J 1607 PAPER II.P65

Total Page:16

File Type:pdf, Size:1020Kb

J 1607 PAPER II.P65 Signature and Name of Invigilator Answer Sheet No. : ...................................................... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) 2. (Signature) Roll No. (In words) (Name) Test Booklet No. J1 6 0 7 PAPERII Time : 1¼ hours]MUSIC [Maximum Marks : 100 Number of Pages in this Booklet : 48 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ÙÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-Âæ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæÚUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è (i) To have access to the Question Booklet, tear off the paper âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ seal on the edge of this cover page. Do not accept a Sßè·¤æÚU Ù ·¤Úð¢UÐ booklet without sticker-seal and do not accept an open booklet. (ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è (ii) Tally the number of pages and number of questions in â¢Øæ ·¤ô ¥ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂêæü ÂéçSÌ·¤æ the booklet with the information printed on the cover çÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ page. Faulty booklets due to pages/questions missing ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è æéçÅUÂêæü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ discrepancy should be got replaced immediately by a Üð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù correct booklet from the invigilator within the period of Ìô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô 5 minutes. Afterwards, neither the question booklet will be replaced nor any extra time will be given. ¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ (iii) After this verification is over, the Serial No. of the booklet (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× â¢Øæ ©æÚU-Âæ·¤ ÂÚU ¥¢ç·¤Ì should be entered in the Answer-sheets and the Serial ·¤Úð¢U ¥UõÚU ©æÚU-Âæ·¤ ·¤è R¤×¤â¢Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU No. of Answer Sheet should be entered on this Booklet. Îð¢Ð 4. Each item has four alternative responses marked (A), (B), (C) 4. ÂýØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©æÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð and (D). You have to darken the oval as indicated below on the ¥æ·¤ô âãè ©æÚU ·ð¤ Îèæüßëæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð correct response against each item. çιæØæ »Øæ ãñÐ ©ÎæãÚUæ Ñ Example : A B C D A B C D where (C) is the correct response. ÁÕç·¤ (C) âãè ©æÚU ãñÐ 5. Your responses to the items are to be indicated in the Answer 5. ÂýàÙô¢ ·ð¤ ©æÚU ·ð¤ßÜU ÂýàÙ Âæ I ·ð¤ ¥ÎÚU çÎØð »Øð ©æÚU-Âæ·¤ ÂÚU ãè ¥¢ç·¤Ì Sheet given inside the Paper I booklet only. If you mark at ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©æÚU Âæ·¤ ÂÚU çÎØð »Øð Îèæüßëæ ·ð¤ ¥Üæßæ ç·¤âè ¥Ø any place other than in the ovals in the Answer Sheet, it will SÍæÙ ÂÚU ©æÚU ç¿ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ not be evaluated. 6. ¥ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥çÌ× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©æÚU-ÂéçSÌ·¤æ ÂÚU ¥ÂÙæ Ùæ× Øæ °ðâæ ·¤ô§ü Öè çÙàææÙ çÁââð ¥æ·¤è 8. If you write your name or put any mark on any part of the test Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤ booklet, except for the space allotted for the relevant entries, çÜØð ¥ØôØ æôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ which may disclose your identity, you will render yourself liable to disqualification. 