ज़रा इधर-उधर कर दिया करते थे, लेकिन मै यह कोशीश करता हूं के ज़्यादा से ज़्यादा राग खूब्सूरत हो लेकिन राग अप्नी जगह राग रहे"). He used to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (نغمہ وہی نغمہ ہے جو روح سنے اور روح سناہے ; music is that which originates from the heart and touches the soul). Characteristics of his style include: slow-tempo, leisurely raga development (except with Carnatic ragas, which he typically rendered in medium tempo) improvisation mostly in lower and middle octaves tendency towards serious and expansive ragas emphasis on melody clarity of notes judicious use of pause between improvisations bol alap and sargam using merukhand patterns using sargam in taan-ang using softer gamaks sparing application of murki use of kan swaras (acciaccatura) in all parts of performance controlled use of embellishments to preserve introspective quality rare use of tihai careful enunciation of text of bandish actual bandish as sung may or may not include antara multiple laya jatis in a single taanKhansahib demonstrated this in an interview with the tabla player Chatturlal mixture of taan types (including chhoot, sapaat, bal, sargam and bol-taan) in a single taan use of ruba'idar tarana (considered similar to chhota khyal) Besides singing in concerts, Amir Khan also sang film songs in ragas, in a purely classical style, most notably for the films Baiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje. This attempt to introduce classical music to the masses through films significantly boosted Khansahib's visibility and popularity. He also sang a ghazal Rahiye Ab Aisi Jagah for a documentary on Ghalib. Khansahib's disciples include Amarnath, A. Kanan, Ajit Singh Paintal, Akhtar Sadmani, Amarjeet Kaur, Bhimsen Sharma, Gajendra Bakshi, Hridaynath Mangeshkar, Kamal Bose, Kankana Banerjee, Mukund Goswami, Munir Khan, Pradyumna Kumud Mukherjee and Poorabi Mukherjee, Kamal Bandhopadhyay, Shankar Mazumdar, Shankarlal Mishra, Singh Brothers, Srikant Bakre and Thomas Ross. His style has also influenced many other singers and instrumentalists, including Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Khan, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, Pannalal Ghosh, the Imdadkhani gharana, and Sultan Khan. Although he referred to his style as the Indore Gharana, he was a firm believer of absorbing elements from various gharanas. Amir Khan was awarded the Sangeet Natak Akademi Award in 1967 and the Padma Bhushan in 1971. Research in the field of Tarana Ustad Amir Khan dedicated a large