Amir Khan (singer) - Revision history

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Singing career

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	{{Infobox musical artist		{{Infobox musical artist
	\| name = Amir Khan		\| name = Amir Khan
	\| image = AmirKhan.jpg		\| image = AmirKhan.jpg
	\| caption =		\| caption =
	\| image_size =		\| image_size =
	\| birth_name =		\| birth_name =
	\| alias = Sur Rang		\| alias = Sur Rang
	\| birth_place = Kalanaur, [[British India]]<ref name="Saxena-1974" /><ref name="Misra-1981" /><ref name="Grove" />{{efn\|name=Birthplace}}		\| birth_place = Kalanaur, [[British India]]<ref name="Saxena-1974" /><ref name="Misra-1981" /><ref name="Grove" />{{efn\|name=Birthplace}}
	\| birth_date = {{Birth date\|df=yes\|1912\|4\|}}<ref name="Misra-1981" /><!--Contradicts <ref name="TheHindu" />, which reports age 62 at time of death-->		\| birth_date = {{Birth date\|df=yes\|1912\|8\|15}}<ref name="Misra-1981" /><!--Contradicts <ref name="TheHindu" />, which reports age 62 at time of death-->
	\| death_place = [[Calcutta]], [[West Bengal]], [[India]]		\| death_place = [[Calcutta]], [[West Bengal]], [[India]]
	\| death_date = {{Death date and age\|df=yes\|1974\|2\|13\|1912\|4\|}}<ref name=TheHindu/><ref name=ITC/>		\| death_date = {{Death date and age\|df=yes\|1974\|2\|13\|1912\|4\|}}<ref name=TheHindu/><ref name=ITC/>
	\| genre = [[Hindustani classical music\|Indian classical music]]<br>([[Khyal]], [[Tarana]])		\| genre = [[Hindustani classical music\|Indian classical music]]<br>([[Khyal]], [[Tarana]])
	\| occupation = [[Hindustani classical music\|Hindustani]] classical vocalist<ref name=ITC/>		\| occupation = [[Hindustani classical music\|Hindustani]] classical vocalist<ref name=ITC/>
	\| years_active = 1934–1974		\| years_active = 1934–1974
	\| label = EMI, HMV, Music Today, Inreco, Ninaad, Navras, Columbia, The Twin		\| label = EMI, HMV, Music Today, Inreco, Ninaad, Navras, Columbia, The Twin
	\| awards = [[Sangeet Natak Akademi Award]] <br>Presidential Award<br>[[Padma Bhushan]]		\| awards = [[Sangeet Natak Akademi Award]] <br>Presidential Award<br>[[Padma Bhushan]]
	}}		}}
	Ustad '''Amir Khan''' ({{IPA-hns\|əˈmiːr xaːn\|pron}}) (~~April~~ 1912<ref name="Misra-1981" /> – 13 February 1974)<ref name="TheHindu" /><ref name="ITC" /> was ~~one of the most popular~~ [[Indian classical music\|Indian classical]] [[Singing\|vocalist]] ~~worldwide~~. He ~~is considered one of the most influential figures in [[Hindustani classical music]], and~~ was the founder of the [[Indore gharana]].<ref name=TOI>{{cite news \|url=http://timesofindia.indiatimes.com/Opinion/Speaking_Tree/Stirring_Compassion_of_Cosmic_Vibration/articleshow/1955005.cms \|work=The Times Of India \|first1=Bindu \|last1=Chawla \|title=Stirring Compassion of Cosmic Vibration \|date=26 April 2007 \|access-date=20 August 2018 \|archive-date=3 September 2018 \|archive-url=https://web.archive.org/web/20180903015911/https://timesofindia.indiatimes.com/Opinion/Speaking_Tree/Stirring_Compassion_of_Cosmic_Vibration/articleshow/1955005.cms \|url-status=live }}</ref><ref name=ITC/>		Ustad '''Amir Khan''' ({{IPA-hns\|əˈmiːr xaːn\|pron}}) (15 Aug 1912<ref name="Misra-1981" /> – 13 February 1974)<ref name="TheHindu" /><ref name="ITC" /> was an [[Indian classical music\|Indian classical]] [[Singing\|vocalist]]. He was the founder of the [[Indore gharana]].<ref name=TOI>{{cite news \|url=http://timesofindia.indiatimes.com/Opinion/Speaking_Tree/Stirring_Compassion_of_Cosmic_Vibration/articleshow/1955005.cms \|work=The Times Of India \|first1=Bindu \|last1=Chawla \|title=Stirring Compassion of Cosmic Vibration \|date=26 April 2007 \|access-date=20 August 2018 \|archive-date=3 September 2018 \|archive-url=https://web.archive.org/web/20180903015911/https://timesofindia.indiatimes.com/Opinion/Speaking_Tree/Stirring_Compassion_of_Cosmic_Vibration/articleshow/1955005.cms \|url-status=live }}</ref><ref name=ITC/>

