Raag bageshree kishori amonkar biography

Personal life and death [ edit ]. Recognition and legacy [ edit ]. References [ edit ]. Notes [ edit ]. Citations [ edit ]. Semiosis in Hindustani music. Delhi: Motilal Banarsidass Publishers Pvt. ISBN Retrieved 14 May Retrieved 4 April The Indian Express. Between Two Tanpuras. Popular Prakashan. The Hindu. Archived from the original on 13 November Retrieved 28 March All you need to know about the great classical vocalist".

The Financial Express.

Raag bageshree kishori amonkar biography

The GenX Times. Archived from the original on 16 June The Times of India. ISSN Retrieved 15 July Ministry of Communications and Information Technology. Sangeet Natak Akademi. Archived from the original on 31 March Archived from the original on 6 December Subbulakshmi Awards". Retrieved 12 April Pune Mirror. Bibliography [ edit ].

External links [ edit ]. Wikiquote has quotations related to Kishori Amonkar. Recipients of Padma Vibhushan. Balamuralikrishna T. Balasaraswati S. Pattammal K. Sivaraman M. Subbulakshmi L. Subramaniam K. Dhar Jyotindra Nath Dixit M. In retrospect, this long period of silence was essential as a period of introspection and questioning. As Kishoritai has often said later, it was during this period that she began to discover what music really meant to her — to find her own place in the tradition.

Growing up in the Bombay of the 40s and 50s, Kishoritai developed a special affection for the music of the cinema which was reaching its golden age in that era. Kishoritai tried her hand at playback singing for the film Geet Gaya Pattharon Ne in While her first foray into the genre was electrifying enough to send shivers of nervousness down the spines of many established singers of the time, distressing experiences with the film industry caused her to move away from that genre altogether.

But her love for its deep emotional appeal remained. This, and a natural inclination towards the emotional and the devotional would go on to play a major role in shaping her own musical identity. Her music became such a radical departure from the Jaipur Gharana of the time, that it caused a rapid growth in her fame and she gradually came to occupy an exalted position among the vocalists of the country.

The s was when the movement of what is known as romanticism in Hindustani music really set in. With its seeds sown in the early 20th century by the likes of Pt. Omkarnath Thakur, romanticism was brought to the fore in the 70s, separately and in very different ways by Pt. Kumar Gandharva and Pt. Jasraj, together with Kishoritai. Romanticism in Indian classical music is defined as as a refusal to let the purely structural demands of music overpower its ability to evoke emotional response — as opposed to classicism which sees beauty in balance, structure and discipline alone.

Sitting down for her riyaaz one day, the legendary Hindustani musician Kishori Amonkar decided to practice Raag Bageshri. At the end of her long riyaaz , Amonkar, who was extremely happy when she started, ended up feeling sad and restless. It was because she was singing Bageshri, the raag of late night, which depicts a woman waiting to be reunited with her lover.

This is a story that young musician Rutuja Lad — a student of the Jaipur-Atrauli gharana to which Amonkar also belonged — remembers hearing about Amonkar. It was an important story for her to hear as a student, Lad says, because it demonstrated what Amonkar has always said about music: that she was not singing a raag , but that the raag was coming through her — where the music was more important than the musician.

Amonkar passed away at night on 3 April With her passing at the age of 84, an era has come to an end in the world of Hindustani vocal music. Noted for its jod-ragas, formed by the combination of two ragas, the Jaipur gharana is known for its near-mathematical precision to singing. The compositions sung by its proponents are unique for the bandishes lyrics they are based on, as also for their complex, often off-beat, delineation.

Amonkar reinvented the style by incorporating shades of Gwalior, Agra and Kirana gharanas into her singing. The resultant alchemy was as mesmerising as mysterious. In her early days, she had seen her mother struggle to get the respect of her male contemporaries, and when she properly launched her own career, Amonkar was known not to take any nonsense.

She was a path-breaker for her musical prowess as well as her uncompromising standards, never accepting anything less than her due. In a sense, she was a pioneering feminist in the male-centric world of classical music, carrying on the legacy of tempestuous performers like Kesarbai Kerker and leading the way for a younger generation of women who followed her.

Apocryphal tales of her temper did the rounds of classical music circuits. At the Dover Lane Conference in Calcutta one year, she allegedly refused to take the stage till a certain shade of lipstick she preferred had been procured.