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. J—1 6 0 7 PAPER—II 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 ِÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-˜æ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæڐUÖ 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 çِÙçÜç¹Ì 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 ⢁Øæ ·¤ô ¥‘ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂê‡æü 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 ˜æéçÅUÂê‡æü 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¤× ⢁Øæ ©žæÚU-˜淤 ÂÚU ¥¢ç·¤Ì should be entered in the Answer-sheets and the Serial ·¤Úð¢U ¥UõÚU ©žæÚU-˜淤 ·¤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. ÂýˆØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©žæÚU 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 ©žæÚU ·ð¤ Îèƒæüßëžæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð correct response against each item. çιæØæ »Øæ ãñÐ ©ÎæãÚU‡æ Ñ Example : A B C D A B C D where (C) is the correct response. ÁÕç·¤ (C) âãè ©žæÚU ãñÐ 5. Your responses to the items are to be indicated in the Answer 5. ÂýàÙô¢ ·ð¤ ©žæÚU ·ð¤ßÜU Âýà٠˜æ I ·ð¤ ¥‹ÎÚU çÎØð »Ø𠩞æÚU-˜淤 ÂÚU ãè ¥¢ç·¤Ì Sheet given inside the Paper I booklet only. If you mark at ·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©žæÚU ˜淤 ÂÚU çÎØð »Øð Îèƒæüßëžæ ·ð¤ ¥Üæßæ ç·¤âè ¥‹Ø any place other than in the ovals in the Answer Sheet, it will SÍæÙ ÂÚU ©žæÚU 翋ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ not be evaluated. 6. ¥‹ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ŠØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤“ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥ç‹Ì× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ ©žæÚU-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 ¥Øô‚Ø ƒæôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ which may disclose your identity, you will render yourself liable to disqualification. 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©žæÚU-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 Œßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ 10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·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 ©žæÚU ·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 J—1607 1 P.T.O. MUSIC PAPER—II 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

J—1607 2 â´»èÌ ÂýàÙ˜æ—II çã‹ÎéSÌæÙè/·¤ÙæüÅ·¤ â´»èÌ/Úßè‹Îý â´»èÌ (»æØÙ, ßæÎÙ °ß´ â´»èÌ àææS˜æ) ÌÍæ ¥ßÙh ßæl

ÙôÅU Ñ ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæ𴠷𤠩žæÚ 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žæÚ Îð´Ð ÂýˆØð·¤ ÂýàÙ ·ð¤ Îæð (2) ¥´·¤ ãñ´Ð

PART - I çã‹ÎéSÌæÙè / ·¤ÙæüÅ·¤ â´»èÌ / Úßè‹Îý â´»èÌ ÌÍæ ¥ßÙh ßæl ¿æÚæð´ ·ð¤ çÜØð

1. çِÙçÜçæÌ ×ð´ âð ·¤æñÙ ç»ÅæÚ ßæη¤ ãñÑ (A) ´ çÙçæÜ ÕÙÁèü, (B) ´. ÕýÁÖêá‡æ ·¤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»ÌàææS˜æ çßÖæ» ç·¤â çßàßçßlæÜØ ×ð´ ÂýæÚ´Ö ãé¥æÑ (A) °×. °â. ØêçÙßçâüÅè, ÕÇæñÎæ, (B) M¤ãðܹ´Ç ØêçÙßçâüÅè, ÕÚðÜè, (C) ÕÙæÚâ çã‹Îê 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) × ×.

J—1607 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

J—1607 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 ÂýØé€Ì ãæðÌæ ãñ Ñ

(A) ·¤æȤè, (B) ÌæðÇè, (C) ×Ïéß´Ìè, (D) ÎÚÕÚè.

8. çâÌæÚ ×ð´ ×éØ { ÌæÚæð´ ·¤æ ÂýØæð» 緤⠷¤Üæ·¤æÚ mæÚæ ç·¤Øæ ÁæÌæ ãñ Ñ

(A) ©. ãÜè× ÁæÈ¤Ú ¹æ´, (B) ´. çÙçæÜ ÕÙÁèü

(C) ©. çßÜæØÌ ¹æ¡ (D) ´. Úßè àæ´·¤Ú

9. çِÙçÜçæÌ ×ð´ âð ç·¤â Üð¹·¤ Ùð â´ç»Ì ·ð¤ §çÌãæâ ÂÚ ÂéSÌ·¤ çܹè ãñÑ

(A) Áè. °¿. ÚæÙÇð (B) ¥æÚ. âè. ×ðãÌæ

(C) °â. °â. ÂÚæ´ÁÂð (D) Çæ. Âðý×ÜÌæ àæ×æü

10. â´ç»Ì ·ð¤ âæñ´ÎØü ÂÚ âÕâð ¥Ïè·¤ ÂéSÌ·ð´¤ çܹÙð ßæÜæ ·¤æñÙ ãñÑ

(A) Çæ. ¥àææð·¤ ÚæÙæÇð (B) Çæ. °â. ·ð¤. â€âðÙæ

(C) Çæ. âéÖÎýæ ¿æñÏÚè (D) Çæ. Õè. âè. Îðß

11. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ Úæ» ·¤æ‹ãÇæ ¥´» ãñÑ

(A) ÌæðÇè (B) ÙæØ·¤è (C) çÕãæ» (D) ·ð¤ÎæÚ

12. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ Úæ» ÂýæÌÑ·¤æÜ ×ð´ »æØæ/ÕÁæØæ ÁæÌæ ãñÑ

(A) ÖñÚß (B) Ø×Ù

(C) Öè×ÂÜæâè (D) Õæ»ðŸæè

J—1607 5 P.T.O. 13. Match the following : List-I List-II (a) Vocal (i) Bharat (b) Sitar (ii) Tanpura (c) Natyashastra (iii) Rag (d) Brihaddesi (iv) String instrument Code : (a) (b) (c) (d) (A) iv iii ii i (B) iii ii i iv (C) ii iv i iii (D) i ii iv iii

