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Odisha Review Classical Status to Odia Language Odissi Vocal : A Unique Classical School Kirtan Narayan Parhi The traditional school of music presently known “Line 5. Gaàdhava-veda-budho dapa- as Odissi was referred by Bharat Muni, under an nata-géta-vädita-saàdaàsanähi usava- independent heading, Udramägadhi Pravåtti in samaja-käräpanähi cha Kéòapayati nagarià Nätyashästra. Unless one surveys the history, (.) Tathä chavuthe vase vijädharädhiväsaà delves deep into the original texts and has ahata-puva Kaliàga - puvaräja n(i)v(e) s(i) t(i) aesthetetic relish of Odissi recitals, one may not - Vitadha-makuöa sabiladhite cha nikhita- be in a position to appreciate the uniquencess and chhata” wholesomeness of Odissi vocal as an independent system in the domain of Indian classical music. i.e. (Again, in the third year (of his reign), the master of the science of music makes (the Odissi vocal, like Odissi dance, is not only citizens of) the capital enjoy themselves by causing very ancient but has uniqueness of its own and the performance of folk dances, (classical) dances, has all the characteristic features for being songs and instrumental music and the celebration reckoned as a classical form, which has its own of festivals, fairs. (Courtsey : Utkal University of tradition, texts, ragas, tälas, gita and classical style Culture)” of recital. Secondly - Texts : It has its own texts Firstly - Traditions : The art and like Gita Govinda of Sri Jayadeva, Sangita Sära architecture on the caves built in the 1st century B.C. i.e. during the reign of Kharavela and of Hari Näyak, Gita Prakäsh of Krushna Däs thereafter in the temples of Konark, Puri, Badajenä Mohäpätra, Sangitarnava Chandrikä of Bhubaneswar and many other places speak Nilakantha, Sangita Muktäbali of Harichandana, volumes about the rich and long legacy of Odissi Natya Manorama of Raghunath Rath and Sangita music and dance. In Räni cave of Udayagiri at Narayan of Purusottam Mishra and many others. Bhubaneswar, there are statues of ladies dancing It is worth noting that the said texts have not been to the tune of instruments. In Tatuä cave of taken into account by Vishnu Narayan Khandagiri, there is a statue of one male playing Bhätkhande during his countrywide tour in order on veenä (harp). The playing of veenä signifies to collect, consolidate the relevant materials and the classical nature of Odissi of the time. Kharavela formulate the system of Hindustäni music. This is has engraved the following lines in Räni caves of a clear pointer to the claim that such texts have Udayagiri in bramhi script and pali language - uniqueness of their own. 42 March- 2014 Classical Status to Odia Language Odisha Review The Odissi text Sangit Muktäbali was music too should not deserve the status of classical written in the last decade of the 16th century by music. Harichandan, the king of Kanika, situated in Lastly, can we claim without oddity that undivided Cuttack district of coastal Odisha. In Jayadev’s Gita Govinda which contains all the this book Harichandan has referred to the ancient salient and distinguishing features of a classical texts such as Nätya Shästra of Bharat Muni, music falls short of the status of classical music ? Bishnupuräna, Siva Samhitä, Brahma Samhitä, NäradSamhitä, Kohaliya, Sangita Sära of Hari Native Rägas Nayak, Matanga tantram, Sangita Ratnamälä of We can identify that the rägas which are Mammatächärya, Kalänkura Nibandha, being used in Udra or Odissi