	==Early life and background==		==Early life and background==
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	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.<ref name=ITC>[http://www.itcsra.org/TributeMaestro.aspx?Tributeid=6 Amir Khan - Tribute to a Maestro] {{Webarchive\|url=https://web.archive.org/web/20180820234954/http://www.itcsra.org/TributeMaestro.aspx?Tributeid=6 \|date=20 August 2018 }} ITC Sangeet Research Academy website, Retrieved 20 August 2018</ref> 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.		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.<ref name=ITC>[http://www.itcsra.org/TributeMaestro.aspx?Tributeid=6 Amir Khan - Tribute to a Maestro] {{Webarchive\|url=https://web.archive.org/web/20180820234954/http://www.itcsra.org/TributeMaestro.aspx?Tributeid=6 \|date=20 August 2018 }} ITC Sangeet Research Academy website, Retrieved 20 August 2018</ref> 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 ("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 to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (music is that which originates from the heart and touches the soul).		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 ("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 to 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 and touches the soul).

	Characteristics of his style include:		Characteristics of his style include:

>Rummskartoffel: Reverted 1 edit by Amanthakur007 (talk) to last revision by 116.75.130.52

2021-06-29T15:37:55Z

Reverted 1 edit by Amanthakur007 (talk) to last revision by 116.75.130.52

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{{short description|Indian singer}}
{{Use Indian English|date=May 2017}}
{{Use dmy dates|date=May 2017}}
{{refimprove|date=August 2019}}
{{Infobox musical artist
| name = Amir Khan
| image = AmirKhan.jpg
| caption =
| image_size =
| birth_name =
| alias = Sur Rang
| birth_place = Kalanaur, [[British India]]<ref name="Saxena-1974" /><ref name="Misra-1981" /><ref name="Grove" />{{efn|name=Birthplace}}
| birth_date = {{Birth date|df=yes|1912|4|}}<ref name="Misra-1981" />
| death_place = [[Calcutta]], [[West Bengal]], [[India]]
| death_date = {{Death date and age|df=yes|1974|2|13|1912|4|}}<ref name=TheHindu/><ref name=ITC/>
| genre = [[Hindustani classical music|Indian classical music]]<br>([[Khyal]], [[Tarana]])
| occupation = [[Hindustani classical music|Hindustani]] classical vocalist<ref name=ITC/>
| years_active = 1934–1974
| label = EMI, HMV, Music Today, Inreco, Ninaad, Navras, Columbia, The Twin
| awards = [[Sangeet Natak Akademi Award]] <br>Presidential Award<br>[[Padma Bhushan]]
}}
Ustad '''Amir Khan''' ({{IPA-hns|əˈmiːr xaːn|pron}}) (April 1912<ref name="Misra-1981" /> – 13 February 1974)<ref name="TheHindu" /><ref name="ITC" /> was one of the most popular [[Indian classical music|Indian classical]] [[Singing|vocalist]] worldwide. He is considered one of the most influential figures in [[Hindustani classical music]], and was the founder of the [[Indore gharana]].<ref name=TOI>{{cite news |url=http://timesofindia.indiatimes.com/Opinion/Speaking_Tree/Stirring_Compassion_of_Cosmic_Vibration/articleshow/1955005.cms |work=The Times Of India |first1=Bindu |last1=Chawla |title=Stirring Compassion of Cosmic Vibration |date=26 April 2007 |access-date=20 August 2018 |archive-date=3 September 2018 |archive-url=https://web.archive.org/web/20180903015911/https://timesofindia.indiatimes.com/Opinion/Speaking_Tree/Stirring_Compassion_of_Cosmic_Vibration/articleshow/1955005.cms |url-status=live }}</ref><ref name=ITC/>

