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{{Use Indian English|date=December 2020}}
{{Use Indian English|date=December 2020}}
{{Infobox musical artist <!-- For individuals; see Wikipedia:WikiProject_Musicians -->
{{Infobox musical artist <!-- For individuals; see Wikipedia:WikiProject_Musicians -->
| name = Kishori Amonkar
| name = Kishori Amonkar
| image = Kishori Amankar.jpg
| image =
| alt =
| alt =
| caption = Vidushi Kishori Amonkar
| caption = Vidushi Kishori Amonkar
| image_size =
| image_size =
| landscape = <!-- yes, if wide image, otherwise leave blank -->
| landscape = <!-- yes, if wide image, otherwise leave blank -->
| background = solo_singer
| background = solo_singer
| birth_name =
| birth_name =
| alias =
| alias =
| birth_date = 10 April 1932<ref name="Encyclopedia Britannica">{{Britannica |id=1898574}}</ref>
| birth_date = 10 April 1932<ref name="Encyclopedia Britannica">{{Britannica |id=1898574}}</ref>
| birth_place = [[Bombay]], [[Bombay Presidency]], [[Bharath Desha|Bharath Desha]]
| birth_place = [[Bombay]], [[Bombay Presidency]], [[British Raj|British India]]
| death_date = {{death date and age|2017|4|3|1932|4|10|df=y}}
| death_date = {{death date and age|2017|4|3|1932|4|10|df=y}}
| death_place = [[Mumbai]], [[Maharashtra]], India
| death_place = [[Mumbai]], [[Maharashtra]], India
| genre = [[Hindustani classical music]]
| genre = [[Hindustani classical music]]
| occupations =
| occupations =
| instruments = [[Vocals]]
| instruments = [[Vocals]]
⚫
| module2 = Awards: [[Padma Vibhushan]] 2002
| associated_acts = [[Mogubai Kurdikar]]
⚫
| module2=Awards: [[Padma Vibhushan]] 2002
}}
}}


'''Kishori Amonkar'''{{efn|The given name is sometimes wrongly written as Kishore.<ref name="Martinez">{{cite book|title=Semiosis in Hindustani music|last=Martinez|first=José Luiz|year=2001|orig-year=1997|publisher=Motilal Banarsidass Publishers Pvt. Ltd|location=Delhi|isbn=81-208-1801-6 |page=169}}</ref>}} (10 April 1932&nbsp;– 3 April 2017) was a leading [[Hindustani classical music|Indian classical]] vocalist,<ref name="NPR.org">{{Cite news|url=https://www.npr.org/sections/therecord/2017/04/03/522475920/kishori-amonkar-leading-indian-classical-vocalist-dies-at-age-84|title=Kishori Amonkar, Leading Indian Classical Vocalist, Dies At Age 84|work=NPR.org|access-date=14 May 2017|language=en}}</ref> belonging to the [[Jaipur-Atrauli gharana|Jaipur ''gharana'']], or a community of musicians sharing a distinctive musical style.<ref name="BritBio">{{cite encyclopedia|url=https://www.britannica.com/biography/Kishori-Amonkar |title=Kishori Amonkar: Indian vocalist |encyclopedia=Britannica.com |access-date=4 April 2017}}</ref>
'''Kishori Amonkar'''{{efn|The given name is sometimes wrongly written as Kishore.<ref name="Martinez">{{cite book|title=Semiosis in Hindustani music|last=Martinez|first=José Luiz|year=2001|orig-year=1997|publisher=Motilal Banarsidass Publishers Pvt. Ltd|location=Delhi|isbn=81-208-1801-6 |page=169}}</ref>}} (10 April 1932 – 3 April 2017) was an [[Hindustani classical music|Indian classical]] vocalist,<ref name="NPR.org">{{Cite news|url=https://www.npr.org/sections/therecord/2017/04/03/522475920/kishori-amonkar-leading-indian-classical-vocalist-dies-at-age-84|title=Kishori Amonkar, Leading Indian Classical Vocalist, Dies At Age 84|work=NPR.org|access-date=14 May 2017|language=en}}</ref> belonging to the [[Jaipur-Atrauli gharana|Jaipur ''gharana'']], or a community of musicians sharing a distinctive musical style.<ref name="BritBio">{{cite encyclopedia|url=https://www.britannica.com/biography/Kishori-Amonkar |title=Kishori Amonkar: Indian vocalist |encyclopedia=Britannica.com |access-date=4 April 2017}}</ref> She is considered to be one of the foremost classical singers in India.<ref name="NPR.org" />


