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PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume - 10 | Issue - 03 |March - 2021 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex in coastal districts, Gitinatya (Musical Drama), Daskathia begins with an alap (a relatively freeform introduction to and (Daskathia, once a popular art form confined to Ganjam, has elaboration of the ); moves into song text and tala, spread to all other Districts of Orissa. 'Dasa" means a devotee. accompanied by percussion (drumming); and finishes with 'Katha' means two wooden pieces played in tune with the tans (improvisations) and variations on the given melody and prayer of the devotee.)etc. as various folk traditions prevalent text. Odissi music is unique by its “medium speed (it does not in the region. All these forms of music had a tradition of utilize the extremes of slow and fast tempos found, for thousands years. example, in Hindustani music), the syncopated rhythms of the Madalapanji ( is a chronicle of the Around the first century B.C., Odissi music was possibly Temple, , Odisha, India. It describes the historical events known as Gandharb Veda, which was popularised in the of Odisha related to Jagannath and the Jagannatha Temple. Kharavela Yuga (a great king of Odisha). Charya Geetika The Madala Panji dates from the 12th century) and its use of (poems of Buddhist literature) written between 7th and 12th ornamentation that often gives its melodies an undulating century, Bharat Muni's written in 2nd to 4th cascading feel”. century AD. (referred to the Odra Magadhi style of music and dance), Sangeet Ratnakar (Odra Magadhi style of Music), Sri Gitagovinda, Anirjukta Pravadha, Divya Manusi Odia Charyagitika by different Odia Sidhacharyas in 7th to Prabandha, , Chhanda, Chaupadi, Champu, Malasri, 11th century, by Sri in 12th century, Sariman, Vyanjani, Chaturang, Tribhang, Kuduka Geeta, Sara by Hari Nayak in 14th century to 15th century, Laxana and Swaramalika are the various sub-forms, which Rasavaridhi by Brundavan Das in 15th century, Odia individually or collectively constitute the traditional Odissi music. These sub-forms of the traditional Odissi music can be by in 15th century, Rasakallola by categorised under the classical music of Odisha. Odissi music in 16th century, etc. were authentic has codified grammars, which are presented with specified manuscripts of Odissi music. . It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing Books written in later years like Sangita Darpana, Sangit in Odissi is not very fast or too slow, and it maintains a Kalpadruma, Sangitarnava Chandrika, Baidehisha Vilash, etc. proportional tempo which is very soothing. Odissi music is so had promoted Odissi music further. Hence, it is ascertained ancient that different sages had opined different tales about that Odissi music is more ancient than its counterparts like the origin of Odissi music, being a very ancient art, has a very Hindustani or Carnatic. long, unbroken tradition behind it. Elements of Odissi Music are neither completely Hindustani nor Carnatic. Odissi music The artists sing the songs in Odisha's major temples or at the has its own unique style of composition and performance courts of princely estates, composed in the which is typical to this classical art form from the eastern state from about the 16th to early 20th century. The Sanskrit songs of Odisha is Odissi music. Even several learned researchers like Jayadev's Gitagovinda are also performed by the singers. and noted historians have not been able to ascertain the The meanings of these songs is very often based on the events actual period of the origin of Odissi music, Odissi dance and of the “divine lovers” Radha and . Odissi music is now musical instruments. Although the origin of Odissi is performed in music concerts in urban areas and occasionally unknown, still it's splendid with its own splendour and it is on the local All India Radio station. Odissi music is heard completely distinct. It can be asserted that Odissi music is the during Odissi dance and drama. The three vital components pride of great Jagannath culture. Alike its tradition and of any classical music are tradition, codification and discipline, the application of Odissi music is equally rich in application. As explained above, we have inherited our nature. It is noteworthy that the application of any classical musical tradition since the time of king Kharavela. Even music is more important as compared to its tradition and Mahari tradition and singing of Geeta-Govinda in the temple discipline or principles. From this point of view also Odissi of Lord Jagannath since the time of King Pratap Rudra Dev in music is splendid, as its application is much influential. the 15th Century proved our rich tradition. The kings from 'Bhanja-vansh' royal family were also fond of music and dance. In any form of classical music there are two specialties. On the The sounds or Odishan music also used to echo those days basis of functioning