14. A variety of Triputa Tala : (A) Adi Tala (B) Ata Tala (C) Matya Tala (D) Rupaka Tala

15. A composition used in Karnatak Music : (A) Pallavi (B) Jalatarangam (C) Sabdam (D) Alarippu

16. Choose the oldest musical form : (A) Geetha Prabandham (B) Devar nama (C) Sabdam (D) Pancharatnam

17. Which Visesha Sanchara is prominent in the Raga Todi . (A) Pdps (B) SpMgM ~ (C) RMpNN (D) Srg~MpMGrs

18. Which folk song is associated with Kerala female Dance : (A) Kai Kottikali (B) Giddha

(C) Ottam Tullal (D) Nangyar Kuthu

19. Tagore’s compilation of songs is : (A) Gitavitan (B) Manashi (C) Puravi (D) Chaturanga

J—1607 6 13. âé×ðçÜÌ ·¤èçÁØðÑ âê¿è - I âê¿è - II (a) »æØÙ (i) ÖæÚÌ (b) çâÌæÚ (ii) ÌæÙÂéÚæ (c) ÙæÅKàææS˜æ (iii) Úæ» (d) ÕëãÎ÷ðàæè (iv) Ì´˜æßæl ·¤æðÇU Ñ (a) (b) (c) (d) (A) iv iii ii i (B) iii ii i iv (C) ii iv i iii (D) i ii iv iii

14. ç˜æÂêÅ ÌæÜ ·¤æ °·¤ ÖðÎ Ñ (A) ¥æÎè ÌæÜ× (B) ¥Åæ ÌæÜ× (C) ×l ÌæÜ× (D) M¤Â·¤ ÌæÜ×

15. ·¤ÙæüÅ·¤ àææS˜æèØ â´»èÌ Ú¿Ùæ ×ð´ ×éØÌÑ ÂýØé€Ì ãæðÌæ ãñÑ (A) ÂËÜßè (B) ÁÜÌÚ´»× (C) àæŽÎ× (D) ¥Ü¥æçÚÂé

16. Âýæ¿èÙÌ× â´»èÌ Ú¿Ùæ ·¤æð ç¿ç‹ãÌ ç·¤çÁØðÑ (A) »èÌæ ÂýÕ´Ï× (B) ÎðßÚÙæ×æ (C) àæŽÎ× (D) ´¿ÚˆÙ×

17. ·¤ÙæüÅ·¤ â´»èÌ ×ð´ Úæ» ÌæðÇè ×ð´ ·¤æñÙâæ çßàæðá â´¿æÚ ×ð´ Âý×é¹ ãñÑ (A) Âæ Ïæ Âæ âæ (B) âæ Âæ ×æ »æ âæ ~ ~ (C) çÚ ×æ Âæ çÙ --çÙ (D) âæ Úð »æ ×æ - ×æ Âæ »æ Úð âæ

18. ·ð¤ÚÜ ×çãÜæ ÙëˆØ âð ·¤æñÙâæ Üæð·¤ â´»èÌ ÁéÇæ ãñÑ (A) ·¤ˆÍ·¤·¤Üè (B) ç»hæ (C) ¥æñÅ× ÌéËÜÜ (D) ÙæׂØæÚ·¤æðˆÍé

19. Åñ»æðÚ ·ð¤ »èÌæð·¤æ â´·¤ÜÙ ãñÑ (A) »èÌæçßÌæÙ (B) ×æÙâè (C) ÂêÚßè (D) ¿ÌéÚUX

J—1607 7 P.T.O. 20. Tagore’s ‘Chandalika’ is : (A) Drama (B) Dance drama (C) Both (A) and (B) (D) Poem

Questions 21 to 25 : Paraphrasing or Linked Item : Read the following passage and tick the correct answer in each question. Voice and style both are necessary in Thumari presentation, the absence of which will make Thumari a boring sound. Thumari, though considered ‘light’ or ‘lighter’ than the Khayal and Dhrupad-Dhamar, has great capacity for musical expression, exploiting the textual meaning of a very few words, or a phrase of a line of a song and acquiring great depth of emotion. Most of the Thumaries utilise some two or four line song expressing deep sorrow or pathos of love and separation, deepest human emotions on which epics have been written. Thumari, thus has acquired much importance in the realm of musical performance for classical as well as for masses.

21. (A) In Thumari presentation good voice is needed (B) In Thumari presentation good voice is not needed (C) Dhrupad has great depth (D) Dhrupad is considered light music

22. (A) Thumari style is more popular (B) Thumari is not popular (C) ‘TAN’ is used in Thumari (D) Thumari is sung without TAAL

23. (A) Thumari is ‘bhavapradhan’ (B) In Thumari, bhava is not needed (C) Taan is too much used in Thumari (D) Sargam is used in Thumari

24. (A) Sweetness is must in Thumari (B) There is a noise in Thumari (C) It is not necesary to pay attention to Bhava to present Thumari (D) Thumari style is not in Indian Music

J—1607 8 20. Åñ»æðÚ ·¤è ¿æ´ÇæçÜ·¤æ ãñÑ

(A) Çþæ×æ (B) ÙëˆØÙæÅè·¤æ (C) ÎæðÙæð´ (A) ¥æñÚU (B) (D) ·¤çßÌæ

Âýà٠ⴁØæ 21 âð 25 Ñ ¥Ùé‘ÀðUÎ ·¤æð Âɸ·¤ÚU çÎØð »Ø𠩞æÚUæð´ ·¤æð ¿éçÙØð Ñ Æé×Úè ·ð¤ ÂýâÌéÌ跤ڇæ ×ð´ ¥æßæÙ ÌÍæ àæñÜè ÎæðÙæð ¥æßàØ·¤ Øæ ¥æÏè·¤ ãÜ·¤æ ãñ´ çÁÙ·¤æ ¥Öæß Æé×Úè ·¤æð ©Õ檤 àææðÚ»éÜ ÕÙæ ÎðÌæ ãñÐ ØlÂè Æé×Úè ·¤æð ¹ØæÜ ÌÍæ ÏýéÂÎ-Ï×æÚ âð ãÜ·¤æ ×æÙæ ÁæÌæ ãñ, ÌÍæÂè §â×ð ·¤× àæŽÎæð´ ·ð¤ ÂæÆ»Ì ¥Íü ÌÍæ ç·¤âè »èÌ ·¤è ´ç€ÌØæ ÂæÆKæ´àæ ·¤æð ·¤çáüÌ ·¤ÚÙð ·¤è ÌÍæ ¥æßð» ·¤è ¥ÌÜ »ãÚæ§ü Ì·¤ ÁæÙð ·¤è â´»èÌæˆ×·¤ ¥çÖÃØçQ¤ ·¤è ×ãÌè ÿæ×Ìæ ãæðÌè ãñÐ ¥çÏ·¤ÌÚU Æé×ÚèØæð´ ×ð Îæð Øæ ¿æÚ Â´ç€ÌØæð´ ·¤æ »èÌ ãæðÌæ ãñ çÁâ×ð Âýð× ÌÍæ çßØæð» ·¤è »ãÙ ÃØÍæ ÌÍæ ·¤æM¤ç‡æ·¤Ìæ ·¤è ¥çÖÃØ€Ì ãæðÌè ãñ, Áæð ×ÙécØ ·ð¤ »ãÙÌ× ¥æßð» ãñ ÌÍæ çÁÙÂÚ ×ãæ·¤æÃØ çܹð »Øð ãñÐ