==Early life and background==
Amir Khan was born in a family of musicians in Kalanaur, [[India]].<ref name="Saxena-1974">{{cite journal |journal=Journal of the Sangeet Natak Akademi |issue=31 |date=1974 |title=Ustad Ameer Khan: The Man and his Art |last1=Saxena |first1=Sushil Kumar |page=8 |url=https://www.indianculture.gov.in/ustad-ameer-khan-man-and-his-art |via=Indian Culture Portal |access-date=18 June 2021 |archive-date=19 June 2021 |archive-url=https://web.archive.org/web/20210619124311/https://www.indianculture.gov.in/ustad-ameer-khan-man-and-his-art |url-status=live }}</ref><ref name="Misra-1981">{{cite book |last1=Misra |first1=Susheela |date=1981 |title=Great masters of Hindustani music |chapter=Ustad Amir Khan |publisher=Hem Publishers |url=https://www.indianculture.gov.in/great-masters-hindustani-music |via=Indian Culture Portal |access-date=18 June 2021 |archive-date=19 June 2021 |archive-url=https://web.archive.org/web/20210619124237/https://www.indianculture.gov.in/great-masters-hindustani-music |url-status=live }}</ref><ref name="Grove">{{cite web |last1=Wade |first1=Bonnie C. |last2=Kaur |first2=Inderjit N. |title=Khan, Amir |publisher=[[Oxford University Press]] |doi=10.1093/gmo/9781561592630.article.48875 |url=https://doi.org/10.1093/gmo/9781561592630.article.48875 |url-access=subscription |work=[[Grove Music Online]] |year=2018 |isbn=9781561592630 |access-date=17 June 2021 |archive-date=19 June 2021 |archive-url=https://web.archive.org/web/20210619124324/https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000048875 |url-status=live }}</ref>{{efn |name=Birthplace |1=A tribute by the [[ITC Sangeet Research Academy]] instead reports Khan was born in [[Indore]].<ref name="ITC" />}} His father, Shahmir Khan, a [[sarangi]] and [[veena]] player of the [[Bhendibazaar gharana]], served at the court of the [[Holkars]] of Indore. His grandfather, Change Khan, was a singer in the court of [[Bahadurshah Zafar]]. Amir Ali's mother died when he was nine years old. He had a younger brother, Bashir, who went on to become a sarangi player at the Indore station of [[All India Radio]].
He 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. Amir Ali was exposed at an early age to many different styles, since just about every musician who visited Indore would come to their house, and there would be [[mehfil]]s at their place on a regular basis.<ref name="Misra-1981" /> He also learned the basics of [[tabla]] playing from one of his maternal uncles, who was a tabla player.

Amir Khan moved to [[Bombay]] in 1934, and there he gave a few concerts and cut about half a dozen [[Shellac disc|78-rpm records]]. These initial performances were not well received. Following his father's advice, in 1936 he joined the services of Maharaj [[Chakradhar Singh]] of Raigadh Sansthan in Madhya Pradesh. He performed at a music conference in Mirzapur on behalf of the Raja, with many illustrious musicians present, but he was hooted off the stage after only 15 minutes or so. The organizer suggested singing a [[thumri]], but he refused, saying that his mind was never really inclined towards thumri. He stayed at Raigadh for only about a year. Amir Khan's father died in 1937. Later, Khansahib lived for some time in [[Delhi]] and [[Calcutta]], but after the [[partition of India]] he moved back to Bombay.