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©æÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ 9. You have to return the test question booklet to the invigilators ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù at the end of the examination compulsorily and must not carry Üð·¤ÚU ÁæØð¢Ð it with you outside the Examination Hall. 10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU ßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ 10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻淤 (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 11. Use of any calculator or log table etc., is prohibited. ÂýØô» ßçÁüÌ ãñÐ 12. There is NO negative marking. 12. »ÜÌ ©æÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ See Page No. 2 and 3 for Special Instructions / çßàæðá âê¿Ùæ¥æð´ ·ð¤ çÜ° ÂëcÆ â´Øæ 2 ¥æñÚ 3 Îð¹ð´Ð J1607 1 P.T.O. MUSIC PAPERII Hindustani / Karnataki / Rabindra Sangeet / Percussion (Vocal and Instrumental) 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. Do not forget to darken the selected optional Part on the OMR Answer Sheet. Each question carries two (2) marks. PART - I Common to Hindustani / Karnataki / Rabindra Sangeet / Percussion 1. Who is Guitar player among the following : (A) Pt. Nikhil Banerjee (B) Pt. Brij Bhushan Kabra (C) Ustad. Bismillah khan (D) Pt. Samta Prasad 2. Which instrument has fixed freeds : (A) Guitar (B) Sitar (C) Surbahar (D) Esraj 3. Which University started first musicology department : (A) M. S. University, Baroda. (B) Ruhelkhand University, Barielly. (C) Banaras Hindu University, Varanasi. (D) Allahabad University, Allahabad. 4. Which is the tala, starting with Khali (O) : (A) Kaharva (B) Dacha (C) Rupak (D) Jhaptal 5. Strings of Jodi are tuned in which note : (A) Sa Sa (B) Sa Pa (C) Ma Sa (D) Ma Ma J1607 2 â´»èÌ ÂýàÙÂæII çãÎéSÌæÙè/·¤ÙæüÅ·¤ â´»èÌ/ÚßèÎý â´»èÌ (»æØÙ, ßæÎÙ °ß´ â´»èÌ àææSæ) ÌÍæ ¥ßÙh ßæl ÙôÅU Ñ ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩æÚ Îð´Ð Øã Öæ» ¥çÙßæØü ãñ´Ð ÂÚèÿææÍèü Öæ»-II, Öæ»-III, Öæ»-IV, ÌÍæ Öæ»-V ×ð´ âð ç·¤âè °·¤ Öæ» ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩æÚ Îð´Ð ÂýØð·¤ ÂýàÙ ·ð¤ Îæð (2) ¥´·¤ ãñ´Ð PART - I çãÎéSÌæÙè / ·¤ÙæüÅ·¤ â´»èÌ / ÚßèÎý â´»èÌ ÌÍæ ¥ßÙh ßæl ¿æÚæð´ ·ð¤ çÜØð 1. çÙÙçÜçæÌ ×ð´ âð ·¤æñÙ ç»ÅæÚ ßæη¤ ãñÑ (A) ´ çÙçæÜ ÕÙÁèü, (B) ´. ÕýÁÖêáæ ·¤æÕÚæ, (C) ©.çÕâç×ËÜæ ¹æÙ, (D) ´. âæ×Ìæ ÂýâæÎ, 2. ç·¤â ßæl ·ð¤ ÂÎðü ¥¿Ü ãæðÌð ãñÑ (A) ç»ÅæÚ (B) çâÌæÚ (C) âéÚÕãæÚ (D) §âÚæÁ 3. ÂýÍ× â´ç»ÌàææSæ çßÖæ» ç·¤â çßàßçßlæÜØ ×ð´ ÂýæÚ´Ö ãé¥æÑ (A) °×. °â. ØêçÙßçâüÅè, ÕÇæñÎæ, (B) M¤ãðܹ´Ç ØêçÙßçâüÅè, ÕÚðÜè, (C) ÕÙæÚâ çãÎê ØêçÙßçâüÅè, ÕÙæÚâ (D) §ÜæãæÕæÎ ØêçÙßçâüÅè, §ÜæãæÕæÎ. 4. ßã ·¤æñÙ âè ÌæÜ ãñ, çÁâ·¤æ ÂýæÚ´Ö ¹æÜè âð ãæðÌæ ãñÑ (A) ·¤ãÚ» (B) ÎæÎÚæ (C) M¤Â·¤ (D) ÛæÂÌæÜ 5. ÁæðÇè ·ð¤ ÌæÚU ç·¤â SßÚ ×ð´ ç×ÜÌð ãñ Ñ (A) â â, (B) â Â, (C) × â, (D) × ×. J1607 3 P.T.O. 6. Who is the author of Sangeet Parijat : (A) Sarangadeva (B) Bhavbhatt (C) Ahobal (D) Kohal 7. In which ray Atikomal Gandhar is used : (A) Kafi (B) Todi (C) Madhuvanti (D) Darbari 8. Main six strings in Sitar is used by which artist : (A) Ustad Halim Jafer Khan (B) Pt. Nikhil Banerjee (C) Ustad Vilayat Khan (D) Pt. Ravi Shankar 9. Who authored book on History of Music from the following : (A) G. H. Ranade (B) R. C. Metha (C) S. S. Paranjape (D) Dr. Premlata Sharma 10. Who is the one who wrote maximum books on aesthetics of music : (A) Dr. Ashok Ranade (B) Dr. S. K. Saxena (C) Dr. Subhadra Chaudhry (D) Dr. B. C. Deva 11. Which Rag belongs to Kanhra Ang from the following : (A) Todi (B) Nayki (C) Bihag (D) Kedar 12. Which Rag is sung/played in the morning from the following : (A) Bhairav (B) Yaman (C) Bhimapalasi (D) Bageshwari J1607 4 6. â´»èÌ ÂçÚÁæÌ ·ð¤ Üð¹·¤ ·¤æñÙ ãñ Ñ (A) àææÚ´Ç÷»Îðß (B) Öæß Ö^, (C) ¥ãæðÕÜ, (D) ·¤æðãÜ. 7. ¥çÌ ·¤æð×Ü »´ÏæÚ ç·¤â Úæ» ×ð ÂýØéÌ ãæðÌæ ãñ Ñ (A) ·¤æȤè, (B) ÌæðÇè, (C) ×Ïéß´Ìè, (D) ÎÚÕÚè. 8. çâÌæÚ ×ð´ ×éØ { ÌæÚæð´ ·¤æ ÂýØæð» 緤⠷¤Üæ·¤æÚ mæÚæ ç·¤Øæ ÁæÌæ ãñ Ñ (A) ©.