21. (A) Æé×Úè ÂýSÌéÌè ·¤Ú‡æ ×ð´ ¥‘Àè ¥æßæÁ ·¤è ÁM¤ÚÌ ãæðÌè ãñ

(B) Æé×Úè ÂýSÌéÌè ·¤Ú‡æ ×ð´ ¥‘Àè ¥æßæÁ ·¤è ÁM¤ÚÌ Ùãè ãæðÌè ãñ

(C) Æé×Úè àæñÜè ÏéýÂÎ »æØ·¤è âð ’ØæÎæ »´ÖèÚ ãñ

(D) ÏýéÂÎ »æØ·¤è ·¤æð âé»× â´»èÌ ·¤ãÌð ãñ

22. (A) Æé×Úè »æØÙ àæñÜè ÕãéÌ Âý¿çÜÌ àæñÜè ãñ

(B) Æé×Úè »æØÙ àæñÜè Âý¿çÜÌ Ùãè ãñ

(C) Æé×Úè ×ð ÌæÙ ·¤æ ÂýØæð» ãæðÌæ ãñ

(D) Æé×Úè àæñÜè çÕÙæ ÌæÜ ·ð¤ »æØæ ÁæÌæ ãñ

23. (A) Æé×Úè ÖæßÂýÏæÙ »æØ·¤è ãñ

(B) Æé×Úè ×ð´ Öæß ·¤è ¥æßàØ·¤Ìæ Ùãè ãæðÌè

(C) Æé×Úè ×ð ÌæÙ ·¤æ ÂýØæð» ÕãéÌ ÂýØæð» ãæðÌæ ãñ

(D) Æé×Úè »æÌð â×Ø âÚ»× ·¤æ ÂýØæð» ·¤ÚÌð ãñ

24. (A) Æé×Úè »æØÙ ×ð´ »æØÙ ×ð´ ç×Ææâ ãæðÌæ ãñ´

(B) Æé×Úè »æØÙ àæñÜè ×ð´ àææðÚ ãæðÌæ ãñ´

(C) ÆéU×ÚUè Âðàæ ·¤ÚUÌð â×Ø Öæß ÂÚU ŠØæÙ ÎðÙæ ¥æßàØ·¤ Ùãè´ ãñ

(D) ÖæÚUÌèØ â´»èÌ ×ð´ ÆéU×ÚUè àæñÜè Ùãè´ ãñ

J—1607 9 P.T.O. 25. (A) There are only two or three lines in Thumari

(B) Thumari is only sung by the female voice

(C) Thumari in sung in Khayal style

(D) Thumari style was development in Ancient time

PART - II

Hindustani Music (Vocal / Instrument)

26. Music can not be fully notated :

(A) Not necessarily (B) Wrong (C) Doubtful (D) Correct

27. This instrument is of equal tempered scale :

(A) Tanpura (B) Harmonium (C) Sarod (D) Violin

28. Who wrote Sangeet Ratnakar :

(A) Bharat (B) Pundarik Bithal

(C) Sharang Dev (D) Narad

29. Dhruvpad is developed from :

(A) Kawwali (B) Prabandh (C) Dhruvgana (D) Ashtapadi

30. This Raga is a mixture of Miya Malhar and Sarang :

(A) Jayant Malhar (B) Nat Malhar

(C) Miyaki Sarang (D) Shudha Sarang

31. Which classification of Ragas was prevalent in medieval period :

(A) Rag Ragini Vargikaran (B) Ragang Vargikaran

(C) Mela RagaVargikaran D) Thata Raga Vargikaran

J—1607 10 25. (A) Æé×Úè ×ð´ ¥çÏ·¤ÌÚ Îæð Øæ ¿æÚ Â´ç€Ì ãæðÌè ãñÐ

(B) Æé×Úè ·ð¤ßÜ ×çãÜæ° »æÌè ãñÐ

(C) Æé×Úè ØæÜ àæñÜè ×ð´ »æØè ÁæÌè ãñÐ

(D) Æé×Úè »æØÙ àæñÜè ·¤æ çß·¤æâ Âýæ¿èÙ ·¤æÜ ×ð´ ãé¥æÐ

¹‡Ç - II

çã‹ÎéSÌæÙè â´»èÌ (»æØÙ / ßæÎÙ)

26. â´»èÌ ÂêÚæÂêÚæ SßÚçÜçÂÕh Ùãè´ ãæð â·¤Ìæ Ñ

(A) ¥æßàØ·¤ Ùãè´ ãñ´ (B) $»ÜÌ ãñ´ (C) àææØÎ (D) âãè ãñ´

27. â×æÙæ‹ÌÚ â#·¤ ·¤æ ßæl Øã ãñ´ Ñ

(A) ÌæÙÂéÚæ (B) ãæÚ×æðçÙØ× (C) âÚæðÎ (D) ßæØçÜÙ

28. Òâ´»èÌ ÚˆÙæ·¤ÚÓ ·ð¤ Ú¿çØÌæ ·¤æñÙ ãñ?

