X-12 Ins. Page (Paper-II)

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PAPER-II MUSIC Signature and Name of Invigilator 1. (Signature) ______OMR Sheet No. : ...... (Name) ______(To be filled by the Candidate) 2. (Signature) ______Roll No. (Name) ______(In figures as per admission card) Roll No.______D 1 6 1 0 (In words) 1 Time : 1 /4 hours] [Maximum Marks : 100 Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 50 Instructions for the Candidates ¯Ö¸üßÖÖÙ£ÖµÖÖë êú ×»Ö ×Ö¤ìü¿Ö 1. Write your roll number in the space provided on the top of 1. ¯ÖÆü»Öê ¯ÖéÂü êú ú¯Ö¸ü ×ÖµÖÖ Ã£ÖÖÖ ¯Ö¸ü ¯ÖÖÖ ¸üÖê»Ö Ö´²Ö¸ü ×»Ö×Ö this page. 2. ÃÖ ¯ÖÏ¿Ö-¯Ö¡Ö ´Öë ¯ÖÖÖÃÖ ²ÖÆãü×¾Öú»¯ÖßµÖ ¯ÖÏ¿Ö Æïü 2. This paper consists of fifty multiple-choice type of questions. 3. ¯Ö¸üßÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖêÖê ¯Ö¸ü, ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ Ö¯ÖúÖê ¤êü ¤üß ÖÖµÖêÖß ¯ÖÆü»Öê ¯ÖÖÑÖ 3. At the commencement of examination, the question booklet ×´ÖÖü Ö¯ÖúÖê ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ÖÖê»ÖÖê Ö£ÖÖ ÃÖúß ×Ö´Ö×»Ö×ÖÖ ÖÖÑÖ êú will be given to you. In the first 5 minutes, you are requested ×»Ö ×¤üµÖê ÖÖµÖëÖê, ×ÖÃÖúß ÖÖÑÖ Ö¯ÖúÖê ¾Ö¿µÖ ú¸üÖß Æîü : to open the booklet and compulsorily examine it as below : (i) ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ÖÖê»ÖÖê êú ×»Ö ÃÖêú ú¾Ö¸ü ¯ÖêÖ ¯Ö¸ü »ÖÖß úÖÖÖ úß (i) To have access to the Question Booklet, tear off the paper ÃÖß»Ö úÖê ±úÖÍü »Öë Öã»Öß ÆãüÔ µÖÖ ×²ÖÖÖ Ãüßú¸ü-ÃÖß»Ö úß ¯ÖãÛÃÖúÖ seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. Ã¾ÖßúÖ¸ü Ö ú¸ëü (ii) Tally the number of pages and number of questions in (ii) ú¾Ö¸ü ¯ÖéÂü ¯Ö¸ü û¯Öê ×Ö¤ìü¿ÖÖÖãÃÖÖ¸ü ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ êú ¯ÖéÂü Ö£ÖÖ ¯ÖÏ¿ÖÖë the booklet with the information printed on the cover úß ÃÖÓµÖÖ úÖê ûß Ö¸üÆü Öîú ú¸ü »Öë ×ú µÖê ¯Öæ¸êü Æïü ¤üÖêÂÖ¯ÖæÖÔ page. Faulty booklets due to pages/questions missing ¯ÖãÛÃÖúÖ ×ÖÖ´Öë ¯ÖéÂü/¯ÖÏ¿Ö ú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ¸üÖ Ö ÖµÖê ÆüÖë µÖÖ ÃÖß×¸üµÖ»Ö or duplicate or not in serial order or any other ´Öë Ö ÆüÖë £ÖÖÔÖ ×úÃÖß ³Öß ¯ÖÏúÖ¸ü úß ¡Öã×ü¯ÖæÖÔ ¯ÖãÛÃÖúÖ Ã¾ÖßúÖ¸ü Ö discrepancy should be got replaced immediately by a ú¸ëü Ö£ÖÖ ÃÖß ÃÖ´ÖµÖ ÃÖê »ÖÖîüÖú¸ü ÃÖêú Ã£ÖÖÖ ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß correct booklet from the invigilator within the period ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ »Öê »Öë ÃÖêú ×»Ö Ö¯ÖúÖê ¯ÖÖÑÖ ×´ÖÖü ×¤üµÖê ÖÖµÖëÖê of 5 minutes. Afterwards, neither the Question Booklet ÃÖêú ²ÖÖ¤ü Ö ÖÖê Ö¯Öúß ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ¾ÖÖ¯ÖÃÖ »Öß ÖÖµÖêÖß Öî¸ü Ö will be replaced nor any extra time will be given. Æüß Ö¯ÖúÖê ×Ö×¸üÖ ÃÖ´ÖµÖ ×¤üµÖÖ ÖÖµÖêÖÖ (iii) After this verification is over, the OMR Sheet Number (iii) ÃÖ ÖÖÑÖ êú ²ÖÖ¤ü OMR ¯Ö¡Öú úß Îú´Ö ÃÖÓµÖÖ ÃÖ ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ¯Ö¸ü should be entered on this Test Booklet. Ó×úÖ ú¸ü ¤ëü 4. Each item has four alternative responses marked (A), (B), (C) 4. ¯ÖÏµÖêú ¯ÖÏ¿Ö êú ×»Ö ÖÖ¸ü ¢Ö¸ü ×¾Öú»¯Ö (A), (B), (C) Ö£ÖÖ (D) ×¤üµÖê ÖµÖê and (D). You have to darken the oval as indicated below on the Æïü Ö¯ÖúÖê ÃÖÆüß ¢Ö¸ü êú ¤üßÖÔ¾Öé¢Ö úÖê ¯ÖêÖ ÃÖê ³Ö¸üú¸ü úÖ»ÖÖ ú¸üÖÖ Æîü ÖîÃÖÖ correct response against each item. ×ú ÖßÖê ×¤üÖÖµÖÖ ÖµÖÖ Æîü Example : A BC D ¤üÖÆü¸üÖ : A BC D where (C) is the correct response. Ö²Ö×ú (C) ÃÖÆüß ¢Ö¸ü Æîü 5. Your responses to the items are to be indicated in the Answer Sheet given inside the Paper I Booklet only. If you mark at 5. ¯ÖÏ¿ÖÖë êú ¢Ö¸ü êú¾Ö»Ö ¯ÖÏ¿Ö ¯Ö¡Ö I êú ¤ü¸ü ×¤üµÖê ÖµÖê ¢Ö¸ü-¯Ö¡Öú ¯Ö¸ü Æüß Ó×úÖ any place other than in the ovals in the Answer Sheet, it will ú¸üÖê Æïü µÖ×¤ü Ö¯Ö ¢Ö¸ü ¯Ö¡Öú ¯Ö¸ü ×¤üµÖê ÖµÖê ¤üßÖÔ¾Öé¢Ö êú »ÖÖ¾ÖÖ ×úÃÖß µÖ not be evaluated. Ã£ÖÖÖ ¯Ö¸ü ¢Ö¸ü ×ÖÅÖÖÓ×úÖ ú¸Öê Æïü, ÖÖê ÃÖúÖ ´Öæ»µÖÖÓúÖ ÖÆüà ÆüÖêÖÖ 6. Read instructions given inside carefully. 6. ¤ü¸ü ×¤üµÖê ÖµÖê ×Ö¤ìü¿ÖÖë úÖê ¬µÖÖÖ¯Öæ¾ÖÔú ¯ÖÍëü 7. Rough Work is to be done in the end of this booklet. 7. úÖÖ úÖ´Ö (Rough Work) ÃÖ ¯ÖãÛÃÖúÖ êú ÛÖ´Ö ¯ÖéÂü ¯Ö¸ü ú¸ëü 8. If you write your name or put any mark on any part of the test 8. µÖ×¤ü Ö¯Ö ¢Ö¸ü-¯ÖãÛÃÖúÖ ¯Ö¸ü ¯ÖÖÖ ÖÖ´Ö µÖÖ êÃÖÖ úÖêÔ ³Öß ×Ö¿ÖÖÖ ×ÖÃÖÃÖê booklet, except for the space allotted for the relevant entries, Ö¯Öúß ¯ÖÆüÖÖÖ ÆüÖê ÃÖêú, ×úÃÖß ³Öß ³ÖÖÖ ¯Ö¸ü ¤ü¿ÖÖÔÖê µÖÖ Ó×úÖ ú¸üÖê Æïü ÖÖê which may disclose your identity, you will render yourself ¯Ö¸üßÖÖ êú ×»ÖµÖê µÖÖêµÖ ÖÖê×ÂÖÖ ú¸ü ×¤üµÖê ÖÖµÖëÖê liable to disqualification. 9. Ö¯ÖúÖê ¯Ö¸üßÖÖ ÃÖ´ÖÖ¯Ö ÆüÖêÖê ¯Ö¸ü ¯ÖÏ¿Ö-¯ÖãÛÃÖúÖ ¾ÖÓ OMR ¢Ö¸ü-¯Ö¡Öú 9. You have to return the test question booklet and OMR Answer ×Ö¸üßÖú ´ÖÆüÖê¤üµÖ úÖê »ÖÖîüÖÖÖ Ö¾Ö¿µÖú Æîü Öî¸ü ¯Ö¸üßÖÖ ÃÖ´ÖÖÛ¯Ö êú ²ÖÖ¤ü ÃÖê sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the ¯ÖÖê ÃÖÖ£Ö ¯Ö¸üßÖÖ ³Ö¾ÖÖ ÃÖê ²ÖÖÆü¸ü Ö »Öêú¸ü ÖÖµÖë Examination Hall. 10. êú¾Ö»Ö Öß»Öê/úÖ»Öê ²ÖÖ»Ö ¯¾ÖÖÕü ¯ÖêÖ úÖ Æüß ÃÖê´ÖÖ»Ö ú¸ëü 10. Use only Blue/Black Ball point pen. 11. ×úÃÖß ³Öß ¯ÖÏúÖ¸ü úÖ ÃÖÓÖÖú (îú»Öãú»Öêü¸ü) µÖÖ »ÖÖÖ êü²Ö»Ö Ö×¤ü úÖ 11. Use of any calculator or log table etc., is prohibited. ¯ÖÏµÖÖêÖ ¾ÖÙÖÖ Æîü 12. There is no negative marks for incorrect answers. 12. Ö»ÖÖ ¢Ö¸üÖë êú ×»Ö úÖêÔ Óú úÖêü ÖÆüà ÖÖÑÖê D-16-10 1 P.T.O.

