Signature and Name of Invigilator Answer Sheet No. : ...... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) 2. (Signature) Roll No. (In words) (Name) Test Booklet No. D1 6 0 5 PAPERII Time : 1¼ hours]MUSIC [Maximum Marks : 100 Number of Pages in this Booklet : 40 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ÙÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-Âæ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæÚUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è (i) To have access to the Question Booklet, tear off the paper âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ seal on the edge of this cover page. Do not accept a Sßè·¤æÚU Ù ·¤Úð¢UÐ booklet without sticker-seal and do not accept an open booklet. (ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è (ii) Tally the number of pages and number of questions in â¢Øæ ·¤ô ¥ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂêæü ÂéçSÌ·¤æ the booklet with the information printed on the cover çÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ page. Faulty booklets due to pages/questions missing ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è æéçÅUÂêæü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ discrepancy should be got replaced immediately by a Üð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù correct booklet from the invigilator within the period of Ìô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô 5 minutes. Afterwards, neither the question booklet will be replaced nor any extra time will be given. ¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ (iii) After this verification is over, the Serial No. of the booklet (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× â¢Øæ ©æÚU-Âæ·¤ ÂÚU ¥¢ç·¤Ì should be entered in the Answer-sheets and the Serial ·¤Úð¢U ¥UõÚU ©æÚU-Âæ·¤ ·¤è R¤×¤â¢Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU No. of Answer Sheet should be entered on this Booklet. Îð¢Ð 4. Each item has four alternative responses marked (A), (B), (C) 4. ÂýØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©æÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð and (D). You have to darken the oval as indicated below on the ¥æ·¤ô âãè ©æÚU ·ð¤ Îèæüßëæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð correct response against each item. çιæØæ »Øæ ãñÐ ©ÎæãÚUæ Ñ Example : A B C D A B C D where (C) is the correct response. ÁÕç·¤ (C) âãè ©æÚU ãñÐ 5. Your responses to the items are to be indicated in the Answer 5. ÂýàÙô¢ ·ð¤ ©æÚU ·ð¤ßÜU ÂýàÙ Âæ I ·ð¤ ¥ÎÚU çÎØð »Øð ©æÚU-Âæ·¤ ÂÚU ãè ¥¢ç·¤Ì Sheet given inside the Paper I booklet only. If you mark at ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©æÚU Âæ·¤ ÂÚU çÎØð »Øð Îèæüßëæ ·ð¤ ¥Üæßæ ç·¤âè ¥Ø any place other than in the ovals in the Answer Sheet, it will SÍæÙ ÂÚU ©æÚU ç¿ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ not be evaluated. 6. ¥ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥çÌ× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©æÚU-ÂéçSÌ·¤æ ÂÚU ¥ÂÙæ Ùæ× Øæ °ðâæ ·¤ô§ü Öè çÙàææÙ çÁââð ¥æ·¤è 8. If you write your name or put any mark on any part of the test Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤ booklet, except for the space allotted for the relevant entries, çÜØð ¥ØôØ æôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ which may disclose your identity, you will render yourself liable to disqualification. 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©æÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ 9. You have to return the test question booklet to the invigilators ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù at the end of the examination compulsorily and must not carry Üð·¤ÚU ÁæØð¢Ð it with you outside the Examination Hall. 10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU ßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ 10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻淤 (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 11. Use of any calculator or log table etc., is prohibited. ÂýØô» ßçÁüÌ ãñÐ 12. There is NO negative marking. 12. »ÜÌ ©æÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ See Page No. 2 and 3 for Special Instructions / çßàæðá âê¿Ùæ¥æð´ ·ð¤ çÜ° ÂëcÆ â´Øæ 2 ¥æñÚ 3 Îð¹ð´Ð D1605 1 P.T.O. MUSIC PAPERII Hindustani / Karnatik / Rabindra Sangeet / Percussion (Vocal and Instrumental)
SPECIAL INSTRUCTIONS
Note : Candidates are required to answer all 25 the questions in PART - I, which are compulsory. They should select any one of the groups PART-II, PART-III, PART-IV, PART-V and answer all the 25 questions in that PART. Each question carries two (2) marks.
PART - I Common to Hindustani / Karnatik / Rabindra Sangeet / Percussion
1. The tal of Karnatak Sangeet which corresponds to Hindustani Roopak tal : (A) Adi Tal (B) Chapu Tal (C) Roopakam (D) Jhampa
2. The composition which is used both in Vocal and Dance forms in karnatak music : (A) Javli (B) Tillana (C) Padam (D) All
3. This is the oldest musical vocal form : (A) Dhamar (B) Thumri (C) Khyal (D) Dhruva Gaan
4. Which Raganga is important in Kanhara Anga ? (A) Todi (B) Sarang (C) Bhairav (D) Bhairavi
5. Which gharana is associated with the Tansen ancestory ? (A) Jaipur (B) Ajrada (C) Senia (D) Kirana
6. Which folk song is associated with Uttar Pradesh ? (A) Garba (B) Chaiti (C) Giddha (D) Tappa
7. Who is the commentator of Sangeet Ratnakar ? (A) Kallinath (B) Abhinav Gupta (C) Lochan (D) Mammat
8. Which is the drone instrument ? (A) Violeen (B) Sarangi (C) Tanpura (D) Veena
D1605 2 â´»èÌ ÂýàÙÂæII çãÎéSÌæÙè/·¤ÙæüÅ·¤ â´»èÌ/ÚßèÎý â´»èÌ (»æØÙ, ßæÎÙ °ß´ â´»èÌ àææSæ) ÌÍæ ¥ßÙh ßæl
ÙôÅU Ñ ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩æÚ Îð´Ð Øã Öæ» ¥çÙßæØü ãñ´Ð ÂÚèÿææÍèü Öæ»-II, Öæ»-III, Öæ»-IV, Öæ»-V ×ð´ âð ç·¤âè °·¤ Öæ» ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩æÚ Îð´Ð ÂýØð·¤ ÂýàÙ ·ð¤ Îæð (2) ¥´·¤ ãñ´Ð
PART - I çãÎéSÌæÙè / ·¤ÙæüÅ·¤ â´»èÌ / ÚßèÎý â´»èÌ ÌÍæ ¥ßÙh ßæl ¿æÚæð´ ·ð¤ çÜØð
1. ·¤ÙæüÅ·¤ â´»èÌ ·¤æ ÌæÜ Áæð çãÎéSÌæÙè â´»èÌ ·ð¤ L¤Â·¤ ÌæÜ ·ð¤ âgàæ ãñ Ñ (A) ¥æçÎ ÌæÜ (B) ¿æÂé ÌæÜ (C) L¤Â·¤×÷ (D) ÛæÂæ
2. Ú¿Ùæ çÁâ·¤æ ÂýØæð» ·¤ÙæüÅ·¤ ·ð¤ »æØÙ ÌÍæ ÙëØ ×ð´ ãæðÌæ ãñ Ñ (A) ÁæßçÜ (B) çÌæÙæ (C) ÂÎ×÷ (D) ©ÂÚæðÌ âÖè
3. Øã â´»èÌ ·¤è »æØÙ àæñÜè âÕâð Âýæ¿èÙ ãñ Ñ (A) Ï×æÚ (B) Æé×Úè (C) ØæÜ (D) Ïýéßæ »æØÙ
4. ·¤æãÇ¸æ ¥´» ×ð´ ç·¤â Úæ»æ´» ·¤æ ×ãß ¥çÏ·¤ ãñ Ñ (A) ÌæðǸè (B) âæÚ´» (C) ÖñÚß (D) ÖñÚßè
5. ·¤æñÙ âæ æÚæÙæ ÌæÙâðÙ ·¤è ß´àæ ÂÚÂÚæ âð âÕçÏÌ ãñ Ñ (A) ÁØÂéÚ (B) ¥ÁÚæǸæ (C) âðçÙØæ (D) ç·¤ÚæÙæ
6. ç·¤â Üæð·¤ »èÌ ·¤æ âÕÏ ©æÚ ÂýÎðàæ âð ãñ Ñ (A) »Úßæ (B) ¿ñÌè (C) ç»hæ (D) ÅÂæ
7. Òâ´»èÌ Ú%æ·¤ÚÓ ·ð¤ Å跤淤æÚ ·¤æñÙ ãñ Ñ (A) ·¤çÙæÍ (B) ¥çÖÙß »éÌæ (C) Üæð¿Ù (D) ××Å
8. §Ù×ð´ âð ¥æÏæÚ SßÚ ·¤æ ßæl ·¤æñÙ âæ ãñ Ñ (A) ßæØçÜÙ (B) âæÚ´»è (C) ÌæÙÂéÚæ (D) ßèææ
D1605 3 P.T.O. 9. Sadarang Adarang belonged to which state ? (A) Muhammad Shah Rangeele (B) Wajid Ali Shah (C) Bahadur Shah Zaffar (D) Asaffadulla
10. Which system of classification of Ragas was prevelent in Medieval period ? (A) Jati Gayan (B) Rag - Ragini system (C) Raganga system (D) Thata - Raga classification
11. Nauhar Vani is related to : (A) Dhamar (B) Dhruvapad (C) Khyal (D) Prabandh
12. She is the famous Kathak dancer : (A) Sonal Mansingh (B) Shobhna Narain (C) Sudha Chandran (D) Hema Malini
13. Tick the correct sequence of musicologists : (A) Matang, Dr. Premlata Sharma, Pt. V.N. Bhatkhande, Sharangadev (B) Dr. Premlata Sharma, Matang, Pt. V.N. Bhatkhande, Sharangadev (C) Matang, Sharangadev, Pt. V.N. Bhatkhande, Dr. Premlata Sharma (D) Pt. V.N. Bhatkhande, Dr. Premlata Sharma, Sharangadev, Matang
14. Which of these is not a Pakhawaj player ? (A) Bhavani Das (B) Purushottam Das (C) Kanthe Maharaj (D) Ayodhya Prasad
15. Who composed Vande - Matram ? (A) Swami Haridas (B) Sri Krishna Narain Ratanjankar (C) Rabindra Nath Tagore (D) Bankim Chandra Chattopaddhyay
16. How many matras are there in Chachatput tal ? (A) 6 (B) 8 (C) 10 (D) 12
17. This is used in western music : (A) Natural scale (B) Chromatic scale (C) Equally tempered scale (D) Pythagorian scale
D1605 4 9. âÎæÚ´» ¥ÎæÚ´» ç·¤â ÎÚÕæÚ ·ð¤ ÚæÁ »æØ·¤ Íð Ñ (A) ×éã×Î àææã Ú´»èÜð (B) ßæç$ÁÎ ¥Üè àææã (C) ÕãæÎéÚ àææã $ÁÈ¤Ú (D) ¥âȤÎéËÜæ
10. ×ØØé» ×ð´ ·¤æñÙ âè Úæ» ß»èü·¤Úæ ÂhÌè ×ð´ Íæ Ñ (A) ÁæçÌ »æØÙ (B) Úæ»-Úæç»Ùè ÂhçÌ (C) Úæ»æ´» ÂhÌè (D) ÍæÅ-Úæ» ß»èü·¤Úæ
11. ÙæñãæÚ ßæÙè ·¤æ âÕ´Ï ç·¤ââð ãñ Ñ (A) Ï×æÚ (B) ÏýéÂÎ (C) ØæÜ (D) ÂýÕÏ
12. Ø𠷤ͷ¤ ·¤è Âýçâh ÙëØæ´»Ùæ ãñ Ñ (A) âæðÙÜ ×æÙçâ´ã (B) àææðÖÙæ ÙæÚæØæ (C) âéÏæ ¿ÎýÙ (D) ãð×æ ×æçÜÙè
13. â´»èÌ àææSæ·¤æÚæð´ ·ð¤ âãè ·ý¤× ÂÚ ç¿ã Ü»æ§Øð Ñ (A) ×Ì´», Çæò. Âýð×ÜÌæ àæ×æü, ´.ßè.°Ù.Öæ̹Çð àææXüÎðß (B) Çæ. Âýð×ÜÌæ àæ×æü, ×Ì´», ´.ßè.°Ù Öæ̹Çðð, àææXüÎðß (C) ×Ì´», àææXüÎðß, ´.ßè.°Ù.Öæ̹Çðð, Çæ.Âýð×ÜÌæ àæ×æü (D) ´. ßè.°Ù.Öæ̹Çð, Çæ.Âýð×ÜÌæ àæ×æü, àææXüÎðß, ×Ì´»
14. çÙÙçÜç¹Ì ×ð´ âð ·¤æñ٠¹æßÁ ßæη¤ Ùãè ãñ Ñ (A) ÖßæÙè Îæâ (B) ÂéL¤áæðæ× Îæâ (C) ·¤Æð ×ãæÚæÁ (D) ¥ØæðØæ ÂýâæÎ
15. ÒßÎð ×æÌÚ×÷Ó ·¤è Ú¿Ùæ ç·¤âÙð ·¤è Ñ (A) Sßæ×è ãçÚÎæâ (B) æè ·ë¤cæ ÙæÚæØæ ÚæÌæÁÙ·¤Ú (C) ÚÕèÎýÙæÍ Åñ»æðÚ (D) Õ´ç·¤× ¿Îý ¿^æðÂæØæØ
16. ¿æÂéÅ ÌæÜ ·¤è ×æææ° ãñ Ñ (A) 6 (B) 8 (C) 10 (D) 12
17. Âæà¿æØ â´»èÌ ×𴠧ⷤæ ÂýØæð» ãæðÌæ ãñ Ñ (A) Ùð¿éÚÜ S·ð¤Ü (B) ·ý¤æð×ðçÅ·¤ S·ð¤Ü (C) â×æÙæÌÚ S·ð¤Ü (D) ÂæØÍæ»æðçÚØÙ S·ð¤Ü
D1605 5 P.T.O. 18. Match the following : List - I List - II (a) Clef signature is used in (i) Bade Ghulam Ali (b) Related to Rasa (ii) Kishori Amonkar (c) Associated with Khyal Gayan (iii) Pt. Raj Jagannath (d) Associated with Patiyala Gharana (iv) In western music Code : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iii) (ii) (iv) (i) (C) (ii) (iii) (i) (iv) (D) (iv) (i) (ii) (iii)
19. Assertion (A) : Rasa theory is followed in Indian music and each Raga has its own Rasa, but it is seen that rasa of a raga changes according to the composition of Bandhish in that particular Raga. Reason (R) : Because the different compositions of one particular Raga are being written by different musicians, therefore a particular Raga cannot be rigidly associated with one particular Rasa. (A) (A) true and (R) true (B) (A) true, (R) false (C) (A) false (R) true (D) Both (A) and (R) are false
20. Sequencing type : Mark the correct group. (A) Raganga, Kriyanga, Bhashanga, Upang (B) Raganga, Bhashanga, Kriyanga, Upang (C) Bhashanga, Kriyanga, Upang, Raganga (D) Kriyanga, Bhashanga, Upang, Raganga
Para Phrasing or Linked Items : Read the passage below and tick the correct answer in each group of A, B, C, D : In Indian music, there has been an oral tradition of teaching under Guru-Shishya Parampara and various Gharanas of music evolved with a view to preserve the classical music. These Gharanas are credited for good artists but for the last more than 6 decades, the institutional music has been introduced and music has become an academic formal discipline for common students. This change has some merits and demerits of its own. The tradition of parampara has almost disintegrated giving place to some of the popular modern trends of music. Other trends like cine-music, popular music, light music, gazal, quawali, have captured the music scene and badly influenced the purity and quality of classical music. But the present generation of students feels that with all the professional channels, one cannot devote oneself in Sangeet Riyaz for 24 hours like
D1605 6 18. âé×ðçÜÌ ·¤èçÁØð Ñ âê¿è - I âê¿è - II (a) ÜðȤ çâ»Ùð¿Ú ·¤æ ÂýØæð» ãæðÌæ ãñ (i) ÕǸð »éÜæ× ¥Üè (b) Úâ âð âÕçÏÌ ãñ (ii) ç·¤àææðÚè ¥æ×æðæ·¤Ú (c) ØæÜ »æØÙ âð âÕçÏÌ ãñ (iii) ´. ÚæÁ Á»óææÍ (d) ÂçÅØæÜæ æÚæÙð âð âÕçÏÌ (iv) Âæà¿æØ â´»èÌ ×ð´ ·¤æðÇ Ñ (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iii) (ii) (iv) (i) (C) (ii) (iii) (i) (iv) (D) (iv) (i) (ii) (iii)
19. çßÏæÙ (A) Ñ ÖæÚÌèØ â´»èÌ ×ð´ Úâ çâhæÌ ·¤è ×æØÌæ ãñ ¥æñÚ ÂýØð·¤ Úæ» ·¤æ ¥ÂÙæ °·¤ Úâ ãñ, ç·¤Ìé Îð¹æ »Øæ ãñ ç·¤, Úæ» ·¤è Õ´çÎàæ ·ð¤ ¥ÙéM¤Â ©â çßàæðá Úæ» ·ð¤ Úâ ×ð´ ÂçÚßÌüÙ ãæð ÁæÌæ ãñ´Ð Ì·ü¤ (R) Ñ Øæð´ç·¤ °·¤ ãè Úæ» ×ð´ çßçÖóæ Ú¿Ùæ·¤æÚæð´ mæÚæ çÖóæ çÖóæ Õ´çÎàæð Ú¿è ÁæÌè ãñ §âçÜ° âæÏæÚæÌØÑ ç·¤âè Öè Úæ» ·¤æð Úâ çßàæðá âè×æ ×ð´ ¥æÕh Ùãè ç·¤Øæ Áæ â·¤ÌæÐ (A) (A) ¥æñÚ (R) âãè (B) (A) âãè (R) »ÜÌ (C) (A) »ÜÌ (R) âãè (D) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ
20. ¥Ùé·ý¤×æÙéâæÚ Âý·¤æÚ Ñ çÙÙçÜç¹Ì ·ð¤ âãè ·ý¤× ÂÚ âãè ·¤æ çÙàææÙ Ü»æ§ØðÐ (A) Úæ»æ´», ç·ý¤Øæ´», Öæáæ´», ©Âæ´» (B) Úæ»æ´», Öæáæ´», ç·ý¤Øæ´», ©Âæ´» (C) Öæáæ´», ç·ý¤Øæ´», ©Âæ´», Úæ»æ´» (D) ç·ý¤Øæ´», Öæáæ´», ©Âæ´», Úæ»æ´»
¥ÙéÀðÎ çßSÌæÚ çÙÙçÜç¹Ì ¥ÙéÀðÎ ·¤æð ÂçɸØð ¥æñÚ çÎØð »° ©æÚæð´ ×ð´ âð ãÚ ¹´Ç ·ð¤ âãè ©æÚ ÂÚ P ·¤æ ç¿ã Ü»æ§ØðÐ ÖæÚÌèØ â´»èÌ ×ð´ »éL¤ çàæcØ ÂÚSÂÚæ mæÚæ çàæÿææ ÂýÎæÙ ·¤è ÁæÌè Úãè ¥æñÚ â´»èÌ ·¤æð âéÚçÿæÌ ß â´ßÏèüÌ ·¤ÚÙð ·¤è ÎëçC âð ¥Ùð·¤ æÚæÙæð´ ·¤æ Á× ãé¥æÐ æÚæÙæð´ ·¤è §â ÂÚÂÚæ Ùð ÖæÚÌèØ â´»èÌ ·¤æð ©æ ·¤æðçÅ ·ð¤ ·¤Üæ·¤æÚ çÎØð ç·¤Ìé çß»Ì 6 Îàæ·¤æð´ âð â´SÍæ»Ì çàæÿææ ·¤è ÂýææÜè ÂýæÚ´Ö ãæðÙð âð â´»èÌ âæ×æØ çßlæÍèü ·ð¤ çÜØð âéÜÖ ãæð »Øæ ãñÐ ÂÚÂÚæ âð ÁéÇ¸è ·é¤À ÕæÌð´ ÉèÜè ÂǸ »§ü ãñ Ìæð ·é¤À Ù§ü ÂýßëçÌØæð´ Ùð ÁǸð Á×æ Üè ãñ´Ð àææSæèØ »æØÙ ßæÎÙ àæñçÜØæð´ ·ð¤ âæÍ âæÍ â´»èÌ Á»Ì ×ð´ ©ÂàææSæèØ â´»èÌ , âé»× â´»èÌ, çâÙð â´»èÌ, »$ÁÜ, ·¤ÃßæÜè ¥æçÎ ·¤æ Öè Âý¿ÜÙ ÕãéÌ ãæð »Øæ ãñ´Ð çÙçà¿Ì M¤Â âð §Ù â×-âæ×æçÁ·¤ ÂýßëçÌØæð´ Ùð àææSæèØ â´»èÌ ·ð¤ »ãÙ çÚØæÁ ·¤æð ÂýÖæçßÌ ç·¤Øæ ãñÐ ·é¤À Üæð»æð´ ·¤æ Øã Öè Ì·ü¤ ãñ ç·¤ ¥æÁ ·ð¤ ÖæñçÌ·¤ ßæÎè Øé» ×ð´ â´»èÌ ×ð´
D1605 7 P.T.O. Swami Haridas and Tansen, rather music curriculum should include the professional courses, so that the learners of music are well placed in the society. These professional channels may be stage - performer, musicologists, teachers, instrument repairer, music director, music for advertisement, music for therapic use and so on. Such inclusion of various courses in the Universities will increase the number of qualitative students and enable to establish the music subject at par with Arts and science subjects. Electronic and communication media has also enhanced the scope of classical music from the boundaries of Gharanas to the large audience of music learners. In this context it will be a positive step for the institutions to start distant education of music with the help of audio-visual methods. Such mode of education will survey the old Gurus of music and record their rare compositions. Such survey and documentation will enable the old Gurus to interact as well as teach the larger group of students, who are devoid of good training because of far-off places or so on. Questions : The author is primarily concerned with : 21. (A) The growing demand in the institutional music (B) The decreasing number of students (C) For disintegration of gharanas of music (D) For the ethical upliftment of general mass
22. (A) Professional courses will help in the development of music (B) Music only aims at making an artist (C) Institutional music has no contribution in the field of research (D) Institutional music creates all artists
23. (A) The preservation of music is only possible through Guru Shishya Parampara (B) Only the electronic and communication media can preserve the music (C) Gharanas have not been able to preserve music (D) The best way to preserve the music is with the combination of Guru Shishya Parampara and Institutional music
24. (A) The distant education of music will propogate the music at wide nutshell (B) No institutional music provides distant education of music (C) The distant education of music is most beneficial to the primary level and highter level students (D) It is not possible to share the treasure of music of the Gurus via the Distant mode of education
25. (A) Institutional music has decreased the quality of music (B) More and more students have started learning music (C) The possibilities of becoming are artist became very rare (D) Institutional music is credited for practical training as well as musicology and research oriented training
D1605 8 ¿æñÕèâ æ´Åð ÜèÙ ÚãÙæ â´Öß Ùãè ãñ´Ð ¥Ø çßáØæð´ ·ð¤ â×æÙ â´»èÌ ·ð¤ çßlæÍèü ·¤æð Öè â´»èÌ ·¤æ ÃØæßâæçØ·¤ ÂæÆ÷Ø ·ý¤× ¿æçãØðÐ §âçÜ° ©ç¿Ì ãæð»æ ç·¤ °Üæ§Ç ØêçÁ·¤ ·ð¤ ¥Ì»üÌ â´»èÌ ·ð¤ ×´¿ ÂÎàæü·¤ ÕÙÙð ·ð¤ âæÍ âæÍ, â´»èÌ ¥Øæ·¤, â´»èÌ àææSæè, â´»èÌ ¥æÜæð¿·¤, ßë´Î â´»èÌ, çßææÂÙ â´»èÌ, ØêçÁ·¤ ÍðÚðÂè, Åè.ßè.âèçÚØÜ ×ð´ â»ü× ¥æçÎ ·¤æð ÎëçC âð ÂæÆ÷Ø·ý¤× ¥æñÚ çàæÿææ ÂýæÚ´Ö ç·¤Øæ ÁæØð, §ââð â´»èÌ ·ð¤ çßlæçÍüØæð´ ·¤è Öè â´Øæ Õɸð»è ¥æñÚ ¥Ø çßáØæð´ ·ð¤ â×æÙ â´»èÌ çßáØ ·¤è ÂýçÌcÆæ Öè ãæð»èÐ ¥æÁ §ÜðÅþæðçÙ·¤ ©Â·¤Úææ𴠷𤠷¤æÚæ Öè â´»èÌ ·¤æ ÂýâæÚ-ÿæðæ Õɸæãè ¥æñÚ çàæÿææ â´SÍæ¥æð´ ×ð´ Öè ¥æçÇØæð´ - ßèçÇØæð´ ×æØ× ·¤æ ÂýØæð» çàæÿæ·¤ â´»èÌ çàæÿææ ×ð´ ·¤Ú Úãð ãñ´Ð â´»èÌ ·¤è ÎêÚßÌèü çàæÿææ Öè ¥Ùð·¤ çßàß çßlæÜØæð´ ×ð´ ÂýæÚ´Ö ãæð ¿é·¤è ãñ´Ð ÎêÚßÌèü çàæÿææ âð çßçàæD »éL¤¥æð´ ·¤è Ú¿Ùæ¥æð´ ·¤æð Úçâ·¤ â×æÁ Ì·¤ ¡ãé¿æØæ Áæ â·¤Ìæ ãñ ¥æñÚ ÂýæÚ´çÖ·¤ °ß´ ©æSÌÚ ·ð¤ â´»èÌ çßlæÍèü ÎêÚßÌèü çàæÿææ âð ÕãéÌ ÜæÖæçßÌ ãæð â·¤Ìð ãñ´Ð ¥ÙéÀðÎ ×ð´ ßçæüÌ çßáØ ·¤æ âÕ´Ï ÂýàÙ ×éØÌØæ §â âð ãñ Ñ ÂýàÙ Ñ ¥ÙéÀðÎ ×ð´ ßçæüÌ çßáØ ·¤æ âÕ´Ï ×éØÌÑ §ââð ãñ Ñ 21. (A) â´SÍæ»Ì çàæÿææ ×ð´ ÕɸÌè ãé§ü ×æ¡» (B) çßlæçÍüØæð´ ·¤è æÅÌè ãé§ü â´Øæ (C) â´»èÌ ·ð¤ æÚæÙð çßÜé# ãæðÙð âð (D) ÁÙ âæ×æØ ·ð¤ ¥æØæç×·¤ çß·¤æâ ·ð¤ çÜØð
22. (A) ÃØæßâæçØ·¤ ÂæÆ÷Ø·ý¤×æð´ âð â´»èÌ ·¤æ ¥çÏ·¤ çß·¤æâ ãæð»æ (B) ·ð¤ßÜ ·¤Üæ·¤æÚ ÕÙÙæ ãæð â´»èÌ ·¤æ ©gðàØ ãñ (C) àææðÏ ¥ØØÙ ¥æçÎ ×ð´ â´SÍæ»Ì â´»èÌ çàæÿææ ·¤æ ·¤æð§ü Øæð»ÎæÙ Ùãè ãñ (D) â´SÍæ»Ì â´»èÌ çàæÿææ âð âÖè ·¤Üæ·¤æÚ ÕÙ ÁæÌð ãñ
23. (A) â´»èÌ ·¤æ â´Úÿææ »éL¤ çàæcØ ÂÚÂÚæ âð ãè â´Öß ãñ (B) ·ð¤ßÜ â´¿æÚ ×æØ×æð´ âð ãè â´»èÌ ·¤æ â´Úÿææ ãæð â·¤Ìæ ãñ (C) æÚæÙæð´ ·ð¤ ×æØ× âð â´»èÌ ·¤æ â´Úÿææ Ùãè ãé¥æ (D) â´SÍæ»Ì â´»èÌ çàæÿææ °ß´ »éL¤ çàæcØ ÂýææÜè ·ð¤ ¥æÎàæü â×ßØ âð âßæüçÏ·¤ â´»èÌ ·¤æ â´Úÿææ ç·¤Øæ Áæ â·¤Ìæ ãñ
24. (A) â´»èÌ ·¤è ÎêÚßÌèü çàæÿææ âð â´»èÌ ·¤æ ÃØæ·¤ Âý¿æÚ ãæð»æÐ (B) ·¤æð§ü Öè â´SÍæ»Ì â´»èÌ çàæÿææ, â´»èÌ ·¤è ÎêÚßÌèü çàæÿææ ©ÂÜÏ Ùãè´ ·¤ÚæÌèÐ (C) â´»èÌ ·¤è ÎêÚßÌèü çàæÿææ âð ÂýæÚ´çÖ·¤ SÌÚ °ß´ ©æ SÌÚ ·ð¤ çßlæÍèü ¥çÏ·¤ ÜæÖæçßÌ ãæð â·¤Ìð ãñ´Ð (D) â´»èÌ ·ð¤ »éL¤¥æð´ ·¤è âÂÎ ÎêÚßÌèü çàæÿææ âð Õæ¡ÅÙæ â´Öß Ùãè ãñÐ
25. (A) â´SÍæ»Ì â´»èÌ çàæÿææ âð â´»èÌ ·¤è »éæßææ ×ð´ ÕãéÌ ·¤×è ¥æ»§ü ãñ (B) ¥çÏ·¤ âð ¥çÏ·¤ çßlæÍèü â´»èÌ âè¹Ùð Ü»ð ãñ (C) â´»èÌ ·ð¤ ×´¿ ÂýÎàæü·¤ ÕÙÙð ·¤è â´ÖæßÙæ ·¤× ãæ𠻧ü (D) â´»èÌ ·ð¤ ç·ý¤Øæ×·¤ Âÿæ ·ð¤ âæÍ âæÍ â´»èÌ àææSæ ¥æñÚ àææðÏ ¥ØØÙ Öè â´SÍæ»Ì â´»èÌ çàæÿææ ·ð¤ ·¤æÚæ â´Öß ãæð â·¤æ ãñÐ
D1605 9 P.T.O. PART - II HINDUSTANI MUSIC (VOCAL / INSTRUMENTAL)
26. Which belongs to Jati ? (A) Amsha Swara (B) Brahad Deshi (C) Meend (D) Gamak
27. This Grantha belongs to Rajput Kal : (A) Natya Shashtra (B) Nardiya Shiksha (C) Geet Govind (D) Sangeet Ratnakar
28. Founder of Rasa theory : (A) Mammat (B) Abhinav Gupta (C) Bharat (D) Dattil
29. Bharat has mentioned this in his Natyashastra : (A) Jati Rag (B) Aesthetics (C) Komal Swar (D) Rag - Gayan
30. It is used in western music : (A) Rag Sangeet (B) Saptak (C) Chords (D) Melody
31. The frequency of Nada depends upon : (A) Pitch (B) Magnitute (C) Timber (D) Harmonics
32. Consonance in the Swaras of scale depends upon : (A) Vibration of the String (B) Pitch (C) Frequencies of the vibrations (D) Vibrator
33. Ragas have been classified as Raga - Raginees in this Granth for the first time : (A) Sangeet Ratnakar (B) Sangeet Makarand (C) Nardiya Shiksha (D) Brahaddishi
34. Bhav, Vibhav are related to : (A) Aesthetics (B) Rasa (C) Nad (D) Shruti
35. This Raga is a mixture of Miya Malhar and Sarang : (A) Jayant Malhar (B) Nat Malhar (C) Miya Ki Sarang (D) Shuddha Sarang
36. Which Oduv Jati Raga uses both Gandhar and Both Nishad ? (A) Desh (B) Durga (C) Jog (D) Tilang
D1605 10 PART - II çãÎéSÌæÙè â´»èÌ (»æØÙ/ßæÎÙ)
26. Øã ÁæçÌ ·¤æ Üÿææ ãñ Ñ (A) ¥´àæ SßÚ (B) ÕëãÎÎðàæè (C) ×è´Ç (D) »×·¤
27. Øã ÚæÁÂêÌ ·¤æÜ ·¤æ »ý´Í ãñ Ñ (A) ÙæÅ÷Ø àææSæ (B) ÙæÚÎèØ çàæÿææ (C) »èÌ »æðçßÎ (D) â´»èÌ ÚÙ·¤Ú
28. Úâ àææSæ ·ð¤ ÂýæðÌæ Øã ãñ Ñ (A) ××Å (B) ¥çÖÙß »é# (C) ÖÚÌ (D) ÎçæÜ
29. ÖÚÌ Ùð ÙæÅ÷ØàææSæ ×𴠧ⷤè ÃØæØæ ·¤è ãñ Ñ (A) ÁæçÌ Úæ» (B) âæñÎØü àææSæ (C) ·¤æð×Ü SßÚ (D) Úæ»-»æØÙ
30. Âæà¿æØ â´»èÌ ×𴠧ⷤæ ÂýØæð» ãæðÌæ ãñ Ñ (A) Úæ» â´»èÌ (B) â#·¤ (C) ·¤æÇüâ (D) ×ðÜæÇè
31. ÙæÎ ·¤è ¥æ´ÎæðÜÙ â´Øæ çÙÖüÚ ·¤ÚÌè ãñ §â ÂÚ Ñ (A) ÌæÚÌæ (B) ÀæðÅæ-ÕǸæ ÂÙ (C) ·¤æcÆ (çÅ´ÕÚ) (D) âãæØ·¤ ÙæÎ
32. â#·¤ ·ð¤ SßÚæð´ ·¤æ ×ÏéÚ âÕÏ çÙÖüÚ ·¤ÚÌæ ãñ §â ÂÚ Ñ (A) ÌæÚ ·¤æ ·´¤ÂÙ (B) SßÚ ·¤è ÌæÚÌæ (C) ·¤ÂÙæð´ ·¤è ÂÚSÂÚ ¥æ´ÎæðÜÙ â´Øæ ÂÚ (D) ·´¤ÂÙ ©Âæη¤ ßSÌé ÂÚ
33. §â »ý´Í ×ð´ âßüÂýÍ× Úæ»æð´ ·¤æð SæèÂéL¤á ×æÙæ »Øæ Ñ (A) â´»èÌ ÚÙæ·¤Ú (B) â´»èÌ ×·¤Ú´Î (C) ÙæÚÎèØ çàæÿææ (D) ÕëãßÎðàæèØ
34. Öæß, çßÖæß ·¤æ âÕÏ ç·¤â âð ãñ Ñ (A) âæñÎØüàææSæ (B) Úâ (C) ÙæÎ (D) æéçÌ
35. ç×Øæ¡ ×ËãæÚ ¥æñÚ âæÚ´» ·ð¤ ç×oýæ âð Øã Úæ» ©Âóæ ãæðÌæ ãñ Ñ (A) ÁØÌ ×ËãæÚ (B) ÙÅ ×ËãæÚ (C) ç×Øæ¡ ·¤è âæÚ´» (D) àæéh âæÚ´»
36. ¥æðÇ¸ß ÁæçÌ ·ð¤ ç·¤â Úæ» ×ð´ ÎæðÙæð´ »´ÏæÚ ¥æñÚ ÎæðÙæð´ çÙáæÎ ·¤æ ÂýØæð» ãæðÌæ ãñ Ñ (A) Îðàæ (B) Îé»æü (C) Áæð» (D) çÌÜ´»
D1605 11 P.T.O. 37. Assertion (A) : Two varieties of one note are not used in Indian music but in exceptional cases, some Ragas are prevelent as Lalit, Shuddha Sarang etc., which use variety of one note. Reason (R) : Though there is said to be dissonant interval between two varieties of one note, but the musicians have used two varieties of one note for music appeal and this use has been adopted by the musicians today. (A) Both (A) and (R) true (B) Both (A) and (R) are false (C) (A) is true but (R) is false (D) (A) false but (R) true
38. Assertion (A) : Indian classical music is mainly melody music, which cannot use harmony element, but Vrinda - Vadan and Vrinda - Gan uses Harmony element. Reason (R) : Vrinda - Vadan and Vrinda Gan can adopt Harmony element because of the Notation system and also that these forms are presented in group where the intricacies of classical music have little scope for presentation. (A) (A) true (R) false (B) (A) false (R) true (C) Both (A) and (R) true (D) Both (A) and (R) false
39. Assertion (A) : Indian music has followed the tradition of time theory of Ragas but some Ragas like Malhar, Bahar have their appeal only in Rainy season. Reason (R) : Bahar and Malhar are madhyam dominant Ragas, which represent Shringar Rasa and therefore these Ragas are most suitable to express the delicate feelings in Rainy season. (A) (A) true (R) false (B) (A) and (R) false (C) Both (A) and (R) true (D) (A) false and (R) true
Sequencing type questions : In this item, the candidates have to identify the correct sequence or the chronological order of a set from A, B, C, D and mark P on the correct order. 40. Several good treaties have been written down in Indian music. Tick the P sign on the correct chronological evolution of Granthas/treaties on A B C D. (A) Brahaddeshi, Gita Govind, Natya Shashtra, Sangit Ratnakar (B) Gita Govind, Natya Shashtra, Sangit Ratnakar, Brahaddeshi (C) Natya Shashtra, Brahaddeshi, Gita Govind, Sangit Ratnakar (D) Sangit Ratnakar, Natya Shashtra, Gita Govind, Brahaddeshi
D1605 12 SÍæÂÙæ ¥æñÚ Ì·ü¤ çßáØ âð âÕçÏÌ ÂýàÙ Ñ
37. çßÏæÙ (A) Ñ °·¤ ãè SßÚ ·ð¤ Îæð M¤Â °·¤ âæÍ ÂýØæð» Ùãè ãæðÌð ÂÚÌé ¥ÂßæÎ SßM¤Â ·é¤À Úæ» °ðâð Âý¿æÚ ×ð´ ãñ Áñâð ÜçÜÌ, àæéh âæÚ´» ¥æçÎ çÁÙ×ð´ °·¤ SßÚ ·ð¤ Îæð M¤Â °·¤ âæÍ ÂýØæð» ãæðÌð ãñÐ Ì·ü¤ (R) Ñ °·¤ SßÚ ·ð¤ Îæð M¤Âæð´ ×ð´ Ølç çßßæÎè Îæðá ×æÙæ ÁæÌæ ãñ, ç·¤Ìé Ú´Á·¤Ìæ ·¤è ÎëçC âð çßmæÙæð´ Ùð ¥Ùð·¤ Úæ»æð´ ×ð´ °·¤ ãè SßÚ ·ð¤ Îæð M¤Âæð´ ·¤æ ÂýØæð» ç·¤Øæ ãñ ¥æñÚ §Ù ÂýØæð»æð´ ·¤æð ¥æÁ â´»èÌææð Ùð »ýãæ ·¤Ú çÜØæ ãñÐ (A) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ (B) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ (C) (A) âãè ãñ ç·¤Ìé (R) »ÜÌ ãñ (D) (A) »ÜÌ ãñ ç·¤Ìé (R) âãè ãñ
38. çßÏæÙ (A) Ñ ÖæÚÌèØ àææSæèØ â´»èÌ Úæ» â´»èÌ ãñ ¥æñÚ ©â×ð´ Âæà¿æØ ·ð¤ ãæÚ×Ùè Ìß ·¤æ ÂýØæð» Ùãè ãæð â·¤Ìæ ç·¤Ìé çÈ¤Ú Öè ßælßëÎ ¥æñÚ ßëÎ »æØÙ ×ð´ ãæÚ×Ùè ·¤æ ÂýØæð» ç·¤Øæ ÁæÌæ ãñÐ Ì·ü¤ (R) Ñ ßælßë´Î ¥æñÚ ßë´Î»æÙ ×ð´ ãæÚ×Ùè Ìß ·¤æ ÂýØæð» ãæð â·¤Ìæ ãñ Øæð´ç·¤ ßãæ¡ SßÚçÜç ·¤æ ×éØ SÍæÙ ãñ ¥æñÚ çÈ¤Ú â×êã ßæÎÙ-»æØÙ ãæðÌæ ãñ Áãæ¡ â´»èÌ ·¤è âéÿ× çßàæðáÌæ¥æð´ ·¤æð °·¤Ü ÂýÎàæüÙ ·ð¤ â×æÙ ÂýÎçàæüÌ ·¤ÚÙæ ·¤çÆÙ ãñÐ (A) (A) âãè ãñ, (R) »ÜÌ ãñ (B) (A) »ÜÌ ãñ, (R) âãè ãñ (C) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ (D) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ
39. çßÏæÙ (A) Ñ ÖæÚÌèØ â´»èÌ ×ð´ Úæ»æð´ ·ð¤ â×Ø çâhæÌ ·¤è çßàæðá ÂÚÂÚæ ãñ, ç·¤Ìé ·é¤À Úæ» Áñâð ×ËãæÚ, ÕãæÚ ßáæü «¤Ìé ×ð´ »æØð ÁæÙð ÂÚ ¥çÏ·¤ Ú´Á·¤Ìæ ÂýÎæÙ ·¤ÚÌð ãñ´Ð Ì·ü¤ (R) Ñ ÕãæÚ ¥æñÚ ×ËãæÚ Úæ» Øæð´ç·¤ ×Ø× ÂýÏæÙ ¥æñÚ oý´»æÚ Úâ ·ð¤ læðÌ·¤ ãñ ¥ÌÑ ßáæü «¤Ìé ×ð´ âé·¤æð×Ü ÖæßÙæ¥æð´ ·¤æð Âý·¤Å ·¤ÚÙð ·ð¤ çÜØð Øãè Úæ» ¥çÏ·¤ ©ÂØéÌ ãñÐ (A) (A) âãè ãñ, (R) »ÜÌ ãñ´ (B) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´ (C) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´ (D) (A) »ÜÌ ãñ ¥æñÚ (R) âãè ãñ´
40. ·ý¤×æÙéâæÚ Âý·¤æÚ ·ð¤ §â Öæ» ·ð¤ ¥Ìü»Ì ÂÚèÿææÍèü ·¤æð çÎØð »Øð ·ý¤× ·¤æð âãè ·ý¤× âð çܹÙæ ãñÐ (i) ÖæÚÌèØ â´»èÌ ·ð¤ §çÌãæâ ×ð´ ¥Ùð·¤ oýðcÆ »ýÍæð´ ·¤æ âëÁÙ ãé¥æ ãñ §Ù »ý´Íæð´ ·ð¤ çß·¤æâ ·ð¤ âãè ·ý¤× ÂÚ âãè ·¤æ ç¿ã Ü»æ§Øð Ñ (A) ÕëãÎÎðàæè, »èÌ »æðçßÎ, ÙæÅ÷ØàææSæ, â´»èÌ ÚÙæ·¤Ú (B) »èÌ »æðçßÎ, ÙæÅ÷ØàææSæ, Ú´»èÌ ÚÙæ·¤Ú, ÕëãÎÎðàæè (C) ÙæÅ÷ØàææSæ, ÕëãÎÎðàæè, »èÌ »æðçßÎ, â´»èÌ ÚÙæ·¤Ú (D) â´»èÌ ÚÙæ·¤Ú, ÙæÅ÷ØàææSæ, »èÌ »æðçßÎ, ÕëãÎÎðàæè
D1605 13 P.T.O. 41. There is a chronological sequence of the parts of Raga teaching in Indian music. Tick P on the correct one. (A) Antara, Anibaddha Alap, Sthayi, Tan, Nibaddha Alap (B) Anibaddha Alap, Sthayi, Antara, Nibaddha Alap, Tan (C) Sthayi, Tan, Anibaddha Alap, Nibaddha Alap, Antara (D) Antara, Nibaddha Alap, Tan, Sthayi, Anibaddha Alap
42. Various musical forms have been in practice in Indian music. Tick the correct group as per their chronological evolution and practice. (A) Dhruva Gan, Khyal, Dhrupad, Prabandha (B) Dhruva Gan, Prabandha, Dhrupad, Khyal (C) Dhruva Gan, Khyal, Prabandha, Dhrupad (D) Prabandha, Dhruva Gan, Dhrupad, Khyal
43. There evolved several systems of Raga classification in Indian music and still exists. Tick P the correct group of their evolution. (A) Rag - Ragini classification, Mela Rag classification, Shuddha - Chayalag - sankeerna classification, Raganga classification and that - Rag classification (B) Thata - Raga classification, Mela Rag classification, Shuddha - Chayalag - Sankeerna, Raganga classification, Rag - Ragini classification (C) Mela Raga classification, Raga - Ragini classification, Shuddha - Chayalag - Sankeerna classification, Raganga vargikaran, that - Raga - classification (D) Raganga vargikaran, Mela Rag vargikaran, Shuddha chayalag - Sankeeru, Thata - Raga Vargikaran, Rag - Ragini Vargikaran.
Matching type questions : This question consists of two list of statements, terms or symbols and the candidate has to match an item in one list with an item of the other. 44. List - I List - II (a) Shyam Kalyan is a mixture of these Ragas (i) Jogkauns (b) Which Raga uses both Gandhar, both (ii) Kalyan - Kamod Nishad and Shuddha Madhyam (c) Which Raga uses Komal Rishabha, (iii) Madhubanti Shuddha Dhaivat, Komal Nishad and other Shuddha Swaras (d) Which Raga originates by changing komal (iv) Ahir Bhairav Rishabha - Dhaivat of Raga Multani to that of Shuddha Code : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iv) (ii) (iii) (i) (C) (ii) (i) (iv) (iii) (D) (iii) (iv) (i) (ii)
D1605 14 41. (ii) â´»èÌ çàæÿææ ×ð´ Úæ»æ𴠷𤠻æØÙ/ßæÎÙ ×ð´ âéÃØßçSÍÌ ·ý¤× ãæðÌæ ãñ âãè ·ý¤× ÂÚ P ·¤æ ç¿ã Ü»æ§ØðÐ (A) ¥ÌÚæ, ¥çÙÕh ¥æÜæÂ, SÍæØè, ÌæÙ, çÙÕh ¥æÜæ (B) ¥çÙÕh ¥æÜæÂ, SÍæØè, ¥ÌÚæ, çÙÕh ¥æÜæÂ, ÌæÙ (C) SÍæØè, ÌæÙ, ¥çÙÕh ¥æÜæÂ, çÙÕh ¥æÜæÂ, ¥ÌÚæ (D) ¥ÌÚæ, çÙÕh ¥æÜæÂ, ÌæÙ, SÍæØè, ¥çÙÕh ¥æÜæÂ
42. ÖæÚÌèØ â´»èÌ ×ð´ ¥Ùð·¤ »æØÙ àæñçÜØæ¡ Âý¿æÚ ×ð´ Úãè, ©Ù·ð¤ çß·¤æâ ·ð¤ âãè ·ý¤× ÂÚ P ·¤æ çÙàææÙ Ü»æ§üØð Ñ (A) Ïýéßæ»æÙ, ØæÜ, ÏýéßÂÎ, ÂýÕÏ (B) Ïýéßæ»æÙ, ÂýÕÏ, ÏýéßÂÎ, ØæÜ (C) Ïýéßæ»æÙ, ØæÜ, ÂýÕÏ, ÏýéßÂÎ (D) ÂýÕÏ, Ïýéßæ»æÙ, ÏýéßÂÎ, ØæÜ
43. Úæ» ß»èü·¤Úæ ·¤è ¥Ùð·¤ ÂhçÌØæ´ ¥çSÌß ×ð´ ¥æ§ü ¥æñÚ ¥æÁ Öè ãñ´Ð ©Ù·ð¤ çß·¤æ⠷𤠷ý¤× ÂÚ P ·¤æ ç¿ã Ü»æ§Øð Ñ (A) Úæ» Úæç»Ùè ß»èü·¤Úæ, ×ðÜ Úæ» ß»èü·¤Úæ, àæéh ÀæØæÜ» â´·¤èæü ß»èü·¤Úæ, Úæ»æ´» ß»èü·¤Úæ ¥æñÚ ÍæÅ Úæ» ß»èü·¤ÚæÐ (B) ÍæÅ-Úæ» ß»èü·¤Úæ ×ðÜ Úæ» ß»èü·¤æÚæ, àæéh-ÀæØæÜ»-â´·¤èæü ß»èü·¤Úæ, Úæ»æ´» ß»èü·¤Úæ, Úæ» Úæç»Ùè ß»èü·¤ÚæÐ (C) ×ðÜ Úæ» ß»èü·¤Úæ, Úæ» Úæç»Ùè ß»èü·¤Úæ, àæéh ÀæØæÜ»-â´·¤èæü ß»èü·¤Úæ, Úæ»æ´» ß»èü·¤Úæ, ÍæÅ Úæ» ß»èü·¤ÚæÐ (D) Úæ»æ´» ß»èü·¤Úæ ×ðÜ Úæ» ß»èü·¤Úæ, àæéh ÀæØæÜ»-â´·¤èæü ß»èü·¤Úæ, ÍæÅ-Úæ» ß»èü·¤Úæ, Úæ» Úæç»Ùè ß»èü·¤ÚæÐ
âé×ðçÜÌ Âý·¤æÚ ·ð¤ ÂýàÙ Ùè¿ð Îæð Âý·¤æÚ ·ð¤ ·¤ÍÙ çÎØð Áæ Úãð ãñ´, ÂýÍ× âê¿è ·ð¤ ·¤ÍÙ ·¤æ ÎêâÚð ·¤ÍÙ ·ð¤ âãè ©æÚ âð ç×ÜæÙ ·¤Ú âãè ·¤æ ç¿ã Ü»æ§Øð Ñ 44. âê¿è - I âê¿è - II (a) àØæ× ·¤ËØææ ×ð´ §Ù Úæ»æð´ ·¤æ ç×oýæ ãñ (i) Áæð»·¤æñ´â (b) ç·¤â Úæ» ×ð´ ÎæðÙæð´ »´ÏæÚ, ÎæðÙæð´ çÙáæÎ (ii) ·¤ËØææ-·¤æ×æðÎ ¥æñÚ àæéh ×Ø× ·¤æ ÂýØæð» ãæðÌæ ãñ (c) ç·¤â Úæ» ×ð´ ·¤æð×Ü «¤áÖ, àæég ÏñßÌ, ·¤æð×Ü (iii) ×ÏéÕÌè çÙáæÎ ¥æñÚ ¥Ø àæég SßÚæð´ ·¤æ ÂýØæð» ãæðÌæ ãñ (d) ·¤æñÙâæ Úæ» ×éËÌæÙè ·ð¤ ·¤æð×Ü «¤áÖ-ÏñßÌ ·¤æð (iv) ¥ãèÚ ÖñÚß àæéh ·¤Ú·ð¤ ¥æçßÖüêÌ ãæðÌæ ãñ ·¤æðÇ : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iv) (ii) (iii) (i) (C) (ii) (i) (iv) (iii) (D) (iii) (iv) (i) (ii)
D1605 15 P.T.O. 45. List - I List - II
(a) This is used in western music (i) Ma, Re, Re, Pa
(b) This swara - combination is symbolic (ii) Major, Minor, Chord of Malhar Ang
(c) These swaras are used in Shuddha (iii) Ni Pa Ma Pa Ga ù Ma Re Sa 2 2 Sarang
(d) Main Raganga of Kanhara Ang (iv) Sa Re M9 a M9 a Pa
Code : (a) (b) (c) (d)
(A) (ii) (iii) (i) (iv)
(B) (iv) (i) (iii) (ii)
(C) (ii) (i) (iv) (iii)
(D) (i) (ii) (iii) (iv)
Para Phrasing or linked items :
Read the passage below and answer the questions that follow based on your understanding of the passage by using P on the correct statement.
Indian Rasa theory is parralel to Western Aesthetics. Some thinkers opine that Indian music has not dealt with aesthetics, but a study of the old texts reveal that Rigveda and other treaties have used words like Lavanya, Manoram, Kanti, Kamniya, Madhur, Charu on several places, which is adjacent to word beauty. Even Bharat has used beauty and its parallel in Natya Shastra while mentioning the merits and demerits of Vaggeykar. Ramayana also uses the word Saundarya and Kalidas and other poets have used the word Saundarya on many occasions. Indian music refers to the pleasure derived from beauty to that nearer to God. The expression of beauty helps in deriving the real pleasure of Rasa. Bharat mentions various components of Rasa Bhava, Vibhav, Anubhav, Sanchari, Alambau, Uddipan in Matya Shastra and indicated the colours, varnas and gods of Swara - Rasa in his Grantha. The other musicologists like Abhinav Gupta, Shankuk, Mahim, Dandi, Pt. Raj Jagannath and Prof. K.C. Pandey have also dealt with the Rasa theory in detail. Even the Ragas have been persouified as male - female Rag - Raginees by Narad in Sangeet Makarand on the basis of Rasa and this theory laid the basis of Rag - Ragini classification in Medieval period. Even today the traditional musicians value the male - female element of Ragas as per the Rag - Ragini system. Raga - paintings and Raga Dhyanas were also forms on the basis of Rasa - theory. Pt. Somnath has dealt with Raga Dhyanas in his book Raga Vivad and classified the Rasa of each Raga in their Dhyanas. The forms of music like Dhruvapad, Dhamar, Khyal, Thumari have been associated with different Rasas and express the various moods when sung as per their Rasas. Even the melody of instruments is classified into various Rasas.
D1605 16 45. âê¿è - I âê¿è - II
(a) Âæà¿æØ â´»èÌ ×𴠧ⷤæ ÂýØæð» ãæðÌæ ãñ (i) × Úð Úð Â
(b) ×ËãæÚ ¥´» ·¤æ âé¿·¤ ãñ Øã SßÚ â×éÎæØ (ii) ×ðÁÚ, ×æ§ÙÚ ·¤æÇü
(c) àæéh âæ´Ú» ×ð´ §Ù SßÚæð´ ·¤æ ÂýØæð» ãæðÌæ ãñ (iii) Ùè  × » ù × Úð âæ
(d) ·¤æãææ ¥´» ·¤æ Âý×é¹ SßÚ â×éÎæØ ãñ Øã (iv) â Úð ×ð ×ð Â
·¤æðÇ : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iv) (i) (iii) (ii) (C) (ii) (i) (iv) (iii) (D) (i) (ii) (ii) (iv)
¥ÙéÀðÎ çßSÌæÚ (Para Phrasing or Linked Items)
Ùè¿ð çÎØð »Øð ¥ÙéÀðÎ ·¤æð Âɸ ·¤Ú ¥æÙð ßæÜð ãÚ ÂýàÙæð´ ×ð´ ¥ÌüçÙçãÌ âãè ©æÚ ÂÚ P Ü»æ§ØðÐ Âæà¿æØ âæñÎØüàææSæ ·¤æ ÂØæüØ ÖæÚÌèØ Úâ çâhæÌ ãñÐ ·é¤À çß¿æÚ·¤æð´ ·¤æ ×Ì ãñ ÖæÚÌèØ âæçãØ ×ð´ âæñÎØü àææSæ ·¤æ çÙM¤Âæ Ùãè ç·¤Øæ »Øæ ç·¤Ìé Âýæ¿èÙ âæçãØ ¥æñÚ â´»èÌ ·ð¤ »ý´Íæð ·¤æð ÂÉÙð ÂÚ ææÌ ãæðÌæ ãñ ç·¤ Âýæ¿èÙÌ× »´ýÍ «¤»ßðÎ ¥æçÎ ×ð´ ¥Ùð·¤ SÍÜæð´ ÂÚ âéÎÚ §â àæÎ ·ð¤ â×æÙ ÜæßØ, ×ÙæðÚ×, ·¤æçÌ, ·¤×ÙèØ, ×ÏéÚ, çFÏ, ¿æM¤ ¥æçÎ àæÎæð´ ·¤æ ÂýØæð» ãé¥æ ãñÐ ÖÚÌ ·ð¤ ÙæÅ÷Ø àææSæ ×ð´ ßæ»ðØ·¤æÚæ𴠷𤠻éæ-¥ß»éæ ·ð¤ âÎÖü ×ð´ °ß´ Úâ ¿ßüææ ×ð´ âæñ´ÎØü °ß´ ©â·ð¤ ÂØæüØæð´ ·¤æ ÂýØæð» ãé¥æ ãñÐ Úæ×æØæ ×ð´ ¥Ùð·¤ SÍÜæð´ ÂÚ ÌÍæ çßçÖóæ »ýÍæð´ ×´ð Úâæ𴠷𤠥æÏæÚ ÂÚ ãè Úæ»-Úæ»çÙØæð´ ·ð¤ ç¿ææð ·¤è ·¤ËÂÙæ ×ð´ ©Ù·¤æ SßM¤Â ßçæüÌ ç·¤Øæ »Øæ ãñ, §â Âý·¤æÚ Úâ ·¤æ âÕÏ ç¿æ·¤Üæ âð Öè ãñÐ Úæ» ·ð¤ ×æØ× âð çßçÖóæ Úâæð´ ·¤è ¥çÖÃØçÌ ·¤æð ç¿æ·¤æÚæð´ mæÚæ Úæ» ØæÙ ÌÍæ Úæ»-Úæç»Ùè ç¿æ ×æÜæ¥æð´ ·ð¤ M¤Â ×ð´ Ú¿æ »ØæÐ Úæ» ç¿ææ𴠷𤠥æÏæÚ ÂÚ Úæ» ØæÙ Öè çÜ° »ØðР´. âæð×ÙæÍ Ùð ÒÚæ» çßßæÏÓ »ý´Í ×ð´ Úæ» ·ð¤ ÙæÎ×Ø ¥æñÚ ÎðßÌæ×Ø SßM¤Â ·¤æ ßæüÙ ç·¤Øæ ãñÐ Úæ»æð´ ·ð¤ â×æÙ »æØÙ àæñçÜØæ¡ Öè çßçÖóæ Öæßæð´ ÂýÖæßæð´ âð âÕçÏÌ ãñÐ ÏýéÂÎ »æØ·¤è ÏèÚ »ÖèÚ, Ï×æÚ ãæðÚè Âýâ´»è ·ð¤ ·¤æÚæ ÜæçÜØ, ØæÜ âð oý´»æçÚ·¤, Æé×Úè âð ×æÏéØü, ¥æçÎ Öæßæð´ ·¤æ â´¿æÚ ãæðÌæ ãñ ©âè Âý·¤æÚ ßæl çßàæðá Öè çßçÖóæ Úâæð´ ·¤æð çÙcÂçæ ×ð´ âãæØ·¤ ãñÐ âæñÎØæüÙéÖêçÌ °ß´ Úâ çÙcÂçæ ×ð´ Úæ» °·¤ âÕÜ ×æØ× ãñÐ Úæ» ×ð´ Õ´çÎàæ ·ð¤ àæÎ, SßÚæð´ ·¤æ ¹æâ Ü»æß, ¥Ü·¤æÚæð´ ·¤æ â´ÌéçÜÌ ÂýØæð», ÜØ-ÌæÜ ·¤æ â×ßØ ¥æçÎ Âý×é¹ Ìß ãñ Áæð Úæ» ·¤æð âæñÎØü âð ÖÚ ÎðÌð ãñÐ ·¤æ·é¤ ·¤æ ©ç¿Ì ÂýØæð» Öè ÚâæçÖÃØçÌ ·¤æ ×ãßÂêæü ¥´» ãñÐ â´»èÌ mæÚæ âæñÎØüÕæðÏ ·¤ÚÙð ·ð¤ çÜØð §Ù âÖè ÕæÌæð´ ·¤æ ØæÙ ¥æßàØ·¤ ãñÐ ÂÚ âéÎÚ àæÎ ·¤è ¿¿æü ãñ, ·¤æçÜÎæâ ¥æçÎ ¥Ùð·¤ ·¤çßØæð´ Ùð âæñÎØü àæÎ ·¤æ ÂýØæð» ç·¤Øæ ãñ, Áãæ¡ ßSÌé»Ì ãæðÙð ·ð¤ âæÍ âæÍ ¥æ×»Ì âæñÎØü âð ¥æÙÎ Úâ - ¥çÙß¿üÙèØ âé¹ ·¤æð ¥ÙéÖêçÌ ×æÙæ ãñÐ ÖæÚÌèØ ÎàæüÙ ×ð´ ßñâð âæñÎØü âð Âýæ# ¥æÙ´Î ·¤æð Õýræ ·¤è ¿Ú× ÂçÚçæçÌ ×æÙæ ãñÐ âæñÎØü ·¤è ¥çÖÃØçÌ ãè Úâ ·¤è ¥ßSÍæ ·¤æð Âýæ# ·¤ÚÙð ×ð´ âãæØ·¤ ãñÐ ÖÚÌ Ùð ÙæÅ÷ØàææSæ ×ð´ âßüÂýÍ× Úâ âêÜ ·¤è ÃØæØæ ·¤ÚÙð ãéØð Öæß, ¥ÙéÖæß, çßÖæß, â´¿æÚè, SÍæØè Öæß, ¥æÜ´ÕÙ, ©gèÂÙ ·¤è ¿¿æü ·¤è ãñ, ©ãæðÙð çßçÖóæ Úâæð´ ·¤æ âæÌ SßÚæð´ âð âÕÏ ÕÌæØæ ãñ °ß´ Ú⠷𤠥æÏæÚ ÂÚ SßÚæð´ ·ð¤ ßæü, ÎðßÌæ, Ú´» ×ð´ ÕÌæØð ãñÐ ÖÚÌ ·ð¤ ÕæÎ
D1605 17 P.T.O. Raga is also a vital element in expression of beauty and Rasa and the various components of a Raga like Bandish, Swara, Laya, Tempo, Atap, Sargam, Tan, contribute to the expression of pleasure of a Raga. Kaku is another vital element of Ras - theory. For deriving aesthetic feeling and Ananda - Rasa, these all factors become of inevitable importance. 46. The author is primarily concerned with : (A) There is no reference of beauty in Indian music (B) The mention of Saundarya and its parallel words have been always found in Indian texts from vedic yug (C) Several treaties have been written an aesthetics in Indian music (D) Much has been written on aesthetics in Indian music and not on Rasa
47. (A) Words like Manoram, Lavanya, Sundar have been used in Indian literature for Saundarya (B) In Indian literature, there is no word used as parallel to Saundarya (C) No texts refers to aesthetics and Rasa in Indian literature (D) Anand is not parallel to Rasa, but Snigdh, Charu are equivalent to Rasa
48. (A) Bharat has not dealt with the merits and demerits of Vaggeykar in his Natya Shastra (B) Natya Shastra makes a reference of Rasa theory in detail (C) Ramayan does not use word Saundarya on any occasion (D) Kalidas has also not used the word Saundarya in his text
49. (A) Scholars have referred to the realistic and idealistic views of aesthetics (B) Aesthetics has been expressed on realistic grounds only (C) Aesthetics has been expressed on idealistic grounds only (D) The pleasure derived from beauty has not been associated to that of Almighty
50. (A) Raga Paintings, Raga Dhyanas and Rag - Ragini classification have been formed on the basis of rasas (B) No Rag has been associated with any Rasa in Raga Mala paintings (C) Rasa has no place in Indian music (D) Ragas have no identity in Aesthetics and Rasa in Indian music
D1605 18 ¥çÖÙß »é#, à洷餷¤, δÇè, ×çã×, ·¤æçÜÎæâ, ´. Á»óææÍ, Âýæð.·ð¤.âè. Âæ´Çð ¥æçÎ ¥Ùð·¤ çßmæÙæð´ Ùð Úâ ÂÚ ¿¿æü ·¤è ãñÐ â´»èÌ ×ð´ Úæ»-Úæ»çÙØæð´ ·¤è ·¤ËÂÙæ Öè çßçÖóæ Úâæ𴠷𤠥æÏæÚ ÂÚ ·¤è »§üÐ âßüÂýÍ× ÙæÚÎ Ùð â´»èÌ ×·¤Ú´Î ×ð´ Úæ»æð´ ·ð¤ ÂéM¤áL¤Â ß Úæç»Ùè ·ð¤ Sæè M¤Â ·¤è ·¤ËÂÙæ ·¤è, ¥æñÚ §âè ·¤ËÂÙæ ·ð¤ ¥æÏæÚ ÂÚ ×Ø·¤æÜ ×ð´ Úæ» Úæç»Ùè ß»èü·¤Úæ ÂgçÌ ·¤æ çß·¤æâ ãé¥æÐ ¥æÁ Öè ·é¤À â´»èÌæ Úæ»æð´ ·¤è Âý·ë¤çÌ ÌÍæ ©Ù·ð¤ SßM¤Â ·ð¤ ¥æÏæÚ ÂÚ ©Ù×ð´ çÙçãÌ Öæßæ×·¤Ìæ ·¤æ çÙæüØ Úæ»-Úæç»Ùè ß»èü·¤Úæ ×æÙÌð ãñ´Ð 46. ÂýSÌéÌ ¥ÙéÀðÎ ×ð´ Üð¹·¤ ·¤æ ¥çÖÂýæØ §ââð ãñ Ñ
(A) ÖæÚÌèØ âæçãØ ×ð´ âæñÎØü Áñâæ ·¤æð§ü àæÎ Ùãè ç×ÜÌæ
(B) ÖæÚÌèØ âæçãØ ×ð´ ßñÎè·¤ Øé»æð´ âð âæñÎØü àæÎ ·¤è ¿¿æü ©â·ð¤ ¥Ùð·¤ ÂØæüØæð´ ·ð¤ M¤Â ×ð´ ç×ÜÌè ãñ
(C) ÖæÚÌèØ âæçãØ ×ð´ âæñÎØüàææSæ ÂÚ ¥Ùð·¤ »ý´Í çܹð »Øð (D) ÖæÚÌèØ âæçãØ ×ð´ âæñÎØüàææSæ ÂÚ ¥çÏ·¤ ¥æñÚ ÚâàææSæ ÂÚ ·¤æð§ü ¿¿æü Ùãè ç×ÜÌè
47. (A) âæñÎØü ·ð¤ çÜØð ÖæÚÌèØ âæçãØ ×ð´ ×ÙæðÚ×, âéÎÚ, ÜæßØ Áñâð àæÎæð´ ·¤æ ÂýØæð» ç×ÜÌæ ãñ
(B) âæñÎØü ·ð¤ âÕÏ ×ð´ ÖæÚÌèØ âæçãØ ×ð´ ·¤æð§ü àæÎ ÂØæüØ M¤Â ×ð´ Ùãè ç×ÜÌæ (C) ç·¤âè Öè »ý´Í ×ð´ âæñÎØü °ß´ Úâ ·¤è ¿¿æü Ùãè ç×ÜÌè
(D) Úâ àæÎ ·¤æ ÂØæüØ ¥æÙÎ ·ð¤ M¤Â ×ð´ Ùãè ç×ÜÌæ, ÕçË·¤ çSÙÏ ¿æL¤ ¥æçÎ àæÎæð´ ·ð¤ M¤Â ×ð´ ç×ÜÌæ ãñ
48. (A) ÖÚÌ Ùð ÙæÅ÷ØàææSæ ×ð´ ßæ»ðØ·¤æÚæ𴠷𤠻éæ-¥ß»éææð´ ·¤è ·¤æð§ü ¿¿æü Ùãè ·¤èÐ (B) ÙæÅ÷ØàææSæ ×ð´ Úâ àæÎ ·¤è ÃØéæÂçæ °ß´ Úâ çâhæÌ ·¤æ Âêæü çßßð¿Ù ç×ÜÌæ ãñÐ
(C) Úæ×æØæ ×ð´ ·¤ãè Öè âéÎÚ àæÎ ·¤æ ÂýØæð» Øæ ©â·ð¤ ÂØæüØ M¤Â ×ð´ ·¤æð§ü ¿¿æü Ùãè ç×ÜÌèÐ
(D) ·¤æÜèÎæâ Ùð Öè âéÎÚ àæÎ ·¤è ¿¿æü ·¤ãè´ Ùãè´ ·¤è ãñÐ
49. (A) âæñÎØü ·¤æð ¥Ø»Ì ¥æñÚ ßSÌé»Ì ÎæðÙæð´ M¤Âæð´ ×ð´ ×æÙ·¤Ú çßmæÙæð´ Ùð ¿¿æü ·¤è ãñ
(B) âæñÎØü ·¤æð ·ð¤ßÜ ßæSÌßßæÎè ×æÙæ »Øæ
(C) âæñÎØü ·¤æð ·ð¤ßÜ ¥æ×»Ì ×æÙæ »Øæ
(D) âæñÎØü âð Âýæ# ¥æÙÎ ·¤æð Õýræ âð ·¤ãè´ Öè âÕçÏÌ Ùãè ç·¤Øæ »Øæ
50. (A) ÖæÚÌèØ â´»èÌ ×ð´ Úâæ𴠷𤠥æÏæÚ ÂÚ Úæ»-Úæç»Ùè ß»èü·¤Úæ, Úæ»æð´ ·ð¤ ç¿æ °ß´ ØæÙ ·¤è ÂçÚ·¤ËÂÙæ ç×ÜÌè ãñÐ
(B) Úæ» ç¿æ×æÜæ¥æð´ ×ð´ ·¤æð§ü Öè Úæ» Úæç»Ùè ç·¤âè Úâ âð âÕçÏÌ Ùãè ãñ
(C) ÖæÚÌèØ â´»èÌ ×ð´ Úâ ·¤æ ·¤æð§ü SÍæÙ Ùãè ãñ (D) âæñÎØæüÙéÖêçÌ °ß´ ÚâæÙéÖêçÌ ×ð´ â´»èÌ ·ð¤ Úæ»æð´ ·¤æ ·¤æð§ü SÍæÙ Ùãè ãñ
D1605 19 P.T.O. PART - III Karnatik Music (Vocal, Instrumental, Percussion)
26. Sarasa samadhana in Kapi Narayani is a : (A) Tridhatu Prabandha (B) Kriti (C) Padam (D) Divyanamam
27. Sadasiva Brahmendra is the composer of : (A) Tera Teyaga rada (B) Guruleka yetuvanti (C) Manasa saneare (D) Aparadhamulu
28. A kriti with svaras and jatis : (A) Durusuga kripa juci (B) Sobhillu sapta svara (C) Shankari neive (D) Sri Mahaganapatira
29. Anuloma in a pallavi is the change in speed in : (A) Sahitya (B) Tala (C) Both the above (D) None of the above two
30. Not a Tana Varnam : (A) Manasime paritapam (B) Sarasya Mukhi (C) Kankangi (D) Jalajakshi
31. Timila is a : (A) Wind instrument (B) Percussion (C) Stringed (D) None of the above
32. Musical stone pillars can be found in : (A) Suchindram (B) Humphi (C) Madhurai (D) All the above
33. Tala dasa pranas include : - (A) Prastara (B) Yati (C) Jati (D) All the above
34. A leading musician who is disciple of Musiri : (A) M. Balamurali Krishna (B) T.K. Govindarao (C) Umayalpuram Swaraman (D) K.S. Narayanaswamy
D1605 20 PART - III ·¤ÙæüÅ·¤ (»æØÙ, ßæÎÙ)
26. ·¤æÂè ÙæÚæØæè Úæ» ÂÚ ¥æÏæçÚÌ âÚâ â×æÏæÙæ °·¤ Ñ
(A) çæÏæÌé ÂýÕÏ (B) ·ë¤çÌ (C) ÂÎ× (D) çÎÃØÙæ×æ
27. âÎæçàæß ÕýãðÎý ·¤è Úç¿Ì Ñ
(A) ÌðÚ ÌèØ»æ ÚæÎæ (B) »éM¤Üð·¤ °ÅéßÅè (C) ×æÙâ â´¿ÚÚð (D) ¥ÂÚææ×éÜæð
28. SßÚ ¥æñÚ ÁçÌ ØéÌ ·ë¤çÌ Ñ
(A) ÎéL¤âé»æ ·ë¤Â Áê¿è (B) âæðçÖé â# SßÚ (C) àæ´·¤Úè Ùèßð (D) æè ×ãæ»æÂçÌÚ
29. ÂËÜßè ×ð´ ¥ÙéÜæð× Øã çÙÙ ×ð´ »Ìè ×ð´ ÕÎÜæß ãñ Ñ
(A) âæçãØ (B) ÌæÜ (C) ©ÂÚæðÌ ÎæðÙæð´ ãè (D) ©ÂÚæðÌ ×ð´ âð ·¤æð§ü Ùãè
30. ÌæÙ ßæü× Ùãè ãñ Ñ
(A) ×Ùçâ×ð ÂçÚÌæÂ× (B) âæÚSØ ×é¹è (C) ·¤Ù·¤æ»è (D) ÁÜÁæÿæè
31. çÌç×Üæ °·¤ Ñ
(A) âéçáÚ ßæl ãñ (B) ¥ßÙÏ ßæl (C) Ì´Ìé ßæl (D) ©ÂÚæðÌ ×ð´ âð ·¤æð§ü Ùãè´
32. âæ´ç»çÌ·¤ çàæÜæ SÍÖ ç·¤â Á»ã çSÍÌ ãñ Ñ
(A) âé¿èÎý× (B) ãȤè (C) ×ÏéÚæ§ü (D) ©ÂÚæðÌ âÖè
33. ÌæÜ Îâ Âýææ ×ð´ âç×çÜÌ Ñ
(A) ÂýSÌæÚæ (B) ØçÌ (C) ÁæçÌ (D) ©ÂÚæðÌ âÖè
34. çßØæÌ â´»èÌ·¤æÚ Áæð ×éçâçÚ ·ð¤ çàæcØ ãñ Ñ
(A) °× ÕæÜ×éÚÜè ·ë¤cæ (B) Åè ·ð¤ »æðçßÎ Úæß
(C) ©×ØæÜÂéÚ× çàæßÚæ×Ù (D) ·ð¤ °â ÙæÚæØæSßæ×è
D1605 21 P.T.O. 35. Tauratrikam is a term defined for sangita in : (A) Natya Shastra (B) Svaramela Kalanidhi (C) Chaturdandi Prakasika (D) Sangita Ratnakara
36. The Tanjore model vina has : (A) 22 frets (B) 23 frets (C) 24 frets (D) None of the above
37. Ullasita is a : (A) Dasa prana (B) Sulaadi Tala (C) Gamaka (D) None of the above
38. Jalatarangam is also known as : (A) Jalavadyam (B) Udaka vadyam (C) Villu vadyam (D) None of the above
39. Kudumiyamalai inscription is found in : (A) Tanjore (B) Thiruvaroor (C) Kumbhakonam (D) Pudukottai
40. Chidambaram temple of Nataraja is famous for : (A) Musical stone pillars (B) Avanadha vadyas (C) 108 Karnas (D) 32 Angaharas
41. Panchavadyam is an important ensemble of : (A) Tamil nadu (B) Andhra Pradesh (C) Karnataka (D) Kerala
42. Match the following : List - I List - II (a) Geya Natakas (i) Opera (b) Kutapas (ii) Narayana Tirthar (c) Tarangam (iii) Musical accompaniment (d) Yakshagana (iv) Dance drama Code : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (ii) (i)
D1605 22 35. â´»èÌ ·¤è ÂçÚÖæáæ ÒææñÚæè·¤×Ó Ñ (A) ÙæÅK àææSæ (B) SßÚ×ðÜ·¤ÜæçÙçÏ (C) ¿ÌéÚÎÇè Âý·¤æçàæ·¤æ (D) â´»èÌ ÚÙæ·¤Úæ
36. ÌÁæðÚ ßèææ ×ð´ Ñ (A) 22 ÂÚÎð ãñ (B) 23 ÂÚÎð ãñ (C) 24 ÂÚÎð ãñ (D) ©ÂÚæðÌ ·¤æð§ü Ùãè´
37. ©çâÌ °·¤ Ñ (A) Îâ Âýææ ãñ (B) âêÜæÎè ÌæÜ ãñ (C) »×·¤ ãñ (D) ©ÂÚæðÌ ×ð´ âð ·¤æð§ü Ùãè´
38. ÁÜÌÚ´»× ·¤æ ÎêâÚæ Ùæ× ãñ Ñ (A) ÁÜ ßæl (B) ©Ç·¤ ßæl (C) çßÜÜ ßæl (D) ©ÂÚæðÌ ×ð´ âð ·¤æð§ü Ùãè´
39. ·é¤Çéç×Øæ×Üñ çàæÜæÜð¹ Øãæ¡ ãñ Ñ (A) ÌÁæðÚ (B) çÌL¤ßæM¤Ú (C) ·é¤Ö·¤æðæ× (D) ÂéÇé·¤æð ãñ
40. ÙÅÚæÁ ·¤æ ç¿ÎÕÚ× ×´çÎÚ §â·ð¤ çÜ° çßØæÌ ãñ Ñ (A) â´æç»çÌ·¤ çàæË SÍÖ ·ð¤ çÜ° (B) ¥ßÙÏ ßælæð´ ·ð¤ çÜ° (C) 108 ·¤ææðü ·ð¤ çÜ° (D) 32 ¥»ãæÚæð´ ·ð¤ çÜ°
41. ´¿ßæl× ßæl â×êã ÂæØæ ÁæÌæ ãñ Ñ (A) Ìç×ÜÙæÇé (B) ¥æÏý ÂýÎðàæ (C) ·¤ÙæüÅ·¤ (D) ·ð¤ÚÜ
42. âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) »ðØ ÙæÅ·¤ (i) ¥æðÂðÚæ (b) ·é¤Åé (ii) ÙæÚæØæ ÌèÚÍÚ (c) ÌÚ´»× (iii) â´»Ì (d) Øÿæ»æÙ (iv) ÙëØ ÙæçÅ·¤æ ·¤æðÇ : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (ii) (i)
D1605 23 P.T.O. 43. Match the following : List - I List - II (a) Gottuvadyam (i) Musical dialogue (b) Samvaada daru (ii) Sambhoga (c) Vipralambha (iii) Vena Kuppayar (d) Tana Varnam (iv) Stringed ins Code : (a) (b) (c) (d) (A) (iv) (ii) (iii) (i) (B) (i) (iii) (ii) (iv) (C) (iv) (i) (ii) (iii) (D) (iii) (ii) (i) (iv)
44. Match the following : List - I List - II (a) Navaratna malika (i) Syama Shastri (b) Panchalinga sthala kritis (ii) Svati Thirunal (c) Navaratri kritis (iii) Tyagaraja (d) Nowka Charitam (iv) Muttuswami Dikshitar Code : (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (i) (iv) (ii) (iii) (C) (ii) (iv) (iii) (i) (D) (iii) (iv) (ii) (i)
45. Match the following : List - I List - II (a) Indu (i) Samudaya kritis (b) Kovur Pancharatnam (ii) Raga chaya svaras (c) Jiva Svara (iii) Nagasvaram (d) Periya melom (iv) Netra Code : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (iii) (ii) (iv) (i) (C) (ii) (i) (iii) (iv) (D) (iii) (iv) (i) (ii)
46. Assertion and Reasoning : Assertion (A) : There is no place for sangatis in folk music. Reasoning (R) : It is primarily meant for entertainment of masses. (A) Both (A) and (R) are true (B) (A) is false, (R) is true (C) (A) is true but (R) is false (D) Both (A) and (R) are false
D1605 24 43. âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) »éÅé ßæl (i) â´»èÌ×Ø â×ßæÎ (b) â×ßæÎ ÎL¤ (ii) âÖæð» (c) çßÂýÜÖ (iii) ßèææ ·é¤ÂñÚ (d) ÌæÙ ßæü (iv) ÌÌ ßæl ·¤æðÇ : (a) (b) (c) (d) (A) (iv) (ii) (iii) (i) (B) (i) (iii) (ii) (iv) (C) (iv) (i) (ii) (iii) (D) (iii) (ii) (i) (iv)
44. âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) ÙßÚÙ ×æçÜ·¤ (i) àææ×æ àææSæè (b) ´¿çÜ´» SÍÜ ·ë¤çÌ (ii) SßæçÌ çÌL¤ÙæÜ (c) ÙßÚææè ·ë¤çÌ (iii) Øæ»ÚæÁ (d) Ùæñ·¤æ ¿çÚÌ× (iv) ×éæéSßæ×è ÎèçÿæÌÚ ·¤æðÇ : (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (i) (iv) (ii) (iii) (C) (ii) (iv) (iii) (i) (D) (iii) (iv) (ii) (i)
45. âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) §Îé (i) â×éÎæØ ·ë¤çÌ (b) ·¤æðßêÚ Â¿ÚÙ (ii) Úæ» ÀæØ SßÚ (c) Áèß SßÚ (iii) Ùæ»æSßÚ× (d) ÂðçÚØ ×ðÜ× (iv) Ùðæ ·¤æðÇ : (a) (b) (c) (d) (A) (iv) (i) (ii) (iii) (B) (iii) (ii) (iv) (i) (C) (ii) (i) (iii) (iv) (D) (iii) (iv) (i) (ii)
46. çßÏæÙ ¥æñÚ Ì·ü¤ Ñ çßÏæÙ (A) : Üæð·¤ â´»èÌ ×ð´ âæ´»èçÌ·¤ çßçÖóæÌæ¥æð´ ·¤æ çßàæðá ×ãß Ùãè´ ãñÐ Ì·ü¤ (B) : Üæð·¤ â´»èÌ çßàæðá ÌæñÚ âð ÁÙ â×éÎæØ ·ð¤ ×ÙæðÚ´ÁÙ ·ð¤ çÜØð ãñÐ (A) (A) ¥æñÚ (B) ÎæðÙæð´ âãè ãñ (B) (A) »ÜÌ ãñ (B) âãè ãñ (C) (A) âãè ãñ (B) »ÜÌ ãñ (D) (A) ¥æñÚ (B) ÎæðÙæð´ »ÜÌ ãñ
D1605 25 P.T.O. 47. Assertion and Reasoning : Assertion (A) : The Yazh with guts slowly made an exist. Reasoning (R) : The Tanjore vina made possible the production of subtte graces and decliate tonal shades. (A) (A) is false, (R) is true (B) (A) is true, (R) is false (C) Both (A) and (R) are true (D) Both (A) and (R) are false
48. Sequencing type : Write the correct sequence of the following texts in order of their origin : (A) Sangita samayasara, Dattilam, Naradi siksha, Brihaddesi (B) Brihaddesi, Naradi siksha, Dattilam, Sangita samayasara (C) Naradi siksha, Dattilam, Brihaddesi, Sangita samayasara (D) Sangita samayasara, Dattilam, Naradi siksha, Brihaddesi
49. Arrange the following in order of the 72 melakarta scheme. Use the code given below : (i) Kantamani (ii) Latangi (iii) Rishabhapriya (iv) Vachaspati Code : (A) (i), (iii), (ii), (iv) (B) (ii), (iii), (i), (iv) (C) (iv), (i), (ii), (iii) (D) (iii), (ii), (iv), (i)
50. Arrange the following in order of the chronology of sandhis. Use the code given below : (i) Indra (ii) Bramha (iii) Vayu (iv) Kubera Code : (A) (i), (iii), (ii), (iv) (B) (ii), (i), (iii), (iv) (C) (iv), (iii), (i), (ii) (D) (iii), (i), (ii), (iv)
D1605 26 47. çßÏæÙ ¥æñÚ Ì·ü¤ Ñ çßÏæÙ (A) : ÒØæÜ ÏèÚð ÏèÚð Üé# ãæð »ØæÐ Ì·ü¤ (B) : ÌÁæðÚ ßèææ ×ð´ ÙæÎæ×·¤ âæñ´ÎØü çßàæðá M¤Â âð ©ÖÚ â·ð¤Ð (A) (A) »ÜÌ ãñ (B) âãè ãñ (B) (A) âãè ãñ (B) »ÜÌ ãñ (C) (A) ¥æñÚ (B) ÎæðÙæð´ âãè ãñ (D) (A) ¥æñÚ (B) ÎæðÙæð´ »ÜÌ ãñ
48. ·ý¤×æÙéâæÚ çÜç¹° Ñ (A) â´»èÌ â×ØâæÚ, ÎçæÜ×, ÙæÚÎèçàæÿææ, ÕëãÎÎðâè (B) ÕëãÎÎðâè, ÙæÚÎèçàæÿææ, ÎçæÜ×, â´»èÌ â×ØâæÚ (C) ÙæÚÎèçàæÿææ, ÎçæÜ×, ÕëãÎÎðâè, â´»èÌ â×ØâæÚ (D) â´»èÌâ×ØâæÚ, ÎçæÜ×, ÙæÚÎèçàæÿææ, ÕëãÎÎðâè
49. 72 ×ðÜ·¤Ìæü ¥ÙéâæÚ ·ý¤× âð çÜç¹ØðÐ â´·ð¤Ì âð âãè ·ý¤× ¿éçÙ° Ñ (i) ·¤æÌæ×çæ (ii) ÜÌæ»è (iii) çÚáÖçÂýØæ (iv) ßæ¿SÂçÌ â´·ð¤Ì Ñ (A) (i), (iii), (ii), (iv) (B) (ii), (iii), (i), (iv) (C) (iv), (i), (ii), (iii) (D) (iii), (ii), (iv), (i)
50. â´Ïè ·¤æ âãè ·ý¤× çÜç¹Øð â´·ð¤Ì âð âãè ·ý¤× ¿éçÙ° Ñ (i) §Îý (ii) Õýræ (iii) ßæØê (iv) ·é¤ÕðÚ â´·ð¤Ì Ñ (A) (i), (iii), (ii), (iv) (B) (ii), (i), (iii), (iv) (C) (iv), (iii), (i), (ii) (D) (iii), (i), (ii), (iv)
D1605 27 P.T.O. PART - IV RABINDRA SANGEET
26. Janaganamana was composed by Rabindranath Tagore in the year : (A) 1899 (B) 1905 (C) 1911 (D) 1941
27. The language of the lyrics of Rabindranaths Bhanusinher Padavali is : (A) Bengali (B) Hindi (C) Sanskrit (D) Maithili
28. Rabindranath Tagores life-span is between the years : (A) 1861 - 1941 (B) 1860 - 1940 (C) 1920 - 1980 (D) 1705 - 1800
29. Rabindranath Tagores first lecture - demonstration on music is titled :
(A) P GHUÃ6DQJHHW (B) Sangit O Kabita (C) Sangit O Bhav (D) Sangiter Mukti
30. The famous essay The Origin and Function of Music is written by : (A) Rabindranath Tagore (B) Herbert Spencer (C) Edmund Spencer (D) Arnold Bake
31. Identify the raga of the song Satyamangalapremamaya tumi : (A) Yaman - Kalyan (B) Behag (C) Khamaj (D) Chhayanat
32. The book Sur O Sangati is co-authored by Rabindranath and : (A) Alain Danielou (B) Dhurjatiprasad Mukhopadhyay (C) Maharshi Debendranath Tagore (D) Santideb Ghosh
33. The girl by the name Prakriti is the heroine of Rabindranaths dance - drama : (A) Chandalika (B) Chitrangada (C) Shyama (D) Mayar Khela
34. Identify the raga and tala of the song Vina bajao he mama antare : (A) Purvi , Dhamar (B) Malkaunsh , Chautal (C) Bhairavi , Jhamptal (D) Tilang , Trital
D1605 28 PART - IV ÚÕèÎý â´»èÌ
26. ç·¤â âÙ÷ ×ð´ ÚÕèÎýÙæÍ Åñ»æðÚ mæÚæ ÁÙ»Ù×Ù ·¤è Ú¿Ùæ ·¤è »§ü Íè Ñ (A) 1899 (B) 1905 (C) 1911 (D) 1941
27. ÚÕèÎýÙæÍ ·¤è ÖæÙéçâ´ãðÚ ÂÎæßæÜè ·ð¤ ·¤æÃØ ·¤è Öæáæ ãñ Ñ (A) Õ´»æÜè (B) çãÎè (C) â´S·ë¤Ì (D) ×ñçÍÜè
28. ÚÕèÎýÙæÍ Åñ»æðÚ ·¤æ ÁèßÙ·¤æÜ §Ù ßáæðü ·ð¤ Õè¿ ×ð´ ãñ Ñ (A) 1861-1941 (B) 1860-1940 (C) 1920-1980 (D) 1705-1800
29. ÚÕèÎýÙæÍ ·ð¤ â´»èÌ ÂÚ ÂýÍ× âÖæáææ×·¤ ÂýSÌéçÌ·¤Úæ ·¤æ àæèáü·¤ Íæ Ñ (A) ¥æ×æÎðÚ â´»èÌ (B) â´»èÌ -¥æð-·¤çßÌæ (C) â´»èÌ-¥æð-Öæß (D) â´»èÌðÚ ×éçÌ
30. Âýçâh çÙÕÏ ÒÒâ´»èÌ ·¤æ ©Î÷»× ¥æñÚ ·¤æØüÓÓ ·ð¤ Üð¹·¤ ãñ Ñ (A) ÚÕèÎýÙæÍ Åñ»æðÚ (B) ãÕüÅü SÂñ´âÚ (C) °Ç×´Ç SÂñ´âÚ (D) ¥æÚÙæòËÇ Õð·¤
31. ÒâØ×´»Ü Âýð××Ø Ìéç×Ó »èÌ ·ð¤ Úæ» ·¤æð Âã¿æçÙ° Ñ (A) Ø×Ù ·¤ËØææ (B) çÕãæ» (C) ¹×æÁ (D) ÀæØæÙÅ
32. âéÚ-¥æð-â´»çÌ Ùæ×·¤ ÂéSÌ·¤ ×ð´ ÚÕèÎý ÙæÍ ·ð¤ âãÜð¹·¤ ãñ Ñ (A) °ÜðÙ ÇðçÙËØê (B) ÏéÁæüçÌ ÂýâæÎ ×é¹æðÂæØæØ (C) ×ãçáü ÎðÕðÎýÙæÍ Åñ»æðÚ (D) àææçÌÎðß ææðá
33. Âý·ë¤çÌ Ùæ×·¤ ÜǸ·¤è ÚÕèÎý ÙæÍ ·¤è ç·¤â ÙëØ ÙæçÅ·¤æ ·¤è ¥çÖÙðæè ãñ Ñ (A) ¿æÇæçÜ·¤æ (B) ç¿ææ´»Îæ (C) àØæ×æ (D) ×æØæÚ¹ðÜæ
34. ÒÒßèææ ÕæÁæ¥æð ãð ×× ¥ÌÚðÓÓ »èÌ ·¤æ Úæ» ß ÌæÜ Âã¿æçÙ° Ñ (A) Âêßèü, Ï×æÚ (B) ×æÜ·¤æñ´â, ¿æñÌæÜ (C) ÖñÚßè, ÛæÂÌæÜ (D) çÌÜ´», çæÌæÜ
D1605 29 P.T.O. 35. The title of Rabindranaths Hibbert Lecture in Oxford is :
(A) Personality (B) The Religion of Man
(C) The Crisis of Civilization (D) Creative Unity
36. The song Dhire bandhu dhire sung by the blind Baul in the drama Phalguni has in its time :
(A) 5 notes (B) 6 notes (C) 7 notes (D) All the 12 notes
37. The title of the anthology of Rabindranaths congregation addresses is :
(A) Santiniketan (B) Sriniketan
(C) Dhara Bhashan (D) Prarthana
38. The song Amare Karo tomar bina in Khamaj , Ektal belongs to the thematic category (Paryay) called :
(A) 3 MD (B) Prem (C) Prakriti (D) Swadesh
39. Which one is the first song of the Puja category ?
(A) Tumi keman karo gan karo he guni (B) Kanna-hasir doldolano
(C) Nrityer tale tale (D) .RQÃVXG UÃKRWH
40. Rabindranath derived the theme of his song Tumi amader Pita (Thou art our Father) from :
(A) Sukla Yajur veda (B) The Mahabharata
(C) The Gita (D) Manu Samhita
41. The tune of the song Amar sonar Bangla is :
(A) Kirtan (B) Baul (C) Tori (D) Jhumur
42. The song Prathama adi taba shakti is set to :
(A) Surphakta (B) Tivra (C) Dadra (D) Yat
D1605 30 35. ¥æòâȤæðÇü ×ð´ ÚÕèÎýÙæÍ ·ð¤ çãÕÅü Öæáæ ·¤æ àæèáü·¤ Íæ Ñ
(A) ÂâüÙñçÜÅè (B) çÎ çÚÜèÁÙ ¥æòȤ ×ñÙ
(C) çÎ ·ý¤æ§çââ ¥æòȤ çâçßÜæ§$ÁðàæÙ (D) ç·ý¤°çÅß ØêçÙÅè
36. ȤæÜ»êÙè ÙæÅ·¤ ×ð´ ¥Ïð Õæ©Ü mæÚæ »æ° »° »èÌ ÏèÚð ÕÏê ÏèÚð »èÌ ·¤è ÏéÙ ×ð´ ãñ Ñ
(A) 5 SßÚ (B) 6 SßÚ (C) 7 SßÚ (D) âÖè 12 SßÚ
37. ÚÕèÎýÙæÍ ·ð¤ °·¤çæÌ âÖæáææð ·ð¤ â´·¤ÜÙ ·¤æ àæèáü·¤ ãñ Ñ
(A) àææçÌçÙ·ð¤ÌÙ (B) æèçÙ·ð¤ÌÙ (C) ÏæÚæÖæáæ (D) ÂýæÍüÙæ
38. ¹×æÁ °·¤ÌæÜ ×ð´ ¥æÕh »èÌ ¥æ×æÚð ·¤Úæð Ìæð×æÚ ßèææ çÁâ Âýâ´»æ×·¤ ß»ü ×ð´ âð ãñ ©âð ÂØæüØM¤Â ×ð´ ·¤ãæ Áæ â·¤Ìæ ãñ Ñ
(A) ÂêÁæ (B) Âýð× (C) Âý·ë¤çÌ (D) SßÎðàæ
39. ÂêÁæ ß»ü ×ð´ ÂýÍ× »èÌ ·¤æñÙ âæ ãñ Ñ
(A) Ìé×è ·¤è×æÙ ·¤Úæð »æÙ ·¤Úæð ãð »éçÙ (B) ·¤æóæææãæçàæÚ ÎæðÜÎæðÜæÙæð
(C) ÙëØðÚ ÌæÜð ÌæÜð (D) ·¤æñÙ âéÎêÚ ãæðÌð
40. ÚÕèÎýÙæÍ Ùð ¥ÂÙð »èÌ Ìé×è ¥æ×æÎðÚ çÂÌæ ·ð¤ Âýâ´» ·¤æ ¿ØÙ ç·¤Øæ Íæ Ñ
(A) àæéÜ ØÁéßðüÎ âð (B) ×ãæÖæÚÌ âð (C) »èÌæ âð (D) ×ÙéÑâ´çãÌæ âð
41. ¥æ×æÚ àææðÙæÚ Õ´»Üæ »èÌ ·¤è ÏéÙ ãñ Ñ
(A) ·¤èÌüÙ (B) Õæ©Ü (C) ÌæðǸè (D) Ûæê×éÚ
42. ÂýÍ× ¥æçÎ Ìß àæçÌ »èÌ çÙÕh ãñ Ñ
(A) âêÜȤæÌæ ×ð´ (B) Ìèßýæ ×ð´ (C) ÎæÎÚæ ×ð´ (D) ÁÌ ×ð´
D1605 31 P.T.O. 43. Rabindranath won the Nobel Prize for his book : (A) The Gitanjali in English (B) The Gitanjali in Bengali (C) Gora (D) Chitra
44. Rabindranath dedicated his drama Taser Desh to : (A) Pandit Vishnu Narayan Bhatkhande (B) Netaji Subhash Chandra Basu (C) Kazi Nazrul Islam (D) Kantakabi Rajani Kanta Sen
45. In which essay did Rabindranath mention the reference of Matthew Arnolds poem An Epilogue to Lessings Laocoon ? (A) Katha O Sur (B) Sangit O Kabita (C) Sanchay (D) Dharma
46. Alap - Alochana is Rabindranaths dialogue with : (A) Albert Einstein (B) Romain Rolland (C) Dilip Kumar Ray (D) A.K. Coomaraswamy
47. Rabindranaths first Gitinatya (music - drama) Valmiki - Pratibha was first staged in Jora - Sanko Tagore - Palace in the year : (A) 1881 (B) 1880 (C) 1882 (D) 1879
48. All the twelve notes are artistically used by Rabindranath in his song : (A) Amar paner pare chole gelo ke (B) He nirupama (C) Sahasa dalpala tor (D) Baje karun sure
49. Arup Ratan is a bit shortened form of the drama : (A) Raja (B) Visarjan (C) Rather Rashi (D) Goday galad
50. Rabindranath composed the song Jwal jwal chita dwigun dwigun when his age was just : (A) 10 years (B) 14 years (C) 25 years (D) 62 years
D1605 32 43. ÚÕèÎýÙæÍ ·¤æð ©Ù·¤è 緤⠷ë¤çÌ ·ð¤ çÜ° ÙæðÕðÜ ÂéÚS·¤æÚ ç×Üæ Ñ
(A) ¥»ýð$Áè ×ð´ »èÌæ´ÁçÜ (B) Õ´»æÜè ×ð´ »èÌæ´ÁçÜ (C) »æðÚæ (D) ç¿ææ
44. ÚÕèÎýÙæÍ Ùð ¥ÂÙð ÙæÅ·¤ ÌæàæðÚ Îðàæ ·¤æð â×çÂüÌ ç·¤Øæ Ñ
(A) ´. çßcæé ÙæÚæØæ Öæ̹Çð ·¤æð (B) ÙðÌæÁè âéÖæá¿Îý Õæðâ ·¤æð
(C) ·¤æ$Áè ÙÁM¤Ü §SÜæ× ·¤æð (D) ·¤æÌæ·¤çÕ ÚÁÙè·¤æÌ âðÙ
45. ç·¤â çÙÕÏ ×ð´ ÚÕèÎýÙæÍ Ùð ×ñØê ¥æÚÙæòËÇ ·¤è ·¤çßÌæ ÒÒ°Ù °çÂÜæò» Åé Üñçâ´»÷â Üæ¥æð·ê¤ÙÓÓ ·¤æ ©ð¹ ç·¤Øæ Ñ
(A) ·¤Íæ-¥æð-âéÚ (B) â´»èÌ-¥æð-·¤çßÌæ (C) â´¿Ø (D) Ï×ü
46. ¥æÜæÂ-¥æÜæð¿Ùæ ÚÕèÎýÙæÍ ·¤æ ç·¤â·ð¤ âæÍ ç·¤Øæ »Øæ â´ßæÎ ãñ Ñ
(A) ¥ÜÕÅü ¥æ§üâÅæ§Ù (B) Úæð×ðÙ ÚæñÜñÇ
(C) çÎÜè ·é¤×æÚ Úð (D) °.·ð¤.·é¤×æÚSßæ×è
47. ÚÕèÎýÙæÍ ·¤æ ÂýÍ× »èçÌÙæÅ÷Ø ßæË×èç·¤ ÂýçÌÖæ âßü ÂýÍ× ÁæðÚæ-â´·¤æð-Åñ»æðÚ ÂñÜðâ ×ð´ ÂýSÌéÌ ç·¤Øæ »Øæ Íæ Ñ
(A) 1881 ×ð´ (B) 1880 ×ð´ (C) 1882 ×ð´ (D) 1879 ×ð´
48. ÚÕèÎýÙæÍ mæÚæ âÖè ÕæÚã SßÚæð´ ·¤æ ÂýØæ𻠩ٷ𤠧⠻èÌ ×ð´ ·¤Üæ×·¤ M¤Â ×ð´ ç·¤Øæ »Øæ ãñ Ñ
(A) ¥æ×æÚ ÂýææðÚ ÂæðÚð ¿æðÜð »ðÜæð ·ð¤ (B) ãð çÙM¤Â×æ
(C) âãâæ ÇæÜÂæÜæ ÌæðÚ (D) ÕæÁð ·¤Úæ âéÚð
49. ¥M¤Â ÚÌÙ ç·¤â ÙæÅ·¤ ·¤æ â´çÿæ# SßM¤Â ãñ?
(A) ÚæÁæ (B) çßâÁüÙ (C) ÚæÍðÚ Úæàæè (D) »æñǸæØ »æðÜæðÇ
50. ÚÕèÎýÙæÍ Ùð ßÜ ßÜ ç¿Ì çm»éÙ çm»éÙ »èÌ ·¤è Ú¿Ùæ ·¤è ÁÕ ©Ù·¤è ¥æØé ·ð¤ßÜ×ææ Íè Ñ
(A) 10 ßáü (B) 14 ßáü (C) 25 ßáü (D) 62 ßáü
D1605 33 P.T.O. PART - V PERCUSSION
26. Brahmtaal is consists of : (A) 22 Matras (B) 24 Matras (C) 26 Matras (D) 28 Matras
27. Panav is a : (A) Tal Vadya (B) Avanaddha Vadya (C) Sushir Vadya (D) Ghan Vadya
28. Ada - Chautal has : (A) Four talies and two khalies (B) Four talies and three khalies (C) Three talies and three khalies (D) Four talies and four khalies
29. Tabla player Ustad Maseet Khan belongs to : (A) Delhi gharana (B) Ajarada gharana (C) Benaras gharana (D) Farrukhabad gharana
30. Ustad Hazi Vilayat ali is the founder of : (A) Farrukhabad gharana (B) Banaras gharana (C) Delhi gharana (D) Punjab gharana
31. How many matras are these in Rudra taal ? (A) 9 (B) 10 (C) 11 (D) 12
32. The sequence of appearance of these musicologist : (i) Sharangedeo (ii) Bharat (iii) Bhatkhande (iv) Matang (A) (i), (ii), (iii), (iv) (B) (ii), (i), (iv), (iii) (C) (ii), (iv), (i), (iii) (D) (iv), (ii), (i), (iii)
33. Pandit Nikhil Ghosh was honoured by : (A) Padmashree (B) Padma Bhushan (C) Padma Vibhushan (D) None of these
34. Talies fall on first, third and eighth matra in : (A) Tritaal (B) Ektaal (C) Jhaptaal (D) Chautaal
D1605 34 PART - V ¥ßÙÎ ßæl
26. ÕýræÌæÜ ×ð´ ·é¤Ü ×æææ°´ ãñ Ñ (A) 22 ×æææ (B) 24 ×æææ (C) 26 ×æææ (D) 28 ×æææ
27. ÒÂæßÓ °·¤ ______ßæl ãñÐ (A) ÌæÜ ßæl (B) ¥ßÙh ßæl (C) âéçáÚ ßæl (D) æÙ ßæl
28. ¥æÇæ¿æñÌæÜ ×ð´ Ñ (A) ¿æÚ ÌæÜè ÌÍæ Îæð ¹æÜè ãæðÌè ãñÐ (B) ¿æÚ ÌæÜè ÌÍæ ÌèÙ ¹æÜè ãæðÌè ãñÐ (C) ÌèÙ ÌæÜè ÌÍæ ÌèÙ ¹æÜè ãæðÌè ãñÐ (D) ¿æÚ ÌæÜè ÌÍæ ¿æÚ ¹æÜè ãæðÌè ãñÐ
29. ÌÕÜæ ßæη¤ ©SÌæÎ ×âèÌ ¹æ´ ç·¤â æÚæÙð âð â´Õ´çÏÌ ãñ´? (A) çÎè æÚæÙæ (B) ¥ÁÚæǸæ æÚæÙæ (C) ÕÙæÚâ æÚæÙæ (D) ȤLü¤¹æÕæÎ æÚæÙæ
30. ©SÌæÎ ãæ$Áè çßÜæØÌ ¥Üè ç·¤â æÚæÙð ·ð¤ â´SÍæ·¤ ãñ´? (A) ȤLü¤¹æÕæÎ æÚæÙæ (B) ÕÙæÚâ æÚæÙæ (C) çÎè æÚæÙæ (D) ´ÁæÕ æÚæÙæ
31. M¤ÎýÌæÜ ×ð´ ç·¤ÌÙè ×æææ°´ ãñ´? (A) 9 (B) 10 (C) 11 (D) 12
32. çÙÙçÜç¹Ì â´»èÌàææçSæØæð´ ·¤æð â×æØæÙéâæÚ ·ý¤×ÕÎ ·¤èçÁ° Ñ (i) àææXüÎðß (ii) ÖÚÌ (iii) Öæ̹Çð (iv) ×Ì´» (A) (i), (ii), (iii), (iv) (B) (ii), (i), (iv), (iii) (C) (ii), (iv), (i), (iii) (D) (iv), (ii), (i), (iii)
33. ÂçÇÌ çÙç¹Ü ææðá ·¤æð â×æçÙÌ ç·¤Øæ »Øæ Íæ Ñ (A) Âkæè âð (B) Âk Öêáæ âð (C) Âk çßÖêáæ âð (D) ©ÂÚæðÌ ×ð´ âð ·¤æð§ü Ùãè´
34. ÂãÜè, ÌèâÚè ÌÍæ ¥æÆßè ×æææ ÂÚ ÌæÜè ãñ Ñ (A) çæÌæÜ ×ð´Ð (B) °·¤ÌæÜ ×ð´Ð (C) ÛæÂÌæÜ ×ð´Ð (D) ¿æñÌæÜ ×ð´Ð
D1605 35 P.T.O. 35. How many Deshi talas are described by Sharangdeo ? (A) 108 (B) 110 (C) 115 (D) 120
36. Which of these is not an Avanaddha Vadya ? (A) Daff (B) Damaru (C) Kartaal (D) Nakkara
37. Pandit Ramshankar Das was popularly known as : (A) Pakhawaj Das (B) Pagal Das (C) Mridang Shiromani (D) Pagala Maharaj
38. Match the following : List - I List - II (a) Karamatullah Khan (i) Dholak (b) Raja Chhatrapati Singh (ii) Mridangam (c) Umayalpuram Shivaraman (iii) Tabla (d) Bafati Khan (iv) Pakhawaj Code : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (iii) (iv) (ii) (i) (D) (iii) (iv) (i) (ii)
39. Assertion (A) : The highest elaboration is possible of Peshkar. Reason (R) : Because the syllables other than the original composition can also be used in it. (A) (A) is true but (R) is false (B) (A) is false but (R) is true (C) Both (A) and (R) are false (D) Both (A) and (R) are true
40. The syahi of Tabla is made of : (A) Powder of coal (B) Powder of wood (C) Powder of iron - ore (D) None of them
41. The number of Marg taalas described in Natyashastra is : (A) 4 (B) 5 (C) 6 (D) 7
42. Layakari of Sawagun means :
(A) 4 (B) 3 (C) 5 (D) 5 5 5 4 7
D1605 36 35. àææXüÎðß Ùð ç·¤ÌÙð Îðàæè ÌæÜæð´ ·¤æ ßæüÙ ç·¤Øæ ãñ? (A) 108 (B) 110 (C) 115 (D) 120
36. çÙÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ ¥ßÙÎ ßæl Ùãè´ ãñ? (A) ÇȤ (B) Ç×M¤ (C) ·¤ÚÌæÜ (D) ÙP¤æÚæ
37. ÂçÇÌ Úæ×àæ´·¤ÚÎæâ ·¤æ Üæð·¤çÂýØ Ùæ× Íæ Ñ (A) ¹æßÁ Îæâ (B) Âæ»Ü Îæâ (C) ×ëδ» çàæÚæð×çæ (D) »Üæ ×ãæÚæÁ
38. çÙÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁ°ð Ñ (a) ·¤Úæ×Ìéæã ¹æ´ (i) ɸæðÜ·¤ (b) ÚæÁæ ÀæÂçÌ çâ´ã (ii) ×ëδ»×÷ (c) ©×ØæÜÂéÚ×÷ çàæßÚæ×Ù÷ (iii) ÌÕÜæ (d) Õ$ȤæÌè ¹æ´ (iv) ¹æßÁ ·¤æðÇ : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (iii) (iv) (ii) (i) (D) (iii) (iv) (i) (ii)
39. çßÏæÙ (A) : Âðàæ·¤æÚ ·¤æ âßæüçÏ·¤ çßSÌæÚ â´Öß ãñ´Ð Ì·ü¤ (R) : Øæð´ ç·¤ ×êÜ Ú¿Ùæ ×ð´ ÂýØéÌ ÕæðÜæ𴠷𤠥çÌçÚÌ ¥Ø ÕæðÜ Öè çßSÌæÚ ×ð´ ÂýØéÌ ç·¤Øð Áæ â·¤Ìð ãñ´Ð (A) (A) âãè ãñ ç·´¤Ìé (R) »ÜÌ ã´ñÐ (B) (A) »ÜÌ ãñ ç·´¤Ìé (R) âãè ãñ´Ð (C) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (D) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ´Ð
40. ÌÕÜð ·¤è SØæãè ÕÙÌè ãñ Ñ (A) ·¤æðØÜð ·ð¤ ¿éÚð âð (B) Ü·¤Çè ·ð¤ ¿éÚð âð (C) Üæðãð ·ð¤ ¿éæü âð (D) ©ÂÚæðÌ ×ð´ âð ç·¤âè âð Ùãè´
41. ÙæÅ÷ØàææSæ ×ð´ ßçæüÌ ×æ»üÌæÜæð´ ·¤è â´Øæ Ñ (A) 4 (B) 5 (C) 6 (D) 7
42. âßæ»éÙ ·¤è ÜØ·¤æÚè ·¤æ ¥Íü ãñ Ñ
(A) 4 (B) 3 (C) 5 (D) 5 5 5 4 7
D1605 37 P.T.O. 43. Chautaal taal is mainly accompanied with : (A) Dhrupad (B) Dhamar (C) Thumari (D) Khayal
44. Main Taalas of present karnatak music are : (A) 5 (B) 6 (C) 7 (D) 8
45. Match the following : List - I List - II (a) Gamee Khan (i) Farrukhabad gharana (b) Zakir Hussain (ii) Lucknow gharana (c) Swapan Chaudhary (iii) Punjab gharana (d) Sabir Khan (iv) Delhi gharana Code : (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (i) (iv) (iii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii)
46. The author of Bhartiya Sangeet Vadya is : (A) Acharya Brihaspati (B) B.C. Deva (C) Lalmani Mishra (D) V.N. Bhatkhande
47. Name of the book, which is written by Dr. A.K. Sen, is : (A) Bhartiya Ragon ka shastriya Vivechan (B) Bhartiya Talon ka Adhyayan (C) Bhartiya Talon ka Saundaryatmak Vivechan (D) Bhartiya Talon ka Shastriya Vivechan
48. Ustad Gamee Khan belongs to : (A) Delhi gharana (B) Punjab gharana (C) Ajarada gharana (D) Lucknow gharana
49. ______gharana is known for Quaidas of Adi laya : (A) Lucknow (B) Delhi (C) Ajarada (D) Kudau Singh
50. Shikher taal consists of : (A) 15 Matras (B) 16 Matras (C) 17 Matras (D) 18 Matras
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D1605 38 43. ¿æñÌæÜ ×éØM¤Â âð ÕÁæØæ ÁæÌæ ãñ Ñ (A) ÏéýÂÎ ·ð¤ âæÍÐ (B) Ï×æÚ ·ð¤ âæÍÐ (C) Æé×Úè ·ð¤ âæÍÐ (D) $¹ØæÜ ·ð¤ âæÍÐ
44. ßÌü×æÙ ·¤ÙæüÅ·¤ â´»èÌ ×ð´ ×éØ ÌæÜæð´ ·¤è â´Øæ ãñ Ñ (A) 5 (B) 6 (C) 7 (D) 8
45. çÙÙ ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ (a) »æ×ð ¹æ´ (i) ȤLü¤¹æÕæÎ æÚæÙæ (b) $Áæç·¤Ú ãéâñÙ (ii) ܹ٪¤ æÚæÙæ (c) SßÂÙ ¿æñÏÚè (iii) ´ÁæÕ æÚæÙæ (d) âæçÕÚ ¹æ´ (iv) çÎè æÚæÙæ ·¤æðÇ : (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (i) (iv) (iii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii)
46. ÒÖæÚÌèØ â´»èÌ ßælÓ ÂéSÌ·¤ ·ð¤ Üð¹·¤ ãñ Ñ (A) ¥æ¿æØü ÕëãSÂçÌ (B) Õè.âè. Îðß (C) ÜæÜ×çæ ç×oý (D) ßè.°Ù. Öæ̹Çð
47. Çæò. °. ·ð¤. âðÙ mæÚæ çÜç¹Ì ÂéSÌ·¤ ãñ Ñ (A) ÖæÚÌèØ Úæ»æð´ ·¤æ àææSæèØ çßßð¿ÙÐ (B) ÖæÚÌèØ ÌæÜæð´ ·¤æ ¥ØØÙÐ (C) ÖæÚÌèØ ÌæÜæð´ ·¤æ âæñÎØæü×·¤ çßßð¿ÙÐ (D) ÖæÚÌèØ ÌæÜæð´ ·¤æ àææSæèØ çßßð¿ÙÐ
48. ©SÌæÎ $»æ×ð ¹æ´ â´Õ´çÏÌ ãñ´ Ñ (A) çÎè æÚæÙð âðÐ (B) ´ÁæÕ æÚæÙð âðÐ (C) ¥ÁÚæǸæ æÚæÙð âðÐ (D) ܹ٪¤ æÚæÙð âðÐ
49. ¥æǸè ÜØ ·ð¤ ·¤æØÎæð´ ·ð¤ çÜØð Âýçâh æÚæÙæ Ñ (A) ܹ٪¤ æÚæÙæ (B) çÎè æÚæÙæ (C) ¥$ÁÚæǸæ æÚæÙæ (D) ·é¤Îª¤çâ´ã æÚæÙæ
50. çàæ¹Ú ÌæÜ ·¤è ×æææ°´ ãñ Ñ (A) 15 (B) 16 (C) 17 (D) 18
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D1605 39 P.T.O. Space For Rough Work
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