==Singing career==
Amir Khan was a virtually self-taught musician. He developed his own ''gayaki'' (singing style), influenced by the styles of [[Abdul Wahid Khan|Abdul Waheed Khan]] (''[[vilambit]]'' tempo), [[Rajab Ali Khan]] (''[[Taan (music)|taans]]'') and [[Aman Ali Khan]] (merukhand).<ref name=ITC/> This unique style, known as the Indore Gharana, blends the spiritual flavour and grandeur of [[dhrupad]] with the ornate vividness of [[khyal]]. The style he evolved was a unique fusion of intellect and emotion, of technique and temperament, of talent and imagination. Unlike other artists he never made any concessions to popular tastes, but always stuck to his pure, almost puritanical, highbrow style.<ref name="Misra-1981" />

Amir Khansahib had a rich baritone open-throated voice with a three-octave range. His voice had some limitations but he turned them fruitfully and effortlessly to his advantage. He presented an aesthetically detailed ''badhat'' (progression) in ''ati-vilambit laya'' (very slow tempo) using ''bol-alap'' with merukhandi patterns,<ref>{{Cite journal
| author = Thomas W. Ross
| date=Spring–Summer 1993
| title = Forgotten Patterns: "Mirkhand" and Amir Khan
| journal = Asian Music
| publisher = University of Texas Press
| volume = 24
| issue = 2
| pages = 89–109
| doi=10.2307/834468
| jstor = 834468
}}</ref> followed by gradually speeding up "floating" ''[[Sargam (music)|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) [[Khyal|chhota khyal]] or a [[Tarana|ruba'idar tarana]]. He helped popularize the tarana, as well as [[khyal]]numa [[Bandish|compositions]] in the Dari variant of [[Persian language|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.<ref>{{cite web |url=https://sites.google.com/site/amirkhanikhayal/4-theswaraaspectofgayaki |title=The Swara Aspect of Gayaki (Analysis of Ustad Amir Khan's Vocal Style) |author=Ibrahim Ali |access-date=20 August 2018}}</ref> He believed that practising ''[[gamak]]'' is essential to mastering singing.

Khansahib often used the ''[[Tala (music)|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 [[Pump organ|harmonium]] accompaniment, but he almost never used the sarangi.<ref>{{cite news |url=http://www.hindu.com/thehindu/fr/2005/11/25/stories/2005112501720200.htm |archive-url=https://web.archive.org/web/20060921082245/http://www.hindu.com/thehindu/fr/2005/11/25/stories/2005112501720200.htm |url-status=dead |archive-date=21 September 2006 |location=Chennai, India |author=Jitendra Pratap |title=Pleasing only in parts |date=25 November 2005 |work=[[The Hindu]] |access-date=20 August 2018}}</ref>

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.<ref name=ITC>[http://www.itcsra.org/TributeMaestro.aspx?Tributeid=6 Amir Khan - Tribute to a Maestro] {{Webarchive|url=https://web.archive.org/web/20180820234954/http://www.itcsra.org/TributeMaestro.aspx?Tributeid=6 |date=20 August 2018 }} ITC Sangeet Research Academy website, Retrieved 20 August 2018</ref> 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 ("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 to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (music is that which originates from the heart and touches the soul).