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MUSIC PAPER – II Hindustani / Karnatic / Rabindra Sangeet (Vocal, Instrumental & Musicology) and Percussion Instrument

Special Instructions Note : Candidates are required to answer all the 25 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 / Karnatic / Rabindra Sangeet / Percussion Instrument. 1. Put cross marNRQ6UQJ$QJ 6. The form played after OS9GDQLQ (A) Ga Ma Re Sa VWULQJLQVWUXPHQW9GDQ (B) 5H0D5H6 (A) 7DQWUDOS (B) *DWOS (C) 3D5H66 (C) -RGOS (D) 7QOS (D) Ga Ga Re Sa 7. 7KH%RORI0DVLWNKQL*DW 2. (A) 'LU'LU' 'LU' ' 5 5 :KR RIW KHI ROORZLQJ LVD . KD\ O yak ? (B) 'LU' 'LU' 5 ' ' 5 * (A) Gundecha Bandhu (C) ' 5 'LU'LU' ' ' 5 (B) Zia Fahimmuddin Dagar (D) ' ' 5 'LU' ' 5 'LU (C) Haddu Khan 8. :KLFK 3DUDGRI0 DGK\D6 DSWDN LV (D) Shobha Gurtu moved on Sitar ? (A) Sa (B) Re 3. Which of the following musicians (C) Ga (D) Ma was honoured with Padma Shree in 2009 ? 9. Sitar is played with (A) Kon. (B) Chimat. (A) Begam Parvin Sultana (B) Pt. Ravi Shankar (C) Patti (D) 0L]DU E (C) Pt. B.G. Jog 10. 5HFRJQL]H5J0UX%LKJ ' (D) Prof. R.C. Mehta (A) N. i Sa, Ma Ga Re Sa 4. Sangeet Vishwavidyalaya (B) N__.i Sa, M' a Ga Re Sa established in Madhya Pradesh ' (A) Bhatkhande Sangeet (C) N. i Sa, Ma Ga Re Sa Vishwavidyalaya (D) N__.i Sa, M' a Ga Re Sa (B) Pt. Onkarnath Thakur University 11. 7KHGLVWDQFHIURP0HUXWR*DQGKU (C) Raja Mansingh Tomar on the string of Veena University (A) 4" (B) 5" (D) Jiwaji University (C) 6" (D) 8" 12. Establishment of Shadaj in modern 5. Division of singing/playing time Shruti arrangement (A) 3 – 6 – 9 – 12 (A) First Shruti (B) 2 – 5 – 8 – 11 (B) Second Shruti (C) 5 – 8 – 11 – 2 (C) Third Shruti (D) 4 – 7 – 10 – 1 (D) Fourth Shruti Paper-II 2 D-16-10

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1. ¤··´Ýs¬Üq·h´q··Ýo¯Û·Ó¤·oÛ·¸t·¦··q··im 6. ······ ÝÝ··Ìh····oËÛ·· Ý·oËÛ· t··· (A) q··ËÝ¤·· ·v··iµv···Ë···À¸··· (B) ËÝ·ËÝ¤·· (A) ·´·h···· (B) q··h···· (C) ·ËÝ¤··¤·· (C) v··Ë|®Ýh···· (D) ······· (D) q·q·ËÝ¤·· 7. ·¤·À·p···Àq··oËÛ··Ë· (A) 2. ¸···Ì¤·ËoÛ·Ï·p···q···oÛ§ÐÝ ? ¸ ÝÝ¸ ÝÝ Ý·¸ ÝÝ Ý· Ý·Ý·Ý· (B) ¸ ÝÝ Ý·¸ ÝÝ Ý·Ý· Ý· Ý·Ý· (A) q·Ä´ ËÝt···´·Ä (C) Ý··¸ ÝÝ¸ ÝÝ Ý· Ý· Ý·Ý· (B) ¸v···Û§ÝÀ·ÄÝÀ·|Ý·q·Ý (D) Ý· Ý·Ý·¸ ÝÝ Ý· Ý·Ý·¸ ÝÝ (C) §Ý ¬Ý ÇÝp··² 8. ¸¤···Ý ·Ý ··¤ ··oÛ ·ÌoÛ ·Ï·¤ ·· ·Ý Ý· (D) ··Ë··q·ÄzÇµÝ ¸p·¤·oÛ···v····§ÏÝ ? 3. ¸oÛ¤·¤·´q·À·w·oÛ·Ë·Ì·¢·À¤·Ë¤···¸·· (A) ¤· (B) ËÝ ¸oÛ··q··· ? (C) q· (D) · (A) ·Ïq···Ý·À·¤·Ä···· 9. ¸¤···Ý¸oÛ¤·¤·Ë·v····v····§ÏÝ" (B) ·´Ý¸· ·´oÛÝÝ (A) oÛ·Ë~· (B) ¸t··zÝ (C) ·´·Àv·Àv··Ëq· (C) ··À (D) ¸·v·Ý·· (D) ·°·Ëh·Ý¤·À·Ë§Ý·· 10. Ý·q···ß¸·§Ý·q·oÛ·Ë·§Ýt··¸·m

4. ···° ËÝ ··Ì¤··¸··¤·´q·À·¸· ·¸···· (A) ¸.· ¤· ·q·ËÝ¤· (A) ···p·~|ËÝ¤·´q·À·¸· ·¸···· (B) __¸.· ¤· ·q·ËÝ¤· (B) ·´h·ÌoÛ·Ý···{Ý·oÄÛÝ¸· ·¸···· (C) ¸.· ¤· ·q·ËÝ¤· (C) Ý·v·····¹¤·§Ý··Ë·Ý¸· ·¸···· (D) __¸.· ¤· ·q·ËÝ¤· (D) v·À··v·À¸· ·¸···· 11. ·À~··oËÛ··Ý·Ý·Ëß¤·Ëq·´··ÝoÛÀ ÇÝÝÀ 5. q······ Ý·¤···oÛ·¸···v·· (A) 4" (B) 5" (C) 6" (D) 8" (A) 3 – 6 – 9 – 12 (B) 2 – 5 – 8 – 11 12. h··Ä¸·oÛ¢·Ä¸···¤···Ì£·|¬Ýv·oÛÀ¤····· (C) 5 – 8 – 11 – 2 (A) ·°··¢·Ä¸· (B) ¸Ý·À·¢·Ä¸· (D) 4 – 7 – 10 – 1 (C) ·Ê·À·¢·Ä¸· (D) t··Ä·µ¢·Ä¸· D-16-10 3 Paper-II

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13. First Vice-Chancellor of Indirakala 20. Bharata has termed play as Sangeet Vishwavidyalaya (A) Uparoopaka (A) Dr. Premlata Sharma (B) Parisha Vadya (B) Dr. Indrani Chakraborty (C) Rupaka (C) Dr. Purnima Pande (D) Rupa (D) Shree Krishna Narain 21. ‘Atodya’ according to Natya Shastra Ratanjanakar is 14. Who of the following has not (A) Vocal music produced writing work relating to (B) Instrumental (C) Choral Musicology ? (D) Dance (A) Dr. Premlata Sharma (B) Dr. Indrani Chakraborty 22. Shadja grama had (C) Ustad Vilayat Khan (A) Five scales (B) Eight scales (D) Pandit Ravi Shankar (C) Seven scales (D) Six scales 15. Which of the following is not a type 23. Match the following : RI5JD0DOKr ? (a) Sravanam (i) Nagasvaram (A) Kausi (B) Megh (b) Tavil (ii) Vaaga (C) Ramdasi (D) Charju (c) Padavali (iii) Kirtanam (d) Gamak (iv) Jatra 16. 3DQFKDPLV9DUMLWLQZKLFK5ga ? Codes : (A) Nayaki (a)(b)(c)(d) (B) Malkauns (A)(iii)(i)(iv)(ii) (C) Suha (B)(ii)(iv)(iii)(i) (D) *DXG6UDQJ (C)(i)(ii)(iii)(iv) (D)(iii)(ii)(i)(iv) 17. Total number of Marg Talas according to Natyashastra : 24. ‘Yati’ which tapers is called (A) Three (B) Four (A) Srotovaha (C) Five (D) Six (B) Mridanga (C) Gopuccha 18. Match the following : (D) None of the above (a) Ateet (i) Marg 25. Assertion (A) and Reasoning (R) : (b) Srotovaha (ii) Sashabda th Kriya Assertion (A) : In 20 century many (c) Shamya (iii) Graha new music forms like Folk (d) Dakshin (iv) Yati music, Filmy music, Natya Codes : Sangeet, Light music have emerged along with classical (a)(b)(c)(d) music, and the vocal/ (A)(iii)(iv)(ii)(i) instrumental style of these (B)(ii)(iii)(i)(iv) artists is changed : (C)(iv)(iii)(ii)(i) Reasoning (R) : Because of (D)(i)(ii)(iii)(iv) livelihood and financial resources, these new forms of 19. Who is not a Tabla player from the music have emerged. following ? Codes : (A) Ustad Bakhshu Khan (A)(A) is true but (R) is false. (B) Pt. Gudai Maharaj (B)(A) is false but (R) is true. (C) Pt. Sharda Sahai (C)(A) and (R) are true. (D) Ustad Bismillah Khan (D) Both (A) and (R) are false. Paper-II 4 D-16-10

