Raja sabri khan biography definition

IN THE LATE SIXTEENTH CENTURY, the most highly paid Hindustani classical musician was probably Miyan Tansen, the celebrated singer at the court of the Mughal emperor Akbar. The court’s classical musicians were all likely to have been Muslim men, many of them recent converts from Hinduism. They performed for a select audience, of discerning listeners who belonged to the Mughal elite. Any singer who wanted to make a dent in the music scene had to please the patron-king. The Delhi region was the undisputed capital of Hindustani music—the scene of the most scintillating performances and the most intense rivalries.

In the mid twentieth century, the most highly paid Hindustani vocalist was, by many accounts, Kesarbai Kerkar, a Hindu naikin, that is, a woman descended from a devadasi family in Goa. Her confrères were a mixed lot: men and women of different social backgrounds and religious affiliations, and from all over the country. They performed in a variety of settings, and for assorted audiences: in the homes of wealthy entrepreneurs for special guests, and in concert halls for middle-class audiences with varying levels of musical knowledge. This large and disparate audience was centred primarily in Bombay and any vocalist who wanted to reach it had to come to the city to perform or record. The city was to Hindustani music in the twentieth century what Delhi had been to it in the sixteenth.

As Hindustani music travelled, through 400 years of history and across 1,400 km, it retained its core identity. But as its centre of gravity shifted from Delhi to Bombay, its context and cast of characters changed. Two recently published books offer rich insights into these two very different cultures. Studying India’s Musicians, by the ethnomusicologist Daniel M Neuman, a professor at the University of California Los Angeles, focuses on the Delhi part of the story, while Hindustani Music in Colonial Bombay by the tabla player Aneesh Pradhan, s

Pakistani musician (born 1974)

For the Pakistani cricketer, see Rahat Ali (cricketer).

Rahat Fateh Ali Khan (Punjabi and Urdu: راحت فتح علی خان, Urdu pronunciation:[ɾɑːɦət̪fəte(ɦ)əliːxɑːn]; born 9 December 1974) is a Pakistani singer, primarily Qawwali, a form of Sufi devotional music. Khan is one of the most popular and highest paid singers in Pakistan. He is the nephew of Nusrat Fateh Ali Khan, son of Farrukh Fateh Ali Khan and grandson of Qawwali singer Fateh Ali Khan In addition to Qawwali, he also performs ghazals and other light music. He is also well-known as a playback singer in Hindi cinema and the Pakistan film industry.

Early life

Rahat was born into a Punjabi family of Qawwals and classical singers in Faisalabad, Punjab, Pakistan. He is the son of Farrukh Fateh Ali Khan, grandson of Fateh Ali Khan and the nephew of Qawwali singer Nusrat Fateh Ali Khan.

Rahat displayed an adoration for music from a very young age and was often found to be singing with his uncle and father, as young as three. From an age of seven, he was already being trained by his uncle Nusrat Fateh Ali Khan in the art of singing Qawwali.

Career

Rahat performed publicly for the first time, when he was nine, on the death anniversary of his grandfather. Since he was fifteen, he was an integral part of Nusrat Fateh Ali Khan's well-known qawwali group and toured the United Kingdom with his uncle in 1985. He also performed solo songs at different concerts, in addition to fulfilling his roles in the Qawwali group. He debuted as a playback singer in Bollywood with the movie Paap (2003), in the song "Mann Ki Lagan".

In April 2012, Rahat toured in the UK, performing at Wembley Arena and the Manchester Arena, playing to a combined audience of over 20,00

Aziz Mian Qawwal (Urdu: عزیز میاں قوال) (April 17, 1942 – December 6, 2000) was one of Pakistan's leading traditional qawwals and also famous for singing ghazals in a unique style of qawwali. Aziz is still one of the most popular qawwals of South Asia. He is responsible for the longest commercially released qawwali, Hashr Ke Roz Yeh Poochhunga, which runs slightly over 115 minutes.

Aziz Mian was born as Abdul Aziz (Urdu: عبد العزیز) in Delhi, British India. The exclamation Mian, which he often used in his qawwalis, became part of his stage name. He began to introduce himself as Aziz Mian Mairthi. The word Mairthi refers to Meerut, a city in northern India, from which he migrated to Pakistan in 1947.

At the age of ten, he began learning the art of Qawwali under the tutelage of Ustad Abdul Waheed Khan. He received sixteen years of training at the Data Ganj Baksh School of Lahore, and obtained a degree in Urdu literature from the University of Punjab, Lahore.

Aziz Mian was one of the more traditional Pakistani Qawwals. His voice was raspy and powerful. Aziz Mian was the only prominent qawwal to write his own lyrics (though, like others, he also performed songs written by other poets).

His break-out performance was in 1966, when he performed before the Shah of Iran, Mohammad Reza Pahlavi. He won first prize and a gold medal from the Shah of Iran. In the early days of his career, he was nicknamed Fauji Qawwal (Urdu: فوجی قوال) (meaning "Military Qawwal") because most of his early stage-performances were in military barracks for army personnel. He was known for a "more recitative, more dramatic diction" and inclined toward qawwali's religious rather than entertainment qualities, though he also enjoyed success in more romantic qawwals.

For his service in philosophy and music, the Government of Pakistan awarded him the Pride of Performance medal in 1989.

He was fond of discussing religious and Sufi paradoxes in his qawwalis. He directl