(A) ÖÚÌ (B) Âé‡ÇÚè·¤ç_Ü (C) àææÚ´»Îðß (D) ÙæÚÎ

29. §ââð ÏýßÂÎ ·¤æ çß·¤æâ ãé¥æ Ñ

(A) ·¤ÃßæÜè (B) ÂýÕ´Ï (C) Ïýéßæ»æÙ (D) ¥cÅÂÎè

30. Øã Úæ» ç×Øæ´×ËãæÚ ¥æñÚ âæÚ´» ·ð¤ çןæ‡æ ·ð¤ â𠩈Âóæ ãé¥æ ãñÐ

(A) ÁØ´Ì×ËãæÚ (B) ÙÅ×ËãæÚ

(C) ç×Øæ´ ·¤è âæÚ´» (D) àæéh âæÚ´»

31. ׊ط¤æÜ ×ð´ ·¤æñÙ âæ Úæ»ß»èü·¤Ú‡æ Âý¿çÜÌ Íæ?

(A) Úæ» Úæç»Ùè ß»èü·¤Ú‡æ (B) Úæ»æ´» ß»èü·¤Ú‡æ

(C) ×ðÜ Úæ» ß»èü·¤Ú‡æ (D) ÍæÅ Úæ» ß»èü·¤Ú‡æ

J—1607 11 P.T.O. 32. Haveli Sangeet is related to : (A) Khayal Parampara (B) Tappa Parampara (C) Thumri Parampara (D) Dhruvapad Dhamar Parampara

33. Tick mark (ü ) the correct chronological order of development from Dhwani to Saptak : (A) Nada, Shruti, Dhwani, Saptak, Swar (B) Saptak, Shruti, Swar, Dhwani, Nada (C) Dhwani, Shruti, Swar, Saptak, Nada (D) Dhwani, Nada, Shruti, Swar, Saptak

34. Which of the following is two Madhyam Rag : (A) Malhar (B) Darbari (C) Marubihag (D) Vibhas

35. There is a systematic order in music teaching singing / playing. Tick mark (ü) the correct order : (A) Nibadha Alap, Tana, Bandish, Anibadha Alap (B) Bandish, Nibadha Alap, Tana, Anibadha Alap (C) Anibadha Alap, Bandish, Nibadha Alap, Tana (D) Bandish, Anibadha Alap, Tana, Nibadha Alap

36. Raga Madhuwanti is distinguished from Multani in Uttaranga by : (A) Shudha Dhaiwat (B) Shudha Rishara (C) Komal Gandhar (D) Tivra Madhyam

37. Which Anga is not used in Dhrupad gayaki ? (A) Meend (B) Gamak (C) Alap(D) Tana

38. The Tala with ten Matras is known as : (A) Teentala (B) Chartala (C) Japtala (D) Rupak

39. The author of Natyashastra is : (A) Sharangdev (B) Bharat (C) Dattil (D) Matang

J—1607 12 32. ãßðÜè â´»èÌ ·¤æ âÕÏ ç·¤â ÂÚ´ÂÚæ âð ãñ?

(A) ØæÜ ÂÚ´ÂÚæ (B) ŌÂæ ÂÚ´ÂÚæ

(C) Æé×Úè ÂÚ´ÂÚæ (D) ÏýÂÎ Ï×æÚ ÂÚ´ÂÚæ

33. ŠßçÙ âð â#·¤ Ì·¤ ·ð¤ R¤×æÙéâæÚ çß·¤æâ ·ð¤ âãè R¤× ÂÚ (ü) 翋ã Ü»æ§ØðÐ (A) ÙæÎ, ŸæéçÌ, ŠßçÙ, â#·¤, SßÚ (B) â#·¤, ŸæéçÌ, SßÚ, ŠßçÙ, ÙæÎ

(C) ŠßÙè, ŸæéÌè, SßÚ, â#·¤, ÙæÎ (D) ŠßçÙ, ÙæÎ, ŸæéçÌ, SßÚ, â#·¤

34. Îæð ׊Ø× ßæÜæ Úæ» §Ù×ð âð ·¤æñÙ âæ ãñ?

(A) ×ËãæÚ (B) ÎÚÕæÚè

(C) ×æM¤ çßãæ» (D) çßÖæâ

35. â´»èÌ çàæÿææ »æØÙ/ ßæÎÙ Øð âéÃØßçSÍÌ R¤× ãæðÌæ ãñÐ âãè R¤× ÂÚ (ü) ·¤æ 翋ã Ü»æ§Øð Ñ (A) çÙÕh ¥æÜæÂ, ÌæÙ, Õ´çÎàæ, ¥çÙÕh ¥æÜæÂ

(B) Õ´çÎàæ, çÙÕh ¥æÜæÂ, ÌæÙ, ¥çÙÕh ¥æÜæÂ

(C) ¥çÙÕh ¥æÜæÂ, Õ´çÎàæ, çÙÕh ¥æÜæÂ, ÌæÙ

(D) Õ´çÎàæ, ¥çÙÕh ¥æÜæÂ,ÌæÙ, çÙÕh ¥æÜæÂ

36. ×éËÌæÙè Úæ» âð ×Ïéß´Ìè ·¤æ𠩞æÚæ´» ×ð´ §â SßÚ âð çÖóæ ç·¤Øæ ÁæÌæ ãñ´ Ñ

(A) àæéh ÏñßÌ (B) àæéh çÚáÖ

(C) ·¤æð×Ü »´ÏæÚ (D) Ìèßý ׊Ø×

37. ÏéÂÎ »æØ·¤è ×ð´ 緤⠥´» ·¤æ ÂýØæð» Ùãè ãæðÌæ Ñ

(A) ×è´Ç (B) »×·¤ (C) ¥æÜæ (D) ÌæÙ

38. Îâ ×æ˜ææ ·ð¤ ÌæÜ ·¤æ Ùæ× Øã ãñ Ñ

(A) ÌèÙÌæÜ (B) ¿æÚÌæÜ (C) ÛæÂÌæÜ (D) M¤Â·¤

39. ÙæÅKàææS˜æ ·ð¤ Ú¿çØÌæ ·¤æ Ùæ× Øã ãñ Ñ

(A) àææÚ´»Îðß (B) ÖÚÌ (C) Îç˜æÜ (D) ×Ì´»

J—1607 13 P.T.O. 40. Mostly Tanpura is tuned in Swaras : (A) Ga Pa Sa Sa (B) Pa Sa Sa Sa (C) Sa Ni Dha Pa (D) Ma Dha Sa Sa