Recommended publications
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
    MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr.
    [Show full text]
  • KRAKAUER-DISSERTATION-2014.Pdf (10.23Mb)
    Copyright by Benjamin Samuel Krakauer 2014 The Dissertation Committee for Benjamin Samuel Krakauer Certifies that this is the approved version of the following dissertation: Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music Committee: Stephen Slawek, Supervisor Charles Capwell Kaushik Ghosh Kathryn Hansen Robin Moore Sonia Seeman Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music by Benjamin Samuel Krakauer, B.A.Music; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication This work is dedicated to all of the Bāul-Fakir musicians who were so kind, hospitable, and encouraging to me during my time in West Bengal. Without their friendship and generosity this work would not have been possible. জয় 巁쇁! Acknowledgements I am grateful to many friends, family members, and colleagues for their support, encouragement, and valuable input. Thanks to my parents, Henry and Sarah Krakauer for proofreading my chapter drafts, and for encouraging me to pursue my academic and artistic interests; to Laura Ogburn for her help and suggestions on innumerable proposals, abstracts, and drafts, and for cheering me up during difficult times; to Mark and Ilana Krakauer for being such supportive siblings; to Stephen Slawek for his valuable input and advice throughout my time at UT; to Kathryn Hansen
    [Show full text]
  • Raag-Mala Music Society of Toronto: Concert History*
    RAAG-MALA MUSIC SOCIETY OF TORONTO: CONCERT HISTORY* 2013 2012 2011 Praveen Sheolikar, Violin Ud. Shahid Parvez, Sitar Pt. Balmurli Krishna, Vocal Gurinder Singh, Tabla Subhajyoti Guha, Tabla Pt. Ronu Majumdar, Flute Arati Ankalikar Tikekar, Vocal Ud. Shujaat Khan, Sitar Kishore Kulkarni, Tabla Abhiman Kaushal, Tabla Ud. Shujaat Khan, Sitar Abhiman Kaushal, Tabla Anand Bhate, Vocal Vinayak Phatak, Vocal Bharat Kamat, Tabla Enakshi, Odissi Dance The Calcutta Quartet, Violin, Suyog Kundalka, Harmonium Tabla & Mridangam Milind Tulankar, Jaltrang Hidayat Husain Khan, Sitar Harvinder Sharma, Sitar Vineet Vyas, Tabla Ramdas Palsule, Tabla Warren Senders, Lecture- Raja Bhattacharya, Sarod Demonstration and Vocal Shawn Mativetsky, Tabla Raya Bidaye, Harmoium Ravi Naimpally, Tabla Gauri Guha, Vocal Ashok Dutta, Tabla Luna Guha, Harmonium Alam Khan, Sarod Hindole Majumdar, Tabla Sandipan Samajpati, Vocal Raya Bidaye, Harmonium Hindole Majumdar, Tabla Ruchira Panda, Vocal Pandit Samar Saha, Tabla Anirban Chakrabarty, Harmonium 2010 2009 2008 Smt. Ashwini Bhide Deshpande, Smt. Padma Talwalkar, Vocal Pt. Vishwa Mohan Bhatt, Mohan Vocal Rasika Vartak, Vocal Veena Vishwanath Shirodkar, Tabla Utpal Dutta, Tabla Subhen Chatterji, Tabla Smt. Seema Shirodkar, Suyog Kundalkar, Harmonium Heather Mulla, Tanpura Harmonium Anita Basu, Tanpura Milind Tulankar, Jaltarang Pt. Rajan Mishra, Vocal Sunit Avchat, Bansuri Pt. Sajan Mishra, Vocal Tejendra Majumdar, Sarod Ramdas Palsule, Tabla Subhen Chatterji, Tabla Abhijit Banerjee,Tabla Sanatan Goswami, Harmonium Kiran Morarji, Tanpura Irshad Khan, Sitar Manu Pal, Tanpura Subhojyoti Guha, Tabla Aparna Bhattacharji, Tanpura Aditya Verma, Sarod Ramneek Singh, Vocal Hindol Majumdar, Tabla Pt. Ronu Majumdar, Flute Won Joung Jin, Kathak Ramdas Palsule, Tabla Amaan Ali Khan, Sarod Rhythm Riders, Tabla Bharati, tanpura Ayaan Ali Khan, Sarod Vineet Vyas, Tabla 1 RAAG-MALA MUSIC SOCIETY OF TORONTO: CONCERT HISTORY* 2010 Cont.
    [Show full text]
  • 2013 MFA Painting/Print Making/Sculpture
    B - 31 Entrance Examinations, February 2013 MFA Painting/Print Making/Sculpture Maximum Marks ,5o Time : 2 Hours Hall Ticket No. General Instructions : 1. Write your Hall Ticket Number in the OMR Answer Sheet and also write the Hall Ticket Number in the space provided above. 2. This paper consists ,A' ,Bn. .question of Two Parts - Part and part part-A of the question paper consists of 25 questions of one mark each. a J. Answers are to be marked on the OMR answer sheet following the instructions provided thereupon. 5. There is negative marking for a wrong answer in Part-A only. Each wrong answer carries -0.33 mark. 6. Hand over the oMR answer sheet at the end of the examination to the Invigilator. 7. No additional sheets will be provided. Rough work can be done in the question paper itself. b-> I UNIVERSITY OF HYDERABAI) Department of Fine Arts MFA Painting/Printmaking/Sculpture Total Marks 56: (1X50) Date:2610212013 Time: 2:00 pm to 4:00 pm Instructions , The question paper consists of two parts (part A and part B). Part A has 25 questions with negative marking of 0.33 for each for every wrong answer of one mark question. lart B has 25 questions with NO NEGATIVE marking. For each question, there shall be four answers and the-answers are to be indicated with capital letters of alphabets viz., A, Bn C and D. Part A 25 Questions with Negative Marking I Name the capital of the Vijayanagara dynasty. A. Mathura B. Tanjore C. Hampi D.
    [Show full text]
  • Ali Akbar Khan, Le Maître Du Sarod Indien
    Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 5 | 1992 Musiques rituelles Ali Akbar Khan, le maître du sarod Indien Huib Schippers Traducteur : Isabelle Schulte-Tenckhoff Édition électronique URL : http://journals.openedition.org/ethnomusicologie/2446 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 janvier 1992 Pagination : 258-276 ISBN : 978-2-8257-0456-1 ISSN : 1662-372X Référence électronique Huib Schippers, « Ali Akbar Khan, le maître du sarod Indien », Cahiers d’ethnomusicologie [En ligne], 5 | 1992, mis en ligne le 15 décembre 2011, consulté le 19 avril 2019. URL : http:// journals.openedition.org/ethnomusicologie/2446 Article L.111-1 du Code de la propriété intellectuelle. ENTRETIEN ALI AKBAR KHAN, LE MAÎTRE DU SAROD INDIEN* Huib Schippers En 1936, un jeune joueur de sarod fit ses débuts à la All India Music Conference de Allahabad. Ce premier concert en solo d'Ali Akbar Khan marqua le début d'une phase importante de l'histoire de la musique instrumentale indienne. Jusque là, aucun joueur de sarod n'avait su atteindre pareille maîtrise technique et artistique. Ce fut le début d'une carrière remarquable, couvrant maintenant plus de cinq décennies. Des milliers de concerts et d'émissions de radio, ainsi que de nom- breux enregistrements commerciaux ont affirmé la renommée du khansahib comme le digne dépositaire de la gharān ā de son père Baba Allauddin, et comme l'un des meilleurs musiciens du vingtième siècle. Mais l'importance d'Ali Akbar Khan va au delà de ses qualités artistiques. Sa vie reflète les changements sociaux et musicaux que l'Inde a connus tout au long de ce siècle : le déclin des cours royales, le rôle de la All India Radio comme nou- velle protectrice de la musique classique, l'avènement du concert de masse, le dé- veloppement de la musique enregistrée et la propagation de la musique indienne en Occident.
    [Show full text]
  • A Non Linear Approach Towards Automated Emotion Analysis in Hindustani Music
    A NON LINEAR APPROACH TOWARDS AUTOMATED EMOTION ANALYSIS IN HINDUSTANI MUSIC Shankha Sanyal*1,2, Archi Banerjee1,2, Tarit Guhathakurata1, Ranjan Sengupta1 and Dipak Ghosh1 1Sir C.V. Raman Centre for Physics and Music, 2Department of Physics Jadavpur University, Kolkata: 700032 *[email protected] ABSTRACT: In North Indian Classical Music, raga forms the basic structure over which individual improvisations is performed by an artist based on his/her creativity. The Alap is the opening section of a typical Hindustani Music (HM) performance, where the raga is introduced and the paths of its development are revealed using all the notes used in that particular raga and allowed transitions between them with proper distribution over time. In India, corresponding to each raga, several emotional flavors are listed, namely erotic love, pathetic, devotional, comic, horrific, repugnant, heroic, fantastic, furious, peaceful. The detection of emotional cues from Hindustani Classical music is a demanding task due to the inherent ambiguity present in the different ragas, which makes it difficult to identify any particular emotion from a certain raga. In this study we took the help of a high resolution mathematical microscope (MFDFA or Multifractal Detrended Fluctuation Analysis) to procure information about the inherent complexities and time series fluctuations that constitute an acoustic signal. With the help of this technique, 3 min alap portion of six conventional ragas of Hindustani classical music namely, Darbari Kanada, Yaman, Mian ki Malhar, Durga, Jay Jayanti and Hamswadhani played in three different musical instruments were analyzed. The results are discussed in detail. Keywords: Emotion Categorization, Hindustani Classical Music, Multifractal Analysis; Complexity INTRODUCTION: Musical instruments are often thought of as linear harmonic systems, and a first-order description of their operation can indeed be given on this basis.
    [Show full text]
  • Enrollment ID Student Name CHM out of 104 MTH out of 104 PHY out Of
    CHM MTH PHY TOTAL AIR Enrollment ID Student Name Out of 104 Out of 104 Out of 104 Out of 312 Ai²TS-1(XI) 9062191480001 Ayush 86 97 100 283 1 9062731480019 Sarthak Behera 80 98 104 282 2 9020611480035 P GIRINATH 83 80 96 259 3 9062161480005 Arpit Saxena 75 94 88 257 4 9062291480019 Shreya Pathak 78 91 85 254 5 9062191480002 Sarthak 73 79 100 252 6 9062161480036 Vishav Rakesh Vig 81 94 76 251 7 9020631480011 ABHIJIT BALASUBRAMANIAN 81 81 88 250 8 1062161580017 Pranav Goyal 78 85 86 249 9 9061811480069 Pratik Pranav 83 66 96 245 10 1151421680006 Tathagat Verma 59 84 100 243 11 1110551680161 Arihant Samar 77 74 90 241 12 1110161680015 Adarsh Kumar Banth 70 90 80 240 13 1152711680082 Siddharth Tiwary 64 80 96 240 13 9061931480004 Anagh Chattopadhyay 70 82 88 240 13 9061551480120 Adway Girish 69 90 80 239 16 1062121580009 Harman Singh 68 80 88 236 17 9062111480023 Simar Preet Singh Saluja 77 75 84 236 17 9062131480048 Navneel Singhal 78 76 82 236 17 9062201480041 Kartikeya Saxena 56 88 92 236 17 9020611480051 Andrews George Varghese 90 55 90 235 21 1061271580008 Hardik Agrawal 86 64 84 234 22 9061461480010 Nimay Gupta 68 80 85 233 23 9061101480005 Shalab Gupta 73 71 88 232 24 1062101580001 Shubham Mittal 72 72 88 232 24 1152131680070 Ayush Garg 84 56 90 230 26 1152111680155 Maulik 89 72 68 229 27 9061111480017 Ankit Yadav 70 84 75 229 27 9062131480017 Pulkit Sinha 65 72 92 229 27 9061471480058 Nischay Manwani 64 77 88 229 27 1110611680033 Praveenkumar M 70 81 78 229 27 1152121680105 Harish Jaglan 65 74 88 227 32 9061811480157 Tanay Raghavendra
    [Show full text]
  • Detailed Catalog
    Last Update QUESTZ WORLD January 2017 Address : K304 Binayak Enclave, 59 K C G Road, Kolkata 700050 Mobile : (+91) 90516-72666 Email : [email protected] / [email protected] Web : www.questz.world Corporate Web : www.w2n.co PRODUCT ARTISTS PRODUCT TITLES TRACK DETAILS CODES MRP (INR) MRP (USD) # Indian Classical Music ## SITAR Nikhil Banerjee (Sitar) & Sankha Chatterjee (Tabla) Hemant Alap, Jor, Jhala Q-MI-CJ-010 200 15 Vilambit & Drut In Teen Taal Nikhil Banerjee (Sitar) & Swapan Chaudhuri (Tabla) Gauri Manjari Alap, Jor, Jhala Q-MI-CJ-038 200 15 Vilambit In Teen Taal Drut In Ek Taal Nikhil Banerjee (Sitar) & Anindo Chatterjee (Tabla) Lalita Gauri Alap, Jor, Jhala QW-IC-007 200 15 Vilambit In Pancham Sawari Taal Drut In Teen Taal Vilayat Khan (Sitar) & Sankha Chatterjee (Tabla) Aftab-E-Sitar Bageshri (Alap, Jor, Jhala, Gats In Teen Taal) Q-MI-CJ-028 200 15 Tilok Kamod & Bihari (Alap In Tilok Kamod, Gats In Bihari In Teen Taal) Vilayat Khan (Sitar) & Samta Prasad (Tabla) Yamani Alap, Jor, Jhala QW-IC-009 200 15 Vilambit In Teen Taal Drut In Teen Taal Mushtaq Ali Khan (Sitar+Surbahar) & Keramutulla Khan (Tabla) + Video Documentary On Him Birth Centenary Tribute (CD+DVD) Shudh Basant (Surbahar) Q-MI-CA-039 300 21 Kedar (Sitar) Hindol (Sitar) Video Documentary In DVD Mushtaq Ali Khan (Sitar) & Keramutulla Khan (Tabla) Sitar Sudhakar Darbari Kanada Q-MI-CJ-040 200 15 Bihag Bhairavi Santosh Banerjee (Sitar+Surbahar) & Amit Banerjee (Tabla) Lilting Legacy (Double Audio-CD) Surbahar CD - Abhogi Kanada Q-MI-CJ-048 300 21 Surbahar CD - Darbari Kanada Sitar
    [Show full text]
  • X-12 Ins. Page (For Paper-II).P65
    Signature and Name of Invigilator OMR Sheet No. : ......................................... (To be filled by the Candidate) 1. (Signature) __________________________ Roll No. (Name) ____________________________ (In figures as per admission card) 2. (Signature) __________________________ Roll No.____________________________ (Name) ____________________________ (In words) D-1609 Test Booklet No. 1 PAPER-II Time : 1 /4 hours] [Maximum Marks : 100 MUSIC Number of Pages in this Booklet : 32 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 seal on the edge of this cover page.