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13. i´¸ ÝÝ·oÛ ··¤ ·´q·À· ¸· ·¸····o ËÛ ·°·· 20. ·Ý·oËÛh·Ä¤··Ý··zÝoÛoÛ·ËoÛ§Ý·Ë§ÐÝ oÄÛ··¸· (A) j·ß·oÛ (B) ·¸Ý ··· ¬Ý· (A) |Ý·Ó·°Ë···· ···µ (C) ß·oÛ (D) ß·· (B) |Ý·Ói·Ý~·Àt·o¯Û··Â 21. ‘ ’ (C) |Ý·Ó·Çº~·····~|ËÝ h·zÝ·Ë Ý· ··zÝ· ··¤·h·Ä¤··Ý (A) (B) (D) ¢·ÀoÊÛ£~···Ý··~·Ý··v··oÛÝ q···· ·· Ý· (C) ·Ê Ýq··· (D) ·Ê· 14. ¸·· ·Ì¤ ·Ë ¸oÛ¤··Ë¤ ·´q·À· ··¤· ¤·Ë¤ ··¼·· ·Ëp··oÛ··µ·§Ý Á¸oÛ·· ? 22. £·|Ýv·q·°···Ì···Ëq··Ë (A) |Ý·Ó·°Ë···· ···µ (A) ··²t·¤oËÛ· (B) h·{Ý¤oËÛ· (B) |Ý·ÓiÝ·~·Àt·o¯Û··Â (C) ¤···¤oËÛ· (D) uÜ¤oËÛ· (C) j¸·····p··² 23. ¤·Ä·Ë¸··oÛÀ¸v··Ë : (D) ·´Ý¸· ·´oÛÝ (a) ¥··~·· (i) ··q·¤·Ý·¬ 15. oÛ·Ï·¤··Ý·q··§Ý·ÝoÛ··°oÛ·Ý·§ÝÁ§ÏÝ ? (b) ·¸·· (ii) ··q· (A) oÛ·Ï¤·À (B) ·Ër· (c) · Ý··¸· (iii) oÛÀ·µ·· (C) Ý·· Ý·¤·À (D) t·Ýv·Ç (d) q··oÛ (iv) v···· oÇÛzÝ : 16. ¸oÛ¤·Ý·q··Ì·´t···ºv··§ÏÝ" (a)(b)(c)(d) (A) ···oÛÀ (A)(iii)(i)(iv)(ii) (B) ···oÛ·Ð¤· (B)(ii)(iv)(iii)(i) (C) ¤·Ç§Ý· (C)(i)(ii)(iii)(iv) (D) q··Ï|®Ý¤··s¬Üq· (D)(iii)(ii)(i)(iv) 17. ··z¬Ý· ··¤·oËÛh·Ä¤··Ý··q·µ····ÌoÛÀ¤·´p·· 24. ‘·¸·’ v··Ëc·ÄÝ§Ý·Ë··§ÏÝ (A) ·À· (B) t··Ý (A) ¥··Ë··Ë·§Ý (C) ··²t· (D) uÜ§Ý (B) ·Ê ´Ýq· (C) q··Ë·ÄuÜ 18. ¤·Ä·Ë¸··oÛÀ¸v··Ë (D) i··Ì¤·ËoÛ·Ëiµ·§ÝÁ (a) h·À· (i) ··q·µ (b) ¥··Ë··Ë·§Ý· (ii) ¤· · Ý¸o¯Û·· 25. h¸·oÛ·· (A) m·´·oµÛ (R) : (c) ··· (iii) q·°§Ý h¸·oÛ·· (A): ·À¤··Á ··· ÝÀ¤ ·Ë¤ ·´q·À· (d) Ý¸c·~· (iv) ·¸· oÛÀ·iµ·iµ·°·Ê¸···Ì·Ì ··¤·À·¤·´q·À·oËÛ oÇÛzÝ : ¤·····ËoÛ¤·´q·À·¸Û·¤·´q·À···zÝ (a)(b)(c)(d) ¤·´q·À·¤ ·Äq··¤ ·´q·À·o ËÛ oÛ··oÛ·Ý·Ìo ÛÀ (A)(iii)(iv)(ii)(i) q······ Ý· ·Ï·À· Ý·À§ÄÝiµ§ÏÝg (B)(ii)(iii)(i)(iv) ·oµÛ (R): h·v· v·À¸·oÛ·h ··Í··v·µ· (C)(iv)(iii)(ii)(i) ···¸· ·Ë£···Ëq···oÛÀÝ¼£zÝ¤·Ë¤·´q·À··Ì (D)(i)(ii)(iii)(iv) i··iµ·°·Ê¸···Ì·Ëv··¸···§ÏÝg 19. ¸··¸·¸p···Ì¤·ËoÛ·Ï······· ÝoÛ·§ÝÁ§ÏÝ ? oÇÛzÝ : (A) j·p ·Çp··² (A)(A) ¤··§ÏÝ·Ý·Ä (R) h¤··§ÏÝg (B) ·´q·Ä Ýiµ·§Ý·Ý·v· (B)(A) h¤··§ÐÝ·Ý·Ä (R) ¤··§ÏÝg (C) ·´ ··Ý Ý·¤·§Ý·· (C)(A) h·ÏÝ (R) Ý·Ë··Ì¤··§ÐÝg (D) j¸·¼¤···§Ýp··² (D)(A) h·ÏÝ (R) Ý·Ë··Ìh¤··§ÐÝg D-16-10 5 Paper-II

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PART – II Hindustani Music (Vocal / Instrumental)

26. Which combination of notes are of 33. Todi ? %RRNZULWWHQE\ FK U\D9ULKDVSDWL 5 JD9LO VNK QL (A) Sangeet Chintaman.i (A) Sa Re Ga Pa Dha, (B) Sangeet Bodh Ma Ga Re Ga Re Sa (C) 6DQJHHW6UPULWD (B) Sa Re Ga Pa Dha, (D) None of these Ma Ga Re Ga Re Sa (C) Sa Re Ga Pa Dha, 34. Assertion (A) : The aesthetic feeling Ma Ga Re Ga Re Sa of various seasons in Indian (D) Sa Re Ga Pa Dha, music has influenced the poets Ma Ga Re Ga Re Sa and musicians and as a result the Ragas like Megh, Basant 27. ‘Dha Ni Re Sa’ is combination of . __. and Malhar etc. have emerged. QRWHVRIZKLFK5ga ? Reason (R) : The relation of Raga (A) Ahir Bhairav and season is related to the (B) Bhairav time and Rasa of Ragas. (C) Nat. Bhairav Codes : (D) None of above (A)(A) is true, but (R) is false. (B)(A) is false, but (R) is true. 28. 6HOHFW( YHQLQJ 5 JDI URPW KH (C)(A) and (R) both are true. following : (D)(A) and (R) both are false. (A) Nat. (B) Bhairav (C) Shree (D) Darbari 35. Which RJDLVQRWseasonal ? (A) Basant (B) Bahar 29. Who of the following is not artist of (C) Miya-Malhar (D) Todi ,WZGharana ? (A) Ustad Imarat Khan 36. 5HFRJQL]H5JD6KXGGKD6rang : (B) Ustad Haleen Jaffar Khan (A) Sa Re Ma Pa, Ma Re Sa (C) 8VWDG9LO \DW.KDQ ' (D) Ustad Sujat Khan (B) Sa Re Ma Pa, Ma Re Sa (C) Sa Re M' a Pa, Ma Re Sa 30. Which of the following are Swaras ' ' of Gurjari Todi ? (D) Sa Re Ma Pa, Ma Re Sa (A) Re Ga Ma Dha Ni 37. +RZ PDQ\ $ODQNUDVD UHG HVFULEHG (B) Re Ga Ma Dha Ni ' E\6K rangdev ? (C) Re Ga Ma Dha Ni (A) 12 (B) 13 (D) Re Ga Ma Dha Ni (C) 14 (D) 15 31. 8VWDG 9LO \DW. KDQ ZDVD VVRFLDWHG 38. Put them in chronological order : ZLWKZKLFK*KDUQ ? (A) Raganga, Jatigayan, Rag (A) ,W Z *KDU Q Ragini, Thata Rag Vargikaran (B) 0DLKDU*KDUQ (B) Raga Ragini, Jatigayan, (C) 6DLQLD*KDU Q Raganga, Thata Raga (D) None of the above Vargikaran (C) Jatigayan, Raga Ragini, 32. 7KHYRFDOLVWRI.LUQ*KDUQ (A) Faiz Khan Raganga, Thata Raga (B) Vaze Buwa Vargikaran (C) Abdul Karim Khan (D) Thata Raga Vargikaran, Rag (D) Haddu Khan Ragini, Jatigayan, Raganga Paper-II 6 D-16-10

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··q·– II ¸§Ý ÄÝ¤···À¤·´q·À· q······ Ý·

