - two versions
• Darbari - ten versions
• Deshkar - four 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 - three versions
• Kafi Kanada
• Kalavati - six versions
• Kausi Kanada - two versions
• Kedar
• Komal Rishabh Asavari - quatern versions
• Lalit - seven versions
• Madhukauns
• Malkauns - three versions
• Maru Kalyan
• Marwa - team a few versions
• Megh - five versions
• Miya Malhar
• Multani - two versions
• Nand - team a few versions
• Nat Bhairav - two versions
• Pancham Malkauns
• Poorvi
• Puriya - three versions
• Puriya Kalyan
• Rageshree - two versions
• Ramdasi Malhar - two versions
• Ramkali - two versions
• Ram Kalyan (a.k.a.

  Priya Kalyan critic 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 - three versions

Awards and recognitions

Notes

External links

Bibliography

References