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i o of of of of to of t i in in it d a a a a f PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-8 | Issue-3 | March-2019 | PRINT ISSN No - 2250-1991 can be said as one of the ancient signs of Odissi Sangita tradition. Because till now the 'Ragas' are written in the carya literature, still in vogue in Odisha. There 'Carya Gitis' with the mention of Raga are the first and foremost writings of Odisha. The great musical 'Kavya' Gitagovinda is considered as the post musical creation of Carya literature. Jayadev named the Raga and Tala in the beginning of lyric. At places, he wrote the process of the Raga. Although Jayadev is the pride of India, Odisha as his motherland deserved the glory and greatness. It can be hardly exaggerated if it is said his creation is the most valuable contribution of the musical tradition of Odisha to the Indian music.

From a very ancient time, the dance and music found its spiritual home in the caves, temples and holy institutions. In Odisha, a festival or ceremony remains incomplete bereft of dance and music. Thus, there is an unbroken tradition of dance and music in this eastern state since very ancient period of its history. Jainism said to be the earliest state religion of Odisha. The famous Jagannath temple built sometime after 1112 a.D. by Cholaganga Deva of the Ganga dynasty. A number of dancng damsels are set to have been appointed for the services of the deity. This tradition is still maintained. They are called 'Maharis'. One an witness dance sculptures in 'Bhogamandapa' the jagamohana the Mukhasala and the Bada Deula and it is surrounding shrines built by his successors among Ganga and Gajapati dynasty.

The great poet of Odisha Sri Jayadeva wrote Gita Govinda in simple but lucid Sanskrit. In order to make people hear about the lilas (activities) or to make the drink the nectar of Krishna Lila Jayadeva wrote it in 12 Raga Ragini like Mangalagurjari, Malava, Basanta, Ramakeri etc. Consequently, people could sing them according to rhythm and preach the greatness of singing art of Odisha. Gita Govinda has spread all over India. By the time of Upendra Bhanja, the 12 Raga Raginis of Jayadeva had changed into hundreds of them. Being a part of the rich culture of Odisha, its music is also as much charming and colorful. Odissi music is more two thousand five hundred years old and comprises a number of categories. Of these, the five broad ones are Tribal Music, Folk music, Light Music, Light-Classical Music and Classical Music. Anyone who is trying to understand the culture of Odisha must take into account its music, which essentially forms a part of its legacy.

It is the most developed and systematized form among all the varieties of Odishan music existing now-a-days. Mostly it is performed in shape of Raga-Ksydrageeta-Prabandha-Gana, a form of Indian classical music evolved by the celebrated poet- singer Sri Jayadev.Jayadev ushered a new era in the history of Indian Classical music , which can be rightly identified as Jayadev music. The ingredients of the classical music like Raga-Tala-Geeta and Chhanda of Jayadev was introduced in the services of temple of Lord Jagannath and was accepted as temple music of Odisha. The evolution of Odissi muisic owes a lot to Jayadev and his composition the “Geeta Govinda”. Later theorizing of Odissi music, however, has largely been a refinement of the region- centric groundwork laid by Kalicharan Pattanayak and his associates—despite the fertile theoretical possibilities of, for example, placing Odissi music within awider field of courtly and devotional song practices that are found throughout Asia,Europe, and beyond.

REFERENCES 1- Das, Ramhari, (2004), “OdisiSangitaParampara and Prayoga,” in Odia, KaisikiPrakasani: Bhubaneswar. 2- Dennen, David, (2010), The Third Stream: Odissi Music, Regional Nationalism, and the Concept of “Classical”, in the Asian Music, volume 41, issue 2, University of Texas Press: USA. 3- Dhir, SyamsundarSamanta, (1964), “UtkalaSangitaPaddhati,” in Odia, Odisha Sangeet Natak Akademi: Bhubaneswar. 4- Hota, Damodar, (1970), “KisoraCandranandaChampuLahari,” in Odia, Odisi Bikasa Pratisthana: Puri. 5- Katz, Jonathan B., (1987), “The Musicological Portions of the Sangitanarayana: A Critical Edition and Commentary,” 2 vols., DPhil thesis, University of Oxford. 6- Mahapatra, Kedarnath N., (1982), “SangitaNayaranam by Gajapati Narayana Deva,” In The Orissa Historical Research Journal: Special Volume, ed. H. K. Mahtab, Odisha State Museum: Bhubaneswar. 7- Pattanayak, Kalicaran, (1964), “Saptaswari: Odisi, Hindusthani o KarnnatakiSangitaraSanksiptaTathyaSambad” in Odia, Cuttack Trading Company: Cuttack. 8- Panda, Gopal Chandra, (1982), “OdisiSangitaManjari” in Odia, (The Bud of Odissi Music), Smt. Bhagabati Panda: Bhubaneswar.

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