26. oÛ·Ï·¤·À¤·Ý¤·´q·¸···²Ý·q·¸ ···¤·p···À··Ë|®ÝÀ 33. h·t···µ·Ê§Ý¤·¸·Ý·Ý·¸·p··q···q·°·§ÏÝ oÛÀ§ÐÝ" (A) ¤·´q·À·¹t····~·À (B) ¤·´q·À···Ë· (A) ¤··ËÝq····q·ËÝq·ËÝ¤·· (C) ¤·´q·À·¤··Ý··Ê· (D) oÛ·Ëiµ·§ÝÁ (B) ¤··ËÝq····q·ËÝq·ËÝ¤·· 34. h¸·oÛ··m·´·oµÛ (C) ¤··ËÝq····q·ËÝq·ËÝ¤·· h¸·oÛ·· (A): ··Ý·À·¤ ·´q·À· ·Ì lÛ·Äh·Ì (D) ¤··ËÝq····q·ËÝq·ËÝ¤·· oÛÀÝ¤···À·°oÊÛ¸··ËoÛ¸·¤·´q·À·w··ÌoÛ·Ë 27. ‘· ·À ËÝ ¤·’ ¸oÛ¤·Ý·q·oÛÀ¤·Ý¤·´q·¸·§ÏÝ" ·°··¸·· ¸oÛ··¸ v·¤·oËÛ Û·¤·ß· . . ·¤·´··Ër·h ·ÏÝ ·§Ý·Ýh·¸ Ý Ý·q··Ìo ÛÀ (A) h§ÝÀÝ·ÏÝ· j·¸·§ÄÝiµg (B) ·ÏÝ· ·oµÛ (R): Ý·q·h·ÏÝlÛ·ÄoÛ·¤··· (C) ·zÝ·ÏÝ· Ý·q··ÌoÛÀ¤·····ÄoÇÛ···h·ÏÝÝ¤·¤·Ë§ÐÝg (D) oÛ·Ëiµ·§ÝÁ oÇÛzÝ : 28. ¤··´·oÛ··À·Ý·q·t·Ä¸·m : (A)(A) ¤··§ÏÝ·Ý·Ä (R) h¤··§ÏÝg (A) ·zÝ (B) ·ÏÝ· (B)(A) h¤··§ÏÝ·Ý·Ä (R) ¤··§ÏÝg (C) ¢·À (D) ÝÝ··ÝÀ (C)(A) h·ÏÝ (R) Ý·Ë··Ì¤··§ÐÝg (D)(A) h·ÏÝ (R) Ý·Ë··Ìh¤··§ÐÝg 29. oÛ·Ï·izÝ···r·Ý··ËoËÛoÛ··oÛ·Ý·§ÝÁ§ÐÝ ? 35. oÛ·Ï·¤··Ý·q·lÛ·Ä·°····§ÝÁ§ÏÝ" (A) ji·Ý·p··² (A) ·¤·´· (B) ·§Ý·Ý (B) j§Ý·À·v··ÛÝp··² (C) ¸···´·§Ý·Ý (D) ··Ë|®ÝÀ (C) j¸·····p··² (D) j¤·Äv···p··² 36. Ý·q· ·ÄÝ¤··s¬Üq·oÛ·Ë·§Ýt··¸·m (A) ¤·ËÝ···ËÝ¤· 30. q·Äv·µÝÝÀ··Ï|®ÝÀoËÛ¤·ÝoÛ·Ï·¤·Ë§ÐÝ ? (B) ¤·ËÝ·· ·ËÝ¤· (A) ËÝq····À (C) ¤·ËÝ ···ËÝ¤· (B) ËÝq····À (D) ¤·ËÝ ·· ·ËÝ¤· (C) ËÝq· ···À (D) ËÝq····À 37. ··s¬Üq· ËÝ··Ë¸oÛ··Ëh·´oÛ·Ý·ÌoÛ··~·µ·¸oÛ·· §ÏÝ ? 31. j¸·····p··²¸oÛ¤·r·Ý··Ë¤·Ë¤··¼···Ë ? (A) 12 (B) 13 (A) izÝ···r·Ý··· (C) 14 (D) 15 (B) ·Ï§ÝÝr·Ý··· 38. ··¼¤··oÛÀ¸v··Ë (C) ¤·Ë¸···r·Ý··· (A) Ý·q··s¬Üq·v ··¸·q···· Ý·q·Ý·¸q··À ··zÝ (D) oÛ·Ëiµ·§ÝÁ Ý·q··q·ÂoÛÝ~· (B) Ý·q·Ý·¸q··Àv··¸·q····Ý·q··s¬Üq···zÝ 32. ¸oÛÝ···r·Ý··ËoËÛq···oÛoÛ··oÛ·Ý·Ë Ý·q··q·ÂoÛÝ~· (A) ÏÛ··v·p··² (C) v··¸·q····Ý·q·Ý·¸q··ÀÝ·q··s¬Üq···zÝ (B) ·v·Ë·Ä·· Ý·q··q·ÂoÛÝ~· (C) h ÄÝ·oÛÝÀ·p··² (D) ··zÝÝ·q· ·q·ÂoÛÝ~· Ý·q· Ý·¸q··Àv ··¸· (D) §ÝÉÝp··² q····Ý·q··s¬Üq· D-16-10 7 Paper-II

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39. What is meend in western music ? 45. Which note in Madhyam gram is one (A) Rest (B) Slur Shruti below ? (C) Pauee (D) Clef (A) Sa (B) Re (C) Ga (D) Pa 40. Rag-Ragang Theory has been propounded by (A) V.R. Patwardhan 46. To which Gharana did Balkrishna (B) Narayan Moreshwar Khare Bua belong ? (C) Narayan Rao Vyas (A) Agra (B) Gwalior (D) V.D. Paluskar (C) Kirana (D) Patiala

41. Which is the similar raga of 47. Assertion and Reasoning : “Mohanam” of (Karnatic Music) in Assertion (A) : Kaku is a vital Hindustani Music ? component in creating Rasa in (A) Malkauns (B) Bhairav vocal music and because of use (C) Darvari (D) Bhupali of Kaku, the Swaras of a Raga are capable of creating various 42. Match the following : emotions. (a) Beginning of (i) In Harmony Reason (R) : The musical feelings Raga and emotions are easily created (b) Use of tone (ii) Gharanas or by the high and low pitch and semitone schools sound by using Kaku. (c) Development (iii) In Codes : of instruments Brihaddeshi (A)(A) is true, but (R) is false. as per magnitude (B)(A) is false, but (R) is true. pitch and (C)(A) and (R) both are false. timbre (D)(A) and (R) both are true. (d) Interpretations (iv) To denote of Banis an interval 48. Which artist received Padma between two Bhushan Award in 2009 ? Swaras (A) Pt. Shivkumar Sharma Codes : (B) Ustad Amjad Ali Khan (a)(b)(c)(d) (C) Pt. Dhannu Lal Mishra (A)(iv)(i)(ii)(iii) (D) Pt. Mahadeo Prasad Mishra (B)(iii)(ii)(i)(iv) (C)(i)(ii)(iii)(iv) 49. Who received Padmashree Award in (D)(ii)(iii)(iv)(i) 2009 ? (A) Saif Ali Khan 43. Which clef is used for singing in (B) Gulam Ali Khan ‘Mandra Saptak’ ? (C) Shahrukh Khan (A) Bass (B) Baritone (D) Amjad Ali Khan (C) Tenor (D) Soprano

44. Accompaniment of Dhrupad is done 50. Which Swara of modern times is on which instrument ? similar to the first Swara of Samgan ? (A) Tabla (B) Mridanga (A) Sa (B) Re (C) Pakhavaj (D) Dhol (C) Ga (D) Ma

Paper-II 8 D-16-10

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39. ·À|®ÝoËÛ¸··Ë·· t···¤·´q·À··Ìn·····§ÏÝ" 45. ···q·°···ÌoÛ·Ï·¤··¤·ÝmoÛ¢·Ä¸··Àt·Ë§Ý·Ë··§ÏÝ" (A) ËÝ¤zÝ (B) ¤·Ý (A) ¤· (B) ËÝ (C) ··v· (D) n·ËÛ (C) q· (D) ·

40. Ý·q·Ý·q··´q·¸¤·Ý···°¸···¸ Ý·¸oÛ·· 46. ···oÊÛ£~··Ä··¸oÛ¤·r·Ý··Ë¤·Ë¤··¼···Ë ? (A) ·Àh·Ý·zÝ··µ· (A) h·q·Ý· (B) q··¸··Ý (B) ··Ý··~···ËËÝ ·Ýp·ËÝ (C) ¸oÛÝ··· (D) ·¸zÝ···· (C) ··Ý··~·Ý····¤· (D) ·À|ÝÀ··Ä¤oÛÝ 47. h¸·oÛ··h·ÏÝ·oµÛ : h¸·oÛ·· (A): q·····ÌÝ¤···Ä·Ç¸·oËÛ¸··Ë 41. oÛ··µzÝoÛ¤ ·´q·À·oÛ · ··Ë§Ý··¬ Ý·q· ¸§Ý ÄÝ¤···À oÛ·oÄÛm oÛ¤ ···¤·§Ý··oÛ ··§ ÐÝh·ÏÝ ¤·´q·À·oËÛ¸oÛ¤·Ý·q·¤·Ë¸····§ÏÝ ? oÛ·oÄÛ·°··Ëq·¤·Ë§ÝÀÝ·q·oËÛ¤·Ý¸·¸·· (A) ···oÛ·Ð¤· (B) ·ÏÝ· ····ÌoÛÀ¸·£·¸·oÛÝ·Ë§ÐÝg (C) ÝÝ··ÝÀ (D) ·Ç···À ·oµÛ (R): oÛ·oÄÛÝ·Ý·h···v·oËÛk²Ût·Ë 42. ·Ë·¸···i·Ë : ·Àt·Ë·°··Ëq·¤·Ë¤··´q·À¸·oÛ···h·¤···À¤·Ë (a) Ý·q· · ÝoÛ· (i) §Ý··µ·À¤·´q·À··Ì ·°oÛzÝ§Ý·Ë·Ë§ÐÝg ¤·Ç···· oÇÛzÝ : (b) zÝ·Ë·h·ÏÝ (ii) r·ÝÝ··Ë··¤oÇÛ· (A)(A) ¤··§ÏÝ·Ý·Ä (R) h¤··§ÏÝg ¤·Ë·ÀzÝ·Ë·oÛ· (B)(A) h¤··§ÏÝ·Ý·Ä (R) ¤··§ÏÝg ·°··Ëq· (C)(A) h·ÏÝ (R) Ý·Ë··Ìh¤··§ÐÝg (c) ··Ý···À·¯·· (iii) ·Ê§Ý ËÝ ·À·¤·Ë (D)(A) h·ÏÝ (R) Ý·Ë··Ì¤··§ÐÝg h·ÏÝq·Ä~·oËÛ h···Ý·Ý···Ì 48. ·£·µoÛ···Ç£·~··ÄÝ¤oÛ·Ý¸oÛ¤·oÛ··oÛ·Ý oÛ·¸·oÛ·¤· oÛ·Ë¸···§ÏÝ" (d) ··¸···Ì¤·Ë····µ (iv) Ý·Ë¤·Ý·ÌoÛÀ ÇÝÝÀ (A) ·´¸ ··oÄÛ··Ý ···µ ¸ Ýp···ËoËÛ¸··Ë (B) j¤·· Ýh·v· ¬Ýh·Àp··² oÇÛzÝ : (C) ·´··Ä···¸·¢· (a)(b)(c)(d) (D) ·´·§Ý· ËÝ··°¤·· Ý¸·¢· (A)(iv)(i)(ii)(iii) (B)(iii)(ii)(i)(iv) 49. ·£·µ o Û· ·¢·À ·ÄÝ¤oÛ·Ý¸ oÛ¤·oÛ·Ë ·°·· (C)(i)(ii)(iii)(iv) §ÄÝh·" (D)(ii)(iii)(iv)(i) (A) ¤·ÏÛh·Àp··² 43. ·´Ý¤ ··oÛ ·Ìq ····o ËÛ¸ ··ËoÛ ·Ï·¤ ··n ·ËÛ (B) q·Ä···h·Àp··² (clef) §ÏÝ" (C) ··§Ýßp·p··² (A) ··¤· (B) ·ËÝÀzÝ·Ë· (D) h·v· Ýh·Àp··² (C) zËÝ·Ý (D) ¤··Ë·°···Ë 50. ¤···q···oÛ··°··¤·Ý¸oÛ¤···Ï¸oÛoÛ¤·Ý¤·Ë 44. ·±Ä· ÝoÛÀ¤·´q··¸oÛ¤····ÝoÛÀv···À§ÏÝ ? ¤···§ÏÝ ? (A) ···· (B) ·Ê ´Ýq· (A) ¤· (B) ËÝ (C) ·p···v· (D) }Ý·Ë· (C) q· (D) · D-16-10 9 Paper-II