She was a performer of the classical genre ''[[khyal]]'' and the light classical genres ''[[thumri]]'' and ''[[bhajan]]''. Amonkar trained under her mother, classical singer [[Mogubai Kurdikar]] also from the Jaipur ''gharana'', but she experimented with a variety of vocal styles in her career.
She was a performer of the classical genre ''[[khyal]]'' and the light classical genres ''[[thumri]]'' and ''[[bhajan]]''. Amonkar trained under her mother, classical singer [[Mogubai Kurdikar]] also from the Jaipur ''gharana'', but she experimented with a variety of vocal styles in her career.
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Amonkar's initial training in music was by her mother, the classical vocalist [[Mogubai Kurdikar]].<ref name=":0">{{Cite news|url=http://indianexpress.com/article/lifestyle/art-and-culture/the-loneliness-of-kishori-amonkar/|title=The loneliness of Kishori Amonkar|date=11 December 2016|work=The Indian Express|access-date=4 April 2017|language=en-US}}</ref> She has stated in an interview that her mother was an exacting teacher, initially teaching her by singing phrases and making Amonkar repeat them.<ref name=":0" /> In the early stages of her career, she travelled with her mother to performances, accompanying her on the [[tanpura]] while Kurdikar sang.<ref name=":0" />
Amonkar's initial training in music was by her mother, the classical vocalist [[Mogubai Kurdikar]].<ref name=":0">{{Cite news|url=http://indianexpress.com/article/lifestyle/art-and-culture/the-loneliness-of-kishori-amonkar/|title=The loneliness of Kishori Amonkar|date=11 December 2016|work=The Indian Express|access-date=4 April 2017|language=en-US}}</ref> She has stated in an interview that her mother was an exacting teacher, initially teaching her by singing phrases and making Amonkar repeat them.<ref name=":0" /> In the early stages of her career, she travelled with her mother to performances, accompanying her on the [[tanpura]] while Kurdikar sang.<ref name=":0" />


⚫
In the early 1940s, young Amonkar began to receive vocal lessons in [[Hindustani classical music]] from [[Anjanibai Malpekar]] of the [[Bhendibazaar gharana]] and later received training from tutors of several other ''[[gharana]]s''.{{sfn|Deshpande|1989|pp=125–26, 131}} Her tutors included Anwar Hussain Khan of [[Agra gharana]], Sharadchandra Arolkar of [[Gwalior gharana]], and Balkrishnabuwa Parwatkar.<ref name=":0" /> Amonkar has credited Anjanibai, in particular, with teaching her the technique of ''meend'', or gliding, between notes.{{sfn|Deshpande|1989|pp=125–26, 131}}
[[File:Kishori Amankar 3.jpg|thumb|Amonkar performing [[raga]] Lalit]]

⚫
In the early 1940s, young Amonkar began to receive vocal lessons in [[Hindustani classical music]] from [[Anjanibai Malpekar]] of the [[Bhendibazaar gharana]] and later received training from tutors of several other ''gharanas''.{{sfn|Deshpande|1989|pp=125–26, 131}} Her tutors included Anwar Hussain Khan of [[Agra gharana]], Sharadchandra Arolkar of [[Gwalior gharana]], and Balkrishnabuwa Parwatkar.<ref name=":0" /> Amonkar has credited Anjanibai, in particular, with teaching her the technique of ''meend'', or gliding, between notes.{{sfn|Deshpande|1989|pp=125–26, 131}}


===Technique and style===
===Technique and style===
{{quote box|width=19em|border=1px|bgcolor=#FFEFD5|quote=
{{quote box
| width = 19em
| border = 1px
| bgcolor = #FFEFD5
"There is nothing called a gharana. There is only music. It has been bound in these gharanas and that is like dividing music into specific castes. One should not teach the students the limits of this art. There are none. But one has to understand the grammar. Which is why, one is taught the alankaar, the ragas."<ref name=":0" /><br/> {{dash}} Amonkar on gharanas}}
| quote = "There is nothing called a gharana. There is only music. It has been bound in these gharanas and that is like dividing music into specific castes. One should not teach the students the limits of this art. There are none. But one has to understand the grammar. Which is why, one is taught the alankaar, the ragas."<ref name=":0" /><br/> {{dash}} Amonkar on [[gharanas]]
}}

