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Paper - Iii Music SF,T 2016 PAPER - III MUSIC Signature ofthe Invigilator Question. Booklet No . ..........27001................4 .......... 1. OMR Sheet No .. ................................ .... Subject Code [;;] ROLL No. Time Allowed : 150 Minutes Max. Marks: 150 l No. of pages in this Booklet : 16 No. of Questions: 75 INSTRUCTIONS FOR CANDIDATES 1. Write your Roll No. and the OMR Sheet No. in the spaces provided on top oft his page. 2. Fill in the necessary information in the spaces provided on the OMR response sheet. 3. This booklet consists of seventy five (7 5) compulsory questions each carrying 2 marks. 4. Examine the question booklet carefully and tally the number ofpages /questions in the booklet with the information printed above. Do not accept a damaged or open booklet. Damaged or faulty boo !<Jet may be got replaced within the first 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra ｴｩｭｾ＠ given. 5. Each Question has four alternative responses marked (A), (B), (C) and (D) in the OMR sheet. You have to completely darken the circle indicating the most appropriate response against each item as in the illustration : 6. All entries in the OMR.response sheet are to be recorded in the original copy only. 7. Use only Blue/Black Ball point pen. l 8. Rough Work is to be done on the blank pages provided at the end of this booklet. 9. Ifyou write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except in the spaces allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, you will render yourselfliable todisq ualification. 10. You have to retmn the Original ONIR Sheet to the invigilators at the end ofthe examination compulsorily and must not carry it with you outside the Examination Hall. You are, however, allowed to carry the test booklet and the duplicate copy of O:MR Sheet on conclusion of examination. 11. Use ofany calculator, mobile phone or log table etc. is strictly prohibited. CMB-33272 1 Paper-ill * www.examrace.com - PAPER-ill MUSIC Common to Hindustani Music /Karnatak Music /Rabindra Sangeet /Percussion Instruments Special Instructions Note :- This paper has two parts. Part- I consists of50 objective questions common to all, which is compulsory anc carries 2 marks each. Part-IT has Four sections viz Part-ll, Part-ill, Part-TV, Part-V-Hindustani, Kamatak, Rabindra Sangee· and Percussion Instruments with 25 questions each of2 marks each. Candidates should select any one OJ the Part-ll/Part-Ill/Part-IV/Part-Vas per his/her discipline. PART-I Common to Hindustani /Karnatak/Rabindra Sangeet /Percussion Instruments 1. Which ofthe following is a part ofPraband.ha? 7. The musical festival is Vedic period was named as : (A) VJrud (B) Sthai (A) Sanhotra (B) Vasan (C) Antara (D) Tana (C) Saman (D) Yagyotsava 2. Ashtapadis are contained in : 8. 'Udatta' swara of Vedic period was meant to denote SaandMa (A) GeetGobind (A) ReandDha (B) (C) SaandPa NiandGa (B) Raga Tarangini (D) ｾｇ＠ Radha Govind Saangeets ara - 9. 'Pratihara' was a: Rasa Kaumudi (D) (A) Samavikar (B) SamaRicha .., (C) Samabhakti (D) Sarna Chhanda .:>. "Madhyamodeechyava" is : (A) ShuddhaJati 10. 'V'ai}a in Vedic period was a kind of: (B) Variety of Gram Raga (A) Stringed Instrument (C) Samkeema Raga (B) Percussion Instrument (D) VJkritJati (C) Wmdinstrument (D) Metallic Instrument 4. In J ati Gayan the total number ofJ a tis was : (A) 11 (B) 18 11. 'Uha' & 'Uhya' were the parts of: (C) 7 (D) 15 (A) Rih.-veda (B) Poorvarchik (C) Uttararchik (D) Yajurveda 5. Ganddiwasa variety of: 12. 'Avinashi' term used by Kallinath was to indicate (A) Jati (B) Giti (A) Pancham (B) Nisbad (C) Murchhana Tana (D) (C) Madhyam (D) Gandhar 6. Prithula was a variety of: 13 . The term used for instruments in Vedic period" (A) Vtsbnupad (B) Padashrita Giti (A) Toorya (B) Panighna (C) Swarashrita Giti (D) Mela (C) Talav (D) Ghan CMJ CMB-33272 ,2,, Pap• ;"/.: www.examrace.com PAPER- ill MUSIC Common to Hindustani Music /Karnatak Music !Rabindra Sangeet /Percussion Instruments Special Instructions Note :- This paper has two parts. Part-I consists of 50 objective questions common to all, which is compulsory an<i carries 2 marks each. Part-IT has Four sections viz Part-II, Part-ill, Part- N, Part-V - Hindustani, Kamatak, Rabindra Sangeej and Percussion Instruments with 25 questions each of2 marks each. Candidates should select any one o1 the Part- II!Part-III/Part-IV/Part - Vas per his/her discipline. PART-I Common to Hindustani /Karnatak/Rabindra Sangeet /Percussion Instruments 1. Vlbich of the following is a part ofPrabandha? 7. The musical festival is Vedic period was named as : (A) Vnud (B) Stbai .