Bibliografias temáticas / Odissi Classical Music

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Literatura científica selecionada sobre o tema "Odissi Classical Music"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Odissi Classical Music"

1

Sekhar Swain, Himansu, e Bibhuti Bhusan Champati. "Odissi Music: As Classical as Odissi Dance". International Journal of Science and Research (IJSR) 12, n.º 10 (5 de outubro de 2023): 599–601. http://dx.doi.org/10.21275/sr231006231056.

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Sekhar Swain, Himansu. ""Champu" an Integral Part of Odissi Classical Music". International Journal of Science and Research (IJSR) 13, n.º 2 (5 de fevereiro de 2024): 685–86. http://dx.doi.org/10.21275/sr24206225204.

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-, Himansu Sekhar Swain, e Bibhuti Bhusan Champati -. "A Comparative Study between “Chautishaa" ( चऊतिशा ) and “Chhaanda” ( छान्द ) of Odissi Classical Music". International Journal For Multidisciplinary Research 5, n.º 5 (21 de outubro de 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i05.7762.

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India is a unique land of cultural traditions and raga music. People of different languages, castes, and communities of different states live here so its cultural traditions differ from other countries. "Odishi Classical Music" is the music of a rich tradition of ancient Utkala, Kaling, Odra, and Odisha State. It is one of the classical music of India which the government of its state has declared to reflect the uniqueness of singing based on its script. Odissi music is characterized by "neither fast nor slow" a piece of rhythmic and soulful high-pitched music. In general, Odissi music consists of Odishi-Champu-Chautishaa-Chhaanda-Pallavi-Gitgovinda-Bhajan-Janaana, etc. The lyrical compositions used in the singing of Odissi Classical Music are as highly sophisticated as the vocal compositions based on pure Indian raga and Taal. Chautishaa and Chhanda are the unique Chapter of Odissi Music and their comparative study is the main focus of my research.
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Nayak, Manoranjan. "IMPORTANCE OF ODISSI MUSIC IN ODISSI DANCE". PARIPEX INDIAN JOURNAL OF RESEARCH, 15 de novembro de 2019, 1–2. http://dx.doi.org/10.36106/paripex/5406689.

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Odissi music is the finest reconciliation of harmony with melody, which suffers no diminution of the essential quality of the classical music.The individual character of Odissi Music makes every recital an interpretation and self-expression. The unique identity of Odissi classical music lies in its presentation with equal importance to the Odissi dance and its classical ornamentation.Both Odissi music and Odissi dance have retained its distinctive identity in spite of the diversity in language, religion, and culture that was brought to Odisha's geographical localization by bridging the southern and northern section of India. It is ironic that Odissi music which is the soul of Gotipua dance still continue to endure the debate for its classical status whereas Odissi dance form has already attained the classical status along with its contemporary classical dance forms of India.
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-, Niladri Kalyan Das. "Evolution and Genres of Odissi Music". International Journal For Multidisciplinary Research 4, n.º 6 (31 de dezembro de 2022). http://dx.doi.org/10.36948/ijfmr.2022.v04i06.1287.

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Utkal, also called Odisha, the holy land of Lord Jagannath is known for its excellence in the sphere of the arts. The pursuit of excellence in art, sculpture, music and literature is one of the defining features of the Odishan culture. Rich in musical tradition, the fertile land of Odisha has produced rich harvest in the form of Odissi Dance and Music. Exuberance of human feelings has always sought expression either in rhythmic movements of the body or in melodious modulations of the voice. Historical evidences suggest that in Odisha, music and dance were being seriously pursued under royal patronage right from 2nd century BC and that by around 10th century A.D. Odissi music had crystalised into a distinctive classical form. The treatises unmistakably point to the fact that Odissi is one among the few schools of Indian classical music and it has a distinctive system of Raga and Taala and a characteristic style of rendition that is lyrical in it’s movement with wave like ornamentations. The tradition has always two components, the written and the oral. Of the many treatises written on this distinctive tradition of music, the bulk were written between 16th and 18th century. Five of these treatises, such as, Geeta Prakash, Sangeeta Narayan, SangetaKalpalataetc are now available in parts and two are in the form of palm leaf manuscripts.
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-, Mamata Ojha. "The Evolution of Odissi Dance: from Temple Rituals to Modern Revival". International Journal For Multidisciplinary Research 6, n.º 3 (23 de junho de 2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i03.23324.

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Odissi dance, originating from the ancient temples of Odisha, India, has evolved from a sacred ritual performed by temple dancers (Maharis) to a renowned classical art form. This essay explores the historical progression of Odissi, highlighting key transformations, including the decline of Maharis and the emergence of Gotipuas—a class of boy dancers trained in acrobatics and religious expression. The 20th century marked a significant revival, spearheaded by figures like Kalicharan Patnaik and initiatives such as the Jayantika project, which standardized and codified the dance. Odissi's modern form integrates elements from ancient texts, temple sculptures, and regional music, characterized by its expressive storytelling (Abhinaya) and intricate movements. Today, Odissi is celebrated globally for its grace, emotional depth, and cultural richness, standing as a testament to the resilience and adaptability of this ancient dance tradition.
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Kalyan Das, Niladri. "ORIGIN AND DEVELOPMENT OF ODISSI MUSIC: A HISTORICAL ANALYSIS". INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, 15 de março de 2021, 31–33. http://dx.doi.org/10.36106/6205498.