[[File:Kishori Amankar 4.jpg|thumb|Amonkar performing a Khayal in raga Bihag]]


Amonkar's later work in light music reformed her classical singing and she modified her Jaipur ''gharana'' performance style by applying features from other ''gharanas''.{{sfn|Deshpande|1989|pp=127–29}} She has been both praised and criticised for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritised emotional expression over tradition, so she often departed from the Jaipur gharana's rhythmic, melodic, and structural traditions.<ref name="BritBio"/> Amonkar has criticised the idea that schools, or gharanas, of music determine or constrain a singer's technique. Amonkar has stated that while the Jaipur gharana's technique and methods form the base of her style, she performs several variations on it, including an adoption of ''alapchaari'', or a relaxing of the link between the rhythm and note.<ref>{{Cite book|title=Between Two Tanpuras|last=Deśapāṇḍe|first=Vāmana Harī|date=1 January 1989|publisher=Popular Prakashan|isbn=9780861322268|pages=129|language=en}}</ref>
Amonkar's later work in light music reformed her classical singing and she modified her Jaipur ''gharana'' performance style by applying features from other ''gharanas''.{{sfn|Deshpande|1989|pp=127–29}} She has been both praised and criticised for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritised emotional expression over tradition, so she often departed from the Jaipur gharana's rhythmic, melodic, and structural traditions.<ref name="BritBio"/> Amonkar has criticised the idea that schools, or gharanas, of music determine or constrain a singer's technique. Amonkar has stated that while the Jaipur gharana's technique and methods form the base of her style, she performs several variations on it, including an adoption of ''alapchaari'', or a relaxing of the link between the rhythm and note.<ref>{{Cite book|title=Between Two Tanpuras|last=Deśapāṇḍe|first=Vāmana Harī|date=1 January 1989|publisher=Popular Prakashan|isbn=9780861322268|pages=129|language=en}}</ref>
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Amonkar has also spoken about the treatment of women performers as classical musicians, noting that the experience of watching her mother perform informed her own approach to professionalism and fair treatment, particularly when it comes to ensuring that musicians are paid well for their performances. On one notable occasion, she refused to perform because the audience was badly behaved, emphasising the importance of respecting the performers during a concert.<ref name=":0" />
Amonkar has also spoken about the treatment of women performers as classical musicians, noting that the experience of watching her mother perform informed her own approach to professionalism and fair treatment, particularly when it comes to ensuring that musicians are paid well for their performances. On one notable occasion, she refused to perform because the audience was badly behaved, emphasising the importance of respecting the performers during a concert.<ref name=":0" />


She created many compositions for a number of [[raga]]s.{{sfn|Deshpande|1989|pp=134–35}}<ref name="Suhasini">{{cite news|last=Suhasini|first=Lalitha|title=She has to learn very fast|newspaper=[[The Indian Express]]|date=13 May 2005|url=http://cities.expressindia.com/fullstory.php?newsid=128956|access-date=28 March 2010}}</ref> Amonkar was also a popular speaker and travelled throughout India; she was best known for lectures on the role of ''rasa'' (feelings or emotions) in music.<ref name="BritBio"/>
She created many compositions for a number of [[raga]]s.{{sfn|Deshpande|1989|pp=134–35}}<ref name="Suhasini">{{cite news|last=Suhasini|first=Lalitha|title=She has to learn very fast|newspaper=[[The Indian Express]]|date=13 May 2005|url=http://cities.expressindia.com/fullstory.php?newsid=128956|access-date=28 March 2010}}{{dead link|date=February 2023|bot=medic}}{{cbignore|bot=medic}}</ref> Amonkar was also a popular speaker and travelled throughout India; she was best known for lectures on the role of ''rasa'' (feelings or emotions) in music.<ref name="BritBio"/>