since the 7th century Panchama särä samhitä, Raga Vibeka, Sangita A.D. till the 19th century A.D. as native rägas. Chandrikä, Bäonmaya Vibeka, Siva vibeka For illustration, the names of some rägas which prabandha, Sangita Damodara and Gita Govinda were in vogue before 1600 A.D. are mentioned etc. below. Thereafter, many more rägas are also being During 1728 to 1767 A.D. Purusottam used in Odissi. Mishra who has written Sangita Näräyan under Rägas mentioned in Charjyägitikäs written the pseudo name of Gajapati Näräyan Dev of by many Odiä Boudha Sidhachäryas starting Parlakhemundi has referred to Bharata, Kohala, from the 7th to 11th century are Kämoda, Gujjari, Biswakarmä, Närada samhitä. Siva Samhita, Goudä, Deshäkshya, Dhanäshree, Dhanäshi, Parsuram samhitä, Mattnga, Sangita Ratnäkar, Pattamangari, Bangäli, Barädi, Vairabi, Malläri, Panchama Sära Samhitä, Kälankura, Räga Mälashri, Rämakeri, Säberi, Gunjari etc. Vibeka, Sangita Ratnamälä, Sangita Dämodara, Rägas mentioned in Gita Govinda of Sangita Sära, Sangita Koumudi, Gita Prakäsh, Shree Jayadev (1147) are Kärnata, Gujjari, Sangita Siromani, Sangita Darpana, Sangita Gundakeri, Deshabarädi, Deshäkshya, Vasanta, Kalpataru, Sangita Chandrikä, Gita Govinda Barädi, Vairabi, Bibhäsa, Mangalagujjari, Tikkä of Laxman Bhatta etc. The aforesaid texts Mälaba, Mälaba goudä, Rämakeri etc. are the most important source books and are being followed by the musicologists later. Rägas mentioned in Abhinava Gita Govinda of Kabichandra Ray Dibäkar Mishra Thirdly, the poets of Odisha have made (during 1466 to 1497) are Amarapanchama, copious references to the rägas and tälas in their Abhiri, Kukubha, Karnäta, Bangäla, Kalahansa, lyrical poems. Kalyänanäta, Kämboji, Kuranji, Kedärgoudä, Fourthly, a unique and characteristic style Kolähala, Gändhära, Gujjari, Gondakeri, Gandä, is conspicuously discernible in the recital by the Ghantäraba, Chintadeshi, Chhäyänata, Todi, Odissi singers. Dipaka, Deshäkhya, Deshi, Dhanäshri, Fifthly, the characteristic tälas are Natanäräyan, Nädarämakeri, Närayan Deshäkhya, Näräyan Gondä, Bhinnashadja, explicitly distinct and stand distinguished from the Bhupäla, Vairaba, Vairabi, Mangalagujari, other systems. Madhyamädi, Mallära, Mallähäri, Sixthly, since the Odissi dance has earned Märudhanäshri, Mälabagandä, Mälashri, classical status, there is no reason why the Odissi Mukhäri, Rämakeri, Rebagupta, Lalitä, Bangäla, March - 2014 43 Odisha Review Classical Status to Odia Language Bangälaganda, Vasanta, Beläbali, Rägas mentioned in Sangita Muktäbali of Shankaräbharana, Shudhanata, Shudhabarädi, Kanikä Räjä (king) Harichandan (1590 AD) are Shudhabangäla, Shudhavasanta, Shreeräga, Vasanta, Andolita, Hindola, Deshäkhya, Lolä, Sosubarädi, Sälankanata, Soma, Sourästra Prathama Manjari, Malläri, Mallärikä, Gujari, Hindola etc. Madhyamädi, Shudhavairaba, Vairabi, Koushiki, Rägas mentioned in Rukmini Parinaya of Bibhäsa, Beläbali, Bangäli, Megha, Lalitä, Mälasi Näräyan Bhanjadev (1525) are Karnäta, (Mäläshree), Souri, Nati, Drabida Gouda, Nata- Kämodi, Gujjari, Gouri, Dakshinashree, Näräyan, Tärämani, Äbhiri, Kämodi, Dakhina Deshäkhya, Vairabi, Barädi, Basanta, Mälaba, Gujjari, Kukubha, Shree, Gändhari / Gändhärikä, Barädi, Deshibarädi, Dräbida baradi, Mälabagandä. Khambäbati, Karnäti, Näta Karnäta, Rebagupta, Rägas mentioned in Jagannäth Ballava Soma, Ämrapanchama, Kämoda, Dräbida Nätka of Räy Rämänanda Pattnaik (1535) are