This Booklet con tains 32 printed pages. AN18—XX Ques tion Book let No. &Òü šøÅ—šìy 32> ³å[‰t¡ šõË¡à "àìá¡ú šøÅ—-šå[ÑzA¡à Î}J¸à EXAMINATION—STPGT

SUBJECT : MUSIC

Do not open this Question Booklet until you are asked to do so. &Òü šøÅ—šy ™t¡Û¡o Jåºìt¡ >à ¤ºà Òì¤ t¡t¡Û¡o š™¢”z Jåºì¤> >à¡ú Read care fully all the instruc tions given at the back page and on the front page of this Ques tion Book let. &Òü šøÅ—šìy¹ ëÅÈ šõË¡à * šø=³ šõË¡àÚ ëƒ*Úà γÑz [>샢Åऺ㠳ì>àì™àK ÎÒA¡àì¹ šØl¡æ>¡ú In struc tions for Candidates š¹ãÛ¡à=¢ã샹 \>¸ [>샢Åऺã

1. OMR 1. Use Black Ballpoint Pen only for writing &Òü šøÅ—šìy ëºJ๠\>¸ &¤} l¡üv¡¹šìy l¡üv¡¹ particulars of this Question Booklet and [W¡[Òû¡t¡ A¡¹ìt¡ Ç¡‹å³ày A¡àìºà A¡à[º¹ ¤ºšìÚ–i¡ A¡º³ marking responses on the OMR ¤¸¤Ò๠A¡¹ç¡>¡ú Answer Sheet. 2. &Òü š¹ãÛ¡à¹ Î³Ú 2 Qsi¡à 30 [³[>i¡¡ú š¹ãÛ¡àÚ ë³ài¡ 2. This test is of 2 hours and 30 minutes 150 [i¡ MCQ ‹¹ì>¹ šøÅ— =àA¡ì¤¡ú šø[t¡ šøìÅ—¹ ³èº¸àS¡ 1 duration and consists of 150 MCQ-type Ò줡ú questions. Each question carries 1 mark. 3. ®å¡º l¡üv¡ì¹¹ \>¸ ëA¡àì>à ˜¡oàuA¡ >´¬¹ =àA¡ì¤ >à¡ú 3. There is no negative marking for any wrong answer. 4. š¹ãÛ¡à=¢ãìA¡ ¹àó¡ *ÚàA¢¡ A¡¹ìt¡ Òì¤ Ç¡‹å³ày ëA¡àìÆW¡> ¤åA¡ìºìi¡ (šøÅ—šìy) [>[ƒ¢Ê¡ A¡¹à Ñ‚àì>¡ú 4. Rough work should be done only in the space provided in the Question Booklet. 5. šøìÅ—¹ l¡üv¡¹ Ç¡‹å³ày OMR l¡üv¡¹šìy [W¡[Òû¡t¡ A¡¹ìt¡ Ò줡ú l¡üv¡¹ [W¡[Òû¡t¡ A¡¹à¹ [¤ÈìÚ š¹ãÛ¡à=¢ãìA¡ Î줢àZW¡ Ît¡A¢¡t¡à 5. The answers are to be marked on the OMR "¤º´¬> A¡¹ìt¡ Ò줡ú šøìÅ—¹ l¡üv¡¹ &A¡¤à¹ [W¡[Òû¡t¡ A¡¹à ÒìÚ Answer Sheet only. Mark your responses ëKìº ëA¡àì>à "¤Ñ‚àìt¡Òü t¡àìA¡ š[¹¤t¢¡> ¤à Î}ìÅà‹> A¡¹à carefully since there is no chance of ™àì¤ >à¡ú alteration/correction. 6. A¡à[º-ë³àW¡>ãÚ Òüì¹\๠¤à Îàƒà t¡¹º-\àt¡ãÚ ¤Ññ¹ ¤¸¤Ò๠6. Use of eraser or whitener is strictly δšèo¢¹ê¡ìš [>[ȇý¡¡ú prohibited. 7. š¹ãÛ¡à=¢ã샹 ³ì> ¹àJìt¡ Òì¤ ë™ šøÅ—šìy¹ šøÅ—P¡[º 7. Candidates should note that each question is [‡-®¡à[ÈA¡ (Òü}¹à\ã * ¤à}ºà) Ò줡ú &Òü ëÛ¡ìy ®¡àÈà-³à‹¸³ given in bilingual form (English and Bengali). In case of any discrepancy or confusion in the ¤à ®¡àÈà-Î}ÑH¹ìo ëA¡àì>à ‹¹ì>¹ "ÎU[t¡ "=¤à ë¤àc¡à¹ medium/version, the English Version will be "Îå[¤‹à l¡üšº§¡ Òìº Òü}¹à\ã Î}ÑH¹oìA¡Òü šøAõ¡t¡ Ç¡‡ý¡ ¤ìº treated as the authentic version. Ko¸ A¡¹ì¤>¡ú

Name of the Candi date (in Cap itals) : ______š¹ãÛ¡à=¢ã¹ >à³ (¤Øl¡ "Û¡ì¹) Roll No. : ______OMR Answer Sheet No. : ______ë¹àº >´¬¹ OMR l¡üv¡¹šìy¹ >´¬¹

Full Signa ture of the Candi date with date Signa t ure of the Invi gila t or with date š¹ãÛ¡à=¢ã¹ δšèo¢ ѬàÛ¡¹ t¡à[¹JÎÒ [>¹ãÛ¡ìA¡¹ ѬàÛ¡¹ t¡à[¹JÎÒ /8 Direction : Answer the following questions [>샢[ÅA¡à : Î[k¡A¡ l¡üv¡¹[i¡ [>¤¢àW¡> A¡ì¹ >ãìW¡¹ šøÅ—P¡[º¹ by selecting the correct option. l¡üv¡¹ ƒà*¡ú

1. A musical composition sung with 1. ë™ Kà> t¡àìº "इý¡ A¡ì¹ Kà*Úà ÒÚ, t¡àìA¡ rhythm is called ¤ìº (A) Alaap (A) "àºàš (B) Nibaddha Gaan (B) [>¤‡ý¡ Kà> (C) Anibaddha Gaan (C) "[>¤‡ý¡ Kà> (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 2. In Sharaj Grama, the Shruti on 2. which the Swara ‘Sa’ is placed, is ÈØl¡\ Nøàì³ ë™ Åøç¡[t¡¹ l¡üš¹ ‘Îà’ Ñ¬¹[i¡ Ñ‚à[št¡, ëÎ[i¡ Òº (A) Manda (A) ³–ƒà (B) Dayavati (B) ƒÚà¤t¡ã (C) Chandavati (C) á–ƒà¤t¡ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 3. Identify the Purvanga Vadi Raga from the following. 3. [>³—[º[Jt¡ ¹àKP¡[º ë=ìA¡ šè¤¢àU ¤àƒã ¹àK[i¡ (A) Iman [W¡[Òû¡t¡ A¡¹ç¡>¡ú (B) Bhairav (A) Òü³> (C) Asabori (B) í®¡¹¤ (D) None of the above (C) "àÎà¤[¹ (D) 4. Which one of the following Ragas is l¡üšì¹¹ ëA¡à>[i¡Òü >Ú not a Sandhiprakash Raga? 4. [>³—[º[Jt¡ ëA¡à>ô ¹àK[i¡ Î[Þê¡šøA¡àÅ ¹àK >Ú? (A) Bhairav (A) í®¡¹¤ (B) Purvi (B) šè¤¢ã (C) Desh (C) ëƒÅ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 5. How many varieties does Varna have? 5. ¤o¢ A¡Ú šøA¡à¹? (A) Four (A) W¡à¹ (B) Five (B) šòàW¡ (C) Six (C) áÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 2 6. Pannalal Ghosh is a famous 6. šàÄàºàº ëQàÈ Òìº> &A¡\> [¤J¸àt¡ (A) flute player (A) ¤òàÅã ¤àƒA¡ (B) shehnai player (B) Îà>àÒü ¤àƒA¡ (C) sitar player (C) ëÎt¡à¹ ¤àƒA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 7. Identify the correct order of the following Ragas according to their 7. [>³—[º[Jt¡ ¹àKP¡[º¹ š[¹ì¤Å>à¹ Î³Ú ÎA¡àº time of presentation from morning ë=ìA¡ ¹à[y¹ ">åÎàì¹ Î[k¡A¡ yû¡³[i¡ [W¡[Òû¡t¡ to night. A¡¹ç¡>¡ú (A) Bhairav, Bhimpalashri, Iman, (A) í®¡¹¤, ®¡ã³šºÅøã, Òü³>, ëƒÅ Desh (B) (B) Bhairav, Desh, Iman, í®¡¹¤, ëƒÅ, Òü³>, ®¡ã³šºÅøã Bhimpalashri (C) í®¡¹¤, Òü³>, ëƒÅ, ®¡ã³šºÅøã (C) Bhairav, Iman, Desh, (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú Bhimpalashri (D) None of the above 8. ™J> ¹àìK ¤¸¤Òê¡t¡ Ѭ¹P¡[º¹ ³ì‹¸ &A¡ ¤à &A¡à[‹A¡ Ѭ¹ "¿ š[¹³àìo šøìÚàK A¡¹à ÒÚ, 8. When a Swara/Swaras of a Raga t¡J> t¡àìA¡ ¤ìº is/are very rarely used, it is termed as (A) "à[¤®¢¡à¤ (A) Abirbhav (B) "¿Œ (B) Alpatwa (C) ¤×Œ (C) Bahutwa (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 9. Kàì>¹ ®¡àÈà ÎÒì™àìK ë™ t¡à> A¡¹à ÒÚ, t¡àìA¡ 9. The Taan rendered using the words ¤ìº of a song is known as (A) (A) Gamak Taan K³A¡ t¡à> (B) Alankarik Taan (B) "àº}A¡à[¹A¡ t¡à> (C) Bol Taan (C) ë¤àº t¡à> (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