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Music is the best of all the fine arts. Odissi music is a separate system of Indian classical music and is having all the essential as well as potential ingredients of Indian Classical form.The present form of traditional Odissi music is no doubt the outcome of the continuous evolution of the earliest Indian classical music.Music tinged with religion, attained mass appeal and royal patronage. As such the royal patronization of Art and Culture made the Odishan music so developed and enchanting for enjoyment of both Gods and Goddesses and human beings as well.This tradition is still continuous in its different manifestations.
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Dawn, Suma. "Understanding similarities and exploring possibilities of using somatic dance/movement aspects of Odissi dance for social, cognitive and emotional development in population with autism spectrum disorder". Journal of Dance & Somatic Practices, 8 de julho de 2024. http://dx.doi.org/10.1386/jdsp_00116_1.

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Dance allows for expressions of various emotions and interactions. It can be used for entertainment and exercising, as well as for movement therapy, improving health and wellness, and promoting relaxation. It has been known to enhance mindfulness, well-being, healing of body and mind, etc. The key contributions of this work are as follows: (1) present an overview of Odissi dance elements; (2) aggregate certain studies that explore the relevance of somatic dance/movement therapy for neurodegenerative disorders such as autism spectrum disorders (ASDs); (3) exploring the many similarities between Odissi dance, an Indian classical dance (ICD) form, and somatic dance/movements; and (4) study the implication of using the Odissi dance form as a dance/movement therapy as an alternative rehabilitation tool for a population with neurocognitive disorders such as ASD. ICDs such as Odissi dance practices and somatic dance/movements have been found to have numerous similarities. There are many characteristics of the Odissi dance form that are relatable to somatic dance/movements. Somatic dance/movement praxis generically includes body, action, space, time and energy. These practices are a customary part of Odissi dance as well. The Odissi dance form also allows an in-depth examination of the human body, feelings and flow through music, beat tempo and lyrics. These practices help develop an awareness of the body, its connection and its movements. The fundamental elements of somatic dance/movements, such as mindfulness, breath, sensing, connectivity, initiation, rhythm, movement patterns, temperament depiction and mirroring, are also prevalent in Odissi dance. The various aspects of somatic dance/movement and Odissi dance are explored, and their similarities are investigated in this work. This study also explores having Odissi dance as an alternative rehabilitation therapy form for the population suffering from ASD conditions. Twenty-seven children suffering from some degree of ASDs, aged between 4 and 14 years, for six months, underwent regular Odissi dance training. The participants were taught Odissi’s basics and trained in Bhumi Pranam, Guru Pranam, Mangalacharan and the initials of Sthayee and Battu. Certified teachers and therapists were involved in teaching the participants. Interactions with participants and parents/guardians presented an intuition of the usefulness of regular Odissi dance practice. Feedback was aggregated from subjective questionnaires. These feedbacks indicated increased general health, including physical well-being, cognitive enhancement and sensory-motor coordination. Almost all also reported betterment in social conditions and certain presented clinical conditions.
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-, Himansu Sekhar Swain. "Analytical Study Between the Notation System of “V.N. Bhatkhande” for Hindustani and Basudeba Samant for Odissi Classical Music". International Journal For Multidisciplinary Research 5, n.º 6 (13 de novembro de 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.8775.

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In India, ancient and copious traditions of verbal discourse about music have been transmitted across the generations in writing, often long after the performing traditions with which they may have been connected have vanished or evolved out of all recognition. And they are almost always provided with examples in sargam. the syllabic notation that is still the basis of the various present-day Indian musical notation. The thirteenth-century sangeet Ratnakar and its sources are given lengthy examples in sargam notation. Pandit Vishnu Narayan Bhatkhande has provided six volumes of noted compositions in his kramika Pustak Malika (1913-37) which he took down in the sargam notation of his own devising from the noted artist of his day. At the same time in odisha, Shree Basudev Samant noted some odissi music compositions in his book Sangeeta Kalakar in a different notation style. This research paper has discussed all the signs and symbols of both notation styles and analyzed the similarities and differences.
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Livros sobre o assunto "Odissi Classical Music"

1

Sendh, Rajesh. Odissi: The Third Classical form of Indian Music. New Delhi: Kanishka Publishers Distributors, 2015.

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2

Bose, Mandakranta, ed. Saṅgītanārāyaṇaḥ. New Delhi: Indira Gandhi National Centre for the Arts and Motilal Banarsidass Publishers, Delhi, 2009.

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3

Kr̥ṣṇadāsabaḍajenāmahāpātra. Gītaprakāśa: Gadādharadāsakr̥ta Gītaprakāśaboli sahita. Bhubaneśvara: Oḍiśā Saṅgīta Nāṭaka Ekāḍemī, 1995.

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4

ଗୀତ ଓ ଗୀତିକବିତା Gita O Gitikabita. Mandakranta Parhi, 2002.

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5

ଅଳଙ୍କାର ରତ୍ନାବଳୀ Alankara Ratnabali. Bhubaneswar: Kaisiki Prakasani, 2008.

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6

ଅଳଙ୍କାର ରତ୍ନାବଳୀ Alankara Ratnabali. Kaisiki Prakasani, 1999.

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7

ଓଡ଼ିଶୀ ରାଗ ଦର୍ପଣ Odissi Raga Darpana. Bhagabati Prakashani, 2011.

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8

ଓଡ଼ିଶୀ ରାଗ ପରିଚୟ Odissi Raga Parichaya. Smt Bhagabati Panda, 1993.

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9

ଓଡ଼ିଶୀ ସଙ୍ଗୀତ କିଛି ଜଣା ଅଜଣା ତଥ୍ୟ Odisi Sangita Kichi Jana Ajana Tathya. Mandakranta Parhi, 2007.

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10

ଓଡ଼ିଶୀ ତତ୍ତ୍ୱ ପ୍ରକାଶିକା - ସଙ୍ଗୀତ ନିବନ୍ଧମାଳା Odissi Tatwa Prakasika - Sangita Nibandhamala. Puri, India: Binodini Satpathy, 2019.

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