#Ustad Amir Khan

[thesufidotcom]

Hazrat Amir Khusrau R.A was a prolific poet who wrote in Persian and Hindi. "Man Kunto Maula": This poem is a tribute to his spiritual mentor, Nizamuddin Auliya. The first line, "Man kunto Maula, fa haza Ali-un Maula," means "Whoever accepts me as a master, Ali is his master too." Listen & Download free from our website sung by ustad Nusrat Fateh Ali Khan Sahib click link: https://ift.tt/t7xJANF https://ift.tt/lNrq5fk

[yathraemagazine]

24 July 2023 / SURESH GANDHARV HINDUSTANI CLASSICAL VOCALIST FROM INDORE GHARANA  MUSICIAN SURESH GANDHARV   The eminent musician Suresh Gandharv is a Hindustani Classical vocalist from Indore Gharana.  He has been trained by Prof R.S. Bisht, senior disciple of renowned Ustad Amir Khan.  Suresh Gandharv, a renowned musician, ‘A’ Graded Classical vocalist from AIR […]

[anantradingpvtltd]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Veteran musician and sarod maestro, Ustad Amjad Ali Khan, writes a deeply personal book about the lives and times of some of the greatest icons of Indian classical music. Having known these stalwarts personally, he recalls anecdotes and details about their individual musical styles, bringing them alive. Twelve eminent musicians of the twentieth century appear in the book - Bade Ghulam Ali Khan, Amir Khan, Begum Akhtar, Alla Rakha, Kesarbai Kerkar, Kumar Gandharva, M.S. Subbulakshmi, Bhimsen Joshi, Bismillah Khan, Ravi Shankar, Vilayat Khan and Kishan Maharaj. In writing about them, Amjad Ali Khan transcends the Gharana and north-south divide and presents portraits of these great artists that are drawn with affection, humour and warmth. ASIN ‏ : ‎ 0670089540 Publisher ‏ : ‎ Penguin Random House India; 2017th edition (29 March 2017) Language ‏ : ‎ English Hardcover ‏ : ‎ 248 pages ISBN-10 ‏ : ‎ 9780670089543 ISBN-13 ‏ : ‎ 978-0670089543 Item Weight ‏ : ‎ 290 g Dimensions ‏ : ‎ 14.5 x 2.7 x 23.1 cm Country of Origin ‏ : ‎ India [ad_2]

[aboutanancientenquiry]

Raag Bahar - Sakal Ban Phool Rahi Sarson Ustad Mehfooz Khokhar 

The Dream Journey sessions

 Vocalist: Ustad Mehfooz Khokhar 

Sarangi: Zohaib Hassan

​ Tabla: Sarfaraz Khan 

Translation: Musab Bin Noor 

Camera & Editing: Mahera Omar 

Sound: Mahera Omar 

Co-produced by: Arif Ali Khan, Asif Hasnain, Musab Bin Noor & Mahera Omar

Source: the youtube channel The Dream Journey.

One of the most famous poems of Amir Khusrau.

Amir Khusrau (1253-1325) was major Indian Muslim mystic, poet and musician who lived in Delhi and wrote in Persian, but also in Hindavi (like in the poem of the video), the common language of the northern and central regions of the Indian Subcontinent in that period.

The Nizamudin of the poem is Hazrat Nizamudin Auliya (1238-1325), one of the greatest Sufi saints in the Indian Subcontinent and Khusrau’s spiritual master.

Ustad means the mentor in poetry or the master of music.

[unsungtunes]

A soulful rendition in Hamsadhwani by the inimitable Ustad Amir Khan

[bollywoodirect]

Remembering Hindustani classical singer Ustad Amir Khan on his 106th birth anniversary. Ustad Amir Khan (August 15, 1912 – February 13, 1974) was a well-known Indian classical vocalist. He is considered one of the most influential figures in Hindustani classical music, and the founder of the Indore Gharana. Amir Khan had a rich baritone voice with a three-octave range, and could move equally effortlessly in any octave. He 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). This unique style, known as the Indore Gharana, blends the spiritual flavor and grandeur of dhrupad with the ornate vividness of khyal. Amir Khansahib presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) using bol-alap with merukhandi patterns, followed by gradually speeding up sargams with various ornamentations, taans and bol-taans with complex and unpredictable movements and jumps while preserving the raga structure, and finally a madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba'idar tarana. He helped popularize the tarana, as well as khyalnuma compositions in the Dari variant of Persian. While he was famous for his use of merukhand, he did not do a purely merukhandi alap but rather inserted merukhandi passages throughout his performance. Khansahib often used the taals Jhoomra and Ektaal, and generally preferred a simple theka (basic tabla strokes that define the taal) from the tabla accompanist. Even though he had been trained in the sarangi, he generally performed khyals and taranas with only a six-stringed tanpura and tabla for accompaniment. Sometimes he had a subdued harmonium accompaniment, but he almost never used the sarangi. 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 his layakari was generally more subtle. His performances had an understated elegance, reverence, restrained passion and an utter lack of showmanship that both moved and awed listeners. According to Kumarprasad Mukhopadhyay's book "The Lost World of Hindustani Music", Bade Ghulam Ali Khan's music was extroverted, exuberant and a crowd-puller, whereas Amir Khan's was an introverted, dignified darbar style. Amir Khansahib believed that poetry was important in khyal compositions, and with his pen name, Sur Rang ("colored in swara"), he has left several compositions. He believed in competition between the genres of classical music and film and other popular music, and he felt that classical renderings needed to be made more beautiful while remaining faithful to the spirit and grammar of the raga. He used to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (music is that which originates from the heart and touches the soul). Besides singing in concerts, Amir Khan also sang film songs in ragas, in a purely classical style, most notably for the films Baiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje. This attempt to introduce classical music to the masses through films significantly boosted Khansahib's visibility and popularity. He also sang a ghazal Rahiye Ab Aisi Jagah for a documentary on Ghalib. Khansahib's disciples include Amarnath, 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, Shankar Mazumdar, Singh Brothers, Srikant Bakre and Thomas Ross. His style has also influenced many other singers and instrumentalists, including Baldev Raj Verma, Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Piu Sarkhel, Prabha Atre, Rashid Khan, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, the Imdadkhani gharana, and Sultan Khan. Although he referred to his style as the Indore Gharana, he was a firm believer of absorbing elements from various gharanas. Amir Khan was awarded the Sangeet Natak Akademi Award in 1967 and the Padma Bhushan in 1971.

[meetdheeraj]

Bade Ghulam Ali Khan was born in 1902 in Kasur, in west Punjab. His father, Ali Baksh, was a singer of the Patiala gharana, patronized by the Sikh maharajas of that princely state. After Partition, Bade Ghulam chose to move to Pakistan, but, finding the audience for classical music limited (in all senses of the word), wished to return to the Indian side of the border. In the 1950s, it was much easier to travel between these two countries than it is now. So Bade Ghulam made a trip to Mumbai, where someone brought his predicament to the attention of Morarji Desai, then the chief minister of the undivided Bombay State. Morarji bhai arranged for a government house for the maestro, while the Central government, headed at the time by Jawaharlal Nehru, smoothed the way for this Muslim from Pakistan to become a citizen of India - historian Ramachandra Guha in his regular column in Telegraph goes further while talking about a youtube recording of Hamsadhvani by Bade Ghulam Ali Khan - I had heard, many times, Hamsadhvani as rendered by the vocalists, Amir Khan and Kishori Amonkar, and by the flautist, Panna Lal Ghosh. But this was the first time I had heard it sung by Bade Ghulam Ali Khan, whom I had previously known (and loved) for his renditions of Pahadi and Behag. I checked with a more learned friend, and found that my hunch was correct; that Bade Ghulam rarely sang Hamsadhvani, and this was therefore a very special recording... this particular rendition of Hamsadhvani was from a concert that Bade Ghulam Ali Khan had given in my home town, Bangalore, in 1956. The concert was part of the Rama Navami festival, then (as now) an important part of the city’s musical calendar, and held always in the capacious grounds of the Fort High School in Chamarajpet. The ‘Fort’, after which this High School is named, was originally a mud structure, built by Kempegowda in the 16th century. It was later rebuilt in stone by Hyder Ali, and further embellished by Hyder’s son, Tipu, in the 18th century. However, the school itself dates to the early 20th century, and its building, a very handsome one, is constructed in the British colonial style. So here was Bade Ghulam Ali Khan, singing Hamsadhvani at the Ram Navami festival, held annually at the Fort High School in Bangalore. A Muslim musician in India, born in what is now Pakistan. An acclaimed ustad of a gharana of Hindustani music patronized by Sikh maharajas. Singing a raga of the Carnatic style, in a festival named after the greatest of Hindu deities, held in the grounds of a school built in British times but named after a fort that dated to the 16th century and whose present form owed itself to both Hindu and Muslim rulers.

