Dr Aban E Mistry, a Zoroastrian lady by birth, mastered the art of music through sheer dint of dedicated zeal and devotion, which gradually evolved through her juvenile years The seed began sprouting when she was initiated in the field at the tender age of four years. She received her initial training in vocal music from her maternal aunt, Kum. Mehroo Working boxwalla and was later groomed by Pandit Lakshmanrao Bodas, under whose able guidance she accomplished proficiency in vocal music. Around the same time, she trained under the Guruship of Pandit Keki S. Jijina for several years at a stretch in Sitar and Tabla-vaadan. Even as of present, whenever occasion arises, she seeks his professional guidance and council. Abanji was very fortunate to have had the opportunity to accomplish her ultimate Tabla training from the celebrated maestro, Tabla-Nawaar Ustaad Amir Hussain Khan, over the years. ller skill in the knowledge of musical science was further honed by Bombay's renowned scholar Pandit Jaisukhlal Shah.
Dr. Aban Mistry obtained Sangeet Visharad (Sitar), Sangeet Alankar and Sangeet Pravin (vocal) and qualified with distinction in Hindi, to bag the coveted Sahitya Ratna award Under the guidance of Prof. V. R. Athavale, she authored and published a volume titled 'PAKHAWAJ AUR TABLE KE GHARANE, UDBHAV, VIKAAS EVAM VIVIDH PARAMPARAYE.' a priceless research thesis in percussion music which is her invaluable contribution to the service of music. For this, she was justifiably honoured by the Akhil Bharatiya Ghandharva Mahavidyalaya Mandal which conferred on her the title of 'SANGEET ACHARYA' In quest for research material on the subject of her book, she traversed extensively throughout the length and breadth of the country over the years and collected rare and abstruse information of infinite value. I am firmly convinced of the fact that with this analytical study, the future generation stands to gain enormously, because the volume offers a deep insight and might act as an incentive to carry on with future research.
Abanji is the country's highly prominent and illustrious lady Tabla maestro and perhaps the first artiste whose gramophone record has also been cut. The highest awards like 'Sangeet Setu', 'Taal Mani', 'Charma Vadhya Tabla Bhushana', by Rev Shankarcharya of Sankeshwar Peeth, Sangeet Kala Ratna', 'Kalashri', 'Taal Shringar, "Taal Samarat have been showered upon her.
In Indian music, three factors basically enumerated are Gaayan (vocal) Vaadan (instrumental) and Nritya (dance) The predominant aspect of vocal music is Swar (notes), Taal (time-cycle) and l'ud (Couplet), whereas Vaadan constitutes Swar and Taal only In Nritya, Swar is considered secondary, but the attention is focused on Taal. Mudra (postures), Karan (actions). Angahaar (movements), Chaari-Sthaan (emotive expressions), Gutty (speed) etc Whatever it may be whether Gaayan, Vaadan or Nritya, the importance of Taal is characteristic in all three.
The very word Taal originates from the Sanskrit Tala-Dhaatu, meaning an element from the depths of a constituent. Tala Pratishthayaam or Tal Dhaatu therefore means to establish.
Taal is something which Geet (song), Vadhya (instrument) and Nritya (dance) are all based on It is firmly established in all three. The emphasis on Taal is attached to Laya (rhythm) The word Laya stems from the Sanskrit element Ll and the meaning of Ll is to get engrossed in or assimilated into Laya cannot be created by mere speed nor can it be manifested by a tranquil pause it is only when a perfect combination of the two opposites, ie speed and repose is fused into a perfect balance, then Laya is created. In speed (Gutty), when precise repose is accentuated by precise Antraal (pause created between two beats), then Laya emerges. When Gutty takes off, based on a performance and gets assimilated into the same after a precise pause, then the magnitude of Laya's majestic beauty comes to the fore.
The God of Cosmic Dance, Nataraj, dances on one Laya In his Laya hidden is the wonderful mystery of inception, consistency and restrain.
Universally speaking music cannot survive without Laya has two basic qualities. Chhand (rhythm) and Taal (tempo) Taal is the barometer of fast, medium or slow speed. In the word Laya both these factors are integrated.
Laya exists in all kinds of music throughout the world but Taal is the distinct characteristic that is strictly the prerogative of Indian Music.
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