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Sangeet Asara
In the Sangeet Asara singers were presenting different "Prabahdhas"
(compositions) of Odissi music such as "Shri Geeta Govinda";
Odissi with and without Padi; champu, Chhanda, Malasri, Sarimama,
Chaturanga, Tribhanga, Bhajana, Janana. The singers were well conversant
with "Raga" and "Tala" the techniques of "Kala-Amsa-Mana
Proyoga", "Vasti-Proyoga" and "Saudha-Proyoga" in
Odissi Sangeet were known to the singers and drummers ('Gayaka' and
'Bayaka') of these "Jagas and Akhadas" very well. The seasonal
songs were also sung during the different seasons.
Jaga
Akhada - The Heart Of Odissi Music
The "Jaga Akhada" system, the core of Odissi music promoted the
music and was responsible for maintaining the tradition for centuries. The
culture of music in all the Jagas continued till the independence.
But unfortunately these centres were shrouded in oblivion for the reasons
such as: Spread of mass media of communication, cheap and commercial
music; lack of knowledge in theory and practice of traditional Odissi
music; want of practice, want of textbooks and proper schooling, apathy
towards this art and its artists, misinterpretation and misrepresentation
of the original form, apathy in recognition of this art as a discipline in
academic level, and lack of patronization.
The Original Tune: Raga-Pravandha-Gana
In Orissa, Sri Jayadeva, the great composer, illustrious musician, and a
saint poet of Orissa as well as great devotee of Lord Jagannath,
transformed original Indian classical music in the form of "Raga-Pravandha-Gana"
to "Raga-Ksyudra-Geeta Pravandha Gana". He was born in the first
half of the 13th century AD in the village Kenduli on the sacred river
Prachi in the district of Puri and rejuvenated the Indian Classical music
through his ever glittering and uncomparable compositions of Sri Geeta
Govinda.
Ingredients of classical music like Raga-Tala-Geeta-Chhandas etc of Sri
Geeta Govinda were introduced in the services of the temple of the Lord
Jagannath and were accepted as the temple music of Orissa. The musical and
poetic potentialities of the compositions of Sri Geeta Govinda were so
rich and superb that it had a perpetual influence on the composers of
Orissa of the medieval and the modern periods.
In this regard the Sanskrit compositions of Abhinaba Geeta Govinda of
Jayadeva ushered a new era in the history of Indian music, which can be
rightly identified as "Jayadevic-Music". This 'Jayadevic' music
had paved the way for development and establishment of separate system of
Indian classical music in Orissa in the form of Raga
Khurda-Geeta-Pravandha-Gana.
This music from its beginning had been in practice in the
temple of Lord Jagannath
as the part of the temple services but it is not the fact, that only the
compositions of Sri Geeta Govinda were sung in the Jagannath temple.
The Sanskrit compositions of the above composers including the
compositions of Sri Geeta Govinda were also sung in the said temple and
this practice continued till the beginning of the rule of Pratap Rudra
Deva (1497 to 1541 A.D.). From the period of Pratap Rudra Deva only
'Jayadevic' music was resumed in the Jagannath Temple. It is clearly
mentioned that no compositions except Geeta Govinda would be sung in the
temple.
FEW PECULIAR FEATURES
Similar to Hindustani and Carnatic music, traditional Odissi music has its
own 'Melas', Ragas, 'Talas', 'Aravandhas', which are rendered in a
different style. Some characteristic features:
Saras and the Shuddha-Swara-Saptaka: The tonal arrangement of the
'Nishada-Murchhana' of the 'Saraj-Grama' is accepted the "Sudha-Swara-Saptak"
or the natural scale comprising 22 'Srutis' (microtones) set in ascending
form. Among these 22 Srutis the seven "Suddha Swaras" are
practically used.
Besides the seven 'Suddha Swaras' there are also five 'Vikrita Swaras'.
The 7 notes in ascending form are known as 'Saptak' (octave). Three
'Saptakas-Mandra', Madhya, Tara (Lower Octave, middle Octave and Higher
Octave) are generally used in this system for practical purpose.
Melas: Thirty-two Melas have been introduced in this system for
classification of the Ragas.
Ragas: The Ragas of this system are divided into five groups such
as:
Group 'A'
The Ragas of this group are not found either in their names or in their
melodic structures in Hindustani and Carnatic Paddhatis, such as; 'Kumbha
Kamodi', 'Kedara kamodi', 'Karanata Abhirika', etc.
Group 'B'
The Ragas of this group have certain similarities with those of
Hindustani and Carnatic Padhatis not in names, but in their tonal
arrangements.
Group 'C'
The ragas of this group are having certain similarities with those of
Hindustani and Carnatic Paddhati but not in total structures just in their
names.
Group 'D'
The tonal arrangements of some Ragas of this system are found only in
Carnatic system but with different names.
Group 'E'
The tonal arrangements of some ragas of this system are found only in
Hindustani system, but in different names.
Nearly 150 Ragas are found to be in vogue in this system. But one can
expect more Ragas, which can be explored from various traditional
compositions of this system.
Talas:
Already twenty Talas are found to be in vogue in this system and most of
them are having similarities in their Matras with those of Hindustani and
Carnatic Talas, but having difference in their rhythmic structures or
compositions and names.
Pravandhas: Compositions used in classical music particularly in
vocal music are known as 'Pravandhas'. The compositions of 'Shree Geeta
Govinda' and other Sanskrit works are categorised under two types of
Pravandhas such as: (i) Divya Alikrama-Chitrapada-Ksyudrageeta Pravandha.
The Music Composition
Though, like Carnatic and Hindustani systems, the establishment of Ragas
and Talas through their improvisations are also done in traditional Odissi
music but due importance is given in this system to the text of the song
composition in the 'Nivadha' portion while improving Ragas and the Talas.
Many types of rhythmic improvisations, which are done in the Nivadha
portion of the compositions of Hindustani and Carnatic systems, are
totally absent in the traditional Odissi system. The performers enjoy only
those rhythmic improvisations, whose implementations in the Nivadha
portion never affect the theme of the song, text of the compositions of
traditional Odissi music.
Besides these aforesaid difference, the process of phonation of 'Jamak'
and 'Tana', which are the practical techniques of Odissi music are also
different form those of Carnatic and Hindustani music. The particular
style of Jamak and Tana adds distinctive melodic structure to the musical
entity of this system.
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