(A) Sanhotra (B) Vas an (C) Antara (D) Tana (C) Sarnan (D) Yagyotsava 2. Ashtapadis are contained in : 8. 'Udatta' swara of Vedic period was meant to denote (A) GeetGobind (A) ReandDha (B) SaandMa (C) SaandPa NiandGa (B) Raga Tarangini (D) -{Q)_ Radha Govind Saangeets ara 9. 'Pratihara' was a : (D) RasaKaurnudi (A) Sarnavikar (B) SarnaRicha (C) Sarnabhakti (D) Sarna Chhanda 3. "Madhyarnodeechyava" is : (A) Shuddha J ati 10. 'v-ru;ta in Vedic period was a kind of: (B) Variety of Gram Raga (A) StringedlnsUrrrrnent (C) Samkeema Raga (B) Percussion Instrument (D) VlkritJati (C) Wmdlnstrument (D) Metallic Instrument 4. In Jati Gayan the total number ofJ a tis was : (A) 11 (B) 18 11. 'Uha' & 'Uhya' were the parts of : (C) 7 (D) 15 (A) Rikveda (B) Poorvarchik (C) Uttararchik (D) Yajurveda 5. Ganddi was a variety of: 12. 'Avinashi' term used by Kallinath was to indicate : (A) Jati (B) Giti (A) Pancham (B) Nishad (C) Murchhana (D) Tana (C) Madhyarn (D) Gandhar 6. Prithula was a variety of: 13. The term used for instnunents in Vedic period was : (A) Visbnupad (B) Padashrita Giti (A) Toorya (B) Panighna (C) Swarashrita Giti (D) Mela (C) Talav (D) Ghan CMJ CMB-33272 2 Paper-ill * www.examrace.com 14. The division ofs brutis inMadhyamgramis: 18. According to Sangeet Ratnakar ofPt. Sharangadeva (A) 4 - 3-2 - 4 - 4-3-2 "Nibaddha" is that which is bound by : (B) 4 -3- 4-2-4- 3 -2 (A) Dhatu&Anga (C) 4- 3 - 2 - 4 - 3 - 4 - 2 (B) Alap&Tana (C) Swara & Shruti (D) 4- 3-4 - 2 - 4-3 - 2 (D) Gram & Murchhana 15. The number of Alankars discussed in Sangeet 19. 'Tirip' is a kind of: Makarand of 7th century is : (A) Shmti (B) Garnak (A) 33 (B) 20 (C) Fonn ofsinging (D) Murchhana (C) 19 (D) 23 20. The number of Varnas as referred in the ancient 16. Tick the right code : works is: (A) 11 (B) 8 Assertion (A) : Anuranan makes the difference (C) 4 (D) 5 between swara and shruti. Reason (R) : Because a Swara can only be 21. 'Bhashanga' is a variety of: recognised when the sound of (A) DeshiRaga (B) Gram Raga - F certain shrutis is collectively (C) AshrayRaga (D) JanyaRaga produced and after getting certain frequency the sound automatically 22. 19 Melahave been first time mentioned in: resonates due to Swayambhu (A) Ragavibodh Nadas (Anuranan) whereas shruti (B) Raga Mala does not have that quality. (C) Sadragchandrodaya (A) (A) is True (R) is True (D) Raga Tarangini (B) (A) is False (R) is True (C) (A) is True (R) is False 23. 'Sadharini Giti' is a mixture of: .... (D) (A) is False (R) is False (A) 2 (B) ;) (C) 4 (D) 5 17. Which ofthe following is a Major Tone? 24. ShadjaPancham Samvad is based on the: 9 10 (A) (B) (A) Navashrutyantar 8 9 (B) Dwishrutyantar 16 12 (C) (D) (C) Trishrutyantar 15 11 (D) Panchashrutyantar CMB-33272 3 Paper-ill * www.examrace.com 25. Langhan andAnabhyasa are the two ways to use a 32. According to wire length ofVeena 'Gandhar' was Swara in a Raga and are termed as the varieties of: placed at a distance of: (A) Vrujit (B) Bahutva (A) 30" from Mem (B) 24" from Meru (C) Vivadi (D) Alpatva (C) 2T' from Meru (D) 18" from Meru 26. To create beauty in a Raga by hiding the main Raga 33. Shatshruti Rishabh ofKamatak Music in Hindustani and highlig hting the Raga which has been mixed is Music is equal to : called : (A) Shuddha Rishabh (A) Atidhwanik (B) Ansbik (B) KomalRishabh (C) Avartak (D) Avirbhava (C) Komal Gandhar (D) Shuddha Gandhar 27. In the ancient Tala System the sign for 'Guru' was : (A) 0 (B) 1 34. In ancient period the starting (C) S (D) X swara of a murchhana was named as : 28. Amplitude in .Indian musical term is called: (A) Grahswara (B) Ansha swara (A) Kamateet (B) Kampan (C) Apanyas swara (D) Nyasa swara 1- (C) Kampavistara (D) Karak 35. Natyashastra was written between : 29. Pratidhwanimeans: (A) 2"d - 4th century (A) When a sound is heard repeatedly (B) 400 B.C. (B) When two sounds are mixed and then dead (C) 4th - 6ih century (C) When sound wav es enter from one medium to (D) 500 B.C. other (D) When the waves ofa sound increase more than . 36 The classification ofRagas as "Puling", "Striling" and twenty thousand per second "Napunsakling'' was first mentioned in: (A) Sang 30. The work written between 14th and 18th century eet Sudhakar was: (B) Sangeet Makarand (A) Hriday Prakash (C) RasaKaumudi (B) Geet Govind (D) Sangeet Darpan (C) Brihaddeshi (D) HarivanshPuran 37. Which of the following comprised of six angas of Prabandh? 3 1. The shuddha mel a of ancient and medieval period (A) Bhavani (B) Anandini was : (C) Taravali (D) Medini (A) Bhairav (B) Kafi (C) Bilawal (D) Khamaj CMB-33272 ,,,4 Paper-ID -;:<' www.examrace.com 38.
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