Goudä, Todi, Nata, Ghantäraba, Bhupati, Ahira, Karnäta, Kedära, Gändhäri, Gondäkeri, Shankaräbharan, Kolähala, Karnätagouda, Todi, Barädi, Dukhibarädi, Deshäkhya, Nata, Goudä, Deshi, Dhanäsi, Balläli, Harsapuri, Vasanta, Mangala Gujjari, Mallära, Mälaba, Hunchhikä, Bhouli, Shrikantikä, Shudhäbhiri, Mälashri, Rämakeri, Keli, Shukasindudä, Sahäi Mälabagoudä, Mälaba, Mällara, Deshapäla or or Suhäga etc. Deshakari, Kedära, Nägadwani, Chhäyätodi, Rägas mentioned in Sangita Kaumudi Gändhära etc. (16th century) are Vairabi, Bhupati, Shree, Rägas mentioned in Odiä Mahäbhärata Patamanjari, Vasanta, Bhupäla, Säranga, Mälaba, of Särala Däs (during 1436 to 1466 AD) are Deba Gändhära, Vairabi, “Gunjari, Neelämbari, Amara, Äbhiri, Karnäta, Kedära, Gouri, Kalyäni, Barädi, Megharangi, Beläbali, Deshakari, Bangäli, Patamanjari, Koushiki, Gurjari, Kashäkänädä, Mälabi, Mallahäri, Deshikär, Rämakriyä, Todi, Jämalä, Gundakeri, Naräyani, Chintä, Chokhi, Debakriyä, Kurukureba, Gundakriyä, Säranga, Nägäballi, Todi, Jämalätodi, Bichitradeshi, Dhanäsi, Lalita, Nata, Kämboji, Voula, Bhopäla, Dhanäshri, Deshi, Vasanta, Bibhäsa, Deshäkhya, Äbhira, Kalahansa, Näräyani, “Shankaräbharana, Bhopäla, Barädi, Vairabi, Bhupäla, Mälaba, Hindoli etc. Mälashri, Mangalabarädi, Malhära, Lalita, Rägas mentioned in Gita Prakäsh of Rägaraj- Bangäla, Madhukeri, Äbara, Hindola, Krishna Däs Badajenä Mahäpätra (1565 AD) are Panchama etc. Nata, Karnäta, Dakshinashri, Ämrapanchama, Rägas mentioned in Sangita Sära of Hari Kämodi, Gunjari, Debakri (Shudha vasanta), Nayak (15th Century) are Karnäta, Bhopala, Vasanta, Rämakeri, Megha, Beläbali, Patamanjari, Mälashri, Sindhu, Beläla, Pähäla, Bibhäsa, Näta, Mälashri, (Malasika), Bangäla, Barädi, Soma, Chandani, Kämoda, Näräyan-Nata, Rebagupta, Todi, Deshäkshya, Belläli (Balläli), Pattamanjari, Chokhi, Mukhäri, Malhäri, Malhära, Goudä, Deshi, Kolähala, Mallärikä, Dhanäsi, Lalitä, Patimanjari, Angabhäsa, Säberi, Deshikari, Mälaba, Gundakiri, Vairaba, Hindola, Deshäkhya, Gurjjari, Rämakeri, Gundakeri, Rehi, Chhäyätodi, Madhyamädi, Lalita, Shabari, Dhanä, Barädi, Mälaba, Shree, Kadhu, Megha Khambäbati, Harsapuri, Nagadwani, Goudä, Malhära, Nalani Godä, Chinta, Kedära, Vasanta, Pratäppurbika, Purabi, Maruä, Kalyäna, Vairabi, Banga Bhätiyäri, Meghamani, Panchama, Äshäbari, Mallähäri, Gouri etc. Amara, Kedära Goudä etc. 44 March- 2014 Classical Status to Odia Language Odisha Review Besides the above named poets and (b) Types of songs - The different types of musicians, there are hundreds of lyrical poets and songs in the domain of Odissi are suda prabandha, musicians of Odisha who have mentioned the dhrubapada, Chitrakalä, Chitrapadä, Choupadi, names
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  • The Journal of the Music Academy Devoted to the Advancement of the Science and Art of Music

    The Journal of the Music Academy Devoted to the Advancement of the Science and Art of Music

    ISSN. 0970 -3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXVI 1995 »T5CtCT w qrafor w fagffa w * II "/ dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, NaradaV' Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscript sign $ 3-00 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXVI 1995 t TOTfiT 1 V f t I *nr nurfer w ftgrfir h r * n "I dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscription - Inland oreign $ 3-00 r OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double -spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in full). The Editor of the Journal is not responsible for the views expressed by contributors in their articles.
