Various aspects of Odissi music include odissi prabandha, chaupadi, chhanda, champu, chautisa, janana, malasri, bhajana, sarimana, jhula, kuduka, koili, poi, boli, and more.
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Various aspects of Odissi music include odissi prabandha, chaupadi, chhanda, champu, chautisa, janana, malasri, bhajana, sarimana, jhula, kuduka, koili, poi, boli, and more.
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Some great composer-poets of the Odissi music tradition are the 12th-century poet Jayadeva, Balarama Dasa, Atibadi Jagannatha Dasa, Dinakrusna Dasa, Kabi Samrata Upendra Bhanja, Banamali Dasa, Kabisurjya Baladeba Ratha and Kabikalahansa Gopalakrusna Pattanayaka.
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However, Odissi music songs were written even before the Odia language developed.
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Odissi music has a rich legacy dating back to the 2nd century BCE, when king Kharavela, the ruler of Odisha, patronized this music and dance.
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Odissi music is intimately and inextricably associated with the Jagannatha temple of Puri.
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The deity of Jagannatha is at the heart of Odisha's culture, and Odissi music was originally the music offered as a seva or service to Jagannatha.
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The classical Odissi music that prevailed in these regions was known as Udramagadhi.
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Odissi music indicated the classical ragas prevailing at that time in which these were to be sung.
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Special feature of Odissi music is the padi, which consists of words to be sung in Druta Tala .
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Odissi music can be sung to different talas: Navatala, Dashatala or Egaratala .
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Odissi music is sung through Raganga, Bhabanga and Natyanga, Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajana, Janana, and Gita Govinda.
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Odissi music has codified grammars, which are presented with specified Raagas.
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The pace of singing in Odissi music is not very fast nor too slow, and it maintains a proportional tempo that is very soothing.
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The talas in use in Odissi music are distinctive, and are not found in other systems of Indian music.
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Some exponents of the Odissi music Bina were Sangitacharya Adwaita Guru and Gayaka Siromani Andha Apanna Panigrahi.
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The Odissi music Bina was spearheaded by Acharya Tarini Charan Patra in the twentieth century and is kept alive by his disciple Guru Ramarao Patra.
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Additionally, some Odissi music raagas bear the same names as Hindustani or Carnatic raagas, but have different note combinations.
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The tradition of Odissi music is nearly a millennium old, there are several ancient musical treatises produced in the state of Odisha for several centuries, there are unique ragas and a distinctive manner of rendition.
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Therefore, it will not be logical to say that the body, that is the Odissi dance, is shastric, but its life, that is, the music, is not shastric.
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