===Light classical and popular genres===
===Light classical and popular genres===
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Kishori was married to Ravindra Amonkar, a school teacher. The couple had two sons, Bibhas and Nihar, now both in their sixties.{{sfn|Deshpande|1989|p=141}} She was sometimes also described as "temperamental".<ref name="Suhasini" /> Responding to these comments, Amonkar has stated that this reputation perhaps derives from her insistence that performers be treated respectfully, and to the fact that she chooses to spend time before her concerts in solitude and preparation instead of socialising with fellow musicians. Amonkar has stated, "I never play to the gallery. The audience cannot disturb the loneliness of an artiste."<ref name=":0" /> Amonkar did not enjoy giving press interviews.<ref name="NPR.org"/>
Kishori was married to Ravindra Amonkar, a school teacher. The couple had two sons, Bibhas and Nihar, now both in their sixties.{{sfn|Deshpande|1989|p=141}} She was sometimes also described as "temperamental".<ref name="Suhasini" /> Responding to these comments, Amonkar has stated that this reputation perhaps derives from her insistence that performers be treated respectfully, and to the fact that she chooses to spend time before her concerts in solitude and preparation instead of socialising with fellow musicians. Amonkar has stated, "I never play to the gallery. The audience cannot disturb the loneliness of an artiste."<ref name=":0" /> Amonkar did not enjoy giving press interviews.<ref name="NPR.org"/>


Amonkar lived in the neighbourhood of [[Prabhadevi]], in [[Mumbai]].{{sfn|Deshpande|1989|p=138}}<ref name=":0"/> She died on 3 April 2017 in her sleep, a week before her 85th birthday, at her residence in Mumbai.<ref name="NPR.org"/><ref name="auto">{{Cite news|url=http://www.thegenxtimes.com/showbiz/classical-music-maestro-kishori-amonkar-dies-at-84/|title=Classical music maestro Kishori Amonkar dies at 84|date=4 April 2017|work=The GenX Times|access-date=4 April 2017|language=en-US}}</ref>
Amonkar lived in the neighbourhood of [[Prabhadevi]], in [[Mumbai]].{{sfn|Deshpande|1989|p=138}}<ref name=":0"/> She died on 3 April 2017 in her sleep, at age 84, at her residence in Mumbai.<ref name="NPR.org"/><ref name="auto">{{Cite news|url=http://www.thegenxtimes.com/showbiz/classical-music-maestro-kishori-amonkar-dies-at-84/|title=Classical music maestro Kishori Amonkar dies at 84|date=4 April 2017|work=The GenX Times|access-date=4 April 2017|language=en-US|archive-date=16 June 2018|archive-url=https://web.archive.org/web/20180616123312/http://www.thegenxtimes.com/showbiz/classical-music-maestro-kishori-amonkar-dies-at-84/|url-status=dead}}</ref> That day, the [[Prime Minister of India]], [[Narendra Modi]], issued a statement on [[Twitter]] mourning her loss, writing: "Demise of Kishori Amonkar is an irreparable loss to Indian classical music. Deeply pained by her demise. May her soul rest in peace."<ref>{{Cite news |date=2017-04-04 |title=Kishori Amonkar cremated with full state honours; PM mourns loss |work=The Times of India |url=https://timesofindia.indiatimes.com/city/mumbai/kishori-amonkar-cremated-with-full-state-honours-pm-mourns-loss/articleshow/58012932.cms |access-date=2023-07-15 |issn=0971-8257}}</ref>


==Recognition and legacy==
==Recognition and legacy==
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Amonkar was recognised by several of her contemporaries and fellow musicians for her skill and technique in classical music. The [[tabla]] musician, [[Ustad Zakir Hussain (musician)|Zakir Hussain]], has said that Amonkar's performances of several [[raga]]s, such as Raga Bhoop, are "... landmark performances that take place over hundreds of years and you will talk about them for the rest of your life and rest of the many centuries to come."<ref name=":0" /> The Carnatic vocalist [[T. M. Krishna|T.M. Krishna]] praised her approach to classical music, saying, "When Kishoriji sings she is not trying to be new but just by being with her music and continuing to submit to it, she has given classical music an everlasting newness and freshness. This is true creativity."<ref>{{Cite news|url=http://www.thehindu.com/features/friday-review/music/A-melody-called-Kishori/article14936977.ece|title=A melody called Kishori|last=Gokhale|first=Sandhya|work=The Hindu|access-date=4 April 2017|language=en|date=5 March 2011}}</ref>
Amonkar was recognised by several of her contemporaries and fellow musicians for her skill and technique in classical music. The [[tabla]] musician, [[Ustad Zakir Hussain (musician)|Zakir Hussain]], has said that Amonkar's performances of several [[raga]]s, such as Raga Bhoop, are "... landmark performances that take place over hundreds of years and you will talk about them for the rest of your life and rest of the many centuries to come."<ref name=":0" /> The Carnatic vocalist [[T. M. Krishna|T.M. Krishna]] praised her approach to classical music, saying, "When Kishoriji sings she is not trying to be new but just by being with her music and continuing to submit to it, she has given classical music an everlasting newness and freshness. This is true creativity."<ref>{{Cite news|url=http://www.thehindu.com/features/friday-review/music/A-melody-called-Kishori/article14936977.ece|title=A melody called Kishori|last=Gokhale|first=Sandhya|work=The Hindu|access-date=4 April 2017|language=en|date=5 March 2011}}</ref>