41. Assertion (A) : Tivra Ma is mostly used in Raga Maru Bihaga and Shuddha Madhyam is mostly used in Bihaga. Reason (R) : Only Shuddha Madhyam is traditionally being used in Raga Bihaga. (A) (A) is true and (R) is false (B) (A) is false and (R) is true (C) Both (A) and (R) are true (D) Both (A) and (R) are false

42. Assertion (A) : Bandishon’s are very important in showing the form of Raga in Khayal gayan. Reason (R) : The complete form of ‘Raga’ is not present in ‘Bandish’ (A) (A) is true and (R) is false (B) (A) is false and (R) is true (C) Both (A) and (R) are true (D) Both (A) and (R) are false

43. Matching type questions. This question consist of two list of statements, terms, or symbols and the candidate has to match an item in one list with an item of the other. List - I List - II (a) Combination of these Ragas exists (i) Jog in Raga Ahir Bhairav (b) Both the Gandharas are use in (ii) Bhairav, Kafi which Raga (c) Which Raga is made by doing Re (iii) Madhuwanti and Dha Komal in Raga Bholpali (d) Which raga is produced by doing (iv) Vibhas Shuddha the Komal Risharbh Dhaiwat of Raga Multani Code : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iii) (i) (ii) (iv) (D) (iv) (iii) (i) (ii)

J—1607 14 40. ÌæÙÂéÚæ ¥çÏ·¤ÌÚ §Ù SßÚæð´ ×ð´ ç×ÜæØæ ÁæÌæ ãñ Ñ (A) »  â â (B)  â â â (C) â Ùè Ï Â (D) × Ï â â

41. çßÏæÙ (A) : Úæ» ×æM¤ çÕãæ» ×ð´ Ìèßý × ·¤æ ÂýØæ𻠒ØæÎæ ãæðÌæ ãñÐ ¥æñÚ çÕãæ» àæéh ׊Ø× ·¤æ ÂýØæ𻠒ØæÎæ ãæðÌæ ãñÐ Ì·ü¤ (R) : Úæ» çÕãæ» ×ð´ ÂڐÂÚæ âð àæéh ׊Ø× ãè ’ØæÎæ ÂýØæð» ãæðÌæ ¥æ Úãæ ãñÐ (A) (A) âãè ãñ (R) »ÜÌ ãñ (B) (A) »ÜÌ ãñ (R) âãè ãñ (C) (A) ¥æñÚ (R) ÎæðÙæð âãè ãñ (D) (A) ¥æñÚ (R) ÎæðÙæð »ÜÌ ãñ

42. çßÏæÙ (A) сØæÜ »æØÙ ×ð´ Úæ» ·ð¤ SßM¤Â ·¤æð ÎàææüÙð ×ð´ Õ´çÎàææð ·¤æ ÕãéÌ ×ãžß ãæðÌæ ãñÐ Ì·ü¤ (R) Ñ ÚUæ» ·¤æ â´Âê‡æü SßM¤Â Õ´çÎàææð´ ×ð´ Ùãè´ ÂǸÌæÐ (A) (A) âãè ãñ (R) »ÜÌ ãñ (B) (A) »ÜÌ ãñ (R) âãè ãñ (C) (A) ¥æñÚ (R) ÎæðÙæð âãè ãñ (D) (A) ¥æñÚ (R) ÎæðÙæð »ÜÌ ãñ

43. Ùè¿ð Îæð Âý·¤æÚ ·ð¤ ·¤ÍÙ çÎØð Áæ ÚUãð ãñ ÂýÍ× âê¿è ·ð¤ ·¤ÍÙ ·¤æ ÎêâÚð ·¤ÍÙ ·ð¤ âãè ©žæÚ âð ç×ÜæÙ ·¤Ú âãè ·¤æ 翋ã Ü»æ§ØðÐ âê¿è - I âê¿è - II (a) Úæ» ¥ãèÚ ÖñÚß ×ð´ §Ù Úæ»æð´ ·¤æ çןæ‡æ ãñÐ (i) Áæð» (b) ç·¤â Úæ» ×ð´ ÎæðÙæð »´ÏæÚ ·¤æ ÂýØæð» ãæðÌæ ãñ (ii) ÖñÚß, ·¤æŒÂè (c) Úæ» ÖæðÂæÜè ×ð´ Úð ¥æñÚ Ï ·¤æð×Ü ·¤ÚÙð âð (iii) ×Ïéß´Ìè ·¤æñÙ âæ Úæ» ÕÙÌæ ãñ (d) ·¤æñÙ âæ Úæ» ×éËÌæÙè ·ð¤ ·¤æð×Ü çÚáÖü- (iv) çßÖæâ ÏñßÌ ·¤æð àæéh ·¤Ú·ð¤ ¥æçßÖüêÌ ãæðÌæ ãñ ·¤æðÇ Ñ (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iii) (i) (ii) (iv) (D) (iv) (iii) (i) (ii)

J—1607 15 P.T.O. 44. List - I List - II

(a) Bada Khayal is sung in this Laya (i) Komal Gandhar

(b) This Gandhar is used in Kanhada Ang (ii) Vilanmbit Laya

(c) Poorija Ang is used where in Pooriya (iii) Uttarang Kalyana

(d) Kafi Anga is used in Ahir Bhairav (iv) Poorwang

Code :

(a) (b) (c) (d)

(A) (ii) (i) (iv) (iii)

(B) (i) (ii) (iii) (iv)

(C) (iv) (ii) (i) (iii)

(D) (iii) (iv) (ii) (i)