range of Odissi music, it usually inside the temples of viz. Parsumareswar, Mukteswar, transforms itself into a smooth and beautiful form during Rajarani, Lingaraj, Kapileswar, Brahmeswar, Megheswar, presentation and thus it maintains it uniqueness. Sobhaneswar etc. situated in (The Capital City Of Odisha). The 13th century old Konark temple and its Odisha claims some unusually ancient and impressive 'Natyamandap' is the most lively witness of music study and it evidence of its musical tra- ditions, and this evidence is almost stands as the pride of Odias forever. al w a ys cited by local writers on Odissi music. For example, an inscription in Udayagiri, a complex of caves near Then evidences about the traditions of music in Odisha have Bhubaneswar, dating from the first century BCE, describes been found in the 16th century old almanac called 'Madala various cultural activities, including music and dance Panji'. A number of Odia poetry and 'Chaupadi' poetic stanzas, performances, under the reign of then-Emperor Kharaveḷa written during , the period of 15th century till the 'Radhanath' (Kharavela was a king of Kalinga . He ruled somewhere era, were based on specific 'Raga-ragini' .some prominent around first or second century BCE. His name is also temples in the ancient period were regarded as the centres of transliterated as Khārabēa. He was the best known king of music-appreciation. Several musical conferences were held the as "Chedi dynasty" by some scholars).The Sun Temple in in the 'Natamandir' on the temple campus. Besides this many Konarak, from the mid-13th century CE, is famous for its 'Rajdurbars' or courts of kings provided platforms for musical sculptures of dancers and musicians . events. Debates and discussions about music were held regularly in the royal court of kings. 'Rajdurbars' of Keonjhar, In the ancient dramaturgical treatise Naṭyaśastra (c. 200 CE) Ganjam areas, the residences of Binjharpur and Kendrapara there is mention of an Oḍra-magadhi style of music (Ora is Zamindaars as per the sources. Odissi music, originated in one of the ancient names for the region of Odisha). And from Odisha, is based on four classes of music namely Dhruvapada sometime between the ninth and eleventh centuries BCE (first line or lines to be sung repeatedly), Chitrapada there is a collection of raga-based Charya songs (songs used (arrangement of words in a poetic style), Chitrakala (use of art in connection with Buddhist Tantric rituals) found in Nepal, in music)and Panchal (a collective term for a variable range of but thought to be composed by poets from eastern India (the artisanal Indian caste groups). Odissi music involves several poems are in a language related to old Bengali, Odia, and genres of songs as well as performances that are structured Assamese. and composed in different ways depending on the context and function of the performance. At present, a solo vocalist Likely the most famous musical work to come out of Odisha is 32 www.worldwidejournals.com PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume - 10 | Issue - 03 |March - 2021 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex the 12th century song-cycle Gitagovinda of the poet Jayadeva, During that period 'Kalinga' was a vast and independent state. now popular throughout India. Dealing with the relationship As mentioned in 'Natyasashtra', the inhabitants of 'Toshali', between the deity Krishna and his consort Radha, Jayadeva 'Koshaal', and 'Mosaal' were called as the people of Kalinga. seems to have specified ragas and talas for each of the songs, although there is no consensus among scholars today Between the periods of 558 B.C. to 530 B.C. Persian emperor precisely which ragas and talas are to be used with each song Cyrus, occupied the north-western region of India. In 327 B.C, (Panda, 2004 ). Greek warrior Alexander invaded India. During the period from A.C 1000 to 1027 Mahmood of Ghajni invaded India, This work influenced (and is asserted to have influenced) seventeen times. In A.C 1175 Mohammad Ghori, occupied cultural life in Odisha deeply, and it spawned many local then Multan region of India invaded Delhi in A.C 1190/91. Sanskrit and Odia imitations. In 1296, Alauddin Khiljee occupied the throne of Delhi. In A.C There were a number of Sanskrit-language musicological 1526 Moghal ruler Babar started Moghal rule in India. Hence treatises written in the region of Odisha from about the 15th to the cultures of Greece, Persia, Iran, Mohammaden and 18th centuries. The most im- portant are probably the Moghul had eclipsed the Indo-Aryan culture and impacted it. Gitaprakasa and the Sagitanarayaa, which are be- lived to But, Utkal (Odisha) was independent till the year of 1568. No define the ragas at the heart of the Odissi system (Pani 2004, foreign power except the Indian had its control over Utkal. So, 53). naturally the Odishan culture that had no impact of non-Indian culture and music. The earliest of these is the Gitaprakaa (written prior to 1565 th CE) of