Amonkar is the subject of a documentary titled ''Bhinna Shadja,'' which was directed by [[Amol Palekar]] and Sandhya Gokhale.<ref name=":0" /> Several of Amonkar's students have become classical musicians of their own repute, including [[Manik Bhide]], Maya Upadhye, [[Raghunandan Panshikar]], Nandini Panshikar-Bedekar,<ref>{{Cite news|url=http://www.thehindu.com/features/friday-review/music/of-pedigree-and-a-disciple/article3839795.ece|title=Of pedigree and a disciple|last=Kumar|first=Kuldeep|work=The Hindu|access-date=4 April 2017|language=en|date=30 August 2012}}</ref> Suhasini Mulgaonkar, Malati Kamat, [[Arun Dravid]], Mira Panshikar, Sulabhatai Pishawikar, Meena Joshi, Vidya Bhagwat, [[Arati Ankalikar-Tikekar]], [[Devaki Pandit]], Sangeeta Katti, Manjiri Asnare-Kelkar and violinist Milind Raikar.{{sfn|Deshpande|1989|pp=125–26}}<ref>{{cite news |last1=Kusnur |first1=Narendra |title=Remembering Kishoritai |url=https://www.thehindu.com/entertainment/music/remembering-kishoritai/article23434643.ece |access-date=12 April 2021 |work=The Hindu |date=4 April 2018 |language=en-IN}}</ref> Amonkar's granddaughter, Tejashree Bibhas Amonkar, is also a budding classical musician and was trained by Amonkar.<ref>{{Cite news|url=http://punemirror.indiatimes.com/others/leisure/Finding-her-voice/articleshow/31058118.cms|title=Finding her voice|date=2 February 2014|work=Pune Mirror|access-date=4 April 2017}}</ref>
Amonkar is the subject of a documentary titled ''Bhinna Shadja,'' which was directed by [[Amol Palekar]] and Sandhya Gokhale.<ref name=":0" /> Several of Amonkar's students have become classical musicians of their own repute, including [[Manik Bhide]], Maya Upadhye, [[Raghunandan Panshikar]], Nandini Panshikar-Bedekar,<ref>{{Cite news|url=http://www.thehindu.com/features/friday-review/music/of-pedigree-and-a-disciple/article3839795.ece|title=Of pedigree and a disciple|last=Kumar|first=Kuldeep|work=The Hindu|access-date=4 April 2017|language=en|date=30 August 2012}}</ref> Suhasini Mulgaonkar, Malati Kamat, [[Arun Dravid]], Mira Panshikar, Sulabhatai Pishawikar, Meena Joshi, Vidya Bhagwat, [[Arati Ankalikar-Tikekar]], [[Devaki Pandit]], Sangeeta Katti, Manjiri Asnare-Kelkar, Papri Chakrabarti and violinist Milind Raikar.{{sfn|Deshpande|1989|pp=125–26}}<ref>{{cite news |last1=Kusnur |first1=Narendra |title=Remembering Kishoritai |url=https://www.thehindu.com/entertainment/music/remembering-kishoritai/article23434643.ece |access-date=12 April 2021 |work=The Hindu |date=4 April 2018 |language=en-IN}}</ref> Amonkar's granddaughter, Tejashree Bibhas Amonkar, is also a budding classical musician and was trained by Amonkar.<ref>{{Cite news|url=http://punemirror.indiatimes.com/others/leisure/Finding-her-voice/articleshow/31058118.cms|title=Finding her voice|date=2 February 2014|work=Pune Mirror|access-date=4 April 2017}}</ref>


