Kishori Amonkar (10 April 1932 – 3 April 2017) was an Indian classical vocalist, belonging to the Jaipur Gharana, or a community of musicians sharing a distinctive musical style. She is considered to be one of the foremost classical singers in India. 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 styles in her career.

Amonkar's initial training in music was by her mother, the classical vocalist Mogubai Kurdikar. She has stated in an interview that her mother was an exacting teacher, initially teaching her by singing phrases and making Amonkar repeat them. In the early stages of her career, she travelled with her mother to performances, accompanying her on the tanpura while Kurdikar sang.

In the early 1940s, young Amonkar began to receive vocal lessons in Hindustani classical music from Anjanibai Malpekar of the Bhendibazaar gharana and later received training from tutors of several other gharanas. Her tutors included Anwar Hussain Khan of Agra gharana, Sharadchandra Arolkar of Gwalior gharana, and Balkrishnabuwa Parwatkar. Amonkar has credited Anjanibai, in particular, with teaching her the technique of meend, or gliding, between notes.

"There is nothing called a gharana. There is only music. It has been bound in these gharanas and that is like dividing music into specific castes. One should not teach the students the limits of this art. There are none. But one has to understand the grammar. Which is why, one is taught the alankaar, the ragas."
 – Amonkar on gharanas

Amonkar's later work in light music reformed her classical singing and she modified her Jaipur gharana performance style by applying features from other gharanas. She has been both praised and criticised for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritised emotional expression over tradition, so she often departed from the Jaipur gharana's rhythmic, melodic, and structural traditions. Amonkar has criticised the idea that schools, or gharanas, of music determine or constrain a singer's technique. Amonkar has stated that while the Jaipur gharana's technique and methods form the base of her style, she performs several variations on it, including an adoption of alapchaari, or a relaxing of the link between the rhythm and note.

Amonkar has expressed her views on how musical education should be conducted, emphasising the importance of enabling students to move beyond repetitive techniques and learn the tools that allow them to improvise on their own. She credits her mother with using this approach to teach her, noting, "You have to walk and run on your own. The guru gives you strength to be able to do that. If you don't, then you remain ordinary. My mother made sure I wasn't ordinary." She noted that training is an ongoing process, and stated in an interview that she often listened to her own recorded performances to analyse and improve her technique.

Amonkar emphasised emotion and spirituality as essential parts of her singing, stating that "To me it (music) is a dialogue with the divine, this intense focused communication with the ultimate other." She has often spoken of music as an act of sublimation, noting that it is the sadhana (medium) to attain the sadhya (destination).

In 2010, she published a book in Marathi titled Swaraartha Ramani in which she elaborated her views on musical theory and practice.