Characteristics of his style include:
* slow-tempo, leisurely raga development (except with Carnatic ragas, which he typically rendered in medium tempo)
* improvisation mostly in lower and middle octaves
* tendency towards serious and expansive 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 of kan swaras ([[Ornament (music)#Acciaccatura|acciaccatura]]) in all parts of performance
* controlled use of embellishments to preserve introspective quality
* rare use of [[tihai]]
* careful enunciation of text of [[bandish]]
* actual bandish as sung may or may not include antara
* multiple laya jatis in a single taan<note>Khansahib demonstrated this in an interview with the tabla player Chatturlal</note>
* mixture of taan types (including chhoot, sapaat, bal, sargam and bol-taan) in a single taan
* use of ruba'idar tarana (considered similar to chhota khyal)

Besides singing in concerts, Amir Khan also sang film songs in ragas, in a purely classical style, most notably for the [[film]]s ''[[Baiju Bawra (1952 film)|Baiju Bawra]]'', ''[[Shabaab (film)|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 [[Amar Nath|Amarnath]],<ref name=TOI/> [[Arkut Kannabhirham|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, Shankarlal Mishra, [[Singh Bandhu|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 (musician)|Rashid Khan]], [[Ajoy Chakrabarty]], Rasiklal Andharia, [[Sanhita Nandi]], Shanti Sharma, [[Nikhil Banerjee]], [[Pannalal Ghosh]], the [[Imdadkhani gharana]], and [[Sultan Khan (musician)|Sultan Khan]]. Although he referred to his style as the Indore Gharana, he was a firm believer of absorbing elements from various gharanas.<ref>{{cite news |url=https://www.thehindu.com/todays-paper/tp-features/tp-metroplus/enspBEATSTREET/article15392660.ece |location=Chennai, India |work=The Hindu (newspaper) |title=Beatstreet (The Legend Lives on...Ustad Amir Khan) |date=3 November 2008 |access-date=20 August 2018 |archive-date=16 June 2021 |archive-url=https://web.archive.org/web/20210616143449/https://www.thehindu.com/todays-paper/tp-features/tp-metroplus/enspBEATSTREET/article15392660.ece |url-status=live }}</ref>

Amir Khan was awarded the [[Sangeet Natak Akademi Award]] in 1967<ref>{{cite web |title=Sangeet Natak Akademi Awards - Hindustani Music - Vocal |publisher=Sangeet Natak Akademi |url=http://www.sangeetnatak.org/sna/awardeeslist.htm#HindustaniMusicVocal |url-status=dead |archive-url=https://web.archive.org/web/20120217185616/http://www.sangeetnatak.org/sna/awardeeslist.htm |archive-date=2012-02-17 |access-date=20 August 2018}}</ref> and the [[Padma Bhushan]] in 1971.<ref name=GoogleBooks/>

==Research in the field of Tarana==
Ustad Amir Khan dedicated a large part of his musical career to the study of taranas. In his research, he found that the words used in [[Tarana]] come from Persian and Arabic languages. In one of his research 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 are the Complete Wisdom.

Tom - I am yours, I belong to you.

Yala - Ya Allah

Yali - Ya Ali

In another interview, he also states the meaning of the following syllables:

Dar – Bheetar, Aandar (inside)

Dara – Andar Aa (get in 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 is inside the body)

==Personal life==
Amir Khan's first marriage was to Zeenat, sister of the sitar player, [[Vilayat Khan]]. From this marriage, which eventually failed and ended in separation, he had a daughter, Farida. His second marriage was to Munni Bai, who gave birth to a son, Akram Ahmed. Around 1965, Khansaheb married Raisa Begum, daughter of the thumri singer, Mushtari Begum of Agra. He had expected that Munni Begum would accept the third wife; however, Munni disappeared and it is rumored that she committed suicide. With Raisa he had a son, Haider Amir, later called [[Shahbaz Khan (actor)|Shahbaz Khan]].<ref name=TheHindu/>

Khansahib died in a car accident in Calcutta on 13 February 1974 aged 61, and was buried at Calcutta's Gobra cemetery.<ref name=TheHindu>{{cite news |url=http://www.thehindu.com/arts/article145736.ece |work=The Hindu (newspaper) |first1=Meena |last1=Banerjee |title=Immortal maestro (Ustad Amir Khan) |location=Chennai, India |date=4 March 2010 |accessdate=20 August 2018}}</ref>