45. Which university did first start department of Musicology separately ?

(A) Bombay (B) Delhi

(C) Banaras (D) Allahabad

46. It is used in string instruments :

(A) Alapti (B) Jati

(C) Mukhchalan (D) Jamjatha

47. Who sung ‘Vande - Mataram’ on the first morning of Independence in All India Radio ?

(A) Pt. Omkar Nath Thakur (B) Ameer Khan

(C) V. D. Bhatkhande (D) D. V. Paluskar

48. Which of the following is a variety of Kanhara Raga sung with Malkauns Ang ?

(A) Sooha (B) Kaunshi Kanhra

(C) Sugharai (D) Shahana

J—1607 16 44. âê¿è - I âê¿è - II

(a) ÕÇæ ØæÜ §â ÜØ ×ð´ »æØæ ÁæÌæ ãñ (i) ·¤æð×Ü »´ÏæÚ

(b) ·¤æ‹ãÇæ ¥´» ×𴠧⠻´ÏæÚ ·¤æ ÂýØææð» ãæðÌæ ãñ (ii) çßÜ´çÕÌ ÜØ

(c) ÂêçÚØæ ·¤ËØæ‡æ Úæ» ×ðð´ ÂêçÚØæ ¥´» ·¤æ ÂýØæð» (iii) ©žæÚæ´» ×ð´ ·¤ãæ´ ãæðÌæ ãñ

(d) ¥ãèÚ ÖñÚß ×ð´ ·¤æŒÂè ¥´» ·¤æ ÂýØæð» ãæðÌæ ãñ (iv) ÂêßæZ» ×ð´ ·¤æðÇ Ñ

(a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (ii) (i) (iii)

(D) (iii) (iv) (ii) (i)

45. ç·¤â çßàßçßlæÜØ Ùð âßüÂýÍ× â´»èÌàææS˜æ ·¤æ çßÖæ» ¥Ü» âð ÂýæÚ´Ö ç·¤Øæ Ñ

(A) Րէü (B) çÎËÜè

(C) ÕÙæÚâ (D) §ÜæãæÕæÎ

46. Ì´˜æ ßælæð´ ×𴠧ⷤæ ÂýØæð» ãæðÌæ ãñ Ñ

(A) ¥æÜç# (B) ÁæçÌ

(C) ×éØ¿ÜÙ (D) Á×ÁæÍæ

47. SßÌ´˜æ ÖæÚÌ ·ð¤ ÂýÍ× ÂýÖæÌ ·ð¤ çÎÙ ¥æ·¤æàæßæ‡æè âð ÒߋÎð ×æÌÚ×÷Ó ·¤æ »èÌ ç·¤âÙð »æØæ?

(A) ´ ¥æð´·¤æÚ ÙæÍ Ææ·ê¤Ú (B) ¥×èÚ ¹æ

(C) çßc‡æê çλ´ÕÚ Öæ̹´Çð (D) Çè. ßè. ÂÜéS·¤Ú

48. §Ù×ð´ âð ·¤æñÙ âæ ·¤æ‹ãÇæ ·¤æ Âý·¤æÚ ãñ çÁâ·¤æð ×æÜ·¤æñ´â ¥´» ·ð¤ âæÍ »æÌð ãñ?

(A) âêãæ (B) ·¤æñ´âè ·¤æ‹ãÇæ

(C) âéƒæÚæ§ü (D) àæãæÙæ

J—1607 17 P.T.O. 49. Pt. Ahobal is the author of : (A) Sangit Saramrit (B) Sangit Raj (C) Sangit Parijat (D) Sangit Sar

50. In which style Deepchandi is used ? (A) Dhrupad (B) Tappa (C) Khayal (D) Thumri

PART - III Karnatic Music - Vocal Instrumental, Percussion

26. ‘Sa-ndhinchine’ in Arabhi Raga is : (A) Panchalinga sthala Kriti (B) Pancharatna Kriti (C) Navagraha Kriti (D) Navara-tri Kriti

27. A Kriti of Papanasam Sivan : (A) Kaddana variki - Todi

(B) Ma Ramanan - Hindolam (C) Sarasaksha - Pantuvarali (D) Siddhivinayakan - Shanmukha priya

28. ‘Pada Garbham’ denotes the temporary stop of a : (A) Pallavi (B) Varnam (C) Kriti (D) Gitam

29. Tanam precedes a (A) Kriti (B) Varnam (C) Pallavi (D) Tillana

30. Padavarnam is employed in : (A) Bharatanatyam (B) Pallavi concert (C) Tiruppugazh singing (D) Bhajana sampradaya

J—1607 18 49. ´. ¥ãæðÕÜ ·¤è ÂéSÌ·¤ ·¤æ Ùæ× €Øæ ãñ$Ø

(A) â´»èÌ âæÚæ×ëÌ (B) â´»èÌ ÚæÁ

(C) â´»èÌ ÂæçÚÁæÌ (D) â´»èÌ âæÚ

50. Îè¿´Îè »æØ·¤è ç·¤â àæñÜè ·ð¤ âæÍ ÕÁÌè ãñ?

(A) ÏéýÂÎ (B) ŌÂæ

(C) $$ØæÜ (D) Æé×Úè

¹‡Ç - III ·¤ÙæüÅ·¤ â´»èÌ (»æØÙ, ßæÎÙ)

26. ¥æÚÖè Úæ» ×ð´ ÒâæçÏ´¿ðÙèÓ €Øæ ãñ?

(A) ´¿çÜ´» SÍÜ·ë¤çˆæ (B) ´¿ÚˆÙ ·ë¤çÌ

(C) Ùß»ýã ·ë¤çÌ (D) ÙßÚæç˜æ ·ë¤çÌ

27. ÂæÂÙæàæ×÷ çàæßÙ ·¤è °·¤ ·ë¤çÌ Ñ

(A) ·¤aÙ ßæçÚ·¤è -ÌæðÇè (B) ×æÚׇæÙÙ-çã´ÎæðÜ×÷

(C) âæÚâæÿæ-´ÌéßæÚæçÜ (D) çâhçßÙæØ·¤×÷-àæ‹×é¹çÂýØæ

28. ÒÂÎ »Öü×Ó ¥SÍæ§ü çßÚæ× ·¤æð Î÷ØæðçÌ ·¤ÚÌæ ãñ Ñ

(A) ÂËÜßè (B) ßÙü×÷

(C) ·ë¤çÌ (D) »èÌ×

29. ÌæÙ× ______·¤æ ÂêßüßÌèü ãñ Ñ (A) ·ë¤çÌ (B) ßÙü×

(C) ÂËÜßè (D) çÌËÜæÙæ

30. ÂÎ߇æü×÷ ·¤æ ÂýØæð» ______×ð´ ãæðÌæ ãñ Ñ (A) ÖÚÌÙæÅ÷K×÷ (B) „Õè ÕñÆ·¤ ¥æØæðÁÙ

(C) çÌL¤Âé»ãü »æØÙ (D) ÖÁÙ âÂýÎæØ

J—1607 19 P.T.O. 31. Tavil accompanies (A) Nagasvaram (B) Flute (C) Veena (D) Vocal

