Kabi SamrataUpendra Bhanja was a 17th-century Odia poet-composer of classical Odissi music. He is most known for his Odissi songs and kabyas written in the Odia language, primarily Baidehisa Bilasa, Labanyabati & Koti Brahmanda Sundari.
Odissi music is a genre of classical music in India, originated from the eastern state of Odisha. The traditional ritual music for the service of Lord Jagannatha, Odissi music has a history spanning over two thousand years, authentic sangita-shastras or treatises, unique Ragas & Talas and a distinctive style of rendition.
Mrudanga, also known as Khola is a classical percussive instrument native to the east Indian state of Odisha with a developed distinct traditional repertoire and technique. It has been used alongside the Mardala in Odissi classical music from ancient times, which is a comparatively bass-heavy drum as opposed to the high-pitched Mrudanga.
Banamali Dasa is an Indian medieval Odia bhakta-poet & composer of Odissi music from the state of Odisha. "Dinabandhu daitari", "Kede chanda jane lo sahi" and "Manima he etiki maguni mora" are some of his notable writings that are used in Odissi. His songs are popularly sung in festivals, public gatherings and in Odissi dance. Banamali's compositions are set to traditional Odissi ragas and talas & are extremely popular in the Odissi music repertoire. He is considered as the foremost poet of the medieval Odia bhakti-literature Started with writing rustic devotional Poetry, he later began to compose "bhakti"-poetry which gained larger acceptance and popularity among the other contemporary poets of his time. Typically, his poems are eyewitness accounts, and their simple, fervent language is much appreciated.
Mardala is a classical percussive instrument native to the east Indian state of Odisha, traditionally used as the primary accompaniment in Odissi classical music. The instrument is different from other instruments that might have similar names in the Indian subcontinent due to its unique construction, acoustic features and traditional playing technique.
The Gitaprakasa is a 16th-century musical treatise belonging to the tradition of Odissi music, written by the musicologist Krusnadasa Badajena Mahapatra. Mahapatra was a court musician of Gajapati Mukundadeba. It is the second earliest music treatise discovered from Odisha. The Gita Prakasa is one of the cornerstones of the Odissi music tradition and is widely quoted by later authorities such as the Sangita Narayana.
Gopalakrusna Pattanayaka (1784–1862) was an Odia poet & composer of Odissi music. His Odissi songs in various traditional ragas and talas are widely sung across the state, as well as other allied traditional artforms of Odisha, such as pala. The 20th-century Odissi musician, vocalist & binākara Apanna Panigrahi, also from the poet's hometown, was well-known for his renditions of Gopalakrusna's lyrics. Some of the most iconic Odissi songs, such as Syamaku Juhara Tara Premaku Juhara Ma, Jala Ani Jai Kali Kalindasutaku, Sangini Re Rasarangini Re, Kadamba Bane Bansi Bajila Re, Uthilu Ede Begi Kahinkire, Ki Nadare Prana Sangini, Manasija Mana Mohana are creations of Gopalakrusna. Many of his songs are popular abhinaya items in Odissi dance.
The Sangita Narayana is a 17th-century musical treatise belonging to the tradition of Odissi music, written by musician Kabiratna Purusottama Misra and attributed to Gajapati Sarbagya Jagannatha Narayana Deva of Paralakhemundi. It is the one of the most important musical treatises discovered from Odisha and is one of the fundamental texts followed in Odissi music even now. The treatise was first published by the Odisha Sangeet Natak Akademi in 1966, followed by a critical edition published by the Indira Gandhi National Centre for the Arts in 2009. Manuscripts of the work are found across India, indicating its national circulation.
Dhanasri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa of the same name, the raga uses komala gandhara and komala nisada swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana.
Gujjari is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Karnāta, the raga uses komala gandhara, komala dhaibata and komala nisada swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. Among its angaragas, Mangala Gujjari is most prominent and has been used by Jayadeva in his Gita Govinda.
Ramakeri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Barādi, the raga uses komala rusabha, komala dhaibata and tibra madhyama swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. This raga has been used by the 12th-century Odia composer Jayadeva in his Gita Govinda.
Baradi is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Barādi, the raga uses komala rusabha, komala dhaibata and tibra madhyama swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. This raga has been used by the 12th-century Odia composer Jayadeva in his Gita Govinda along with its angaraga Desa Barādi.
Sokabaradi is a rāga belonging to the tradition of Odissi music. Falling under the meḷa of the same name, the raga uses komala rusabha, komala dhaibata, komala nisada and tibra madhyama swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana.
Panchama Baradi is a rāga belonging to the tradition of Odissi music. Falling under the meḷa of the same name, the raga uses all twelve swaras and is traditionally associated with the karuṇa rasa. It is said to be a composite of the ragas Panchama and Baradi.
Mangala Gujjari is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Karnāta, the raga uses komala rusabha, komala gandhara, komala dhaibata and komala nisada swaras along with their suddha counterparts and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. This raga is traditionally believed to have been created by Jayadeva in his Gita Govinda.
Abhiri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Karnāta, the raga uses komala gandhara, komala dhaibata and komala nisada swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana.
Kedaragouda is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Sri, the raga uses both nisada swaras and is traditionally associated with the srungāra rasa. This raga is considered a conjunct of the rāgas Kedāra and Goudā. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. The most famous song in this raga is from the Kisorachandrananda Champu, a composition of Kabisurjya Baladeba Ratha.
Kedara Kamodi is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Sri, the raga uses both nisada swaras and is traditionally associated with the srungāra rasa. This raga is considered a conjunct of the rāgas Kedāra and Kamodi. The raga is used by most of the famous composers including Kabi Samrata Upendra Bhanja and Kabisurjya Baladeba Ratha.
Debagandhari is a rāga belonging to the tradition of Odissi music. Falling under the meḷa of the same name, the raga uses komala dhaibata and is traditionally associated with the karuṇa rasa.
Debakiri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Dhanasri, the raga uses komala gandhara and komala nisada swaras and is traditionally associated with the karuṇa and bhakti rasas. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana.