==Discography==

===Movies===
* ''[[Baiju Bawra (1952 film)|Baiju Bawra]]'' (Music director: [[Naushad]])
** 'Tori Jai Jai Kartar' (raga [[Puriya Dhanashree]]; alternate version [https://web.archive.org/web/20090326091933/http://paragchordia.com/sounds/akPuriyaDhanashree.mp3 here])
** 'Sargam' (raga Darbari)
** 'Langar Kankariya Ji Na Maro' (raga Todi, with [[D. V. Paluskar]])
** 'Aaj Gaawat Man Mero Jhoomke' (raga Desi, with [[D. V. Paluskar]])
** 'Ghanana Ghanana Ghana Garjo Re' (raga Megh)
* ''[[Kshudhita Pashan]]'' (Music director: [[Ali Akbar Khan]])
** 'Kaise Kate Rajni' (raga Bageshree, with Protima Banerjee)
** 'Piya Ke Aavan Ki' (thumri in raga Khamaj)
** 'Dheemta Dheemta Derena' (tarana in raga Megh)
* ''[[Shabaab (film)|Shabaab]]'' (Music director: [[Naushad]])
** 'Daya Kar He Giridhar Gopal' (raga Multani)
* ''[[Jhanak Jhanak Payal Baaje|Jhanak Jhanak Payal Baje]]'' (Music director: [[Vasant Desai]])
** Title song 'Jhanak Jhanak Payal Baje' (raga Adana)
* ''[[Goonj Uthi Shehnai]]'' (ragamala with [[Bismillah Khan]])
** Bhatiyar
** Ramkali
** Desi
** Shuddh Sarang
** Multani
** Yaman
** Bageshree
** Chandrakauns
* ''Ragini''
** 'Jogiya Mere Ghar Aaye' (raga Lalit)

===78 rpm recordings===
* Adana
* Hansadhwani
* Kafi
* Multani
* Patdeep
* Puriya Kalyan
* Shahana
* Suha Sughrai
* Todi tarana

===Public and private recordings===
* [[Abhogi raga|Abhogi]] - three versions
* [[Adana (raga)|Adana]] - longer performance of 'Jhanak Jhanak Payal Baje' title song, one other version
* [[Ahir Bhairav]] - three versions
* Amirkhani (similar to Vachaspati)
* [[Bageshree]] - six versions
* Bageshree Kanada - five versions
* [[Bahar (raga)|Bahar]]
* [[Bairagi]] - two versions
* [[Barwa (raga)|Barwa]]
* Basant Bahar - two versions
* [[Bhatiyar]] - four versions
* [[Bhimpalasi]] - two versions
* [[Bihag]] - three 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 (raga)|Jog]] - three versions
* Kafi Kanada
* [[Kalavati]] - six versions
* Kausi Kanada - four versions
* [[Kedar (raga)|Kedar]]
* [[Komal Rishabh Asavari]] - four versions
* [[Lalit (raga)|Lalit]] - seven versions
* Madhukauns
* [[Malkauns]] - three versions
* Maru Kalyan
* [[Marwa (raga)|Marwa]] - three versions
* [[Megh (raga)|Megh]] - five versions
* [[Malhar|Miya Malhar]]
* [[Multani (raga)|Multani]] - two versions
* Nand - three 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 or Anarkali)
* [[Shahana]] - three versions
* Shahana Bahar
* [[Shree (Hindustani raga)|Shree]]
* Shuddh Kalyan - two versions
* Shuddh Sarang (with drut section in Suha)
* Suha
* Suha Sughrai
* [[Todi (raga)|Todi]] - two versions
* [[Yaman (raga)|Yaman]]
* Yaman Kalyan - three versions