  • Sri Kamalambikaya Katakshito(A)Ham Saccidananda Paripurna Brahmasmi

    Sri Kamalambikaya Katakshito(A)Ham Saccidananda Paripurna Brahmasmi

    Shree Kamalaambikayaa Kataakshitoham (Avarana 3 of Navavarana Krithis) Ragam: Shankarabharanam (29th melakartha) ARO: S R2 G3 M1 P D2 N3 S || AVA: S N3 D2 P M1 G3 R2 S || Talam: Rupakam (2 kalai) Composer: Muthuswami Dikshitar Version: D.K. Jayaraman (https://youtu.be/-k9QMSDGFGA?t=1311 (21:50)) Lyrics / Meaning Courtesy: https://guru-guha.blogspot.com/2007/09/dikshitar-kriti-sri- kamalaambikayaa.html Youtube Class: https://www.youtube.com/watch?v=36y4Xad83_M Audio MP3 Class: http://www.shivkumar.org/music/srikamalambikaya-shankarabharanam-class.mp3 Pallavi: SrI kamalAmbikayA kaTAkshitO(a)haM saccidAnanda paripUrNa brahmAsmi Anupallavi: pAka SAsanAdi sakala dEvatA sEvitayA pankajAsanAdi panca- kRtyAkRtbhAvitayA Madhyama kAla sAhityam: SOka hara catura padayA mUka mukhya vAkpradayA kOkanada vijaya padayA guru guha tat-trai-padayA CaraNam: ananga kusumAdyashTa SaktyAkArayA aruNa varNa saMkshObhaNa cakrAkArayA ananta kOTyaNDa nAyaka Sankara nAyikayA ashTa vargAtmaka gupta-tarayA varayA Madhyama kAla sAhityam: anangAdyupAsitayA ashTa daLAbja sthitayA dhanurbANa dhara karayA dayA sudhA sAgarayA Meaning: Courtesy https://guru-guha.blogspot.com/2007/09/dikshitar-kriti-sri-kamalaambikayaa.html Sahityam: SrI kamalAmbikayA kaTAkshitO(a)haM Meaning: I am blessed with merciful glances by Goddess Kamalamba. kaTAkshitO-ahaM - I am blessed with merciful glances SrI kamalAmbikayA - by Goddess Kamalamba. Sahityam: saccidAnanda paripUrNa brahmAsmi Meaning: She is the supreme being, filled with the bliss of existence and consciousness. Asmi - (Hence) I
  • The Microtones of Bharata's Natyashastra

    The Microtones of Bharata's Natyashastra

    The Microtones of Bharata’s Natyashastra John Stephens N about 200 CE, Bharata and Dattila penned closely related Sanskrit treatises on music in I the Natyashastra and Dattilam, respectively (Ghosh 1951, lxv). Inside, they outline the essential intervals and scales of Gandharva music, a precursor to the Hindustani and Carnatic traditions. Their texts are the first known documents from south Asia that attempt to systematically describe a theory of intonation for musical instruments. At the core of their tonal structure is a series of twenty-two microtones, known as sruti-s.1 The precise musical definition of the twenty-two sruti-s has been a topic of debate over the ages. In part, this is because Bharata does not explain his system in acoustically verifiable terms, a hurdle that all interpretations of his text ultimately confront. Some authors, such as Nazir Ali Jairazbhoy and Emmie te Nijenhuis, suggest that Bharata believed the sruti-s were even (twenty-two tone equal temperament, or 22-TET), though they were not in practice (Jairazbhoy 1975, 44; Nijenhuis 1974, 14–16). Jairazbhoy concludes that it is impossible to determine the exact nature of certain intervals in Bharata’s system, such as major thirds. Nijenhuis (1974, 16–19) takes a different approach, suggesting that the ancient scales were constructed using interval ratios 7:4 and 11:10, so as to closely approximate the neutral seconds and quarter tones produced by 22-TET. Prabhakar R. Bhandarkar (1912, 257-58) argues that Bharata’s 22-TET system was approximate and still implied the use of 3:2 perfect fifths and 5:4 major thirds.