Some Opinions
 

Dr. Ibrahim Ali

 

Dr. Arun Kumar Sen

Former Vice Chancellor Indira Kala Sangget University, Khairagarh [C. G.]

Director, Bhatkhande Sangeet Sansthan, Raipur [C. G.],India

 

In the present research, Padmabhushan Ustad Amir Khan’s initial training, vocal style and his performances at Akashwani, Doordarshan, music concerts, programs given in and out of the country, have been reviewed; and also there is analytical study of his audio recordings etc.

 

The researcher has worked out in great detail his genealogy, family status and education of music. His unique singing style and Karnatic Music System have also been studied; and investigating the gharanas of khayal gayaki, researcher has ascertained the place of Indore Gharana. His bandishes composed under the pen name of 'Sur Rang' and composition of new ragas are high lighted; and their specialties has been well investigated. This research in itself is a complete work, through which the posterity in music will have complete introduction of Ustad Amir Khan’s contribution and his life.

 

Prof. Premlata Sharma
An Eminent Musicologist

Former Vice Chancellor Indira Kala Sangget University, Khairagarh [C. G.], India

 

In this research, there is a good analysis of Ustad Amir Khan’s gayaki. There is much scarcity of such literature in Hindi, so also the value of this research is enhanced. This publication will be useful as a reference for the students of graduate and post graduate classes.

 

Dr. Mrs. Anita Sen

 an Eminent Artist and Musicologist
Raipur [C. G.], India

 

The personality and work of Ustad Amir Khan in the field of music has been divided in nine chapters by the researcher. While discussing the specialties of Ustad Amir Khan, the researcher has also expressed his own opinions, which appeared to be quite original.


Pandit Ganesh Prasad Sharma
Eminent Composer, Guru and Writer in the Field of Indian Classical Music 214, Ajit Nagar, Ambala Cant. [Haryana], India

This publication is an encyclopedia on Ustad Amir Khan Saheb, as it deals exhaustively with all the aspects of his gayaki which has a monumental place in the history of Hindustani Music. The author has taken great pains to go into minute details of his various renderings, providing examples from Khan Saheb’s recordings, which he has collected from different sources. His close association with Ustad’s style is clearly noticeable in his delineation of the subject matter of the gayaki of Ustad Amir Khan. Almost all the aspects of Khan Saheb’s gayaki have been dealt meticulously, such as-accuracy of swara, refined tonal quality without any dramatic contrasts, brisk and flawless tans and avoiding rhythmic variations, which could disturb the serenity and depth of melody.

While explaining the ‘sachha sur’ [true swara], Khan Saheb once told, “sur must be transparent to such extent as in a water pond made of marble, the eye of a needle lying on the surface is clearly visible”. My personal association with Khan Saheb reminds me of two incidents out of several such, which are etched in my memory and portray him as a man with great patience and affection. Once he was in my home town, Allahabad, for a concert. I and Shankarlal Mishra, another disciple of my guru, had arranged for his stay in a guest house and went to meet him there. Khan Saheb was having toothache; instead he asked me to pick up the Tanpura. He started rendering fast tans and paused in between to subdue his pain, saying ‘Hai Allah!’; thus finding solace in his music only.

When I shifted to Ambala, I invited him for a concert and he stayed at my home. I requested him to proceed for meals to a hotel but he expressed his desire to eat Puris prepared by my wife, whom he addressed as Bhabiji affectionately.

There is a concise presentation of useful information in this excellent work. The references are thorough and show that the writer has tried to accumulate data from all available sources. It is an outstanding and authentic work on the life and contribution of the Ustad.


TRANSLATER’S NOTE
MR. R.S. DIXIT
9, Jall Boarding, Ujjain [M.P.], India

When I was called upon to translate Dr. Ibrahim Ali’s book on Ustad Amir Khan into English, I felt that the task was challenging because my relation with music had been confined only to listening of film music which is usually broadcast from radio and television. So far as the knowledge of classical music is concerned, it does not go beyond Sargam. Nevertheless, I accepted the job and after about six month’s constant labor, the result is before the reader for their appreciation.

I have tried my best to remain verbatim as far as possible, because that is the cardinal rule of translation.

In preparing the final draft, Dr. Ibrahim Ali himself and his father, Dr. Qasim Ali have been generous enough to suggest suitable corrections in the text, for which I feel highly obliged to them.