==References==
==References==
⚫
===Notes===
⚫
;Citations
⚫
{{Reflist|30em}}

⚫
;Notes
{{notelist}}
{{notelist}}


⚫
===Citations===
⚫
;Bibliography
⚫
{{Reflist}}

⚫
===Bibliography===
* {{Cite book| url=https://books.google.com/books?id=-EkDt0Gboe8C |title= Between Two Tanpuras |last=Deshpande |first=Vamana Hari |author-link =Vamanrao Deshpande |publisher = [[Popular Prakashan]] |year= 1989 |isbn= 0861322266}}
* {{Cite book| url=https://books.google.com/books?id=-EkDt0Gboe8C |title= Between Two Tanpuras |last=Deshpande |first=Vamana Hari |author-link =Vamanrao Deshpande |publisher = [[Popular Prakashan]] |year= 1989 |isbn= 0861322266}}


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{{external media|video1={{YouTube|E7-RYko673Q|Art Talk with Kishori Amonkar on NewsX}} }}
{{external media|video1={{YouTube|E7-RYko673Q|Art Talk with Kishori Amonkar on NewsX}} }}
{{Wikiquote|Kishori Amonkar}}
{{Wikiquote|Kishori Amonkar}}
* {{Commons category-inline}}
* {{Allmusic|class=artist|id=p182089|label=Kishori Amonkar}}
* {{AllMusic|class=artist|id=p182089|label=Kishori Amonkar}}


{{Padma Vibhushan Awards}}
{{Padma Vibhushan Awards}}
{{Padma Bhushan Award Recipients 1980–1989}}
{{PadmaBhushanAwardRecipients 1980–89}}
{{Sangeet Natak Akademi Fellowship}}
{{SangeetNatakAkademiFellowship}}
{{Authority control}}
{{Authority control}}


Latest revision as of 19:26, 12 December 2024

Kishori Amonkar
Born10 April 1932[1]
Bombay, Bombay Presidency, British India
Died3 April 2017(2017-04-03) (aged 84)
Mumbai, Maharashtra, India
GenresHindustani classical music
InstrumentsVocals
Awards: Padma Vibhushan 2002

Kishori Amonkar[a] (10 April 1932 – 3 April 2017) was an Indian classical vocalist,[3] belonging to the Jaipur gharana, or a community of musicians sharing a distinctive musical style.[4] She is considered to be one of the foremost classical singers in India.[3]

She was a performer of the classical genre khyal and the light classical genres thumri and bhajan. Amonkar trained under her mother, classical singer Mogubai Kurdikar also from the Jaipur gharana, but she experimented with a variety of vocal styles in her career.

Career

[edit]

Training

[edit]

Amonkar's initial training in music was by her mother, the classical vocalist Mogubai Kurdikar.[5] She has stated in an interview that her mother was an exacting teacher, initially teaching her by singing phrases and making Amonkar repeat them.[5] In the early stages of her career, she travelled with her mother to performances, accompanying her on the tanpura while Kurdikar sang.[5]

In the early 1940s, young Amonkar began to receive vocal lessons in Hindustani classical music from Anjanibai Malpekar of the Bhendibazaar gharana and later received training from tutors of several other gharanas.[6] Her tutors included Anwar Hussain Khan of Agra gharana, Sharadchandra Arolkar of Gwalior gharana, and Balkrishnabuwa Parwatkar.[5] Amonkar has credited Anjanibai, in particular, with teaching her the technique of meend, or gliding, between notes.[6]

Technique and style

[edit]

"There is nothing called a gharana. There is only music. It has been bound in these gharanas and that is like dividing music into specific castes. One should not teach the students the limits of this art. There are none. But one has to understand the grammar. Which is why, one is taught the alankaar, the ragas."[5]
 – Amonkar on gharanas

Amonkar's later work in light music reformed her classical singing and she modified her Jaipur gharana performance style by applying features from other gharanas.[7] She has been both praised and criticised for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritised emotional expression over tradition, so she often departed from the Jaipur gharana's rhythmic, melodic, and structural traditions.[4] Amonkar has criticised the idea that schools, or gharanas, of music determine or constrain a singer's technique. Amonkar has stated that while the Jaipur gharana's technique and methods form the base of her style, she performs several variations on it, including an adoption of alapchaari, or a relaxing of the link between the rhythm and note.[8]

Amonkar has expressed her views on how musical education should be conducted, emphasising the importance of enabling students to move beyond repetitive techniques and learn the tools that allow them to improvise on their own.[5] She credits her mother with using this approach to teach her, noting, "You have to walk and run on your own. The guru gives you strength to be able to do that. If you don't, then you remain ordinary. My mother made sure I wasn't ordinary."[5] She noted that training is an ongoing process, and stated in an interview that she often listened to her own recorded performances to analyse and improve her technique.[5]