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PART – III Karnatic Music – Vocal, Instrumental, Percussion

26. Pul.l.uvan Kud. am is a 33. 6XVKLUD9G\DVDUH (A) Drum (A) Aerophonic (B) Vin.a (B) Membrophonic (C) Idiophonic (C) Cymbal (D) Chordophonic (D) Castanet 34. 27. Pada Varna has sahitya for 6\ PD6K VWULKDVFRPSRVHG (A) 1DYYDUQD (A) Pallavi (B) NavaraWQDPOLN (B) Anupallavi (C) Utsava prabandham (C) Chittasvara (D) 'HYDUQPDV (D) Charanam 35. Sequencing type : 28. Arudi is also known as Write the correct sequence : (A) Eduppu (A) %n.a, Rishi, Ritu, Vasu (B) Padagarbham (B) 9DVX%n. a, Rishi, Ritu (C) Atita (C) Ban.a, Vasu, Ritu, Rishi (D) $QDJDW (D) Ban.a, Ritu, Rishi, Vasu 29. .ODKDVWLVKD3 DQFKDUDWQDL V composed by 36. A Padmabhushan Awardee (A) Patnam Subramaniam Iyer (A) Kiran Seth (B) (B) 9LQ.XSSDL\\DU 8PD\ OSXUDP6LYDU PDQ (C) (C) 7\JDUMD 8OK V.DVK ONDU (D) 1U\DQ1DPELU (D) 3SDQDVD6LYDQ 37. 0RKLQL\t.t.am is the classical dance 30. 7OD'DVD3UQDVKDYH (A) Yati of (B) Prastaara (A) 7DPLO1 GX (B) (C) Jaati .DUQ WDND (C) Kerala (D) All the above (D) QGKUD3UDGHVK

31. Musical stone pillars are found in 38. (A) Humphi .KDP VLVD (A) 8SQJD5DJD (B) Belur (B) Janaka Raga (C) Cuttack (C) Audava Raga (D) Kumbhakonam (D) %KVKQJD5DJD

32. 1GDQPDNUL\DLVD 39. Bhuta Sankhya is found in (A) Panchamaatya Raga (A) 6RROGL6DSWD7DODV (B) 1LGDQW\D5DJD (B) Shadangas (C) Dhaivadantya Raga (C) 0HODNDUW6FKHPH (D) None of the above (D) %KVKQJD5DJD Paper-II 10 D-16-10

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··q· – III oÛ··µzÝoÛ¤·´q·À· q······ Ý·h··Ý 26. ·Ä·Ä···oÄÛ|Ý· 33. ¤·Ä ·ÀÝ··BBBBBB§Ý·Ë·Ë§ÐÝg (A) }Ý·Ë· (B) ·À~·· (A) mhÝ·ËÛ·Ë¸·oÛ (C) ·´v·ÀÝ· (D) oÛ··µ· (B) ·Ë·¯·ËÛ·Ë¸·oÛ (C) i¸|Ý··ËÛ·Ë¸·oÛ 27. · Ý·~·µoËÛ¸··h´q··Ì·À¤··¸§Ý·¤·¼·¸··§ÏÝ (D) oÛ·Ó|Ý·ÍÛ·Ë¸·oÛ (A) ···À (B) h·Ä···À 34. ¤··· ··¤·À·Ë¸oÛ¤·oÛÀ¤·´Ýt···oÛÀ§ÏÝ" (C) ¸t·Ý¤·Ý (A) ····~·µ (D) t·Ý~·· (B) ··Ý···¸·oÛ· (C) j¤···°···¬ 28. hÞ ÝÀoÛ·ËoÛ§Ý·v····§ÏÝ (D) ËÝ·Ý··· (A) m|ÄÝ·Ä 35. ¤·§ÝÀo¯Û·····im (B) · Ýq··µ· (A) ··~·lÛ¸£·¸Ý·Ä·¤·Ä (C) h·À· (B) ·¤·Ä··~·lÛ¸£·¸Ý·Ä (D) h··q·· (C) ··~··¤·Ä¸Ý·ÄlÛ¸£· (D) ··~·¸Ý·ÄlÛ¸£··¤·Ä 29. oÛ··§Ý¤·À ··´t·Ý·oËÛÝt···oÛ·Ý (A) ····¤·Ä·¯·¸···h·Ý 36. ¸··¸·¸p···Ì¤·ËoÛ·Ï···Ç£·~·¤···¸··§ÏÝ" (B) ·À~··oÄÛ·Ï·Ý (A) ¸oÛÝ~·¤·Ë{Ý (C) ··q·Ý·v· (B) j·····ÄÝ·¸¤··Ý··· (D) ·····¤·¸¤··· (C) j§Ý·¤·oÛ ··oÛÝ (D) ··Ý··~··´¸···Ý 30. ··· Ý ···°·~··Ì§Ý·Ë··§Ý·Ë·Ë§ÏÝ§ÐÝ (A) ·¸·Ý 37. ··Ë¸§Ý·Àh·Ý·¸oÛ¤··° ËÝ ·oÛ· ··¤·À··Ê·§ÏÝ" (B) ·°¤··Ý (A) ·¸····|ÄÝ (C) v··¸· (B) oÛ··µzÝoÛ (D) i··Ì¤·Ë¤··À (C) oËÛÝ· (D) h·´·±·° ËÝ · 31. ¤··´q·À¸·oÛ·°¤·Ý¤··BBBBBB·Ì···Ëv···Ë§ÐÝg 38. p···¤·moÛBBBBBB§ÏÝg (A) §ÝÛÀ (A) j··´q·Ý·q· (B) ·Ë·ÇÝ (B) v··oÛÝ·q· (C) oÛzÝoÛ (C) h·Ï Ý·Ý·q· (D) oÄÛ·oÛ·Ë·· (D) ··£··´q·Ý·q· 32. ·· Ý···¸o¯Û··moÛBBBBBB§ÏÝg 39. ·Ç·¤·´p··¸oÛ¤··Ì¸···À§ÏÝ" (A) ·´t····Ý·q· (A) ¤·Ç··¸ Ý¤····· (B) ¸· ·· ´Ý·Ý·q· (B) £·|Ýh´q· (C) ·Ï· ´Ý·Ý·q· (C) 72 ·Ë·oÛ··µ¤oÛÀ· (D) i··Ì¤·ËoÄÛuÜ·À·§ÝÁ (D) ··£··´q·Ý·q·

D-16-10 11 Paper-II

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40. 'KUXYD7ODKDVV\PEROV 46. 7LUDWWLUDPLVDUJDLQ (A) 1011 (B) 1101 (A) Ancient Tamil Music (C) 1010 (D) 1001 (B) 7HYUDP 41. .XGXPL\PDODLLQVFULSWLRQLVIRXQG (C) 6RS QD6DQJHHWDP in (D) 9DLGLND*QD (A) Pudukkot.t.ai (B) Madhurai 47. Nowka Charitam is composed by (C) Suchindram (D) Trichur (A) Poochi Srinivas (B) 7\JDUMD 42. Tribhinna is a (C) %KUDWL\DU (A) gamaka 'D DYLGK (B) Varisai (D) 3 SDQ D6LYDQ – (C) PancDGDDJDPDND (D) Yamakam 48. Assertion (A): All advanced systems of music have 43. Kshetregna has composed padams in developed on certain (A) Kannada fundamental truths. (B) Tamil Reasoning (R): Consonantal (C) Malayalam relationship of notes have a (D) Telugu pleasing effect. Codes : 44. 3DQFKD9 G\DPL VS HUIRUPHG LQ Temples of (A)(A) & (R) are false. (A) Tamil Nadu (B)(A) is true (R) is false. (B) Orissa (C)(A) is false (R) is true. (C) Kerala (D)(A) and (R) are true. (D) Karnataka

45. Match the following : 49. 3DQFKDPXNKD9G\DPLVVHHQLQ (a) Pravesa Daru (i) Agni (A) Ajanta (b) Navasandhi (ii) Raga Chaaya (B) Hoysala Svara (C) Chidambaram (c) Chakra (iii) Nritya (D) Madhurai Natakam (d) Jeeva Svara (iv) ,DDQD Codes : 50. A leading violinist (a)(b)(c)(d) (A) T.N. Krishnan (A)(i)(iii)(iv)(ii) (B) Karaikudi Mani (B)(iii)(iv)(i)(ii) (C)(ii)(iii)(iv)(i) (C) 716KHVKDJRS ODQ (D)(iv)(i)(iii)(ii) (D) Doraiswami Iyengar