    [Show full text]
  • Copyright by Jeffrey Michael Grimes 2008
    Copyright by Jeffrey Michael Grimes 2008 The Dissertation Committee for Jeffrey Michael Grimes certifies that this is the approved version of the following dissertation: The Geography of Hindustani Music: The Influence of Region and Regionalism on The North Indian Classical Tradition Committee: ____________________________________ Stephen M. Slawek, Supervisor ____________________________________ Veit Erlmann ____________________________________ Ward Keeler ____________________________________ Robin Moore ____________________________________ Shanti Kumar The Geography of Hindustani Music: The Influence of Region and Regionalism on The North Indian Classical Tradition by Jeffrey Michael Grimes, M.M., B.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2008 Acknowledgements I would like to briefly thank a few individuals for making this project possible. The first are my parents, Tom and Kay Grimes, who have supported me emotionally and, as necessary, financially through the dissertation writing process (and earlier, as well). Next, I would like to thank my mentor and dissertation supervisor Dr. Stephen M. Slawek. All that I know of Indian music (even the things he didn’t teach me directly) is due to him, both as my academic adviser and as my long-time sitar Guru. Especially crucial for the current project, though, has been his unwavering moral and intellectual support. Dr. Slawek encouraged me from day one to pursue the work I wanted to pursue, and I cannot be more grateful for this. All of his advisees that he has shepherded through the process of writing a report or dissertation, I am sure, would say the same.
    [Show full text]
  • BPL LIST-KOLKATA MUNICIPAL CORPORATION 033 ULB Name :KOLKATA MC ULB CODE: 79 Ward
    BPL LIST-KOLKATA MUNICIPAL CORPORATION Ward No: 033 ULB Name :KOLKATA MC ULB CODE: 79 Member Sl Address Name of Family Head Son/Daughter/Wife of BPL ID Year No Male Female Total 1 81 N M RD ABDUL SAHID ABDUL MAJID 1 2 3 1 2 53/3 C P RD.KOL-10 ABHA RANI MITRA LT KHETRA MOHAN MITRA 2 3 5 2 3 53/1 CHAUL PATTI ROAD ABHIJIT SARKAR ANIL SARKAR 2 3 5 3 4 75/6 BELIAGHATA MAIN RD.KOL-10 ADHANYA BISWAS LT DWARIKA NATH BISWAS 2 1 3 4 5 BELEGHATA MAIN ROAD ADHIR CHAKRABORTY LATE CHAKRABORTY 2 1 3 5 6 75/35 BELEGHATA MAIN ROAD ADHIR HALDER 1 3 4 6 7 75/H/37 BELEGHATA MAIN ROAD ADHIR MONDAL JIBON MONDAL 2 1 3 7 8 3 KHODA GUNG RD.KOL-10 AFSARI BIBI SK FAROK ALI 3 3 6 8 9 76 BELEGHATA MAIN ROAD 76H/11 BELEGHATA MAIN ROAD AHIDHYA RAM 4 2 6 9 10 96/H/6 SUREN SARKAR RD.KOL-10 AJAY DAS ABHAY DAS 2 3 5 11 11 49/H/4 C P RD.KOL10 AJAY KR BANERJEE LT SANTI RANJAN BANERJEE 2 1 3 12 12 100/H/1 SUREN SARKAR ROAD AJIT CHOWDHURY LATE MANIK CHOWDHURY 1 2 3 13 13 91/3/H/15 DR SURESH CH BANERJEE ROAD AJIT DAS SHYAMA DAS 2 2 4 15 14 BELEGHATA 70/7 BELEGHATA MAIN RD , KOL-10 AJIT KR. DAS 1 2 3 16 15 37/1 S S RD KOL-10 AJIT KUMAR SAHA LT SASHI BHUSAN SAHA 2 2 4 17 16 30/H/10 RADHA MADHAB DUTTA GARDEN LANE AJIT MONDAL LATE NARAYANDRO NATH MOND 1 3 4 18 17 BELEGHATA MAIN ROAD AJIT NASKAR LATE SANTOSH NASKAR 5 2 7 19 18 98B/H/6 SUREN SARKAR RD.KOL-10 AJIT PANJA LT PANCHU GOPAL PANJA 1 2 3 20 19 76/H/11 BELEGHATA MAIN ROAD AJODHAYA RAM SUDAB RAM 4 1 5 21 20 112/12 BELEGHATA MAIN ROAD AJOY DAS LATE BALARAM DAS 1 1 2 22 21 112/H/19 BELEGHATA MAIN ROAD AJOY K.
    [Show full text]