32. Tala dasa pranas denote : (A) A scheme of Tala (B) Features of Tala (C) Variety of Sapta Tala (D) A chapter of Talarnavam

33. Musical stone pillars are employed in : (A) Classical Music (B) Dance Music (C) Temple Music (D) Drama Music

34. Karnatak Music Vocalist : (A) Musiri Subramanya Iyer (B) Lalgudi Jayaraman

(C) Palghat Mani Iyer (D) Rajaratnam Pillai

35. Ahata Nada is produced by :

(A) Human Effort (B) Natural Effort (C) Birds (D) Animals

36. Indicate the correct pair : (A) Rudra Veena and Mudra Veena (B) Mahanataka Veena and Mahalasya Veena

(C) Hastha Veena and Prahastha Veena (D) Kinnari Veena and Saraswathi Veena

37. Pulluvan Kudam is a : (A) Metal Instrument (B) Stringed Instrument (C) Percussion Instrument (D) Wind Instrument

J—1607 20 31. ÌçßÜ ______·¤æð âæÍ ÎðÌæ ãñ Ñ

(A) Ùæ»SßÚ×÷ (B) Õæ´âéÚè (C) ßè‡ææ (D) »æØÙ

32. ÌæÜ ÎâÂýæ‡æ Î÷ØæðçÌÌ ·¤ÚÌæ ãñ Ñ

(A) °·¤ ÌæÜ ØæðÁÙæ (B) ÌæÜ ·¤è çßàæðáÌæ°¡

(C) âŒÌ ÌæÜ ·ð¤ Âý·¤æÚ (D) ÌæÜæÙüß×÷ ÂéSÌ·¤ ·¤æ °·¤ ¥ŠØæØ

33. â´»èÌæˆ×·¤ ÂýSÌÚ SÌÖ ·¤æ ÂýØæð» ______×ð´ ãæðÌæ ãñ Ñ

(A) àææS˜æèØ â´»èÌ (B) ÙëˆØ â´»èÌ

(C) ×ç‹ÎÚ â´»èÌ (D) ÙæÅ÷K â´»èÌ

34. ·¤ÙæüÅ·¤ â´»èÌ ·ð¤ °·¤ »æØ·¤ Ñ

(A) ×éçâÚè âéÕý×‹Ø ¥ÄØñÚ (B) ÜæÜ»éÇè ÁØÚæ×Ù

(C) Âæ܃ææÅU ×ç‡æ ¥ÄØñÚ (D) ÚæÁ Ú%× ç„§ü

35. ¥æãÌ ÙæÎ ç·¤â·ð¤ mæÚæ ©ˆÂóæ ãæðÌæ ãñÐ

(A) ×æÙß ÂýØæâ (B) Âýæ·ë¤çÌ·¤ ÂýØæâ

(C) Âÿæè (D) ÁæÙßÚ

36. âãè Øé‚× ÕÌæ°¡ Ñ

(A) L¤Îý ßè‡ææ ÌÍæ ×éÎý ßè‡ææ (B) ×ãæÙæÅ·¤ ßè‡ææ ÌÍæ ×ãæÜæSØ ßè‡ææ

(C) ãSÌßè‡ææ ÌÍæ ÂýãSÌ ßè‡ææ (D) ç·¤óæÚè ßè‡ææ ÌÍæ âÚSßÌè ßè‡ææ

37. Âé„éßÙ ·é¤Ç× °·¤ ______ãñÐ

(A) ƒæÙßæÎ÷Ø (B) ̋˜æßæÎ÷Ø

(C) ¥ßÙÎ ßæÎ÷Ø (D) âéáèÚßæÎ÷Ø

J—1607 21 P.T.O. 38. Travancore is the birth place of :

(A) Tansen (B) Tyagaraja

(C) Swami Haridas (D) Swati Tirunal

39. 108 Karanas are found in :

(A) Trivandrum (B) Chidambaram

(C) Madurai (D) Kanyakumari

40. Mizhavu is a Traditional Instrument of :

(A) Tamil Nadu (B) Andhra Pradesh

(C) Karnataka (D) Kerala

41. The Kovur Pancharatna Kriti :

(A) Gurulekatuvanti (B) Sambho Mahadeva

(C) Sri Ganapatini (D) Siva Siva Siva

42. Match the following :

List - I List - II . (a) Karnatak Music (i) Rabindranath Tagore

(b) Western Music (ii) Tansen

(c) Hindustasni Music (iii) Bach

(d) Rabindra Sangita (iv) Tyagaraja

Code :

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (i) (iv) (iii) (ii)

(C) (ii) (i) (iv) (iii)

(D) (iii) (ii) (i) (iv)

J—1607 22 38. ÅþæßÙ·¤æðÚ ç·¤â·¤æ Á‹× SÍæÙ ãñ Ñ

(A) ÌæÙâðÙ (B) ˆØæ»ÚæÁæ

(C) Sßæ×è ãçÚÎæâ (D) SßæçÌÂê‡æü

39. 108 ·¤Ú‡ææ ç·¤â×ð´ ÂæØð ÁæÌð ãñ´ Ñ

(A) ç˜æßð´Îý× (B) ç¿ÎÕÚ×

(C) ×ÎéÚñ (D) ·¤‹Øæ ·é¤×æÚè

40. ×ðÁ檤 ·¤ãæ¡ ·¤æ ÂæڐÂçÚ·¤ ßæÎ÷Ø ãñ Ñ

(A) Ìç×ÜÙæÇé (B) ¥æ´ÏýÂýÎðàæ

(C) ·¤ÙæüÅ·¤ (D) ·ð¤ÚÜ

41. ·¤æð©Ú ´¿Ú% ·ë¤çÌ Ñ

(A) »éL¤Üð¹æÅéUßç‹Ì (B) â´Öæñ ×ãæÎðß

(C) oýè »‡æÂÌèÙè (D) çàæß çàæß çàæß

42. çِÙçܹèÌ ·¤æ ç×ÜæÙ ·¤èçÁ°

âê¿è - I âê¿è - II

(a) ·¤‡ææüÅ·¤ â´»èÌ (i) ÚçߋÎýÙæÍ Åñ»æðÚ

(b) Âæà¿æˆØ â´»èÌ (ii) ÌæÙâðÙ

(c) çã´ÎéSÌæÙè â´»èÌ (iii) Õæ¹

(d) ÚUçߋÎý â´»èÌ (iv) ˆØæ»ÚæÁæ ·¤æðÇ Ñ (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (iii) (ii) (C) (ii) (i) (iv) (iii) (D) (iii) (ii) (i) (iv)

