Ustad Amir Khan

Ustad Amir Khan (August 15, 1912–February 13, 1974) is considered one of the most influential figures in Hindustani classical music and the founder of the Indore Gharana.

Amir Khan was born in a family of musicians in Indore, India. His father, Shahmir Khan, a sarangi and veena player of the Bhendibazaar gharana, served at the court of the Holkars of Indore. His grandfather was a singer in the court of Bahadurshah Zafar.

Ustad Amir Khan was initially trained in the sarangi by his father. However, seeing his interest in vocal music, his father gradually devoted more time to vocal training, focusing on the Merukhand technique. Exposed to various styles, Amir Khan’s musical training went on through his childhood.

He moved to Bombay in 1934, and there he gave a few concerts and cut about half a dozen 78-rpm records. Initially he was not well received. Khan Sahab lived for some time in Delhi and Calcutta, but after the partition of India he moved back to Bombay.

He is said to have favored a swara-oriented and alap-dominated style, and his layakari was generally subtle. His performances had an understated elegance, reverence, restrained passion and did not emphasize showmanship that both moved and awed listeners.

With his pen name, Sur Rang, he has left several compositions. Many stalwarts of Hindustani classical music are influenced by Ustad Amir Khan.

Dhrupad and Dhamar

Some of the widely sung, prevalent styles today in North India Classical music are: Dhrupad, Dhamar, Khayal, Tarana, Tappa and Thumri. Other minor modes include Dadra, Sawani, Chaiti, Kajari, Hori. Let us begin by looking at Dhrupad and Dhamar.

Dhrupad: Literally it is formed of two words - 'dhruva' meaning fixed and 'pada' meaning text. It is the origin and foundation of North Indian Classical music, from which other forms have been derived. In Dhrupad there are no apparent decorative touches; only 'meend' (glide from note to note), and 'gamak' (heavy oscillation between notes) are allowed.The songs are pieces of pure poetry, comprising of moral principles, devotional themes, description of seasons etc. It is very difficult to render this solemn style of singing or playing, and that is why the exponents of this style were and are very few.

Dhamar: A style of singing called 'pakki-hori' is set to a rhythm of 14 beats known as 'dhamar' (taal). This is known as 'Dhamar'. A Dhrupad singer also masters Dhamar and it is sung right after Dhrupad. In fact, Dhamar is considered part and parcel of Dhrupad. It generally depicts incidents connected to Holi and romantic situations between Krishna and Radha.

Guru-Shishya Parampara - 3

There was a time when musicians did not have to worry much about the material side of life, for their artistry was widely proclaimed and the patronage of royalty and wealthy people provided them with all the necessities of life. In turn, they were able to accept into their homes a number of disciples, and all their time could be devoted solely to music. The disciples could spend years living with their Guru, learning and serving him, and absorbing their Guru's tradition and style, which they would later pass on themselves.

What was taught in through the Guru-Shishya Parampara was more than knowlegde about music, more than technique, style or aesthetics of Raga music. What was transmitted was a life, a whole range of values and perceptions.

Times changed, patronage withered, and Gurus had to fend for themselves. Many of them were forced to move to larger cities where they began to support themselves and their families by giving concerts. If the disciples followed Gurus to the cities, they would not only have to find a place to stay and practice, but they would also have to provide their own food and clothing. That is briefly how the wonderful tradition faded almost completely today. However, there are artists with a vision, who have revived it and are trying to keep the Parampara alive in whatever way possible.

Learning with a Guru is a slow and meaningful process and there is no short cut to learning Indian Classical Music. Months of repeated practice brings a very tiny sign of progress. But, in the case of a talented student, one can reduce many years of haphazard study to perhaps give years of planned , organised and concentrated work. But what is five years when the greatest of musicians say that it would take them lives to satisfy themselves. Yet, fixed years of study create a base for students to take off from and give them a set of skills and techniques to explore further.

Guru-Shishya Parampara - 2

"The main features of a fruitful Guru-Shishya relationship led to (1) purity of mind and body, humility, a sense of service, and a devotional and spiritual attitude; (2) a thorough grounding of technique and science of music; (3) the gradual development of the disciple as he sits behind his guru at concerts and joins in when asked, but does not perform by himself until his guru finds him fit to do so; and (4) freedom from economic worries by the disciple, living and serving his guru, as a member of his family."
Pandit Ravi Shankar (My Music, My Life)

Guru-Shishya Parampara - 1

In the process of learning, the first part comes through the teacher; the second part through the practice and devotion of the student himself; the third part emerges from the contact and interaction with other students; the last is the product of the alchemy of time.