Features of Odissi Music are neither completely Hindustani nor Carnatic. Odissi music has its own unique style of composition and performance which is typical to this classical art form from the eastern state of Orissa. Technically, one can divide the singing style of Odissi into four parts- Natyanga, Raganga, Dhirubapadanga and Bhavanga. These are briefly discussed below.
Natyanga
These are small compositions. These are sung in Natya (small musical plays) or with dance. Such compositions are used in Gotipua dance. The stress in such compositions is on Tala. Pada Vinyas or Swara Vinyas is very sparsely made. Very short Taan is also sandwiched in between.
Ragang
As in any other classical music system, this is the most important aspect of Odissi also. The minimum rules of Raaga Gayan are: at least five swaras must be there; this must belong to a Janya that; rules regarding Jati, Gayan Time, Vadi, Samvadi etc. must be followed; besides these general rules all the characteristics of the particular Raaga are also to be followed.
The Ragang of Odissi as passes through six stages like all other classical systems. These are discussed below.
(i) Anibaddha Alap: Though some practitioners today determine their Anibadha Alap according to the nature of the Raaga, the majority of the practitioners deride this as blind imitation of mainstream system. The latter compose their Anibadha Alap keeping in view the content, spirit and the tune of the composition, and not merely the Raaga.
(ii) Prabandh: In Odissi mostly compositions from medieval Oriya literature are selected as Prabandha. Some modern compositions following the form and content of medieval lyrics are also used. Just above the composition, Raga and Tala to be followed are mentioned by the poet and the Sthai, called `Ghosa` by the lyricists are also mentioned within the body of the composition. The composition ends with a Vanita, a kind of short colophon in verse form where the name of the poet is mentioned. The singing passes through the three stages of Sthai, Antara and Padi.
(iii) Nibaddha Alap: Odissi music puts stress on Tala. Keeping the Tala in mind and after completing all the stages of Prabandha, the singer returns to Sthai.
(iv) Padavinyas: In Padvainayas stage of Odissi, the words or the Padas to be expounded are chosen keeping in mind the total Bhava. Of course, generally the Sthai part is chosen for the purpose and sometimes the singer even arbitrarily chooses Padas but this should not happen. In Bhava music the singer must be fully aware of the meaning of the Padas and the Bhava expected to be expressed.
(v) Swara Vinyas: Taking into consideration the Bhava, Chhanda and Laya of the Prabandha the Swaravinyas of the Raga is made. The artist gets an opportunity to prove his proficiency in Swara and Tala.
After giving an exposition of the Sthai the performer passes through Nibadha Alap, Padavinyas and Swaravinyas. The same process repeated again after the Antara. But the ideal performer does not give extended demonstration of these parts.
(vi) Taan: In olden days Taan was done intermittently within the Gaayan of the Prabandh. Long or short intricate Taans were sandwiched between the songs. But since the 50`s Taan is made towards the end as is done in Hindustani or Carnatic Music.
Generally, `aakar` taan is made use of in Odissi but many now-a-days also use Saragam. An overdose of taan, which is taken resort to by many modern practitioners, is influenced by the mainstream classical systems.
(vii) Pallavi: Sometimes after all the stages of Ragang are completed Pallavi is sung. Pallavi is sung with the Ukuta of the Mardala in Raaga and Tala. There is Sthai, Pada and Padi. The Ukutas are sung in various lay as basing on the notation of particular Raaga. Intermittently the seven Swaras are sung in Chhanda.
Dhrubapadanga
This style like dhrupad in Hindustani is prevalent in Odissi since a very long time. The themes of the Prabandha are mainly either descriptive, devotional or else in praise of the patron. Bhakti (devotion) gets importance along with Veera (heroic) Rasa. Before the composition proper is taken up Nom, Tom, Alap is made. Following Odissi custom Sargam, Alap is also used. There is Laykari in Prabandh. There is no Nibadh Alap or Taan. Typical Odissi Talas like Matha, Kuduka and Sariman are used.
Bhavanga
There are some Prabandhas in Odissi which demand intense emotional expression and here expression of Bhava becomes primary. Purity of Ragas or accuracy of Tola becomes secondary. The Prabandha is sung in traditional Swara. For better effect various Ragas are also mixed and sung in slow, graceful manner. Sometimes short Nibadha Alap and Pada Vinyas are made. But Swara Vinyas or Taan are avoided.
Thus, Odissi music has many original ragas and has also uniqueness in the style of presentation.