[alwaysfirst]

Pandit Shivkumar Sharma - Jammu's gift to India

Nature has equated its gift of lofty snow-clad mountains, gurgling rivers, lakes, tall swinging trees, and fruit and flowers with human talent which really mirrors the beauty of Jammu and Kashmir. Pandit Shivkumar Sharma was a god-gifted Santoor virtuoso. Santoor was his childhood craze. Those, who love to listen to this, claim they hear heavenly sound in it. There are people who spend quiet nights on boats in a river or lake to hear Sufi music on Santoor. The strings of Santoor at once transport the listener to the other world where he or she hears heavenly music. No wonder young Shivkumar became enamored of Santoor. At the age of 17, he established himself in the eyes of icons of classical music when he performed at the Haridas Sangit Sammelan in Mumbai. The icons of classical music at the Sammelan included Ustad Bade Ghulam Ali Khan, Ustad Vilayat Khan, Pandit Ravi Shankar, Ustad Amir Khan, Ustad Mushtaq Hussain, Pandit Omkarnath Thakur and Rasoolavi Bai. Among the kudos were some critical opinions which found Santoor not the right instrument for classical music. Perhaps, it was too early for some in the audience to gauge young Shivkumar's missionary zeal with Santoor. Explaining his mission, he told a Jammu newspaper. "I have tried not to make a caricature of this instrument." He had a vision for Santoor. His single-minded mission was to make Santoor an instrument for playing classical music. He went ahead with this mission despite criticism from some quarters. He developed the technique of "tremor" which the critics accepted. In an interview, he said, "I have also tried to improve the tonal quality of this instrument in order to give it soothing, soft and ethereal type of a sound." Shivkumar Sharma was born in Jammu on January 13, 1938. As he says, his music was inspired by the folk music of Jammu, Dogri folk songs. Nature in Jammu played the defining role in the making of Pandit Shivkumar Sharma. "The Call of the Valley" a film largely inspired by nature was made by him in 1967 in association with flute maestro Hariparshad Chaurasia and Guitarist Brij Bhushan Kalra. His musical assignments mostly kept him in Mumbai. But Mumbai was not Jammu for him. "I do miss my beautiful Jammu" he was always nostalgic for his birth place to which he owed his love for music. Many old people, who have listened to Santoor, swear the instrument produces heavenly music. Shivkumar Sharma was of the opinion that Santoor was spiritual music that took the listener into a serene atmosphere and put the mind to rest. The story of Shivkumar Sharma is the story of an achiever who keeps his eyes, ears, and above all his/her heart open to his/her environs. The environs which Jammu and Kashmir present can inspire even a soul-less person. A Persian poet had said he would give up the throne of Delhi for Kashmir, the Paradise on earth, "where a roasted Chicken gets back its feathers". While we praise Shivkumar Sharma for his music, we should turn our attention to the gifts of nature to Jammu and Kashmir which urge human beings to be creative par excellence. This creativity is reflected in Kashmiri art and handicraft. All motifs on sarees, carpets, and woodwork reflect the artists' inspiration from their environs. That makes Kashmiri handicrafts famous all over the world. A keen and sensitive person can hear the haunting melodies of Jammu and Kashmir in these handicrafts. His classical music on Santoor reflects that. Read the full article

[hereisyoursongoftheday]

Ustad Shujaat Khan (Sitar, Vocal), son of the legendary Ustad Vilayat Khan, sings an Amir Khusrau poem, accompanied by Parthasarathy Mukherjee (Tabla). This is a live concert recording at Trafó (Budapest, Hungary), from thirteen years ago (Saturday, November 22, 2008), in what was the 6th concert of a Masters of Indian Classical Music series.

[aftaabmagazine]

شاه ليلا Shah Layla

شاه ليلا

Shah Layla

استاد قاسم

Ustad Qasem

شاه ليلا د ګلو باغا

Shah Laila, an orchard of flowers

شاه ليلا د ګلو غرونه

Shah Laila, a mountain of flowers

تورپيکۍ غونډکۍ ولونه

Dark haired braids

دلې (ولې) ما نه کا پوښتنه

Why don’t you check up on me?

کيسې وايو رسواي کا

If we say anything, maybe we will be discovered

شاه ليلا بې وفاي کا؟

Shah Laila, why so fickle?

دلې (ولې) ما نه جداي کا؟

Why are you apart from me?

په زړګي مې راکه داغا

You have scarred my heart

د سپين مخ ددې چراغا

Your face glows

په تور تم کې رڼاي کا

In the pitch of night, a light

کله (ګله) سبزه ده شيرينه

Sometimes green and sweet

کله (ګله) جلوه نماي کا

Sometimes showing her beauty

Translated from the Pashto by Humah Bargzie and Nasim Salimi

Ustad Qasim (1883-1956) is credited as the founder of modern ghazal music in Afghanistan. Amir Mohammad Azam Khan (1867– 68) invited Ustad Qasim's father, the Kashmiri sitar virtuoso Ustad Sattar Joo, to Kabul. Ustad Qasim performed as a court musician, composer, and vocalist. He also tutored Amir Amanullah Khan (1919-29). This track, most likely from the 1930s, was recorded in India with Kabul court musicians.

استاد قاسیم با پسر کلان خود یعقوب قاسمی

Ustad Qasim with his oldest son Yaqub Qasimi

circa early 1930s Kabul.

AfghanMagazine.com

[gurusoundz]

Discover The Melodious Indian Classical Instrument Sitar

A Brief Look Into To The History Of Sitar

The Sitar is a stringed instrument from India, which uses sympathetic strings to produce notes from the main strings. It is a very popular instrument and has gained popularity in both India and the West over the past few decades. The sitar is a plucked stringed instrument commonly used in Hindustani classical music. It derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a resonating gourd chamber. The sitar was likely invented in the 16th century. The 16th-century Sufi mystic Amir Khusrow was a major influence in the development of this instrument. It is also popular in countries such as India, Pakistan, and Bangladesh, where it was probably developed from a Persian lute called the veena. The name "sitar" evolved from a different Persian instrument called a "sehtar," which meant three strings.

How Is The Sitar Played?

In addition to the resonating strings, a Sitar may have as many as a dozen sympathetic strings. The sympathetic strings both resonate with and reinforce the played strings, helping the sitar produce a deeper sound. The sitar is usually played while seated, with the player holding the instrument at a 45-degree angle in the lap. The right hand is used to pluck the played strings with a metallic pick, called a mizraab. The left hand is used to press down on the frets of the instrument.

The Most Popular Sitars

There are primarily three famous variations of Sitars found in a  Sitar shop UK like Gurusoundz:

● Of the three types of Sitars, the “Ravi Shankar” (or “RV”) is the most popular. This sitar has 12-14 sympathetic strings and bass melody strings.

 ● The Vilayat Khan Sitar is a variant of the sitar, created by Ustad Vilayat Khan. Although smaller than the Ravi Shankar Sitara, the Vilayat Khan Sitar features a single gourd instead of two.

 ●  The Surbahar is a large type of sitar that usually employs a very thick string and a wider neck. A broader fret-board is offered as well. Among sitar enthusiasts, this is considered much more difficult to play than other types.

[timespakistan]

