Question

Write a biography on Kishori Amonkar?​

Answer 1

Kishori Amonkar was born in 1931. She was a leading Indian classical vocalist belonging to the Jaipur gharana, a community of musicians sharing a distinctive musical style. 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 style in her career. In the early stages of her career, she travelled with her mother to perform. She played the tanpura while her mother sang.

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Answer 2

Answer:

Kishori Amonkar (April 10, 1932 – April 3, 2017) was an Indian classical vocalist. She is considered to be one of the foremost singers in the Hindustani tradition and is an innovator of the Jaipur gharana, or a community of musicians sharing a distinctive musical style. 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 of the Jaipur gharana (musical tradition of Jaipur), but experimented with a variety of vocal styles in her career. She is considered one of the pre-eminent representatives of Hindustani classical music.

Kishori Amonkar was born in Mumbai, Bombay Maharashtra, India, on April 10, 1932. In the early 1940s, young Kishori began to receive vocal lessons in Hindustani classical music from Anjanibai Malpekar (a) and her mother Mogubai Kurdikar and later received training from tutors of several gharanas. Amonkar became interested in film music and sang playback for the 1964 movie Geet Gaya Patharon Ne, but returned to classical music because of bad experiences in the movie industry. Amonkar lost her voice for two years in the late 1950s for unknown reasons. She sang for the 1990 Hindi film Drishti.

Amonkar's work in light music has informed her classical singing and she modified her Jaipur gharana performance style by applying features from other gharanas. She has been both praised and criticized for pushing the boundaries of the Jaipur tradition. Her approach prioritizes emotional expression over tradition, so she frequently departs from gharana’s