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Hirahata Station (平端駅, Hirahata-eki) is a junction passenger railway station located in the city of Yamatokōriyama, Nara Prefecture, Japan. It is operated by the private transportation company, Kintetsu Railway.[1] 

Lines Hirahara Station is served by the Kashihara Line and is 9.9 kilometers from the starting point of the line at Yamato-Saidaiji and 44.5 kilometers from Kyoto. It is also the terminus of the 4.5 kilometer branch line to Tenri. 

Layout The station is an above-ground station with two island platforms for the Kashihara Line, and two opposed side platforms angled 45 degrees for the Tenri Line. The station building is on the west side of the station and is connected to each platform by an underground passage. 

There are escalators from the underground passage to each platform and the station building (ticket gates).[2]

"Gaan Tapasvini" Mogubai Kurdikar (Devanagari: मोगूबाई कुर्दीकर) (15 July 1904 – 10 February 2001) was a renowned Indian classical vocalist of the Jaipur-Atrauli gharana.[1] She was known for being a leading student of Alladiya Khan and the guru and mother of Kishori Amonkar, the most popular Hindustani classical female vocalist of the 20th Century.[2] 

Life and career Early life Kurdikar was born in Kurdi village, Portuguese-ruled Goa to a Maratha Gomantak Samaj family.[3] Little is known of her father; her mother, Jayashreebai, was from the Devadasi community and known locally as a talented singer.[4] 

In 1913, Kurdikar began learning music for a while from a holy man at a Damodar Temple in Zambaulim, arranged by her mother. Later, Kurdikar's mother took her to a traveling theater company, the Chandreshwar Bhootnath Sangeet Mandali, which accepted her as an actress.[citation needed] 

Work in sangeet nataks While working for the Chandreshwar Bhootnath Mandali sangeet natak company, Kurdikar's mother died in 1914.[5] Kurdikar's mother entrusted her to the care of Balkrishna Parvatkar who was also from Kurdi and worked for the theater company. One account suggests[1] that Kurdikar's mother told her on her deathbed that her soul would not reincarnate until Kurdikar became a famous singer.[citation needed] 

The theater company soon went bankrupt and the rival Satarkar Stree Sangeet Mandali hired Kurdikar. While there, she performed in roles like Kinkini from Punyaprabhav and Subhadra from Subhadra. At this theater company, she was given music lessons by Chintobuwa Gurav, a student of Bhaskarbuwa Bakhale.[6] She also learned Kathak from Ramlal during this time.[7][8][9] 

She was also trained in Ghazal by Dattaramji Nanodkar.[5] Move to Sangli Kurdikar was expelled from the theater company after a conflict arose between her and one of the senior women of company. This reportedly took a toll on her spirits and health. 

In 1919, Kurdikar was taken to Sangli by her aunt for related medical treatment.[5][10] Visiting Sangli reportedly proved transformative for Kurdikar. At Sangli, she began learning music from Inayat Khan R. Pathan, a local recording artist.[5] 

Meeting Alladiya Khan Portrait of Alladiya Khan, the primary guru of Mogubai Kurdikar. Jaipur-Atrauli maestro Alladiya Khan was at Sangli for medical treatment the same time as Kurdikar. He would hear Kurdikar's practice while walking by her residence on his way to and from his doctor, Abasaheb Sambre. 

Khan one day, eager to identify the singer, climbed the stairs to visit Kurdikar's residence. Startled by the stranger's presence, Kurdikar stopped singing. Khan asked her to continue and, upon her resuming and concluding, expressed appreciation. He offered to teach her and started the first lesson immediately, to which Kurdikar agreed. 

Despite his fame, Kurdikar had not heard of him. Only after witnessing other dignitaries bowing to Khan did she realize his esteem.[9] Politics in Bombay After eighteen months of teaching, Alladiya Khan moved to Bombay. Kurdikar followed in 1922.[5] She stayed at a small rented premise at Khetwadi near Grant Road.[10] 

Kurdikar was exposed to Bombay's intrigue of high-society and classical music circles. Though Alladiya Khan was still court musician of Kolhapur, he used to stay at Bombay for longer periods where he trained students.[8] Kurdikar's training with Khan included many obstacles. 

Khan's more politically powerful students put forth a condition that he should not train other disciples except them.[9] Khan had to oblige due to his dependence on and support from wealthy patrons who sponsored his teaching and would not let him take other students.[10] Consequently, Kurdikar was forced to leave Khan's tutelage in the early 1920s.[7] 

At some point, Kurdikar also learned from tabla maestro Khaprumama Parvatkar.[11] Shifting gurus Portrait of Vilayat Hussain Khan "Pran Piya," from whom Kurdikar learned. Advised by her peers, Kurdikar began learning from Bashir Hussain Khan in 1924, the older brother of Vilayat Hussain Khan and eldest son of Natthan Khan. 

He agreed to teach her if she became a formal disciple and performed the ganda bandhan ceremony of guru shishya parampara. This ceremony was held in 1926 at the Kalidas Building of Borabhat Lane. In 1926, she also started learning from Vilayat Hussain Khan. 

However, he left Bombay due to health problems after teaching Kurdikar for three months.[5][12] Return to Alladiya Khan Upon hearing of Kurdikar's struggles, Alladiya Khan urged her to learn instead from his younger brother, Haider Khan. She hesitated due to the political clout of the ustads of Agra Gharana, of which Bashir Khan and Vilayat Hussain Khan were the leaders. 

Reportedly, Kurdikar had much stress in her personal life at this time too. She solicited a promise from Alladiya Khan to teacher her in the future if Haider Khan ever failed to. In 1926, Alladiya Khan summoned his brother from Kolhapur to commence his teaching with Kurdikar in the Jaipur-Atrauli gayaki. 

Khan's more wealth and powerful students were pressing him to end Kurdikar's teaching due to her rapid progress. Khan felt pressured to send Haider Khan to leave Bombay and end Kurdikar's tutelage after eight months. 

He was reportedly heartbroken about breaking his promise to her. While Kurdikar could have supported herself as a performer during this time, her desire to be a leading exponent convinced her not to. Instead, she continued her riyaz and sādhanā with determination until Alladiya Khan eventually returned to teach her.[8] 

She performed the ganda bandhan ceremony with Khan in 1934.[13] Her training with Khan continued until his death in 1946.