Chapter 7 - A comparative analysis of musical potentials of both the works

functions like the Candanayātra, Sitalaṣaṣṭhāyātra and many other festivals related to Lord Visṇu, Jagannātha, Śiva and others, the songs of KCC are a must and compulsory part of observation till now in Odisha. The publicity of these songs prevails from unknown rural regions to the most urban cities of Odisha. 13 The language of a poem and a lyric naturally differs. Though the songs of
KCC are highly poetic, these are also meant for singing in proper tunes. Its
language is easily pronounceable and enjoyable by the listener. The pronunciation
of the Sanskrit-prose-passages may be not so liked but the singing of the Odia
songs in is becomes pleasant to hear. This speciality proves Kavisūrya as a great
musician. It is not possible for a musically ignorant person to compose the lyrics by
sweet, and sonorous word compositions. Kavisūrya was not a poet of letters only
but a connoisseur himself and a, clever intellectual and an expert musician. 14
6.3-The musical background of both the poems:-
15 It has been observed by critics that the caryā and vajragītis of the
mahāyāni Buddhists evolved in the eleventh-twelfth century as religio-devotional
songs and they were sung with classical rāga or tunes. The Prabandha of
Jayadeva's Gg is a remarkable contribution to Indian music. In the 12th
13th century some Sanskrit padagītis like Gg were composed with lyrical style and
aesthetic sentiments. The Gg is a nibaddha-prabandha-gāna like another text of
the 13th century work, Śrīkṛṣṇakarnāmṛta.
16 13. Acarya, B.C., Vicāra O Vivecanā, p.56
14. Mishra, K.C., Ed. Kisoracandrärandacampū, p.129
15. Svami Prajñānānanda, Historical development of Indian-music, p.82
16. Ibid, p.218
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