==Awards and recognitions==
* [[Sangeet Natak Akademi Award]] in 1967<ref name=ITC/><ref name=GoogleBooks/>
* Presidential Award in 1971
* [[Padma Bhushan]] in 1971<ref name=GoogleBooks>[https://books.google.com/books?id=wwwX6DWfn3gC&pg=PA193&lpg=PA193&dq=Amir+Khan+padma+bhushan+award+in+1971&source=bl&ots=H9ghhMYpNG&sig=n0mQgtqQ7kHNulu2dzsNHGma5oM&hl=en&sa=X&ved=2ahUKEwiR_dD02_zcAhWXw4MKHbyLBMYQ6AEwCnoECAIQAQ#v=onepage&q=Amir%20Khan%20padma%20bhushan%20award%20in%201971&f=false Padma Bhushan Award for Amir Khan on GoogleBooks website] {{Webarchive|url=https://web.archive.org/web/20210619124258/https://books.google.com/books?id=wwwX6DWfn3gC&pg=PA193&lpg=PA193&dq=Amir+Khan+padma+bhushan+award+in+1971&source=bl&ots=H9ghhMYpNG&sig=n0mQgtqQ7kHNulu2dzsNHGma5oM&hl=en&sa=X&ved=2ahUKEwiR_dD02_zcAhWXw4MKHbyLBMYQ6AEwCnoECAIQAQ#v=onepage&q=Amir%20Khan%20padma%20bhushan%20award%20in%201971&f=false |date=19 June 2021 }} Retrieved 20 August 2018</ref>
* Swar Vilas from Sur Singar Sansad in 1971

==External links==
* [http://sarangi.info/amirkhan Amir Khan recordings on www.sarangi.info]
* {{YouTube|-Ew7U684X9Q|Biographical documentary on Amir Khan}}, produced in 1970 by the [[Films Division of India]]
* [https://web.archive.org/web/20120406103712/http://www.pathcom.com/~ericp/ak_discography.html Discography]
* [http://amirkhanikhayal.googlepages.com Dr. Ibrahim Ali's analysis of Amir Khan's gayaki]
* [http://www.itcsra.org/TributeMaestro.aspx?Tributeid=32 Tribute from the ITC Sangeet Research Academy]
* [https://www.jstor.org/pss/834468 Forgotten Patterns] - Preview of an article on Amir Khan by his disciple Thomas Ross
* [https://web.archive.org/web/20081219041815/http://caferisko.ca/ak/LPCOVER.html LP cover images]
* [https://web.archive.org/web/20081219042023/http://caferisko.ca/ak/music%20of%20the%20soul.html Pandit Nikhil Banerjee's article on Amir Khan]
* [https://web.archive.org/web/20081208025635/http://ragavani.org/AR_AmirKhanGayaki_071119.aspx Extracts from Pandit Amarnath's lec-dem on Amir Khan's gayaki]

==Notes==
{{notelist}}

==Bibliography==
* {{cite book |author=Amarnath, Pandit |author-link=Amar Nath |title=Indore ke masihā: Paṇḍita Amaranathaji dwara Ustad Amir Khan sahab ke sansmaran |url=https://books.google.com/books?id=8s9MPgAACAAJ |year=2008 |language=Hindi |publisher=Pandit Amarnath Memorial Foundation |isbn=978-81-7525-934-8}}
* {{cite book |author=Kumāraprasāda Mukhopādhyāẏa |title=The Lost World of Hindustani Music |url=https://books.google.com/books?id=-MR_6Gr26hAC&pg=PA95 |year=2006 |publisher=Penguin Books India |isbn=978-0-14-306199-1 |pages=95–}}

==References==
{{reflist|2}}

{{PadmaBhushanAwardRecipients 1970–79}}
{{Authority control}}

{{DEFAULTSORT:Khan, Amir}}
[[Category:1912 births]]
[[Category:1974 deaths]]
[[Category:Hindustani singers]]
[[Category:Indian Muslims]]
[[Category:Musicians from Indore]]
[[Category:Persian music]]
[[Category:Road incident deaths in India]]
[[Category:Recipients of the Sangeet Natak Akademi Award]]
[[Category:Recipients of the Padma Bhushan in arts]]
[[Category:20th-century Indian singers]]
[[Category:Singers from Madhya Pradesh]]
[[Category:20th-century Khyal singers]]