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40. ·±Ä····oËÛ·c·~·§ÐÝ 46. ¸·Ý¸·Ý·BBBBBB·ÌmoÛÝ·q·§ÏÝg (A) 1011 (B) 1101 (A) ·°·t·À··¸··¤·´q·À· (C) 1010 (D) 1001 (B) ·Ë··Ý· (C) ¤··Ë···¤·´q·À·· 41. oÄÛ|ÄÝ¸·····iµ¸ ····Ëp·oÛ§Ý·²···Ëv···Ë§ÐÝ" (A) ·Ä|ÄÝoÛ·ËzÏÝ (D) ·Ï¸ ÝoÛq··· (B) · ÄÝÏÝ (C) ¤·Ä¹t·Ý· 47. ··ÏoÛ·t·¸Ý··oÛÀ¤·´Ýt···¸oÛ¤··ËoÛÀ" (D) ¸·t·ÄÝ (A) ·Ç¸t·¢·À¸···¤· (B) ··q·Ý·v· 42. ¸·¸··moÛBBBBBB§ÏÝg (C) ··Ý¸··Ý (A) Ý ·¸··q··oÛ (D) ·····¤·¸¤··· (B) ·¸Ý ·i (C) ·´t· Ý ··q··oÛ 48. h¸·oÛ·· (A): ¤·´q·À· oÛÀ¤ ··¤·j ·· (D) ··oÛ ·°~··¸···²o Û¸··· ··Ï¸·oÛ¤ ····h·Ì ·Ý¸·oÛ¸¤··§ÄÝiµ§ÐÝg 43. c·Ë·w··Ë· Ý·oÛÀÝt···¸oÛ¤···£···ÌoÛÀ§ÏÝ" oÛ·Ý~·(R): ¤·Ý¸·¸···Ì oËÛ ·´v····oÛ (A) oÛ·|Ý (B) ·¸·· ¤·´·´·oÛ·Ý·~·À··°···§Ý·Ë··§ÏÝg (C) ······ (D) ·Ë·Äq·Ä oÇÛzÝ : (A)(A) ··· (R) q···§ÐÝg 44. ·´t····oÛ§Ý·²oËÛ·´¸ ÝÝ·Ì·Ì·v····v····§ÏÝ" (B)(A) ¤·§ÝÀ§ÏÝ (R) q···§ÏÝg (A) ·¸····|ÄÝ (C)(A) q···§ÏÝ(R) ¤·§ÝÀ§ÏÝg (B) j|®ÝÀ¤·· (D)(A) (R) (C) oËÛÝ· ··· ¤·§ÝÀ§ÐÝg (D) oÛ··µzÝoÛ 49. ·´t··Äp····BBBBBB·Ì¸····§ÏÝg 45. ¸··¸·¸p··oÛ·Ë¤·Ä·Ë¸··oÛÀ¸v·m : (A) hv·´·· (a) ·°·Ë · ÝÞ (i) h¼q· (B) §Ý·Ë·¤·· (b) ··¤·´¸· (ii) Ý·q·uÜ···¤·Ý (C) ¸t· ´Ý·Ý· (c) t·o¯Û (iii) ·Ê···zÝoÛ· (D) · ÄÝÏÝ (d) v·À·¤·Ý (iv) iµ ··· oÇÛzÝ : 50. moÛ·°·Äp····¸···· ÝoÛ (a)(b)(c)(d) (A) zÝÀm·oÊÛ£~·· (A)(i)(iii)(iv)(ii) (B)(iii)(iv)(i)(ii) (B) oÛÏÝoÄÛ|ÝÀ··À (C)(ii)(iii)(iv)(i) (C) zÝÀm· ·Ë£·q··Ë···· (D)(iv)(i)(iii)(ii) (D) Ý·ËÝiµ¤···Àh··´q·Ý

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PART – IV RABINDRA SANGEET

26. Tagore composed most of his 32. The song ‘Janaganamana’ was patriotic songs in the event of composed as (A) Jallianwalabagh protest (A) Devotional song (B) Banga-Bhanga movement (B) Patriotic song (C) Bharat-Chhoro movement (C) Brahma sangeet (D) Non-co-operation Movement (D) Children’s song

27. What are the Tagore songs based on 33. The song ‘Jodi prem dilena praney’ North Indian classical music is based on normally known as ? (A) Tewra (B) Ektaal (A) Uchhanga Sangeet (C) Dadra (D) Choutal (B) Baithaki Gaan 34. The song ‘Sarba Kharbatare dahe (C) Bangla Khayal taba krodhadaho’ was composed (D) Bhanga Gaan when Tagore heard the news of (A) The death of Jatin Das after 62 28. Tagore’s song ‘E Prabasi rabe ke days of fasting hay’ is based on (B) When the Second World War (A) Jago, Mohan Pritamo broke out (B) Ab Chhodo Braj hi Bansari (C) Gandhiji’s imprisonment (C) Kari Kari Kamaria (D) Khudiram’s hanging (D) E Miyan Bajanewale 35. With whom of the following did 29. The tune of ‘Amar praner manush Tagore discuss the relationship acche prane’ is sourced from between words and tune ? (A) Kirtan (A) Pulin Bihari Sen (B) Scottish Ballad (B) Shantideb Ghosh (C) Baul songs (C) Dilip Kumar Roy (D) Dhrupad (D) Dhurjati Prasad Mukherjee 36. Which was the first opera composed 30. The song ‘Gahonokushumo, kunjo by Tagore ? majhe’ belongs to (A) Mayar Khela (A) Bhanu Singher Padavali (B) Valmiki Pratibha (B) Valmiki Pratibha (C) Kalmrigaya (C) Mayar Khela (D) Parishad (D) Geetanjali 37. For which of the following Sukumar 31. Tagore selected this song to be sung Roy’s poems did Tagore score the on his own death music ? (A) Samukhe shanti parabar (A) Gaan dhorechhen grismakaley (B) Tumi ebar amay laho he nath (B) Shunte pelam posta giye (C) Shesh nahi je (C) Khai khai koro keno (D) Amare tumi ashesh korechho (D) Rode ranga eenter panja

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26. zÏÝq··ËÝ·Ëh··Ëh¸·oÛ·Ý ËÝ ··¼n··ÝoÛq·À··Ì 32. ‘v··q·~···’ q·À·oÛÀÝt···BBBBBBoËÛß· oÛÀ Ýt···¸ ··¸·¸p·· ·Ì¤ ·Ë ¸oÛ¤·r ·zÝ··o ËÛ ·ÌoÛÀq·iµ·Àg ¤·´ Ý·µ·ÌoÛÀ·À" (A) ·¼n·q·À· (A) v··¸···²······q·r·zÝ··oËÛ¸·Ý·Ë··Ì (B) ËÝ ··¼n·q·À· (B) ·´q··´q·h· Ý·Ë·· (C) ·¯ª¤·´q·À· (C) ··Ý·uÜ·Ë|®Ý·Ëh· Ý·Ë·· (D) ···q·À· (D) h¤·§Ý··Ëq·h· Ý·Ë·· 33. ‘v··Ë¸ Ý·°Ë·¸ Ý·Ë···°·~·Ë’ q·À·¸oÛ¤··Ýh···¸Ý· 27. j·Ý··Ý·À· ··¤·À·¤·´q·À··Ýh···¸Ý·zÏÝq··ËÝ §ÏÝ" oËÛq·À··ÌoÛ·Ë¤······¸oÛ¤····¤·Ëv····v···· (A) ·Ë·Ý· (B) moÛ··· ? §ÏÝ (C) Ý· ÝÝ· (D) t··Ï··· (A) jtt·´q·¤·´q·À· (B) ·Ï{ÝoÛÀq··· (C) ·´q···p···· (D) ·´q·q··· 34. ‘¤··µp··µ·ËÝ Ý§ËÝ···Ëo¯Û·Ë· Ý§Ý·Ë’ oÛÀÝt····· §ÄÝiµv··zÏÝq··ËÝ·ËBBBBBBoÛ·¤···t··Ý¤·Ä··g 28. zÏÝq··ËÝoÛ·q·À·‘m·°··¤·ÀÝ·ËoËÛ§Ý··’BBBBBB (A) 62 ¸ Ý··ÌoËÛj···¤·oËÛ·· Ýv·¸·· Ý·¤· ·Ýh···¸Ý·§ÏÝg oÛÀ·Ê·Ä (A) v··q··Ë··Ë§Ý·¸·°·· (B) ¸Ý·À·¸· ··ÄÝoËÛ·°·Ý·§Ý·Ë·Ë (B) h·uÜ·Ë|®Ý·Ë·¯v·oÛÀ··²¤·ÄÝÀ (C) q··´·Àv·ÀoÛ·ËoÛ·Ý···¤· (C) oÛ·ÝÀoÛ·ÝÀoÛ··¸Ý·· (D) p·Ä ÝÀÝ··oÛÀÛ·²¤·À (D) m¸···²·v···Ë···Ë 35. zÏÝq··ËÝ ·Ë ¸··¸·¸p·· ·Ì¤ ·Ë ¸oÛ¤·oËÛ¤ ··· ··Ë· 29. ‘h···Ý ·°·~·ËÝ ···Ä£·h ·uÜËÝ ·°·~·Ë’ oÛÀ ·Ä·o Û· ····Ä·oËÛkÛ·Ý¸·t··Ý¸·· ·µ¸oÛ··? ¤··Ë·n··§ÏÝ" (A) ·Ä¸··¸·§Ý·ÝÀ¤·Ë· (A) oÛÀ·µ· (B) ··´¸· ËÝ·r··Ë£· (B) ¤oÛ·Ó¸zÝ ··Ï·Ë|Ý (C) ¸ Ý·À·oÄÛ··ÝÝ·Ó· (C) ··j·q·À· (D) r·Äv·µzÝÀ·°¤·· Ý·Äp·v·Â (D) ·±Ä· Ý 36. 30. ‘q·§Ý·oÄÛ¤·Ä··ËoÄ´Ûv··Ë··x·Ë’ q·À·¸oÛ¤·Ýt···oÛ·§ÏÝ" zÏÝq··ËÝÝ·Ý·¸·Ý¸t···°··q·À¸···z¬Ý· (A) ···Ä¹¤·§ËÝÝ· Ý···À (A) ····Ýp·Ë·· (B) ···À¸oÛ·°¸··· (B) ···À¸oÛ·°¸··· (C) ····Ýp·Ë·· (C) oÛ···Êq··· (D) q·À··´v··À (D) ·¸Ý£· Ý 31. zÏÝq··ËÝ·Ëi¤·q·À·oÛ·Ëh··Ë¸····Ýq···Ëv···Ë 37. ¤·ÄoÄÛ··ÝÝ·Ó·oÛÀ¸oÛ¤·oÛ¸···oËÛ¸·mzÏÝq··ËÝ·Ë oËÛ¸·mt·Ä···· ¤·´q·À·¤·´··Ëv··¸oÛ·· ? (A) ¤··Äp· ··´¸··Ý·Ý (A) q·····ËËÝtuËÜ·q·°À£·oÛ··Ë (B) ·Ä·Àm··Ýh·····§Ý·Ë§ËÝ··· (B) ·Ä·Ë·Ë·····Ë¤··¸q··Ë (C) ·Ë£··§ÝÁv·Ë (C) p··iµp··iµoÛ·ËÝ·ËoËÛ··Ë (D) h···ËÝ·Ä·Àh ·Ë£·oÛ·ËËÝuËÜ (D) Ý·Ë ËÝÝ·´q··i¶zËÝÝ··´v··

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38. Tagore was awarded the Nobel Prize 45. What was Rabindranath’s father’s for Geetanjali in the year name ? (A) 1913 (B) 1938 (A) Jyotindranath Tagore (C) 1940 (D) 1926 (B) Maharshi Debendranath Tagore (C) Prince Dwarkanath Tagore 39. At what age did Tagore compose the (D) Satyendranath Tagore song ‘O amar disher mati’ ? (A) 35 years (B) 15 years 46. The language of the lyrics of (C) 75 years (D) 45 years ‘Bhanusingher Padavali’ is (A) Bangla 40. Which of the following songs was (B) Hindi composed by Tagore to celebrate the harvest festival ? (C) Maithili (A) Esho shyamala sundara (D) Sanskrit (B) Jete jodi hoi jabo jabo (C) O amar desher mati 47. Two of Rabindranath’s songs are (D) Aaye re mora fasal kati National Anthems of two countries. Which other country besides India is it ? 41. Which of these string instruments is best suited to accompany Rabindra (A) Nepal (B) Pakistan Sangeet ? (C) Bangladesh (D) Bhutan (A) Esraj (B) Violin (C) Veena (D) Sitar 48. Which song was composed by Tagore in his later life ? 42. In which category is the song (A) Amar Praner Pore ‘Ei udasi haoar pathe pathe’ placed ? (B) Jivan jokhon sukhaye jaye (A) Prakriti (B) Puja (C) Ki paini tari hisab milate (C) Swadesh (D) Prem (D) Mone roye gelo moneri katha

43. Which of the following Tagore’s 49. Which is Rabindranath Tagore’s songs was Mahatma Gandhi’s birth place ? favourite ? (A) Patna (A) Banglar mati Banglar jal (B) Jamshedpur (B) Jadi Tor Daak Shune Keu (C) Amar Shonar Bangla (C) Calcutta (D) Mono mor megher sangi (D) Santiniketan

44. Which of the following is a 50. Which of the following is Tagore’s compilation of Tagore’s songs ? drama ? (A) Manashi (A) Kalmrigaya (B) Gitavitan (B) Raja (C) Puravi (C) Manashi (D) Chaturanga (D) Purabi

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38. zÏÝq··ËÝo Û·Ë¸ oÛ¤· ·£·µ ··Ë·Ë· ·°·iv·¤ ·Ë ·ÄÝ¤oÊÛ· 45. Ý·ÀÝ···oËÛ¸···oÛ····n···· ? ¸oÛ··q···" (A) v··Ë¸·¸ÝÝ···zÏÝq··ËÝ (A) 1913 (B) 1938 (B) ·§Ýº£· ËÝ·ÌÝ···zÏÝq··ËÝ (C) 1940 (D) 1926 (C) ¹·°¤·Ý·ÝoÛ····zÏÝq··ËÝ 39. zÏÝq··ËÝ·Ë¸oÛ¤·j·°·Ì‘h·Ëh···Ý ËÝ ·ËÝ ··zÝÀ’ (D) ¤··ÌÝ···zÏÝq··ËÝ ···oÛq·À·oÛÀÝt···oÛÀ·À ? (A) 35 ·£·µ (B) 15 ·£·µ 46. ‘···Ä¹¤·§ÝËÝ· Ý···À’ oËÛq·À··ÌoÛÀ··£··n··§ÏÝ" (C) 75 ·£·µ (D) 45 ·£·µ (A) ·´q··· (B) ¹§Ý ÝÀ 40. Û¤··o ÛzÝ·iµj ¤·· ····Ëo ËÛ¸ ·mz ÏÝq··ËÝ ·Ë (C) ·Ï¸··À ¸··¸·¸p···Ì¤·Ë¸oÛ¤·q·À·oÛÀÝt···oÛÀ·À ? (A) m ··Ë ····e¤·Ä Ýe (D) ¤·´¤oÊÛ· (B) v·Ë·Ëv··Ë¸ Ý§Ý·Ë·v···Ëv···Ë (C) h·Ëh···Ý ËÝ ·ËÝ··zÝÀ 47. Ý·ÀÝ···o ËÛ Ý·Ëq·À· Ý·Ë ËÝ ··ÌoËÛ Ý·£z³ÝÀ· q·À· (D) h··ËËÝ··ËÝ·Û¤··oÛ·zÝÀ §ÐÝg··Ý·oËÛh¸·¸Ýn··§Ýh· ËÝ ·oÛ·Ï·¤·· §ÏÝ? 41. Ý·ÀÝ¤·´q·À··Ì¤·´q·· ËÝ·ËoËÛ¸·m¸··¸·¸p·· (A) ·Ë··· (B) ··¸oÛ¤··· ·Ì¤·ËoÛ·Ï·¤···´···¤···µ¸·oÛj··Än·§ÏÝ ? (C) ·´q··· ËÝ · (D) ·ÇzÝ·· (A) i¤·Ý·v· (B) ···¸·· (C) ·À~·· (D) ¸¤···Ý 48. ¸··¸·¸p···Ì¤·Ë¸oÛ¤·q·À·oÛÀÝt···zÏÝq··ËÝ·Ë h··Ëv·À··oËÛj·ÝoÛ···ÌoÛÀ·À ? 42. ‘mij Ý·¤·À§ Ý··Ý ··Ë ··Ë’···oÛq ·À·o Û·Ë (A) h···Ý·°·~·ËÝ··ËËÝ ¸··¸·¸p···Ì¤·Ë¸oÛ¤·oÛ·Ë¸zÝ·ÌÝp··v····§ÏÝ ? (B) v·À··v·p··Ì¤·Çp··Ëv···Ë (A) ·°oÊÛ¸· (B) ·Çv·· (C) (C) ¤· ËÝ · (D) ·°Ë· oÛÀ··i·À··ÝÀ¸§Ý¤···¸····Ë (D) ··Ë·ËÝ·Ë·Ëq·Ë··Ë··Ë·ËÝÀoÛ·· 43. zÏÝq··ËÝoËÛ¸··¸·¸p··q·À··Ì·Ì¤·ËoÛ·Ï·¤··q·À· ·§Ý···q··´·ÀoÛ·Ëh¸·oÛ¸·°···? 49. Ý·ÀÝ···zÏÝq··ËÝoÛ·v··¤··· §ÏÝ (A) ·´q···Ý··zÝÀ·´q···Ýv·· (A) ·zÝ·· (B) v·¸ Ý··ËÝ|Ý·oÛ ·Ä·ËoËÛkÛ (B) v·· ·Ë Ý·ÄÝ (C) h···Ý ··Ë··Ý·´q··· (C) oÛ·oÛ·· (D) ··Ë··Ë··ËÝ·Ër·ËÝ¤·´q·À (D) ··´¸·¸·oËÛ·· 44. ¸··¸·¸p···Ì¤·ËoÛ·Ï·¤··zÏÝq··ËÝoËÛq·À··ÌoÛ· ¤·´oÛ··§ÏÝ ? 50. ¸··¸·¸p···Ì¤·ËoÛ·ÏÏ·zÏÝq··ËÝoÊÛ···zÝoÛ§ÏÝ ? (A) ···¤·À (A) oÛ···Êq··· (B) q·À·¸···· (B) Ý·v·· (C) ·ÇÝ·À (C) ···¤·À (D) t··Ä´Ýq· (D) ·ÇÝ·À D-16-10 17 Paper-II

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PART – V PERCUSSION INSTRUMENTS

26. Total ______‘Pt.varnas’ of ‘Pat.ah’ 30. Mridangam Vidwan Umayalpuram have been described in Sangeet Shivaraman was recently felicitated Ratnakar. with

(A) 10 (A) Padma Shree

(B) 12 (B) Sangit Natak Academi Award (C) 14 (C) Padma Vibhushan

(D) 16 (D) Tansen Award

31. Author of the book entitled “Tabla 27. ______is a modified form of Urdhwak and Alingyak. Ka Udgam, Vikas aur Vadanshailiyan” is (A) Nakkr (A) Dr. Aban Mistry (B) Dholak (B) Dr. Yogmaya Shukla (C) 7DEO 'XJJ (C) Dr. Swatantra Sharma (D) Sambal (D) Dr. Shobharani Kudesia

28. The guru of Pt. Ram Sahai ______32. How many chapters are there in (A) Makhu Khan Natya Shastra of Bharat ?

(B) Janki Sahai (A) 33 (C) Bakhshu Khan (B) 34

(D) Modu Khan (C) 36 (D) 40

29. Ustad Allaharakha was a representative DUWLVWRIBBBBBB*KDU Q 33. 7KHUHDUHBBBBBB3UDDQRI7OD (A) Mumbai (A) five (B) Punjab (B) eight (C) Rawalpindi (C) three (D) Dhaka (D) ten

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26. ¤·´q·À· Ý··oÛÝ ·Ì ·zÝ§Ýo ËÛo ÄÛ·BBBBBB 30. ·Ê ´Ýq··¸·Ý··j·····ÄÝ·¸ ··Ý···oÛ·Ë§Ý·· ··zÝ·~·µoÛ§ËÝ§ÐÝg §ÝÀ·Ì“BBBBBB” ¤·Ë¸··Ç¸£··¸oÛ··q···g (A) 10 (A) ·¢·À (B) 12 (B) ¤·´q·À···zÝoÛhoÛ· Ý·À·ÄÝ¤oÛ·Ý (C) 14 (C) ·¸··Ç£·~· (D) 16 (D) ···¤·Ë·¤····