J—1607 23 P.T.O. 43. Match the following :

List - I List - II

(a) s r g p d s’ (i) Suddha Saveri

(b) s r m p n s’ (ii) Hindolam

(c) s g m d n s’ (iii) Madhyamavati

(d) s r m p d s’ (iv) Mohanam

Code :

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (i) (ii) (iii) (iv)

(C) (ii) (iv) (i) (iii)

(D) (iii) (i) (iv) (ii)

44. Match the following :

List - I List - II

(a) Ariyakudi (i) T. K. Govinda Rao

(b) Musiri (ii) K. V. Narayanaswamy

(c) Semmangudi (iii) T. M. Tyagarajan

(d) Chembai (iv) K. J. Yesudas

Code :

(a) (b) (c) (d)

(A) (ii) (i) (iii) (iv)

(B) (iii) (iv) (ii) (i)

(C) (iv) (ii) (i) (iii)

(D) (i) (iii) (iv) (ii)

J—1607 24 43. çِÙçܹèÌ ·¤æ ç×ÜæÙ ·¤èçÁ° Ñ

âé¿è - I âé¿è - II

(a) âæ Úð » Â Ï âæ´ (i) àæéh âæßðÚè

(b) âæ Úð » Â çÙ âæ´ (ii) çã‡ÇæðÜ×

(c) âæ » × Â çÙ âæ´ (iii) ׊Ø×æßðÌè

(d) âæ Úð × Â Ï âæ´ (iv) ×æðãÙ× ·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (i) (ii) (iii) (iv)

(C) (ii) (iv) (i) (iii)

(D) (iii) (i) (iv) (ii)

44. çِÙçÜç¹Ì ·¤æ ç×ÜæÙ ·¤èçÁ° Ñ

âê¿è - I âê¿è - II

(a) ¥çÚØæ·é¤çǸ (i) Åè. ·ð¤. »æðçß´ÎÚæß

(b) ×éâèçÚ (ii) ·ð¤. ßè. ÙæÚæ؇æSßæ×è

(c) âð×Ùæ»éçÇ (iii) Åè. °×. ˆØæ»ÚæÁÙ

(d) ¿ðÕ§ (iv) ·ð¤. Áð. ØðàæéÎæâ ·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (ii) (i) (iii) (iv)

(B) (iii) (iv) (ii) (i)

(C) (iv) (ii) (i) (iii)

(D) (i) (iii) (iv) (ii)

J—1607 25 P.T.O. 45. Match the following :

List - I List - II

(a) Sivakumar Sarma (i) Shahnai

(b) Ravi Shankar (ii) Sarod

(c) Amjad Ali Khan (iii) Sitar

(d) Bismilla Khan (iv) Santoor

Code :

(a) (b) (c) (d)

(A) (iii) (iv) (i) (ii)

(B) (ii) (iv) (iii) (i)

(C) (i) (ii) (iv) (iii)

(D) (iv) (iii) (ii) (i)

46. Assertion (A) : Syama Sastri composed Svarajatis.

Reasoning (R) : He was the only one who composed in Telugu and Tamil

(A) Both (A) and (R) are True

(B) Both (A) and (R) are False

(C) (A) is False (R) is True

(D) (A) is True (R) is False

47. Assertion (A) : Parsvadeva wrote Sangita Samaya Sara

Reasoning (R) : Mahavaidyanatha Sivan composed the 72 Melaraga Malika

(A) (A) is False (R) is False

(B) (A) is True (R) is True

(C) (A) is False (R) is True

(D) (A) is True (R) is False

J—1607 26 45. çِÙçÜç¹Ì ·¤æ ç×ÜæÙ ·¤èçÁ° Ñ

âê¿è - I âê¿è - II

(a) çàæß·é¤×æÚ àæ×æü (i) àæãÙæ§ü

(b) Úçßàæ´·¤Ú (ii) âÚæðÎ

(c) ¥×$ÁÎ ¥Üè ¹æ¡ (iii) çâÌæÚ

(d) çÕçSׄæã ¹æ¡ (iv) â‹ÌéÚ ·¤æðÇ Ñ

(a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (ii) (iv) (iii) (i) (C) (i) (ii) (iv) (iii)

(D) (iv) (iii) (ii) (i)

46. ·¤ÍÙ (A) : àØæ×àææè Ùð SßÚÁçÌ ·¤è Ú¿Ùæ ·¤èÐ

·¤æڇæ (R) : ßã °·¤×æ˜æ (ÚU¿Ùæ·¤æÚU) Íæ çÁâÙð ÌðÜé»é ¥æñÚ Ìç×Ü ×ð´ Ú¿Ùæ ·¤èÐ

(A) (A) ¥æñÚ (R) ÎæðÙæð âãè ãñ´Ð

(B) (A) ¥æñÚ (R) ÎæðÙæð »ÜÌ ãñ´Ð

(C) (A) »ÜÌ ãñ (R) âãè ãñÐ

(D) (A) âãè ãñ (R) »ÜÌ ãñÐ

47. ·¤ÍÙ ¥æñÚ ·¤æڇæ

·¤ÍÙ (A) : ÂæàßüÎðß Ùð´ â´»èÌ â×Ù âæÚ çܹæÐ

·¤æڇæ (R) : ×ãæßñlÙæÍ çàæß×÷ Ùð 72 ×ðÜÚæ»æ ×æçÜ·¤æ ·¤è Ú¿Ùæ ·¤èÐ

(A) (A) »ÜÌ ãñ ¥æñÚ (R) Öè »ÜÌ ãñÐ

(B) (A) âãè ãñ ¥æñÚ (R) