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PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume-8 | Issue-11 | November - 2019 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex services gradually took the form of traditional Odissi music as ancestry of music, dance, and Vadya to the Mouriyan age. known today. One does not require surveying the history, According to the world renowned specialist on statue theory, delving deep into texts and characteristics of Odissi music these sculptures provide the feeling as if beating Pakhawaj system to understand its classic style if he at least reads and rapturously, along with the dance of the Nagas. This is a likely listens to Geeta Govinda of Sri Jayadeva. As this sacred piece indicative of such Odissi dance and music that nowhere to be of lyrical poem contains all the salient and distinguishing seen in India. features of classical music, the reader or listener get to appreciate the uniqueness and wholesomeness of Odissi as REFERENCES another system of classical music in the domain of Indian 1. Das R, 2004: Odissi Sangitara Parampara O Prayoga, Publisher, Koushiki Prakashani, J. M. -8, Bira Surendra Sae Nagar, Bhubaneswar- 751007. music. The arts in Odisha have flourished from ancient times. 2. Kothari S, Pasricha A, 1990:Odissi, Indian classical dance art. Marg Architecture, sculpture, temples, the living traditions of dance, Publications. pp. 13–16. 3. Kuiper K, 2010:The Culture of India. The Rosen Publishing Group. p. 278. music, painting, and the all-pervading influence of the 4. Pani, Jiwan, 2004. “Back to the Roots: Essays on Performing Arts of India,” religion of Jagannatha have had a symbiotic growth. The art of Manohar: New Delhi. Odissi thus has a long history. The Natyashastra refers to four 5. Parhi KN, 2006:‘Sri Jayadev's Music and its Impact on the Culture of Odisha’. In the Orissa Review. vrittis (different modes of delivery), Avanti, Dakshinatya, 6. Pattnaik DN, 1971: Odissi Dance, Gita Govinda and Jayadeva, pg 47, 1971. Panchali, and Odra Magadhi which flourished in the different 7. Patnaik Kalicharana (1981, 2011): Amara Sangita Dhara, Basanta Publication, Dagarapada, Cuttack-2, regions of India. Odra here refers to Odisha. Obviously 8. Venkataram, Leela,2002. Indian classical dance : tradition in transition. New different regions had different kinds of dance and music Delhi: Lustre. traditions each distinguished by its special nature and technique." Innumerable inscriptions" prove that dance and music were a part of the life of the people. The kings extended their full support to its growth and development. The intimate relationship experienced between the Odia poetry and music presentation in Odissi syle is a unique feature on which the aesthetics of the specific style is built. The art of Odissi dance and music suffered on account of political instability, the Muslim invasion, the desecration of the temples and the loss of independence, the lack of patronage of the landlords to both the Maharis and the Gotipuas dancers as a class of entertainers. The quality of dance deteriorated and by the time the Odissi dance came to be known to the outside world it was like a mere shadow of its glorious tradition .Some of the gurus, who were trained earlier as Gotipuas dancers were supported by the Rasalila parties and the theatre groups who helped preserve the continuity of Odissi dance. Odissi dance is usually performed to the accompaniment of Odissi music. By simply reading or listening to Geeta Govinda of Sri Jayadeva, the classical architecture of this composition becomes obvious. This form of music is associated with its classical dance style, the popular Odissi dance and has evolved independently to present day status alongside Hindustani and Carnatic classical music system, coded with all ingredients of Indian Classical form. It must be emphasized on the single most unique feature of Odissi music. The classical music tradition of Odisha also remain unaffected and independent due to its association with the tradition of Lord Jagannath, patronage by the mighty emperors of Utkal, and the tremendous impact of great Odia musicians like Sri Jayadeva, Hari Nayak, Narahari Mohapatra, Krushnadas Badajena Mohapatra and many others. The ancient Odissi music was perceived in general as The Odia music which existed in the form of Laghu Sangeeta, Loka Sangeeta, and Palli Sangita, Kendara Sangeeta etc. Odissi music is claimed to have developed from these different Odia Sangeeta. The traditional Odissi dance is usually performed to the accompaniment of Odissi music. The accompanying vocal and instrumental music presented as part of the Odissi dance performance is the Odissi Music known today. There are certain authentic and authoritative texts on Odissi music which are excellent indices to the development of the music. With the musical tradition at Jagannatha temple of Puri, Odisha, Gita Govinda was highly popularized all over India and Odisha becomes a melting point for various traditions and culture, including, from both south and north. It is therefore natural that Odissi tradition has not been influenced by the two major schools of Indian Classical music. There are certain texts on Odissi music which are authentic and authoritative and provided excellent indices to the development of the music. It is worthy to note that the discovery of a rare statue from the world famous Buddhist center, Lalitgiri, Bhubaneswar aptly looks back on the www.worldwidejournals.com 37