Krishna Dasa Badajena Mahapatra (Krishna Dasa In 13 century during the rule of Alauddin Khiljee, Kalinga was Badajena Mohapatra, has been accepted as writers of 'Gita independent. Ameer Khusro, a noted lyricist and musician Prakasha' is a treatise on music. He was the court poet of who served then in the durbar (royal court) of Alauddin, had Gajapati Mukunda deva (1559-1568 A.D.). He was probably initiated a new musical trend by blending Indian music with sent as an envoy of Gajapati to the Court of Akbar, when an Iranian and Persian music, which later transformed itself and alliance was made between the two) The author was a poet was termed as the system of Hindustani music. Ameer and musician in the court of Gajapati Mukunda Deva (ruled Kushiro's musical trend called 'Mee' did not get the 1559–1568 CE), and may have been associated with Mughal opportunity spread in Kalinga; rather it was the Utkalian music Emperor Akbar's court as well—a musician/poet with the of Gopal Nayak which enchanted Ameer Khusro. name Mahapattar (Mahapatra is a common Odia name) appears in the writings of Akbar's chronicler Abul Fazal (Katz, The poetry book 'Gita prakash' written by Krushna das dates 1987, vol. 2, 17). The second important treatise, the back to the year 1565. After that many books on Odissi music Saṅgitanarayaṇa of Gajapati Narayaa Deva (c. 1650 CE), is a have been written till date and we also come to know about com- prehensive compilation of, and commentary on, a large the singing style of this music. Even before, 1565, there was a number of treatises on music available at the time . This healthy tradition of Odissi music. treatise was widely circulated in Odisha, Andhra, and Bengal (Rath, 2006, 31), and was translated into Odia in the 18th REFERENCES 1. Das.H, 1981:"Culture Department". Orissaculture.gov.in. Retrieved 2012-05- century (Mahapatra 1982, Section I: 273). 26. 2. In “Adivasi gitara sangetikata and biseshatwa” in Odia Sahitya O Adibasi Reference might also be made to Odisha's Odia-language Sanskruti, Odia Sahitya Academy. 3. Dash KC, May be unpublished, Internet uploaded work, retrieved, Gita literary tradition and its Mahari tradition, both of which are Govinda of Jayadeva and the temple of Purushottama- Jagannatha, Former intimately tied to the development and maintenance of music Reader in History, C- 3/2, Bhubaneswar- 14, Odisha. traditions in Odisha. Music and literature are closely related 4. Das, M.N. (1977.):,Sidelights on History and Culture of Orissa, . 5. Das R, 2004: Odissi Sangitara Parampara O Prayoga, Publisher, Koushiki forms in this region, and at least since the 16th century (see Prakashani, J. M. -8, Bira Surendra Sae Nagar, Bhubaneswar- 751007, City Mohanty 2006, 117) much poetry (the main form of literature Print, Infocity Area, Bhubaneswar-751024. from the mid-16th to mid-19th centuries)—whether narrative 6. Dennen D, 2009:The Third Stream: Odissi Music, Regional Nationalism, and the Concept of “Classical" (The Odishan version)The Odishan: A Magazine or descriptive, secular or devotional—has been set to on (vol. 1, no. 2) particular ragas and talas. 7. Dennen D,2010:Revised 2012,The Third Stream: Odissi Music, Regional Nationalism, and the Concept of “Classical", Asian Music, 41(2): 149–179. 8. Dennen D, 2013:From “Odia” to “Odissi”: Changing Conceptions of Music in The Mahar is—the Odia term for, and version of , Odisha, Journal of Literary and Cultural Studies (vol. 3, 2013), and pp. 58-82. —performed mu- sic in and around major temples. 9. Parhi KN, 2005: Odissi Sangitara Itihasa, Jayadeva Foundation Trust, Bhubaneswar. This included, for example, performances of the Gitagovinda. 10. Parhi KN, 2006:'Sri Jayadev's Music and its Impact on the Culture of Odisha'. In The Maharis performed occasionally in public during the Orissa Review. festivals, but their dance and music mainly found their way 11. Parhi, KN 2014: Odissi Vocal: A unique classical school, pp Odissa Review, Vol LXX No 8. into the public sphere by way of troupes—groups of 12. Pattanayak KC,1957:“Oisi-Sagtra Rparekha” The Contours of Odissi boys dressed and performing as Maharis—that began music. performing in the early 16th century. The Mahari tradition began falling out of favor while Odisha was under foreign—especially British—rule and mostly disappeared in the 20th century. It was then in the mid-20th century revived as an inspiration for classical Odissi dance.

After that, the Indian history was written serially which was started first by the great philosophers like Mahavir (the founder of Jainism) and Gautama Buddha (the founder Buddhism). Odissi music is present till date, since the era of these two great religious avatars.

During the period of 6th century B.C. the vast area ranging from the valleys of Kabul to the Godavari river, were inhabitated by 16 human habitats, like 'Anga', 'Magadha', 'Kashi', 'Koshal', 'Bakkri', 'Malla', 'Chedi', 'Vasta', 'Kuru', 'Anchhal', 'Matsya', 'Shurasen', 'Avanti', 'Gandhar' and 'Kamboj'. www.worldwidejournals.com 33