Amonkar emphasised emotion and spirituality as essential parts of her singing, stating that "To me it (music) is a dialogue with the divine, this intense focused communication with the ultimate other." She has often spoken of music as an act of sublimation, noting that it is the sadhana (medium) to attain the sadhya (destination).[9]

In 2010, she published a book in Marathi titled Swaraartha Ramani in which she elaborated her views on musical theory and practice.[10]

Classical vocalist

[edit]

Amonkar's career as a classical vocalist grew in the 1960s and 70s. Prior to this, she briefly stopped performing because of an illness that affected her ability to sing. Amonkar has said that she used this hiatus in her career to consider and develop her own style of singing, that transcended classical schools (gharanas) of music.[5]

Amonkar has also spoken about the treatment of women performers as classical musicians, noting that the experience of watching her mother perform informed her own approach to professionalism and fair treatment, particularly when it comes to ensuring that musicians are paid well for their performances. On one notable occasion, she refused to perform because the audience was badly behaved, emphasising the importance of respecting the performers during a concert.[5]

She created many compositions for a number of ragas.[11][12] Amonkar was also a popular speaker and travelled throughout India; she was best known for lectures on the role of rasa (feelings or emotions) in music.[4]

[edit]

In addition to her career as a classical vocalist, Amonkar was known for her performances of lighter classical pieces, with a wide repertoire of thumris and bhajans, as well as some performances for film soundtracks.[13] She sang for the soundtrack of the 1990 Hindi film Drishti. She became interested in film music and sang playback for the 1964 movie Geet Gaya Patharon Ne and Drishti . She decided to stay away from film music further because she found it compromising on the swaras over the lyrics, the essential element of any genre of music. Also her mother Mogubai Kurdikar disapproved of working in film music; Kurdikar is reported to have told Amonkar that she would be forbidden from touching her mother's tanpura if she would continue to work in the film industry.

Personal life and death

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Kishori Amonkar was born in Bombay on 10 April 1932.[4] Her father died when she was 7 years old, leaving Amonkar and her two younger siblings to be raised primarily by their mother, the classical vocalist Mogubai Kurdikar.[5]

Kishori was married to Ravindra Amonkar, a school teacher. The couple had two sons, Bibhas and Nihar, now both in their sixties.[14] She was sometimes also described as "temperamental".[12] Responding to these comments, Amonkar has stated that this reputation perhaps derives from her insistence that performers be treated respectfully, and to the fact that she chooses to spend time before her concerts in solitude and preparation instead of socialising with fellow musicians. Amonkar has stated, "I never play to the gallery. The audience cannot disturb the loneliness of an artiste."[5] Amonkar did not enjoy giving press interviews.[3]

Amonkar lived in the neighbourhood of Prabhadevi, in Mumbai.[15][5] She died on 3 April 2017 in her sleep, at age 84, at her residence in Mumbai.[3][16] That day, the Prime Minister of India, Narendra Modi, issued a statement on Twitter mourning her loss, writing: "Demise of Kishori Amonkar is an irreparable loss to Indian classical music. Deeply pained by her demise. May her soul rest in peace."[17]

Recognition and legacy

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Amonkar received several of India's national awards and civilian honours, including the Padma Bhushan, in 1987, and Padma Vibhushan in 2002.[18] She was awarded the Sangeet Natak Akademi Award for 1985 and the Sangeet Natak Akademi Fellowship for 2009.[19][20] She was awarded the prestigious Dr. T. M. A. Pai Outstanding Konkani Award in 1991.[13] In 2016, she was one of seven recipients of the M.S. Subbulakshmi Award for classical music.[21]

Amonkar was recognised by several of her contemporaries and fellow musicians for her skill and technique in classical music. The tabla musician, Zakir Hussain, has said that Amonkar's performances of several ragas, such as Raga Bhoop, are "... landmark performances that take place over hundreds of years and you will talk about them for the rest of your life and rest of the many centuries to come."[5] The Carnatic vocalist T.M. Krishna praised her approach to classical music, saying, "When Kishoriji sings she is not trying to be new but just by being with her music and continuing to submit to it, she has given classical music an everlasting newness and freshness. This is true creativity."[22]