The kheyal maestro | Art & Culture Mubarak Ali Khan, who died last week, had been singing for more than five decades. He had trained a number of genres but for the past three decades or so had concentrated on the kheyal. A hereditary musician, he was not a kheyal singer to begin with. It was on account of idolising Ustad Amir Khan that he moulded himself in his style. His was a difficult journey because he stuck to the traditional style. Till the very end, he did not cower under pressure to compromise in favour of more poplar forms. This determination was all the more significant because he had started his career a qawwal. During the past five decades, qawwali became both a musical patent internationally and a concert item at home. Its relationship with the shrine mutated many a time and in the end detached itself from its usual quasi-religious moorings. During this time, one saw many a qawwal veer towards a more contemporary sonic representation with help from computer generated sound, emphasising the rhythmic pattern. This, made qawwals sound more like rock stars. This was considered to be yet another legacy of Nusrat Fateh Ali Khan. However, Mubarak Ali quit qawwali and settled for a more meditative tone that dwelled in a introspection through the unhurried unfolding of the raga in the vilampat lai. Other than evoking an ecstatic response, the stress was on an incremental build up that nuanced into evoking different layers of shrutis embedded in a sur. In the course of the Eighteenth and Nineteen Centuries, many of the qawwals switched to singing the kheyal as it was considered more prestigious. Two outstanding examples of this were Ustads Barray Muhammed Khan and Tanrus Khan. The former is considered the first genuine exponent to establish the kheyal as an independent form after the musical taste had shifted away from the dhrupad. The latter is seen as one of the leading exponents whose innovations and talent announced in no uncertain terms that the genre had arrived as a major form of serious music. Mubarak Ali Khan took to the kheyal at a time when it had dwindling takers in Pakistan. That must have been because he was sincere to whatever he was doing irrespective of the response that he was able to get. He made his task even more arduous when he decided to emulate Ustad Amir Khan. In a certain way, he went against the drift of music in Pakistan because here the emphasis unfortunately had shifted to virtuosity, which meant excessive reliance on fast flights, preferably lightning fast, and then the intricate division of the rhythmic cyclic. A musical performance only warms up once the vocalists indulges in lightning fast taans and tehais –preferably with one following the other. The gaana in the vilampat lai, which emphasises lagao, has suffered. The musicality and the melodic content thus escaped kheyal and found refuge in the other forms, like folk and ghazal. Meanwhile, classical forms were seen as the battleground for virtuosity –rather externalised virtuosity. Mubarak Ali Khan, however, stuck to his style. He brought to life the exploration of the raga in slow tempo. The Ustad Amir Khan-Mubarak Ali were a rare case of a bond between an old ustad and a young admirer – it was a bond that was not ustad/shagirdi in flesh and blood but on a roohani level. No expression in another language fully captures the essence and the implications of the term. One can translate roohani as spiritual but the connotation is much more cultural-specific than that associated with the merely spiritual. Mubarak Ali Khan had been so impressed by the singing of Amir Khan that he accepted him as his roohani ustad. They never met and there was no one-on-one interaction between the two. It has little to do with the traditional teaching relationship where the ustad in person teaches the shagird the finer art of music. However, in a higher sense, it was a bond that had all the trappings of a formal personal relationship. More was added to it by the absence of the ustad. Ustad Amir Khan was himself greatly inspired by the singing of Ustad Waheed Khan of the Kirana Gharana. If one hears the vocal rendering of Ustad Abdul Karim Khan and Abdul Waheed Khan, the two outstanding exponents of the Gharana in the first three decades of the Twentieth Century, one can only vouch for the diversity that existed in the Gharana. Abdul Waheed Khan was very particular about the intonation and the correct nuance of the note in according with the raga as he specialised in vilampit lai gradually weaving the magic of the notes in the slow elaboration of the raga in a tempo, where the nuance of the note is not lost in acceleration but retains its emotional colouration by dwelling on it. Ustad Amir Khan made this singing his specialty and during his prime there were few who could match his exposition of the raga in the vilamapit lai and the musical possibilities inherent in the mandristhan -the lower octave. Mubarak Ali Khan chose the slow evocatory progression of the raga in the vilampat lai and then the exploration of the lower and the middle octaves. He remained loyal to his ustad. It frequently happened that as the raga progressed at a certain pace, Ustad Mubarak Ali Khan suddenly decided to wrap it up on account of the time constraint. He rarely had the luxury of a gradual unfolding as organisers of the programmes pressed for fixed schedules. The writer is a culture critic based in Lahore https://timespakistan.com/the-kheyal-maestro-art-culture/16471/?wpwautoposter=1618750873

[thetubethambi]

#nowplaying🎧 Aarohan A Journey Into The World Of Indian Classical Music 🎶 Ustad Amir Khan 🎼 just click our Instagram profile link & SELECT YouTube 👉🏽 #indianclassicalmusic #indianclassicalmusicians #classicalindianmusic #raga #ustadamirkhan #musicappreciation #music #aurovilleradio #aurovilleindia #auroville https://www.instagram.com/p/CNyuCSllKLP/?igshid=ivx67iapwq88

[stmarychampionschool]

Which is Better CBSE or MP Board?

From Pre schools to Primary school in Indore, you can give provide your dear ones such as education, that can build their personality and give their life a good direction. But, which School to send their children into? CBSE or MP Board? This is been the most debatable topic from a long time by which, the guardians often get confused. Society is divided into two parts for this question. Today, we will throw light on the facts, that will clear the dilemma about who has edge over another one. 

What is CBSE?

The Central Board of Secondary Education (CBSE) is a national level board of education in India for public and private schools, controlled and managed by Union Government of India.

What is the MP board?

Madhya Pradesh Board of Secondary Education is a board of school education in the Madhya Pradesh State of India. The MPBSE is a Madhya Pradesh government body responsible for determining the policy-related, the administrative, cognitive, and intellectual direction of the state's higher educational system.