27. j·µoÛh ·ÏÝ h·¹·q·oÛo Û· ·¸Ý·º·· ß·§ ÝÀ 31. “···ËoÛ·j ¬Ýq··¸·oÛ·¤·h·ÏÝ·· Ý· ·Ï¸···²” BBBBBB§ÏÝg ·Ä¤·oÛoÛÀ·Ë¸p·oÛ·§ÐÝ (A) ·noÛ·Ý· (A) |Ý·Óh···¸·¤·À (B) }Ý·Ë·oÛ (B) |Ý·Ó··Ëq····· ·Än·· (C) ····|Ýqq·· (C) |Ý·Ó¤··´· ···µ (D) ¤·´·· (D) |Ý·Ó ··Ë··Ý··ÀoÄÛ ËÝ¸¤···

28. ·´¸|Ý·Ý··¤·§Ý··oËÛq·ÄÞBBBBBB 32. ·Ý·oÊÛ···z¬Ý· ··¤··ÌoÄÛ·BBBBBBh··· (A) ·np·Çp··² §ÐÝ ? (B) v···oÛÀ¤·§Ý·· (A) 33 (C) ·p ·Çp··² (B) 34 (D) ··Ë ÇÝp··² (C) 36 (D) 40 29. jh··Ýnp··BBBBBBr·Ý··ËoËÛ·°¸·¸·¸· oÛ··oÛ·Ý·Ëg 33. ···oËÛBBBBBB·°·~·§Ý·Ë·Ë§ÐÝg (A) ·Ä´·iµ (A) ··²t· (B) ·´v··· (B) h·{Ý (C) Ý···¸·~|ÝÀ (C) ·À· (D) }Ý·oÛ· (D) Ý¤· D-16-10 19 Paper-II

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34. 3OD\LQJ WHFKQLTXHR I' HOKL* KDUQ 39. Who of the following is not a is also called as ______3DNKZMplayer ? (A) .LQ U (A) Pagal Das (B) Maidan (B) Ayodhya Prasad (C) 6\VKL (D) Banyan (C) Kudau Singh (D) Biru Mishra 35. Western Notation is written on ____ (A) Plain paper 40. Fifth chapter of Sangeet Ratnakar is (B) Stove paper ______. (C) Breave paper (D) Clef paper (A) 7 O GK\ \D (B) 6ZDUGK\\D 36. Solo Tabla playing of Banaras (C) 9DG\GK\\D Gharana starts with ______(D) (A) PHVKNU 1ULW\ GK\ \D (B) 7LKL (C) 8WKQ 41. /D\DNDULRIµ6DZJXQ¶LVFDOOHG (D) Paran (A) Aad.

37. ‘Bant’ is a ______composition. (B) Biaad. (A) Intricate (C) Kuaad. (B) Vistarsheel (C) Avistarsheel (D) Nimaad. (D) Chakradar

42. Types of Laya 38. Amir Hussain Khan was ______of )DUUXNKDEDG*KDUQ (A) Three (A) Founder (B) Six (B) Spokesperson (C) Two (C) Khalifa (D) Chairperson (D) Four

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34. ¸ Ý·Àr·Ý··ËoÛ·ËBBBBBBoÛ···v··ÀoÛ§Ý·Ë§ÐÝg 39. ¸··¸·¸p···Ì¤·ËoÛ·Ï··p···v··· ÝoÛ·§ÝÁ§ÏÝ ? (A) ¸oÛ··Ý (A) ··q·· Ý·¤· (B) ·Ï Ý·· (B) h··Ë···°¤·· Ý (C) ¤··§ÝÀ (D) ··´·· (C) oÄÛ ÝkÛ¸¤·´§Ý

(D) ·Àß¸·¢· 35. ·· t···¤·´q·À·¸·¸·¸v·¤··Ý¸·p·Àv···À§ÏÝ j¤·ËoÛ§Ý·Ë§ÐÝ (A) ·Ë··Ë·Ý 40. ¤·´q·À· Ý··oÛÝo Û· ··²t···h ···BBBBBB (B) ¤zËÝ··Ë·Ý §ÏÝg (C) ·¯À§Ý·Ë·Ý (A) ······· (D) n·ÌÛ·Ë·Ý (B) ¤·Ý····

36. ···Ý¤·r ·Ý··Ë ·Ìm oÛ· ·· Ý·o Û· ·°·´Ý· (C) ······ BBBBBB¤·Ë§Ý·Ë··§ÏÝg (A) ·Ë ·oÛ·Ý (D) ·Ê····· (B) ¸·§Ý·iµ (C) j{Ý·· 41. ¤···q·Ä·oÛÀ··oÛ·ÝÀoÛ·ËBBBBBBoÛ§Ý·Ë§ÐÝg (D) ·Ý· (A) h·|®Ý

37. ‘··´zÝ’ moÛBBBBBBÝt···§ÏÝg (B) ¸·h·|®Ý (A) ¼n·£zÝ (C) oÄÛh·|®Ý (B) ¸·¤··Ý ·À· (C) h¸·¤··Ý ·À· (D) ¸···|®Ý (D) t·o¯Û Ý·Ý

42. ··oËÛ·°oÛ·Ý 38. jh ·ÀÝ§ ÄÝ¤·Ï·p ··² ÛµÞp···· Ýr ·Ý··Ëo ÛË BBBBBB·Ëg (A) ·À· (A) ¤·´¤···oÛ (B) uÜ§Ý (B) ·°·n·· (C) (C) p··ÀÛ· Ý·Ë (D) h·c· (D) t··Ý

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43. 8VWDG %XJDU.KDQ LVD VVRFLDWHG 48. $XWKRURIµ7DEOD3XUn.’ is ZLWKBBBBB*KDUQ (A) Girish Chandra Srivastava (A) Lucknow (B) Chhotelal Mishra (B) Punjab (C) Vijay Shankar Mishra (C) Delhi (D) Betiah (D) Sudhir Mainker

44. 7RWDO0WUVRIµ7LOZDd. D¶7O 49. Assertion (A) : Playing command on specific syllables of each (A) 12 *KDUQVL VDF KLHYHG WKURXJK (B) 14 the practice of Quaidas. (C) 15 Reasoning (R) : The Quaidas are (D) 16 GLIIHUHQWLQHYHU\*KDUQD Codes : 45. ______LVHVVHQWLDOLQ4XLG (A)(A) and (R) both are true. (A) %KDUL.K OL (B)(A) and (R) both are false. (B) Lava &K QW (C)(A) is correct (R) is wrong. (C) Sam-Visham (D)(A) is wrong (R) is correct. (D) Gat-Paran

50. Assertion (A) : Deshi talas are 46. 0HDQLQJRIWKHZRUGµ3HVKNU¶LV Khandbheda of Marg talas (A) First composition whereas the present talas are (B) Last composition derived from Deshi talas. (C) Speedy composition Reasoning (R) : New talas are (D) Specific composition always created as per the requirement from ancient to present era. 47. Mridanga of Bharat’s period is also known as ______. Codes :

(A) Pan.av (A)(A) and (R) both are false. (B) Tripushkar (B)(A) is false (R) is true. (C) Dholak (C)(A) and (R) both are true. (D) Bheri (D)(A) and (R) both are false.

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43. j¤·· Ý ·Äq·Ý·p ··²BBBBBB r ·Ý··Ë¤ ·Ë¤ ·´·´¸·· 48. ‘·····ÄÝ·~·’ oËÛ·Ëp·oÛBBBBBB §ÐÝg (A) ¸q·ÝÀ ·t·Ý¢·À··¤·· (A) ·p··kÛ (B) uÜ·ËzËÝ···¸·¢· (B) ·´v··· (C) ¸ Ý·À (C) ¸·v·· ·´oÛÝ¸·¢· (D) ·Ë¸··· (D) ¤·Ä·ÀÝ··iµ·oÛÝ

44. ‘¸····|®Ý·’ ···oÛÀoÄÛ·····m² 49. h¸·oÛ·· (A): oÛ·· Ý·Ìo ËÛ ····¤ ·Ë§ ÝÝ (A) 12 r·Ý···Ìo ËÛ ¸·¸ ·£zÝ ··Ë··Ìo ËÛ ·· Ý· ·Ì (B) 14 ¸··Ä~····°··oÛÀv···À§ÏÝg (C) 15 ·oµÛ (R): §ÝÝr·Ý··ËoËÛoÛ·· ËÝh·q· (D) 16 h·q·§Ý·Ë·Ë§ÐÝg oÇÛzÝ : 45. oÛ·· ËÝ·ÌBBBBBB§Ý·Ë··h·· ·oÛ§ÏÝg (A)(A) m·´ (R) Ý·Ë··Ì¤·§ÝÀ§ÐÝg (A) ·ÝÀp···À (B)(A) m·´ (R) Ý·Ë··Ìq···§ÐÝg (B) ··t··´zÝ (C)(A) ¤·§ÝÀm·´ (R) q···§ÏÝg (C) ¤··¸·£·· (D) q···Ý· (D)(A) q···m·´ (R) ¤·§ÝÀ§ÏÝg

46. ·Ë ·oÛ·Ý · ÝoÛ·h·µ§ÏÝ 50. h¸·oÛ·· (A): ËÝ ·À ··· ··q·µ ····Ìo ËÛ (A) ·§Ý·ÀÝt··· p·~|Ý ·Ë Ý§ ÐÝv ··¸oÛ ËÝ ·À ····Ì¤ ·Ë ··µ·······ÌoÛ·¸·oÛ·¤·§ÄÝh·§ÏÝg (B) h´¸··Ýt··· ·oµÛ (R): (C) ÄÝ·Ýt··· h·· ·oÛ···Ä¤··Ý ··Ë ····ÌoÛÀ¸ ·º·¸··°·t·À·oÛ··¤ ·Ëh· (D) ¸·¸ ·£zÝÝt··· ·oÛ§Ý·Ë·ÀÝ§ÝÀ§ÏÝg

oÇÛzÝ : 47. ·Ý·oÛ··À··Ê ´Ýq·oÛ·ËBBBBBB·ÀoÛ§Ý·Ë§ÐÝg (A)(A) ¤·§ÝÀ§ÏÝ (R) q··· (A) ·~·· (B)(A) (R) (B) ¸··Ä£oÛÝ q···§ÏÝ ¤·§ÝÀ (C) }Ý·Ë·oÛ (C)(A) h·ÏÝ (R) Ý·Ë··Ì¤·§ÝÀ (D) ·ËÝÀ (D)(A) h·ÏÝ (R) Ý·Ë··Ìq···

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