Amonkar is the subject of a documentary titled Bhinna Shadja, which was directed by Amol Palekar and Sandhya Gokhale.[5] Several of Amonkar's students have become classical musicians of their own repute, including Manik Bhide, Maya Upadhye, Raghunandan Panshikar, Nandini Panshikar-Bedekar,[23] Suhasini Mulgaonkar, Malati Kamat, Arun Dravid, Mira Panshikar, Sulabhatai Pishawikar, Meena Joshi, Vidya Bhagwat, Arati Ankalikar-Tikekar, Devaki Pandit, Sangeeta Katti, Manjiri Asnare-Kelkar, Papri Chakrabarti and violinist Milind Raikar.[24][25] Amonkar's granddaughter, Tejashree Bibhas Amonkar, is also a budding classical musician and was trained by Amonkar.[26]

References

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Notes

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  1. ^ The given name is sometimes wrongly written as Kishore.[2]

Citations

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  1. ^ Kishori Amonkar at the Encyclopædia Britannica
  2. ^ Martinez, José Luiz (2001) [1997]. Semiosis in Hindustani music. Delhi: Motilal Banarsidass Publishers Pvt. Ltd. p. 169. ISBN 81-208-1801-6.
  3. ^ a b c d "Kishori Amonkar, Leading Indian Classical Vocalist, Dies At Age 84". NPR.org. Retrieved 14 May 2017.
  4. ^ a b c d "Kishori Amonkar: Indian vocalist". Britannica.com. Retrieved 4 April 2017.
  5. ^ a b c d e f g h i j k l m n o "The loneliness of Kishori Amonkar". The Indian Express. 11 December 2016. Retrieved 4 April 2017.
  6. ^ a b Deshpande 1989, pp. 125–26, 131.
  7. ^ Deshpande 1989, pp. 127–29.
  8. ^ Deśapāṇḍe, Vāmana Harī (1 January 1989). Between Two Tanpuras. Popular Prakashan. p. 129. ISBN 9780861322268.
  9. ^ DASGUPTA, AMRIT. "Destination love". The Hindu. Retrieved 4 April 2017.
  10. ^ "The light of sound". The Hindu. Archived from the original on 13 November 2020. Retrieved 4 April 2017.
  11. ^ Deshpande 1989, pp. 134–35.
  12. ^ a b Suhasini, Lalitha (13 May 2005). "She has to learn very fast". The Indian Express. Retrieved 28 March 2010.[dead link‍]
  13. ^ a b "Who is Kishori Amonkar? All you need to know about the great classical vocalist". The Financial Express. 4 April 2017. Retrieved 4 April 2017.
  14. ^ Deshpande 1989, p. 141.
  15. ^ Deshpande 1989, p. 138.
  16. ^ "Classical music maestro Kishori Amonkar dies at 84". The GenX Times. 4 April 2017. Archived from the original on 16 June 2018. Retrieved 4 April 2017.
  17. ^ "Kishori Amonkar cremated with full state honours; PM mourns loss". The Times of India. 4 April 2017. ISSN 0971-8257. Retrieved 15 July 2023.
  18. ^ "Padma Awards". Ministry of Communications and Information Technology. Retrieved 28 March 2010.
  19. ^ "SNA: List of Akademi Awardees: Music [Vocal]". Sangeet Natak Akademi. Archived from the original on 31 March 2016. Retrieved 28 March 2010.
  20. ^ "SNA: List of Akademi Fellows". Sangeet Natak Akademi. Archived from the original on 6 December 2014. Retrieved 28 March 2010.
  21. ^ "7 women get M.S. Subbulakshmi Awards". The Hindu. 14 September 2016. Retrieved 4 April 2017.
  22. ^ Gokhale, Sandhya (5 March 2011). "A melody called Kishori". The Hindu. Retrieved 4 April 2017.
  23. ^ Kumar, Kuldeep (30 August 2012). "Of pedigree and a disciple". The Hindu. Retrieved 4 April 2017.
  24. ^ Deshpande 1989, pp. 125–26.
  25. ^ Kusnur, Narendra (4 April 2018). "Remembering Kishoritai". The Hindu. Retrieved 12 April 2021.
  26. ^ "Finding her voice". Pune Mirror. 2 February 2014. Retrieved 4 April 2017.

Bibliography

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External videos
video icon Art Talk with Kishori Amonkar on NewsX on YouTube
Wikiquote has quotations related to Kishori Amonkar.
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