Educational Pattern

CBSE is considered to be more student-friendly. Its emphasis on making learning interesting and interactive. State board, on the other hand, will be a good choice, if a person wants to peruse his education in its state only. But, if he wants to go for the national examination he should choose CBSE.

Which one to choose? 

I think CBSE has an edge over the MP board or state board. 

Because:-

CBSE emphasis on preparing a good human more     than a student. From the very beginning, they enhance student's Mental     Skills, physical strength. It helps to pursue student's interest field,     weather it is sports or art. 

CBSE's educational process emphasis on not     putting pressure on the student. Their exam environment is light and their     books are interactive and interesting.

CBSE helps student pursuing education from the     national institutes like AIIMS, IIT. Because Preliminary exams for these     institutes are organized by CBSE. So the CBSE students can get benefitted     because that’s the very educational structure, they are being familiar     with. 

CBSE is tougher than MP board or State board     but, it prepares the student to have the quality learning. It is not very     tough though. CBSE prepares a complete knowledgeable person out of you.

Which school to choose in Indore?

CBSE or MP Board?

Indore has a lot of potential in it. It has produced legendary artists like LataMangeshkar, RahatIndori, Salman khan, ustad Amir Khan. So it tells that, we need someone to give our children platform in arts as well. CBSE schools in Indore, with better education, provide a better platform to the children in their respective fields. 

So it's fair to say to choose CBSE school in Indore because CBSE has quite an edge over the MP State board. 

[bollywoodirect]

Remembering Ustad Amir Khan on his 105th birth anniversary.

Ustad Amir Khan (15 August 1912 – 13 February 1974) was a well-known Indian classical vocalist. He is considered one of the most influential figures in Hindustani classical music, and the founder of the Indore Gharana.

Amir Khan had a rich baritone voice with a three-octave range, and could move equally effortlessly in any octave. He 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). This unique style, known as the Indore Gharana, blends the spiritual flavor and grandeur of dhrupad with the ornate vividness of khyal. Amir Khansahib presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) using bol-alap with merukhandi patterns, followed by gradually speeding up sargams with various ornamentations, taans and bol-taans with complex and unpredictable movements and jumps while preserving the raga structure, and finally a madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba'idar tarana. He helped popularize the tarana, as well as khyalnuma compositions in the Dari variant of Persian. While he was famous for his use of merukhand, he did not do a purely merukhandi alap but rather inserted merukhandi passages throughout his performance.

Khansahib often used the taals Jhoomra and Ektaal, and generally preferred a simple theka (basic tabla strokes that define the taal) from the tabla accompanist. Even though he had been trained in the sarangi, he generally performed khyals and taranas with only a six-stringed tanpura and tabla for accompaniment. Sometimes he had a subdued harmonium accompaniment, but he almost never used the sarangi.

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 his layakari was generally more subtle. His performances had an understated elegance, reverence, restrained passion and an utter lack of showmanship that both moved and awed listeners. According to Kumarprasad Mukhopadhyay's book "The Lost World of Hindustani Music", Bade Ghulam Ali Khan's music was extroverted, exuberant and a crowd-puller, whereas Amir Khan's was an introverted, dignified darbar style. Amir Khansahib believed that poetry was important in khyal compositions, and with his pen name, Sur Rang ("colored in swara"), he has left several compositions.

He believed in competition between the genres of classical music and film and other popular music, and he felt that classical renderings needed to be made more beautiful while remaining faithful to the spirit and grammar of the raga. He used to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (music is that which originates from the heart and touches the soul).

Besides singing in concerts, Amir Khan also sang film songs in ragas, in a purely classical style, most notably for the films Baiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje. This attempt to introduce classical music to the masses through films significantly boosted Khansahib's visibility and popularity. He also sang a ghazal Rahiye Ab Aisi Jagah for a documentary on Ghalib.

Khansahib's disciples include Amarnath, 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, Shankar Mazumdar, Singh Brothers, Srikant Bakre and Thomas Ross. His style has also influenced many other singers and instrumentalists, including Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Khan, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, the Imdadkhani gharana, and Sultan Khan. Although he referred to his style as the Indore Gharana, he was a firm believer of absorbing elements from various gharanas.

Amir Khan was awarded the Sangeet Natak Akademi Award in 1967 and the Padma Bhushan in 1971.

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