10. Murchana of Madhyam Grama from 10. [>³—[º[Jt¡ ë=ìA¡ ³‹¸³ Nøàì³¹ ³èá¢>à[i¡ Òº the following is (A) (A) Uttarmandra l¡üv¡¹³–ƒøà (B) Rajani (B) ¹\>ã (C) Soubiri (C) ëÎï¤ã¹ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 3 [ P.T.O. 11. Melapak is a type of 11. 볺àšA¡ Òº &A¡ šøA¡à¹ (A) Dhatu (A) ‹àtå¡ (B) Taan (B) t¡à> (C) Gamak (C) K³A¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 12. Murki is played on 12. ëA¡à>ô ¤àƒ¸™ì”| ³åA¢¡ã ¤à\àì>à ÒÚ? (A) Tabla (A) t¡¤ºà (B) Khol (B) ëJຠ(C) Pakhwaj (C) šàìJàÚà\ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 13. Which of the following is played on the Tabla? 13. [>³—[º[Jt¡ ëA¡à>[i¡ t¡¤ºàÚ ¤à\àì>à ÒÚ? (A) Jor (A) ë\àØl¡ (B) Jhala (B) c¡àºà (C) Peshkar (C) ëšÅA¡à¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 14. Chikari is the name of 14. [W¡A¡à¹ã Òº (A) Taal (A) t¡àº (B) Prabandha (B) šø¤Þê¡ (C) String of sitar (C) ëÎt¡àì¹¹ t¡à¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 15. Which one of the following is a type 15. [>³—[º[Jt¡ ëA¡à>[i¡ K³ìA¡¹ &A¡ šøA¡à¹? of Gamak? (A) ³v¡ (A) Matta (B) "àÒt¡ (B) Aahat (C) (C) Udgraha l¡üƒôÿNøàÒ (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

16. If the frequency of ‘Sa’ is 240, then 16. ™[ƒ ‘Îà’ Ñ¬¹[i¡¹ "àì–ƒàº> Î}J¸à ÒÚ 240, the frequency of ‘Ma’ will be t¡àÒìº ‘³à’ Ѭ칹 "àì–ƒàº> Î}J¸à Òì¤ (A) 240 (A) 240 (B) 320 (B) 320 (C) 360 (C) 360 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 4 17. According to ancient music 17. šøàW¡ã>A¡à캹 ÎUãt¡`¡ìƒ¹ ³ìt¡, ‘Îà’ Ñ¬¹[i¡¹ scholars, the ‘Sa’ Swara originated l¡ü;š[v¡ ÒÚ ëA¡à>ô šÇ¡ ¤à šà[J¹ l¡àA¡ ë=ìA¡? from the sound of which animal or (A) bird? ³Úè¹ (A) Peacock (B) Kà‹à (B) Donkey (C) Òà[t¡ (C) Elephant (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 18. ÎUãt¡ ëA¡à>ô ë¤ìƒ Ñ‚à> ëšìÚìá? 18. Which Veda contains music? (A) ˜¡Aô¡ì¤ƒ (A) Rigveda (B) Îà³ì¤ƒ (B) Samaveda (C) "=¤¢ì¤ƒ (C) Atharvaveda (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 19. ‘³Ò஡à¹t¡’ ³ÒàA¡à줸 A¡Ú[i¡ Ѭ칹 l¡üìÀJ šà*Úà 19. The epic, Mahabharata contains reference of how many Swaras? ™àÚ? (A) Eight (A) "ài¡[i¡ (B) Nine (B) >Ú[i¡ (C) Ten (C) ƒÅ[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 20. The musical text, Rag Tarangini was 20. ‘¹àK t¡¹[Uoã’ ÎUãt¡ Nø”‚[i¡ [ºìJ[áìº> written by (A) ëºàW¡> (A) Lochan (B) "ìÒऺ (B) Ahobal (C) (C) Matanga ³t¡U (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

21. ‘Sajgiri’ Raga was introduced by 21. ‘Îà\[K[¹’ ¹àìK¹ Ñ÷Ê¡à [áìº> (A) Sadarang (A) ΃à¹U (B) Tansen (B) t¡à>ìÎ> (C) Amir Khusro (C) "à³ã¹ JÎ¹ç¡ (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 22. In which century was the text 22. Brihaddeshi written? ‘¤õÒì„Åã’ Nø”‚[i¡ ëA¡à>ô Åt¡à¦ãìt¡ ëºJà? (A) Seventh (A) Îœ¡³ (B) Eighth (B) "Ê¡³ (C) Ninth (C) >¤³ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 5 [ P.T.O. 23. Sadarang was the court musician of 23. ΃à¹U ëA¡à>ô ¹à\๠ƒ¹¤àì¹ KàÚA¡ [áìº>? (A) Akbar (A) "àA¡¤¹ (B) Shah Jahan (B) ÅàÒ\àÒà> (C) Mohammad Shah (C) ³Ò´¶ƒ ÅàÒ (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 24. The musical text written in the 24. seventeenth century is Îœ¡ƒÅ Åt¡à¦ãìt¡ ëºJà ÎUãt¡ Nø”‚[i¡ Òº (A) (A) Sangeet Darpan ‘ÎUãt¡ ƒš¢o’ (B) Natyashastra (B) ‘>ài¡¸ÅàÑ|’ (C) Sangeet Makarand (C) ‘ÎUãt¡ ³A¡¹–ƒ’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 25. Tyagaraja was a famous 25. t¡¸àK¹à\ [áìº> &A¡\> [¤J¸àt¡ (A) Carnatic musician (A) A¡o¢ài¡A¡ã ÎUãt¡A¡à¹ (B) North Indian classical musician (B) l¡üv¡¹ ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãt¡A¡à¹ (C) Gazal singer (C) K\º KàÚA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 26. The musical text Sangeet Balprakash 26. ‘ÎUãt¡ ¤àºšøA¡àÅ’ ÎUãt¡ Nø”‚[i¡ [ºìJ[áìº> was written by (A) (A) V. N. Bhatkhande [®¡. &>. ®¡àt¡Jìr¡ (B) V. D. Paluskar (B) [®¡. [l¡. šºåÑH¹ (C) D. V. Paluskar (C) [l¡. [®¡. šºåÑH¹ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

27. The Bandish “Jago Mohan Pyare” is 27. ‘‘\àìKà ë³àÒ> š¸àì¹’’ ¤[–ƒÅ[i¡ ëA¡à>ô ¹àìK¹? composed in which Raga? (A) Òü³> (A) Iman (B) ëƒÅ (B) Desh (C) Jà´¬à\ (C) Khambaj (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

| | 28. Îà, ë¹, Kà, ³à, šà, ‹à, [>, Î&à ëA¡à>ô ¹àìK¹ 28. Sa, Re, Ga, Ma, Pa, Dha, Ni, S&a is the Arohan of "àì¹àÒo? (A) Todi (A) ëi¡àØl¡ã (B) Iman (B) Òü³> (C) Behag (C) ë¤ÒàK (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 6 29. Jati of Bhairav Raga is 29. í®¡¹¤ ¹àìK¹ \à[t¡ Òº (A) Oudhav–Sadhav (A) +Øl¡¤–ÈàØl¡¤ (B) Oudhav–Sampurna (B) +Øl¡¤–δšèo¢ (C) Sampurna–Sampurna (C) δšèo¢–δšèo¢ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

30. Vadi Swara of Jounpuri Raga is 30. ë\ï>šå¹ã ¹àìK¹ ¤àƒã Ѭ¹[i¡ Òº (A) Dha (A) ‹ (B) Ni (B) [> (C) Pa (C) š (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 31. Match the following : 31. >ãìW¡¹P¡[º 볺à> : List—I List—II t¡à[ºA¡à—I t¡à[ºA¡à—II a. Kedar Raga 1. Bilawal Thata a. ëA¡ƒà¹ ¹àK 1. [¤ºà¤º k¡ài¡ b. Bhimpalashri Raga 2. Kalyan Thata b. ®¡ã³šºÅøã ¹àK 2. A¡º¸ào k¡ài¡ c. Behag Raga 3. Bhairavi Thata c. ë¤ÒàK ¹àK 3. í®¡¹¤ã k¡ài¡ d. Malkaunsh Raga 4. Kafi Thata d. ³àºìA¡àÈ ¹àK 4. A¡àó¡ã k¡ài¡ Codes : ëA¡àl¡ : (A) a b c d (A) a b c d 2 4 1 3 2 4 1 3 (B) a b c d (B) a b c d 2 1 3 4 2 1 3 4 (C) a b c d (C) a b c d 4 2 1 3 4 2 1 3 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 32. What is similar between Malkaunsh 32. and Bhairavi Ragas? ³àºìA¡àÈ &¤} í®¡¹¤ã ¹àK ƒå[i¡¹ ³ì‹¸ γt¡à ëA¡à=àÚ? (A) Both are from Bhairavi Thata (A) ƒå[i¡ ¹àKÒü í®¡¹¤ã k¡àìi¡¹ "”zK¢t¡ (B) Both have Re, Ga, Dha and Ni as Komal Swaras (B) ƒå[i¡ ¹àìKÒü ë¹, Kà, ‹à * [> Ѭ¹P¡[º ëA¡à³º (C) Jati of both the Ragas is Sampurna-Sampurna (C) ƒå[i¡ ¹àìK¹Òü \à[t¡ δšèo¢-δšèo¢ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 7 [ P.T.O. 33. In ancient times, the Swara from 33. šøàW¡ã>A¡àìº ë™ Ñ¬¹ ë=ìA¡ ¹àK[i¡ Ç¡¹ç¡ A¡¹à Òt¡, which a Raga used to start, was t¡àìA¡ ¤ºà Òt¡ known as (A) "}ÅѬ¹ (A) Anshaswara (B) NøÒѬ¹ (B) Grahaswara (C) (C) Nyasaswara >¸àÎѬ¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 34. Apanyasa Swara is 34. "š>¸àΠѬ¹[i¡ Òº (A) the Swara from which a Raga (A) ë™ Ñ¬¹ ë=ìA¡ ¹àK[i¡ Ç¡¹ç¡ A¡¹à ÒÚ starts (B) ë™ Ñ¬ì¹ ¹àK[i¡ ëÅÈ A¡¹à ÒÚ (B) the Swara where a Raga ends (C) ¹àìK¹ šø‹à> Ѭ¹ (C) the main Swara of a Raga (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 35. Which one of the following is a 35. [>³—[º[Jt¡ ëA¡à>[i¡ Ç¡‡ý¡ \à[t¡? Shuddha Jati? (A) "àÈ¢®¡ã (A) Arshavi (B) ÈØl¡\–³‹¸³à (B) Sharaj-Madhyama (C) íA¡[ÅA¡ã (C) Kaishiki (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 36. 36. The total number of Gram Ragas is Nøà³ ¹àìK¹ ë³ài¡ Î}J¸à Òº (A) thirty (A) [t¡[¹Å (B) fifty (B) še¡àÅ (C) forty (C) W¡[ÀÅ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 37. The divisional structure of 37. >¤še¡t¡à캹 á–ƒ Òº Nabapanchataal is (A) | | | | (A) 2|4|4|4|4 2 4 4 4 4 (B) 4|2|2|4|4|2 (B) 4|2|2|4|4|2 (C) 4|2|4|4|4 (C) 4|2|4|4|4 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 38. Which of the following Rabindra 38. [>³—[º[Jt¡ ëA¡à>ô ¹¤ã–ƒøÎUãt¡[i¡ &A¡àƒÅã t¡àìº Sangeet is composed in Ekadashi [>¤‡ý¡? Taal? (A) (A) Nuton Pran Dao >èt¡> šøào ƒà* (B) Nibiro Ghano Aandhare (B) [>[¤Øl¡ Q> "òà‹àì¹ (C) Duare Dao More Rakhiya (C) ƒåÚàì¹ ƒà* ë³àì¹ ¹à[JÚà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 8 39. Divisional structure of Dhamar Taal 39. ¹¤ã–ƒøÎUãìt¡ ¤¸¤Òê¡t¡ ‹à³à¹ t¡à캹 á–ƒ[i¡ Òº as used in Rabindra Sangeet is (A) 5|2|3|4 (A) 5|2|3|4 (B) 3|2|2|3|4 (B) 3|2|2|3|4 (C) 3|2|2|3|2|2 (C) 3|2|2|3|2|2 (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

40. Which one of the following Taal is 40. [>³—[º[Jt¡ ëA¡à>ô t¡àº[i¡ ‹ø硚샹 ÎìU ¤à\àì>à played with Dhrupad? ÒÚ? (A) Tritaal (A) [yt¡àº (B) Dadra (B) ƒàƒ¹à (C) Teora (C) ët¡*Øl¡à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 41. Which one of the following Taal has 41. [>³—[º[Jt¡ ëA¡à>ô t¡àº[i¡¹ ³àyà Î}J¸à ¹ç¡‰t¡à캹 the same number of Matras as Rudra Taal? ³àyà Î}J¸à¹ γà>? (A) Jhaaptaal (A) cò¡àšt¡àº (B) Kaharwa (B) A¡àÒ๤à (C) Ekadashi (C) &A¡àƒÅã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 42. Mishra Jati Taal from the following 42. [>³—[º[Jt¡ ëA¡à>[i¡ [³Åø \à[t¡¹ t¡àº? is (A) ‹à³à¹ (A) Dhamar (B) ƒàƒ¹à (B) Dadra (C) (C) Kaharwa A¡àÒ๤à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

43. Identify the Samapadi Taal. 43. γšƒã t¡àº[i¡ [W¡[Òû¡t¡ A¡¹ç¡>¡ú (A) Teora (A) ët¡*Øl¡à (B) Dhamar (B) ‹à³à¹ (C) Jhaaptaal (C) cò¡àšt¡àº (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 44. The number of Bibhags in Khemta 44. Taal is ëJ³i¡à t¡àìº [¤®¡àìK¹ Î}J¸à Òº (A) three (A) [t¡> (B) four (B) W¡à¹ (C) five (C) šòàW¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 9 [ P.T.O. 45. Which one of the following is a type 45. [>³—[º[Jt¡ ëA¡à>[i¡ [>@Ŧ [yû¡Ú๠&A¡ šøA¡à¹? of Nishabd Kriya? (A) Å´šà (A) Shampa (B) t¡àº (B) Taal (C) (C) Prabeshak šøì¤ÅA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

46. In Carnatic Taal system, symbol of 46. A¡o¢ài¡A¡ã t¡àº š‡ý¡[t¡ìt¡ ">å‰ç¡ìt¡¹ [W¡Òû¡[i¡ Òº Anudruta is (A) s (A) s (B) + (B) + (C) 0 (C) 0 (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

47. The total number of Jatis in Taal is 47. t¡àìº \à[t¡¹ ë³ài¡ Î}J¸à Òº (A) three (A) [t¡> (B) four (B) W¡à¹ (C) five (C) šòàW¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 48. The number of Matras of Dhruva 48. Taal in Tishra Jati is [t¡Ñ÷ \à[t¡ìt¡ ‹ø硤 t¡à캹 ³àyà Î}J¸à Òº (A) ten (A) ƒÅ (B) eleven (B) &Kàì¹à (C) twelve (C) ¤àì¹à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 49. |OO—is the symbol of which 49. |OO—ëA¡à>ô A¡o¢ài¡A¡ã t¡à캹 [W¡Òû¡? Carnatic Taal? (A) (A) Triputa [yšåi¡ (B) Jhampa (B) c¡´š (C) Rupaka (C) ¹ê¡šA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 50. In the Layakari of Taal, Aarlaya 50. t¡à캹 ºÚA¡à¹ãìt¡ "àØl¡ºìÚ ëƒJàì>à ÒÚ shows (A) (A) 5 Matras in 4 Matras šòàW¡ ³àyàìA¡ W¡à¹ ³àyàÚ (B) 7 Matras in 4 Matras (B) Îàt¡ ³àyàìA¡ W¡à¹ ³àyàÚ (C) 3 Matras in 2 Matras (C) [t¡> ³àyàìA¡ ƒåÒü ³àyàÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 10 51. 7 51. 7 4 indicates which Laya in the t¡à캹 ºÚA¡à¹ãìt¡ 4 ëA¡à>ô ºÚìA¡ ë¤àc¡àÚ? Layakari of Taal? (A) Aå¡ÚàØl¡ ºÚ (A) Kuad Laya (B) ëƒØl¡P¡o ºÚ (B) Dergun Laya (C) [t¡>P¡o ºÚ (C) Tingun Laya (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 52. &A¡ "à¤t¢¡ì> c¡òàšt¡à캹 [‡P¡o ëA¡à>ô ³àyà 52. The Digun of Jhaaptaal will start ë=ìA¡ Ç¡¹ç¡ Òì¤? from which Matra in one Avartan? (A) (A) Fifth Matra še¡³ ³àyà (B) (B) Sixth Matra ÈË¡ ³àyà

(C) Seventh Matra (C) Îœ¡³ ³àyà

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

53. Vistar of Taal is called 53. t¡à캹 [¤Ñzà¹ìA¡ ¤ºà ÒÚ

(A) Prastar (A) šøÑz๠(B) Yati (B) ™[t¡ (C) Laya (C) ºÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

54. The number of Marga Ragas 54. ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂 l¡ü[À[Jt¡ ³àK¢ ¹àìK¹ Î}J¸à mentioned in the text Sangeet Òº Ratnakar is (A) 176 (A) 176 (B) 177 (B) 177 (C) (C) 178 178 (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

55. Deshi Sangeet was sung by 55. ëƒÅã ÎUãt¡ A¡à¹à KàÒüìt¡>?

(A) Gods (A) 냤t¡àKo

(B) Gandharvas (B) KàÞꡤ¢Ko

(C) common people (C) Îà‹à¹o ³à>åÈ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 11 [ P.T.O. 56. ‘Sopana Sangeetam’ belongs to 56. ‘ëÎàšà> ÎUãt¡³’ ëA¡à>ô šøìƒìŹ ÎUãt¡? which State? (A) l¡üv¡¹ šøìƒÅ (A) Uttar Pradesh (B) ëA¡¹àºà (B) Kerala (C) (C) West Bengal š[ÆW¡³¤U (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

57. The musical text, Sangeet Ratnakar 57. ‘ÎUãt¡ ¹â—àA¡¹’ &Òü ÎUãt¡ Nø”‚[i¡ [ºìJ[áìº> was authored by (A) ³t¡U (A) Matanga (B) Åà¹U샤 (B) Sharangadev (C) (C) Jaidev \Ú샤 (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

58. Madhav Sangeet Mahavidyalaya is 58. ³à‹¤ ÎUãt¡ ³Òà[¤ƒ¸àºÚ ëA¡à=àÚ "¤[Ñ‚t¡? located at (A) ëKàÚà[ºÚ¹ (A) Gwalior (B) ¤ì¹àƒà (B) Baroda (C) (C) Mumbai ³å´¬àÒü (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

59. Total number of Prakarans 59. ‘W¡t塃¢r¡ã šøA¡à[ÅA¡à’ Nø씂 l¡ü[À[Jt¡ šøA¡¹ìo¹ ë³ài¡ mentioned in the text, Chaturdandi Î}J¸à Òº Prakashika is (A) ƒÅ (A) ten (B) (B) eleven &Kàì¹à (C) twelve (C) ¤àì¹à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

60. The text, Natyashastra contains 60. ‘>ài¡¸ÅàÑ|’ Nø씂 A¡Ú šøA¡à¹ ¤àƒ¸™ì”|¹ l¡üìÀJ reference of how many types of šà*Úà ™àÚ? musical instruments? (A) ƒåÒü (A) Two (B) Three (B) [t¡> (C) Four (C) W¡à¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 12 61. Number of Chapters in the text, 61. ‘>ài¡¸ÅàÑ|’ Nø씂 A¡Ú[i¡ "‹¸àÚ "àìá? Natyashastra is (A) 35 (A) 35 (B) 36 (B) 36 (C) (C) 37 37

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

62. Number of Alankars mentioned in 62. ‘¤õÒì„Åã’ Nø씂 l¡ü[À[Jt¡ "º}A¡àì¹¹ Î}J¸à Òº the text, Brihaddeshi is (A) 31 (A) 31 (B) 32 (B) 32

(C) 33 (C) 33

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

63. The writer of the book, Brihaddeshi 63. ‘¤õÒì„Åã’ Nø씂¹ ëºJA¡ Òìº> is (A) ³t¡U (A) Matanga (B) (B) Narad >ใ

(C) Lochan (C) ëºàW¡>

(D) None of them (D) &ò샹 ëA¡l¡üÒü >>

64. The musical text written by Ahobal 64. "ìÒऺ ¹[W¡t¡ ÎUãt¡ Nø”‚[i¡¹ >à³ Òº was (A) ‘ÎUãt¡ Î๒ (A) Sangeet Sar (B) (B) Sangeet Parijat ‘ÎUãt¡ šà[¹\àt¡’

(C) Sangeet Darpan (C) ‘ÎUãt¡ ƒš¢o’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

65. The author of the book, Git Govind 65. ‘Kãt¡ ëKà[¤–ƒ’ Nø”‚[i¡¹ ëºJA¡ Òìº> was (A) ®¡¹t¡ (A) Bharat (B) (B) Ramamatya ¹à³à³àt¡¸

(C) Jaidev (C) \Ú샤 (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/8 13 [ P.T.O. 66. The number of Jatis mentioned in 66. ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂 l¡ü[À[Jt¡ \à[t¡¹ Î}J¸à Òº Sangeet Ratnakar is (A) ët¡ì¹à (A) thirteen (B) šì>ì¹à (B) fifteen (C) Îìt¡ì¹à (C) seventeen (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 67. ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂¹ ëA¡à>ô "‹¸àìÚ KàÞꡤ¢ 67. In which Chapter of Sangeet Ratnakar, description of Gandharva Kàì>¹ ¤o¢>à šà*Úà ™àÚ? music can be found? (A) šø¤Þê¡à‹¸àÚ (A) Prabandhaddhyay (B) t¡àºà‹¸àÚ (B) Taladdhyay (C) ¹àK-[¤ì¤A¡à‹¸àÚ (C) Rag-Vivekaddhyay (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 68. ‘Ѭ¹ì³º A¡ºà[>[‹’ Nø”‚[i¡ [ºìJ[áìº> 68. Swarmel Kalanidhi was written by (A) ¹à³à³àt¡¸ (A) Ramamatya (B) Åà¹U샤 (B) Sharangadev (C) Åøã[>¤àÎ (C) Srinivas (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 69. A¡à\ô¹ã ëA¡à>ô ˜¡t塹 Kà>? 69. Kajri is a song of which season? (A) ¤Î”z (A) Spring (B) ¤È¢à (B) Rainy (C) (C) Autumn Ź; (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

70. Lawani is a folk musical form of 70. ºà*Úà>ã ëA¡à>ô šøìƒìŹ ëºàA¡ÎUãìt¡¹ ‹à¹à?

(A) Uttar Pradesh (A) l¡üv¡¹ šøƒìÅ

(B) West Bengal (B) š[ÆW¡³¤U

(C) Maharashtra (C) ³Òà¹àÊ¡ö (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 14 71. Kuchipudi is a classical dance form 71. Aå¡[W¡šåØl¡ã ëA¡à>ô šøìƒìŹ ÅàÑ|ãÚ >õìt¡¸¹ &A¡[i¡ of which State? ‹à¹à? (A) Andhra Pradesh (A) "Þøý¡ šøìƒÅ (B) Tamil Nadu (B) t¡à[³º>àlå¡ (C) Kerala (C) ëA¡¹àºà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

72. Identify the folk musical form of 72. ¤à}ºà¹ ëºàA¡ÎUãìt¡¹ ‹à¹à[i¡ [W¡[Òû¡t¡ A¡¹ç¡>¡ú Bengal. (A) A¡à\ô¹ã (A) Kajri (B) ®¡àƒå (B) Bhadu (C) íW¡t¡ã (C) Chaiti (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 73. Îàƒ¹à¹ ÎìU ëA¡à>ô t¡àº ¤à\àì>à ÒÚ? 73. Taal used to accompany Sadra is (A) (A) Jhaaptaal cò¡àšt¡àº (B) (B) Dadra ƒàƒ¹à (C) (C) Kaharwa A¡àÒ๤à (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

74. 74. Trivat consists of how many parts? [y¤ìi¡ A¡[i¡ "}Å =àìA¡?

(A) Two (A) ƒå[i¡

(B) Three (B) [t¡>[i¡

(C) Four (C) W¡à¹[i¡

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

75. Choutaal is commonly used for 75. ëW¡ït¡àº Îà‹à¹ot¡ ëA¡à>ô ‹¹ì>¹ ÎUãìt¡¹ ÎìU accompaniment with ¤à\àì>à ÒÚ?

(A) Dhrupad (A) ‹øç¡šƒ (B) Khayal (B) ëJÚຠ(C) Kirtan (C) A¡ãt¢¡> (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 15 [ P.T.O. 76. Ustad Bade Ghulam Ali Khan 76. *Ñzàƒ ¤ìØl¡ ëKàºà³ "à[º Jòà ëA¡à>ô Q¹à>๠[Å¿ã belonged to which Gharana? [áìº>? (A) Agra Gharana (A) "àNøà Q¹à>à (B) Gwalior Gharana (B) ëKàÚà[ºÚ๠Q¹à>à (C) Patiala Gharana (C) šà[t¡Úàºà Q¹à>à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

77. The tribal dance form of Tripura 77. [>³—[º[Jt¡P¡[º¹ ³ì‹¸ [yšå¹à¹ l¡üš\à[t¡ìƒ¹ from the following is >õt¡¸‹à¹à[i¡ Òº (A) Bihu (A) [¤× (B) Kathakali (B) A¡=àA¡[º (C) Mamita (C) ³à[³t¡à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

78. Khandar Vani of Dhrupad was 78. ‹ø硚샹 Jàr¡à¹ ¤àoã¹ Ñ÷Ê¡à Òìº> established by (A) Tansen (A) Tansen (B) Samokhan Singh (B) Samokhan Singh (C) Ustad Amir Khan (C) Ustad Amir Khan (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 79. [>³—[º[Jt¡P¡[º¹ ³ì‹¸ "à‹¸à[uA¡ Î}Kãt¡ ‹à¹à[i¡ 79. Spiritual song from the following is Òº (A) Bhajan (A) ®¡\> (B) Gazal (B) K\º (C) Thumri (C) k塳Øl¡ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

80. The Indian classical vocalist from 80. [>ì³—àv¡û¡ ¤¸[v¡û¡ìƒ¹ ³ì‹¸ ®¡à¹t¡ãÚ ÅàÑ|ãÚ the following is A¡–k¡ÎUãìt¡¹ [Å¿ã Òìº> (A) Ustad Amzad Ali Khan (A) *Ñzàƒ "à³\àƒ "à[º Jòà (B) Ustad Bismillah Khan (B) *Ñzàƒ [¤Î[³ÀàÒ Jòà (C) Pt. Ajoy Chakraborty (C) š[r¡t¡ "\Ú W¡yû¡¤t¢¡ã (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/8 16 81. In Akarmatrik notation system, 81. "àA¡à¹³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ t¡ã¤ø ³‹¸³ Teevra Madhyam is shown as A¡ã®¡àì¤ ëƒJàì>à ÒÚ? (A) ³à (Ma) (A) ³à

| | | (B) ³à (Ma) (B) ³à

/ / / (C) ³à (Ma) (C) ³à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 82. The placement of Atikomal Rishab is 82. between which two Swaras? "[t¡ìA¡à³º ˜¡È쮡¹ Ñ‚à> ëA¡à>ô ƒå[i¡ Ѭ칹 ³àc¡Jàì>? (A) Komal Re and Shuddha Re (A) ëA¡à³º ë¹ &¤} Ç¡‡ý¡ ë¹ (B) Sa and Komal Re (B) Îà &¤} ëA¡à³º ë¹ (C) Shuddha Re and Komal Ga (C) Ç¡‡ý¡ ë¹ &¤} ëA¡à³º Kà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 83. In Akarmatrik notation system, the symbol for half Maatra is 83. "àA¡à¹³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ "‹¢³ày๠[W¡Òû¡ Òº (A) 0 (A) 0 (B) à (B) à (C) : (C) : (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 84. The symbol c in Akarmatrik notation indicates 84. "àA¡à¹³à[yA¡ Ѭ¹[º[šìt¡ c [W¡Òû¡[i¡ ë¤àc¡àÚ (A) Meer (A) ³ãØl¡ (B) touch note (B) њŢѬ¹ (C) repetition (C) šå>¹à¤õ[v¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

85. Symbol used to indicate the 85. "àA¡à¹³à[yA¡ Ѭ¹[º[šìt¡, &A¡[i¡ ºàÒüì>¹ exclusion of some Swaras during šå>¹à¤õ[v¡A¡àìº A¡t¡A¡P¡[º Ѭ¹ìA¡ ¤àƒ ëƒ*Ú๠repetition in Akarmatrik notation is [W¡Òû¡[i¡ Òº (A) ( ) (A) ( ) (B) { } (B) { } (C) [ ] (C) [ ] (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 17 [ P.T.O. 86. The notation system introduced by 86. ëÛ¡yì³àÒ> ëKàѬà³ã ‡à¹à šø¤[t¢¡t¡ Ѭ¹[º[š Kshetramohan Goswami is š‡ý¡[t¡¹ >à³ Òº (A) Akarmatrik (A) "àA¡à¹³à[yA¡

(B) Sankhyamatrik (B) Î}J¸à³à[yA¡

(C) Dandamatrik (C) ƒr¡³à[yA¡

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

87. Which one of the following indicates 87. [>³—[º[Jt¡ ëA¡à>[i¡ ƒr¡³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ one Maatra of the Swara ‘Sa’ in ‘Î’ Ѭ칹 &A¡ ³àyàìA¡ ë¤àc¡àÚ? Dandamatrik notation system? | (A) Î | (A) Î (B) Îà (B) Îà s s (C) Îà (C) Îà (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

88. ƒr¡³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ‘| ’ [W¡Òû¡[i¡¹ ‡à¹à m 88. In Dandamatrik notation system, ëƒJàì>à ÒÚ the symbol ‘| ’ in di cates m (A) ëA¡à³º Ѭ¹ (A) Komal Swara (B) t¡ã¤ø Ѭ¹ (B) Teevra Swara (C) Ç¡‡ý¡ Ѭ¹ (C) Shuddha Swara (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 89. ƒr¡³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ëA¡à³º KàÞê¡à¹ 89. Komal Gandhar in Dandamatrik ëƒJàì>à ÒÚ notation system is shown as (A) Kà (A) Kà D D (B) K (B) K

| | (C) Kà (C) Kà

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 18 90. Kosimatrik notation system was 90. A¡[γà[yA¡ Ѭ¹[º[š š‡ý¡[t¡¹ šø¤t¢¡A¡ [áìº> introduced by (A) [‡ì\–ƒø>à= k¡àA塹 (A) Dwijendranath Tagore (B) ¹¤ã–ƒø>à= k¡àA塹 (B) Rabindranath Tagore (C) ƒãì>–ƒø>à= k¡àA塹 (C) Dinendranath Tagore (D) &ò샹 ëA¡l¡üÒü >> (D) None of them

91. 91. In Bhatkhande notation system, ‘Sa’ ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡, t¡à¹ Îœ¡ìA¡¹ ‘Îà’ Swara of Tar Saptaka is shown as Ѭ¹ìA¡ [A¡®¡àì¤ ëƒJàì>à ÒÚ?

/ / (A) Sa (A) Îà

| | (B) Sa (B) Îà

(C) S&a (C) Î&à

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

92. Which one of the following indicates 92. ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ [>³—[º[Jt¡ ëA¡à>[i¡¹ two Swaras in one Maatra in ‡à¹à &A¡ ³àyàÚ ƒå[i¡ Ѭ¹ ë¤àc¡àì>à ÒÚ? Bhatkhande notation system? C C (A) Îàë¹ (A) Sa Re

(B) – (B) Sa–Re Îà ë¹

(C) Sa Re (C) Îàë¹ c c (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

93. How will be the following Akarmatrik 93. [>³—[º[Jt¡ "àA¡à¹³à[yA¡ Ѭ¹[º[š[i¡ ®¡àt¡Jìr¡ notation be written in Bhatkhande Ѭ¹[º[š š‡ý¡[t¡ìt¡ A¡ã®¡àì¤ ëºJà Òì¤? notation system? "àA¡à¹³à[yA¡ Ѭ¹[º[š — Îà ë¹ Akarmatrik notation — Sa Re c c (A) (A) Sa Re Îà ë¹ c Cc C (B) (B) Sa Re Îà ë¹

(C) Sa Re (C) Îàë¹ c c (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 19 [ P.T.O. 94. Bhatkhande notation system is 94. ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ Îà‹à¹ot¡ ¤¸¤Ò๠A¡¹à commonly used in ÒÚ (A) Rabindra Sangeet (A) ¹¤ã–ƒøÎUãìt¡ (B) Western music (B) šàÆW¡àt¡¸ ÎUãìt¡ (C) North Indian classical music (C) l¡üv¡¹ ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãìt¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 95. In Bhatkhande notation system, ‘}’ symbol indicates 95. ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ‘}’ [W¡Òû¡[i¡ ë¤àc¡àÚ

(A) Abagraha (A) "¤NøÒ (B) Meer (B) ³ãØl¡ (C) Komal Swara (C) ëA¡à³º Ѭ¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

96. Stringed instrument from the 96. t¡à¹™åv¡û¡ ¤àƒ¸™”|[i¡ Òº following is (A) Îì¹àƒ (A) Sarod (B) t¡¤ºà (B) Tabla (C) (C) Pakhwaj šàìJàÚà\

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

97. The stringed instrument commonly 97. ëA¡à>ô t¡à¹™åv¡û¡ ¤àƒ¸™”|[i¡ Îà‹à¹ot¡ ¤àl¡üº Kàì>¹ used for accompaniment with Baul ÎìU ¤à\àì>à ÒìÚ =àìA¡? form of music is (A) ë¤Òàºà (A) Violin (B) &A¡t¡à¹à (B) Ektara (C) Îì¹àƒ (C) Sarod (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 98. 98. The song sung during a boat race in šè¤¢¤ìU ë>ïA¡à ëƒïìØl¡¹ Î³Ú ë™ Kà> Kà*Úà ÒÚ, East Bengal is ëÎ[i¡ Òº

(A) Baul (A) ¤àl¡üº

(B) Sari (B) Îà[¹ (C) Bhadu (C) ®¡àƒå (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 20 99. ‘Dhana Dhanya Pushpa Bhora’, this 99. ‘‹> ‹à>¸ šåÍš ®¡¹à’ Kà>[i¡¹ ¹W¡[Út¡à Òìº> song was composed by (A) ¹¤ã–ƒø>à= k¡àA塹 (A) Rabindranath Tagore (B) "t塺šøÎàƒ ëÎ> (B) Atulprasad Sen (C) [‡ì\–ƒøºàº ¹àÚ (C) Dwijendralal Ray (D) &ò샹 ëA¡l¡üÒü >> (D) None of them

100. 100. Identify the Tat Vadya from the t¡t¡ ¤àƒ¸[i¡ [W¡[Òû¡t¡ A¡¹ç¡>¡ú following. (A) Ѭ¹³r¡º (A) Swarmandal (B) t¡¤ºà (B) Tabla (C) ëJຠ(C) Khol (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 101. Îà>àÒü ¤àƒ¸™”|[i¡ [>³—[º[Jt¡ ëA¡à>[i¡¹ ³ì‹¸ 101. The musical instrument Shehnai ëÅøo㤇ý¡ A¡¹à ™àÚ? can be classified under (A) "¤>‡ý¡ ¤àƒ¸ (A) Avanaddha Vadya (B) (B) Tat Vadya t¡tô¡ ¤àƒ¸

(C) Ghana Vadya (C) Q> ¤àƒ¸

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

102. Sitar is played with the help of 102. ëÎt¡à¹ [A¡ìι ÎàÒà외 ¤à\àì>à ÒÚ? (A) Mizrab (A) [³\¹à¤ (B) Stick (B) ºà[k¡ (C) Bow (C) áØl¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

103. Which type of musical instrument is 103. ëA¡à>ô ‹¹ì>¹ ¤àƒ¸[i¡ Òà*Ú๠ÎàÒà외 ¤à\àì>à played by blowing air to produce sound? ÒìÚ =àìA¡?

(A) Ghana Vadya (A) Q> ¤àƒ¸

(B) Sushir Vadya (B) Îå[ȹ ¤àƒ¸

(C) Tat Vadya (C) t¡tô¡ ¤àƒ¸ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 21 [ P.T.O. 104. Ustad Ali Akbar Khan is a famous 104. *Ñzàƒ "à[º "àA¡¤¹ Jòà &A¡\> [¤J¸àt¡ (A) Sitar player (A) ëÎt¡à¹ ¤àƒA¡ (B) Sarod player (B) Îì¹àƒ ¤àƒA¡ (C) Tabla player (C) t¡¤ºà ¤àƒA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 105. The musical instrument of the tribals of Tripura is 105. [yšå¹à¹ l¡üš\à[t¡ìƒ¹ ÎUãìt¡ ¤¸¤Òê¡t¡ ¤àƒ¸™”|[i¡ Òº (A) Ektara (A) &A¡t¡à¹à (B) Pung (B) (C) Sarinda šåR¡

(D) None of the above (C) Îà[¹–ƒà (D) 106. Commonly used instrument of l¡üšì¹¹ ëA¡à>[i¡Òü >Ú Carnatic music is 106. A¡o¢ài¡A¡ã ÎUãìt¡ ¤¸¤Òê¡t¡ ¤àƒ¸™”|[i¡ Òº (A) Ghatam (A) Qi¡³ (B) Tabla (B) t¡¤ºà (C) Sarod (C) (D) None of the above Îì¹àƒ (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 107. Which one of the following musical instruments is a Shruti-Veena? 107. [>³—[º[Jt¡ ¤àƒ¸™”|P¡[º¹ ³ì‹¸ Åøç¡[t¡-¤ãoà[i¡ Òº (A) Sitar (A) ëÎt¡à¹ (B) Sarod (B) Îì¹àƒ (C) Tanpura (C) t¡à>šå¹à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 108. Identify the musical instrument commonly used for accompaniment 108. ëJÚຠKàì> ¤¸¤Òê¡t¡ ¤àƒ¸™”|[i¡ [W¡[Òû¡t¡ A¡¹ç¡>ú with Khayal. (A) (A) Mridanga ³õƒU

(B) Sarengi (B) Îàì¹Uã

(C) Piano (C) [šÚàì>à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 22 109. Musical instrument being played by 109. l¡@ &. [š. ë\. "à¦åº A¡àºà³ ë™ ¤àƒ¸™”|[i¡ Dr. A. P. J. Abdul Kalam is ¤à\àìt¡>, ëÎ[i¡ Òº (A) Veena (A) ¤ãoà (B) Sarod (B) ëÎt¡à¹ (C) Sitar (C) Îì¹àƒ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 110. Krishna Rao Shankar Pandit was a 110. Aõ¡Ì¡ ¹à* ÅS¡¹ š[r¡t¡ [áìº> &A¡\> [¤J¸àt¡ famous (A) (A) Vocalist A¡q¡ÎUãt¡ [Å¿ã (B) (B) Tabla player t¡¤ºà ¤àƒA¡

(C) Pakhwaj player (C) šàìJàÚà\ ¤àƒA¡

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

111. Identify the Pakhwaj player from the 111. [>ì³—àv¡û¡ìƒ¹ ³ì‹¸ šàìJàÚà\ ¤àƒA¡ìA¡ [W¡[Òû¡t¡ following. A¡¹ç¡>¡ú (A) Abdul Karim Khan (A) "à¦åº A¡[¹³ Jòà (B) Ayodhya Prasad (B) "ì™à‹¸à šøÎàƒ (C) Swapan Chowdhury (C) Ѭš> ëW¡ï‹å¹ã (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

112. Pentatonic scale consists of how 112. ëš–i¡ài¡[>A¡ ëÑHìº A¡Ú[i¡ ÎUãt¡-Ѭ¹ =àìA¡? many musical notes? (A) [t¡>[i¡ (A) Three (B) W¡à¹[i¡ (B) Four (C) (C) Five šòàW¡[i¡ (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

113. Ustad Allauddin Khan Sangeet 113. *Ñzàƒ "àºàl¡ü[„> Jòà ÎUãt¡ &A¡àìl¡³ã ëA¡à=àÚ Academi is located at "¤[Ñ‚t¡?

(A) Bhopal (A) 뮡àšàº

(B) Amritsar (B) "³õt¡Î¹ (C) Kolkata (C) ëA¡àºA¡àt¡à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 23 [ P.T.O. 114. Ustad Vilayat Khan is a famous 114. *Ñzàƒ [¤ºàÚt¡ Jòà Òìº> &A¡\> [¤J¸àt¡ (A) Sarod player (A) Îì¹àƒ ¤àƒA¡ (B) Tabla player (B) t¡¤ºà ¤àƒA¡ (C) Sitar player (C) ëÎt¡à¹ ¤àƒA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

115. Murali is another name of which 115. ëA¡à>ô ¤àƒ¸™ì”|¹ "àì¹A¡ >à³ Òº ³å¹[º? musical instrument? (A) (A) Tabla t¡¤ºà (B) (B) Flute ¤òà[Å

(C) Sitar (C) ëÎt¡à¹

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

116. Kanika Bandyopadhyay is a famous 116. A¡[oA¡à ¤ì–ƒ¸àšà‹¸àÚ Òìº> &A¡\> [¤J¸àt¡

(A) North Indian classical vocalist (A) l¡üv¡¹ ®¡à¹t¡ãÚ ÅàÑ|ãÚ A¡q¡ÎUãt¡ [Å¿ã

(B) Rabindra Sangeet artist (B) ¹¤ã–ƒøÎ}Kãt¡ [Å¿ã (C) Nazrul Geeti artist (C) >\¹ç¡ºKã[t¡ [Å¿ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

117. Father of Rabindranath Tagore was 117. ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ [št¡à [áìº> (A) Maharshi Debendranath Tagore (A) ³Ò[È¢ ëƒì¤–ƒø>à= k¡àA塹 (B) Prince Dwarakanath Tagore (B) [šøX ‡à¹A¡à>à= k¡àA塹 (C) Jyotirindranath Tagore (C) ë\¸à[t¡[¹–ƒø>à= k¡àA塹 (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 118. The drama written by Rabindranath 118. Tagore in the perspective of Tripura [yšå¹à¹ ši¡®è¡[³A¡àÚ ëºJà ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ is >ài¡A¡[i¡ Òº

(A) Raja (A) ‘¹à\à’

(B) Bisarjan (B) ‘[¤Î\¢>’

(C) Muktadhara (C) ‘³åv¡û¡‹à¹à’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 24 119. Rabindranath Tagore was awarded 119. ëA¡à>ô Îàìº ¹¤ã–ƒø>à= k¡àA塹 ë>à줺 šå¹ÑHàì¹ the Nobel Prize in the year ®è¡[Èt¡ ÒìÚ[áìº>? (A) 1910 (A) 1910 (B) 1911 (B) 1911 (C) 1912 (C) 1912 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 120. The Rabindra Sangeet—‘Jodi Tor Daak Shune’ is classified under 120. ‘™[ƒ ët¡à¹ l¡àA¡ Ç¡ì>’—¹¤ã–ƒøÎUãt¡[i¡ ëA¡à>ô which Parjaay of Gitabitan ? š™¢àÚ®å¡v¡û¡? (A) Puja (A) šè\à (B) Swadesh (B) ѬìƒÅ (C) Bichitro (C) (D) None of the above [¤[W¡y (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 121. The song composed by Rabindranath Tagore for Rakhi 121. Bandhan festival is ¹àJã¤Þê¡> l¡ü;Î줹 \>¸ ¹[W¡t¡ ¹¤ã–ƒøÎUãt¡[i¡ Òº (A) Ebar Tor Mora Gange (A) &¤à¹ ët¡à¹ ³¹à KàìR¡ (B) Amar Sonar Bangla (B) "à³à¹ ëÎà>๠¤à}ºà (C) Banglar Mati Banglar Jol (C) ¤à}ºà¹ ³à[i¡ ¤à}ºà¹ \º (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 122. The Rabindra Sangeet composed in Nabapancha Taal is 122. >¤še¡t¡àìº [>¤‡ý¡ ¹¤ã–ƒøÎUãt¡[i¡ Òº (A) Janani Tomar Karun (A) \>>ã ët¡à³à¹ A¡¹ç¡o W¡¹oJà[> Charankhani (B) ƒåÚàì¹ ƒà* ë³àì¹ ¹à[JÚà (B) Duare Dao More Rakhiya (C) ëšøì³ šøàìo Kàì> KìÞê¡ (C) Preme Prane Gane Gondhe (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

123. Which one of the following Rabindra 123. [>³—[º[Jt¡ ëA¡à>ô ¹¤ã–ƒøÎUãt¡[i¡ &A¡[i¡ ëƒìŹ Sangeets is the National Anthem of a \àt¡ãÚ ÎUãt¡? country? (A) [¤[‹¹ ¤òà‹> A¡ài¡ì¤ tå¡[³ (A) Bidhir Bidhan Katbe Tumi (B) "à³à¹ ëÎà>๠¤à}ºà (B) Amar Sonar Bangla (C) Sarthok Janam Amar (C) Îà=¢A¡ \>³ "à³à¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 25 [ P.T.O. 124. Rabindra Sangeet classified under 124. ‘Kãt¡[¤t¡à>’-&¹ šè\à š™¢àìÚ¹ ¹¤ã–ƒøÎUãt¡[i¡ Òº Puja Parjaay of Gitabitan is (A) ët¡à³àì¹Òü A¡[¹Úà[á \ã¤ì>¹ ‹ø硤t¡à¹à (A) Tomarei Koriachi Jiboner Dhrubatara (B) >¤ "à>ì–ƒ \àìKà (B) Naba Anonde Jago (C) * ë™ ³àì> >à ³à>à (C) O Je Mane Na Mana (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 125. [yšå¹àÚ ¹[W¡t¡ ¹¤ã–ƒøÎUãt¡[i¡ Òº 125. The song written by Rabindranath Tagore during his stay in Tripura is (A) ¤ì> ™[ƒ óå¡i¡º Aå¡Îå³ (A) Bone Jodi Phutlo Kusum (B) "àP¡ì>¹ š¹Å³[o (B) Aguner Parashmoni (C) "à³à¹ ³å[v¡û¡ "àìºàÚ "àìºàÚ (C) Amar Mukti Aloy Aloy (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 126. [>³—[º[Jt¡ ëA¡à>ô ¹¤ã–ƒøÎUãt¡[i¡¹ Îåì¹ ¤à}ºà¹ 126. The tune of which one of the &A¡[i¡ ëºàA¡ÎUãìt¡¹ Îåì¹¹ šø®¡à¤ ºÛ¡oãÚ? following Rabindra Sangeet is based on the tune of a folk song of Bengal? (A) A¡t¡¤à¹ 뮡ì¤[á>å (A) Katobar Bhebechinu (B) "àÒà "à[\ & ¤Îì”z (B) Aha Aji A Basante (C) &¤à¹ ët¡à¹ ³¹à KàìR¡ (C) Ebar Tor Mora Gange (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 127. ‘\àìKà ë³àÒ> š¸àì¹’ ¤[–ƒÅ[i¡¹ Îåì¹¹ "àƒìÅ¢ 127. The Rabindra Sangeet based on the ¹[W¡t¡ ¹¤ã–ƒøÎUãt¡[i¡ Òº tune of the Bandish ‘Jago Mohan Pyare’ is (A) ³[–ƒì¹ ³³ ëA¡ (A) Mondire Mama Ke (B) ³> \àìKà ³UºìºàìA¡ (B) Mon Jago Mangalloke (C) >¤ "à>ì–ƒ \àìKà (C) Naba Anonde Jago (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 128. ‘"à³à¹ ³å[v¡û¡ "àìºàÚ "àìºàÚ’ ¹¤ã–ƒøÎUãìt¡¹ 128. Taal of the Rabindra Sangeet ‘Amar t¡àº[i¡ Òº Mukti Aloy Aloy’ is (A) [yt¡àº (A) Tritaal (B) Teora (B) ët¡*Øl¡à (C) Dadra (C) ƒàƒ¹à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 26 129. Which one of the following is a 129. [>³—[º[Jt¡P¡[º¹ ³ì‹¸ ¹¤ã–ƒø>à= k¡àA塹 ¹[W¡t¡ dance drama composed by >õt¡¸>ài¡¸[i¡ Òº Rabindranath Tagore? (A) ‘¹à\à’ (A) Raja (B) ‘¤àµã[A¡ šø[t¡®¡à’ (B) Balmiki Pratibha (C) ‘A¡àº³õKÚà’ (C) Kalmrigaya (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

130. The Rabindra Sangeet ‘Hridoy Amar 130. ‘Òê¡ƒÚ "à³à¹ >àìW¡ì¹’ ¹¤ã–ƒøÎUãt¡[i¡ ëA¡à>ô Nachere’ is of which season? ˜¡t塹? (A) Rainy (A) ¤È¢à (B) Spring (B) ¤Î”z (C) Autumn (C) Ź; (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

131. The song ‘Gramchara Oi Ranga 131. ‘Nøà³áàØl¡à *Òü ¹àR¡à ³à[i¡¹ š=’ Kà>[i¡ ëA¡ ¹W¡>à Matir Poth’ was composed by A¡ì¹[áìº>? (A) Dwijendralal Ray (A) [‡ì\–ƒøºàº ¹àÚ (B) Atulprasad Sen (B) "t塺šøÎàƒ ëÎ> (C) Rabindranath Tagore (C) ¹¤ã–ƒø>à= k¡àA塹 (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 132. The Rabindra Sangeet ‘Protidin Ami Hey Jibonswami’ is based on which 132. ‘šø[t¡[ƒ> "à[³ ëÒ \ã¤>Ѭà³ã’ ¹¤ã–ƒøÎUãt¡[i¡ìt¡ Raga? ëA¡à>ô ¹àìK¹ "஡àÎ šà*Úà ™àÚ? (A) Iman (A) Òü³> (B) Kafi (B) A¡à[ó¡ (C) Bilawal (C) [¤ºà¤º (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 133. The birthplace of Rabindranath 133. Tagore is ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ \–µÑ‚à> Òº (A) Jorasanko Thakurbari (A) ë\àØl¡àÎòàìA¡à k¡àA塹¤à[Øl¡ (B) Pathuriyaghata Thakurbari (B) šà=å¹ãÚàQài¡à k¡àA塹¤à[Øl¡ (C) Shantiniketan (C) Åà[”z[>ìA¡t¡> (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 27 [ P.T.O. 134. Bishnu Chakraborty was the music 134. [¤Ìå¡ W¡yû¡¤t¢¡ã A¡à¹ ÎUãt¡ [ÅÛ¡A¡ [áìº>? teacher of (A) A¡à\ã >\¹ç¡º Òüκೠ(A) Kazi Nazrul Islam (B) ¹\>ãA¡à”z ëÎ> (B) Rajanikanta Sen (C) ¹¤ã–ƒø>à= k¡àA塹 (C) Rabindranath Tagore (D) (D) None of them &ò샹 ëA¡l¡üÒü >>

135. Rabindra Bharati University is 135. ¹¤ã–ƒø ®¡à¹t¡ã [¤Å«[¤ƒ¸àºÚ[i¡ ëA¡à=àÚ "¤[Ñ‚t¡? situated at (A) "àK¹t¡ºà (A) Agartala (B) ëA¡àºA¡àt¡à (B) Kolkata (C) n¡àA¡à (C) Dhaka (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 136. 136. Recipient of Sangeet Natak Academy ÎUãt¡ >ài¡A¡ &A¡àìl¡³ã šå¹ÑHà¹, 2016, šå¹ÑHõt¡ Award, 2016 is [Å¿ã Òìº>

(A) Suchitra Mitra (A) Îå[W¡yà [³y (B) Kala Ramnath (B) A¡ºà ¹à³>à= (C) Ustad Rashid Khan (C) *Ñzàƒ ¹[Ń Jòà (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

137. The book, Sangeetanjali was written 137. ‘ÎUãt¡àg[º’ Nø”‚[i¡ [ºìJ[áìº> by (A) (A) Jadu Bhatta ™ƒå®¡j¡

(B) Kumar Gandharva (B) A塳๠KÞꡤ¢

(C) Pt. Omkarnath Thakur (C) š[r¡t¡ *S¡à¹>à= k¡àA塹 (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

138. The book authored by Swami 138. Ѭà³ã šø`¡à>à>ì–ƒ¹ ëºJà ¤Òü[i¡ Òº Pragyanananda is (A) ‘[ƒ [ÒÎôìi¡à[¹A¡¸àº ël¡ì®¡ºšì³–i¡ "ó¡ (A) The Historical Development of Òü[“¡Úà> [³l¡ü[\A¡’ Indian Music (B) (B) Pranab Bharati ‘šøo¤ ®¡à¹t¡ã’

(C) Sangeet Chinta (C) ‘ÎUãt¡ [W¡”zà’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/8 28 139. Srikrishna Narayan Ratanjankar 139. ÅøãAõ¡Ì¡ >à¹àÚo ¹t¡>\>A¡à¹ A¡à¹ [Åȸ [áìº>? was a disciple of (A) [®¡. [l¡. šºåÑH¹ (A) V. D. Paluskar (B) [®¡. &>. ®¡àt¡Jìr¡ (B) V. N. Bhatkhande (C) (C) Kumar Gandharva A塳๠K–ƒ®¢¡ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

140. Bhatkhande Music Institute is 140. ®¡àt¡Jìr¡ [³l¡ü[\A¡ Òü>ô[С[i¡l¡üi¡ ëA¡à=àÚ "¤[Ñ‚t¡? situated at (A) ºìÝ¡ï (A) Lucknow (B) ëKàÚà[ºÚ¹ (B) Gwalior (C) ³å´¬àÒü (C) Mumbai (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

141. The ‘Ranganath’ title was conferred 141. ‘¹U>à=’ l¡üšà[‹ A¡àìA¡ šøƒà> A¡¹à ÒÚ? on (A) ¹¤ã–ƒø>à= k¡àA塹 (A) Rabindranath Tagore (B) ¹\>ãA¡à”z ëÎ> (B) Rajanikanta Sen (C) ™ƒå®¡j¡ (C) Jadu Bhatta (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 142. 142. The song ‘Keno Bonchito Hobo ‘ëA¡> ¤[e¡t¡ Ò¤ W¡¹ìo’ Kà>[i¡¹ ¹W¡[Út¡à Òìº> Charone’ was composed by (A) ¹¤ã–ƒø>à= k¡àA塹 (A) Rabindranath Tagore (B) A¡à\ã >\¹ç¡º Òüκೠ(B) Kazi Nazrul Islam (C) "t塺šøÎàƒ ëÎ> (C) Atulprasad Sen (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 143. A¡à\ã >\¹ç¡º Òüκàì³¹ ¹[W¡t¡ Kà>[i¡ Òº 143. The song composed by Kazi Nazrul Islam is (A) Û¡[³* ëÒ [Ť (A) Kshomiyo Hey Shiv (B) ÅåA¡ì>à šàt¡à¹ >èšå¹ šàìÚ (B) Shukno Patar Nupur Paye (C) A¡ì¤ tõ¡[Èt¡ & ³¹ç¡ (C) Kobe Trishito A Moru (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 144. ëA¡à>ô ³[Òºà [Å¿ãìA¡ ‘®¡à¹t¡¹â—’ šå¹ÑHàì¹ 144. The female artist awarded the δ¶à[>t¡ A¡¹à ÒÚ? ‘Bharat Ranta’ is (A) (A) M. S. Subbulaxmi &³. &Î. Å审ºÜã (B) Shreya Ghoshal (B) ëÅøÚà ëQàÈຠ(C) Asha Bhonsle (C) "àÅà ë®ò¡àÎìº (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/8 29 [ P.T.O. 145. The song ‘Ami Takdum Takdum 145. ‘"à[³ i¡àAô¡l塳 i¡àAô¡l塳 ¤à\àÒü’ Kà>[i¡¹ ¹W¡[Út¡à Bajai’ was composed by Òìº> (A) Atulprasad Sen (A) "t塺šøÎàƒ ëÎ> (B) Rajanikanta Sen (B) ¹\>ãA¡à”z ëÎ> (C) Sachin Debbarman (C) ÅW¡ã> 냤¤³¢o (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 146. The institution College of Music and 146. Fine Arts was set up by A¡ìº\ "óô¡ [³l¡ü[\A¡ "¸à“¡ ó¡àÒü> "ài¢¡Î šø[t¡Ë¡à>[i¡¹ šø[t¡Ë¡àt¡à [áìº> (A) V. D. Paluskar (A) (B) Pulin Debbarma [®¡. [l¡. šºåÑH¹ (C) V. N. Bhatkhande (B) šå[º> 냤¤³¢à (D) None of them (C) [®¡. &>. ®¡àt¡Jìr¡ (D) 147. The name of the government music &ò샹 ëA¡l¡üÒü >> college located in Agartala is 147. "àK¹t¡ºàÚ "¤[Ñ‚t¡ ιA¡à¹ã ÎUãt¡ (A) Sachin Debbarman Government ³Òà[¤ƒ¸àºÚ[i¡¹ >à³ Òº Music College (A) ÅW¡ã> 냤¤³¢o ιA¡à¹ã ÎUãt¡ ³Òà[¤ƒ¸àºÚ (B) Sachin Debbarman Memorial (B) ÅW¡ã> 냤¤³¢o Ѷõ[t¡ ιA¡à¹ã ÎUãt¡ Government Music College ³Òà[¤ƒ¸àºÚ (C) Government College of Music (C) ιA¡à¹ã ÎUãt¡ ³Òà[¤ƒ¸àºÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 148. Which one of the following is a Bhajan? 148. [>³—[º[Jt¡ Kà>P¡[º¹ ³ì‹¸ ®¡\> ëA¡à>[i¡? (A) Piya Ki Nazariyan (A) [šÚà [A¡ >\[¹Úà (B) Chupke Chupke Raat Din (B) Wå¡šìA¡ Wå¡šìA¡ ¹àt¡ [ƒ> (C) Aaaj Jane Ki Zid Na Karo (C) "à\ \àì> A¡ã [\ƒô >à A¡ì¹à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 149. The author of the book, Universal 149. ‘Òül¡ü[>®¡à΢ຠ[ÒìСà[¹ "óô¡ [³l¡ü[\A¡’ Nø”‚[i¡¹ History of Music is ëºJA¡ Òìº> (A) Rabindranath Tagore (A) ¹¤ã–ƒø>à= k¡àA塹 (B) Jyotirindranath Tagore (B) ë\¸à[t¡[¹–ƒø>à= k¡àA塹 (C) Sourindro Mohan Tagore (C) (D) None of them ëÅï¹ã–ƒøì³àÒ> k¡àA塹 (D) &ò샹 ëA¡l¡üÒü >> 150. The book, Aikyatanik Swaralipi was written by 150. ‘'A¡¸t¡à[>A¡ Ѭ¹[º[š’ Nø”‚[i¡¹ ëºJA¡ Òìº> (A) Kshetramohan Goswami (A) ëÛ¡yì³àÒ> ëKàѬà³ã (B) Sourindro Mohan Tagore (B) ëÅï¹ã–ƒøì³àÒ> k¡àA塹 (C) Krishnadhan Bandyopadhyay (C) Aõ¡Ì¡‹> ¤ì–ƒ¸àšà‹¸àÚ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/8 30 SPACE FOR ROUGH WORK / ¹àó¡ A¡àì\¹ \>¸ \àÚKà¡

/8 31 [ P.T.O. READ THE FOLLOW ING INSTRUC TIONS CARE FULLY : [>³—[º[Jt¡ [>샢Åऺ㠮¡àìºà A¡ì¹ šØl¡æ> : 1. Out of the four alternatives for each question, only one circle for the correct answer is to be darkened completely with Black Ballpoint Pen on the OMR Answer Sheet. The answer once marked is not liable to be changed. šø[t¡[i¡ šøìÅ—¹ l¡üv¡¹ [ÒÎàì¤ ë™ W¡à¹[i¡ [¤A¡¿ ëƒ*Úà "àìá t¡à ë=ìA¡ Ç¡‹å³ày Ç¡‡ý¡ l¡üv¡¹[i¡¹ ëšø[Û¡ìt¡ OMR l¡üv¡¹šìy ëƒ*Úà ¤õv¡[i¡ A¡àìºà ¤ºšìÚ–i¡ A¡º³ ‡à¹à δšèo¢¹ê¡ìš A¡àìºà A¡ì¹ [W¡[Òû¡t¡ A¡¹ìt¡ Ò줡ú &A¡¤à¹ l¡üv¡¹ [W¡[Òû¡t¡ A¡¹à ÒìÚ ëKìº t¡àìA¡ "๠š[¹¤t¢¡> A¡¹à ™àì¤ >à¡ú 2. The candidates should ensure that the OMR Answer Sheet is not folded. Do not make any stray marks on the Answer Sheet. Do not write your Roll No. anywhere else except at the specified space on the OMR Answer Sheet. š¹ãÛ¡à=¢ã¹à ëA¡àì>஡àì¤Òü OMR l¡üv¡¹šy[i¡ ®ò¡à\ A¡¹ì¤> >à¡ú OMR l¡üv¡¹šìy ëA¡àì>à¹A¡³ ƒàK A¡ài¡à ¤à ³”z¤¸ ëºJà ™àì¤ >à¡ú š¹ãÛ¡à=¢ã¹à tò¡à샹 ë¹àº >ബ๠l¡üv¡¹šìy [>[ƒ¢Ê¡ A¡¹à \àÚKà áàØl¡à ">¸ ëA¡àì>à \àÚKàÚ [ºJì¤> >à¡ú 3. Handle the Question Booklet and Answer Sheet with utmost care, as under no circumstances (except technical defect), another set of Question Booklet and OMR Answer Sheet will be provided. OMR l¡üv¡¹šy &¤} šøÅ—šìy¹ ¤¸¤Òàì¹ Îà[¤¢A¡ Ît¡A¢¡t¡à "¤º´¬> A¡¹ìt¡ Ò줡ú ëA¡àì>à "¤Ñ‚àìt¡Òü (³å‰o yç¡[i¡ * š‡ý¡[t¡Kt¡ yç¡[i¡ áàØl¡à) OMR l¡üv¡¹šy * šøÅ—šy šàìÂi¡ ëƒ*Úà ™àì¤ >à¡ú 4. The candidates will write the correct Question Booklet Number and OMR Answer Sheet Number in the Attendance Sheet. š¹ãÛ¡à=¢ãìA¡ "¸àìi¡ì“¡X Åãi¡-& tò¡à¹ OMR l¡üv¡¹šìy¹ >ബ๠&¤} šøÅ—šìy¹ >ബ๠[>®å¢¡º®¡àì¤ [ºJìt¡ Ò줡ú 5. Candidates are not allowed to carry any textual material, printed or written, bits of papers, pager, mobile phone, electronic devices or any other material except the Admit Card and Photo Identity Card inside the Examination Hall/Room. š¹ãÛ¡à=¢ãìA¡ "¸àl¡[³i¡ A¡àl¢¡ &¤} ó¡ìi¡à "àÒüìl¡>[i¡[i¡ A¡àl¢¡ áàØl¡à ">¸ ëA¡àì>à áàšàì>à ¤à ëºJà A¡àK\, šk¡> * ³å‰o\àt¡ Îà³Nøã, ëš\à¹, ë³à¤àÒüº ëó¡à>, ">¸ ëA¡àì>à¹A¡³ ÒüìºC¡ö[>A¡ [l¡®¡àÒüÎ [>ìÚ š¹ãÛ¡à Òìº/A¡ìÛ¡ šøì¤Å A¡¹ìt¡ ëƒ*Úà Òì¤ >à¡ú 6. Each candidate must show on demand his/her Admit Card and Photo Identity Card to the Invigilator/Examination Officials. š¹ãÛ¡à Òìº Òü>[®¡[\ìºi¡¹ A¡tõ¢¡A¡ [A¡}¤à š¹ãÛ¡à ëA¡ì–ƒø¹ [®¡t¡ì¹ š¹ãÛ¡à-Î}[ÅÃÊ¡ "à[‹A¡à[¹A¡ A¡tõ¢¡A¡ ƒà[¤ A¡¹à Òìº šøìt¡¸A¡ š¹ãÛ¡à=¢ã tò¡à¹ "¸àl¡[³i¡ A¡àl¢¡ * ó¡ìi¡à "àÒüìl¡>[i¡[i¡ A¡àl¢¡ ëƒJàìt¡ ¤à‹¸ =àA¡ì¤>¡ú 7. No candidate, without special permission of the Centre Superintendent or Invigilator, should change his/her seat. ëΖi¡à¹ Îåšà[¹>ìi¡>ìl¡–i¡ ¤à Òü>[®¡[\ìºi¡¹-&¹ [¤ìÅÈ ">å³[t¡ áàØl¡à š¹ãÛ¡à=¢ã š¹ãÛ¡à Òìº tò¡à¹ ¤Î๠тà> š[¹¤t¢¡> A¡¹ìt¡ šà¹ì¤> >à¡ú 8. Candidates will have to sign twice in the Attendance Sheet presented by the Invigilator on duty; first after taking their seats in the Examination Hall/Room and second at the time of handing over their OMR Answer Sheet to the Invigilator. š¹ãÛ¡à=¢ã[ƒKìA¡ Òü>[®¡[\ìºi¡ì¹¹ ëƒ*Úà "¸àìi¡ì“¡X Åãi¡-& ƒåÒü¤à¹ ѬàÛ¡¹ A¡¹ìt¡ Òì¤, šø=³¤à¹ š¹ãÛ¡à Òìº tò¡à샹 "àÎ> NøÒìo¹ š¹ &¤} [‡t¡ãڤ๠Òü>[®¡[\ìºi¡ì¹¹ [>A¡i¡ OMR l¡üv¡¹šy \³à ëƒ*Ú๠γìÚ¡ú 9. The candidates should not leave the Examination Hall/Room without handing over their OMR Answer Sheet to the Invigilator on duty and without signing the Attendance Sheet twice. Cases where a candidate has not signed the Attendance Sheet a second time will be deemed not to have handed over the Answer Sheet and dealt with as an unfair means case. "¸àìi¡ì“¡X Åãi¡-& ƒåÒü¤à¹ ѬàÛ¡¹ A¡¹à &¤} A¡t¢¡¤¸¹t¡ Òü>[®¡[\ìºi¡¹-&¹ [>A¡i¡ l¡üv¡¹šy \³à ëƒ*Úà ¤¸t¡ãt¡ ëA¡àì>à š¹ãÛ¡à=¢ã š¹ãÛ¡à Òº t¡¸àK A¡¹ìt¡ šà¹ì¤> >à¡ú ™[ƒ ëA¡àì>à š¹ãÛ¡à=¢ã "¸àìi¡ì“¡X Åãi¡-& ƒåÒü¤à¹ ѬàÛ¡¹ >à A¡ì¹> t¡ì¤ [t¡[> tò¡à¹ OMR l¡üv¡¹šy \³à A¡ì¹>[> ¤ìº Ko¸ Òì¤ &¤} t¡à ">å[W¡t¡ A¡à™¢ [ÒÎàì¤ ‹¹à Ò줡ú 10. Use of any type of calculating device is prohibited. ë™ ëA¡àì>à ‹¹ì>¹ A¡¸àºAå¡ìºi¡ì¹¹ ¤¸¤Ò๠δšèo¢¹ê¡ìš [>[ȇý¡¡ú 11. The candidates are governed by all the rules and regulations of the Board with regard to their conduct in the Examination Hall/Room. All cases of unfair means will be dealt with as per rules and regulations of the Board. š¹ãÛ¡à Òº/A¡ìÛ¡¹ ³ì‹¸ š¹ãÛ¡à=¢ã¹ "àW¡¹o ë¤àìl¢¡¹ [>Ú³ * [>샢[ÅA¡à ">å™àÚã W¡à[ºt¡ Ò줡ú Τ ‹¹ì>¹ ">å[W¡t¡ A¡à™¢ ë¤àìl¢¡¹ [>Ú³ * [>샢[ÅA¡à ">å™àÚã [>[ƒ¢Ê¡ Ò줡ú 12. No part of the Question Booklet and the OMR Answer Sheet shall be detached under any circumstances. ëA¡àì>à "¤Ñ‚àìt¡Òü šøÅ—šy &¤} OMR l¡üv¡¹šìy¹ ëA¡àì>à "}Å ëáòØl¡à ¤à "àºàƒà A¡¹à ™àì¤ >à¡ú 13. On completion of the test, the candidate must hand over the OMR Answer Sheet to the Invigilator in the Hall/Room. The candidates are allowed to take away the Question Booklet with them. š¹ãÛ¡à ëÅÈ Ò*Ú๠šì¹ š¹ãÛ¡à=¢ã "¤Å¸Òü tò¡à¹ OMR l¡üv¡¹šy A¡t¢¡¤¸¹t¡ Òü>[®¡[\ìºi¡ì¹¹ A¡àìá \³à ëƒì¤>¡ú š¹ãÛ¡à=¢ã¹à šøÅ—šy[i¡ tò¡à샹 Îàì= [>ìÚ ë™ìt¡ šàì¹>¡ú

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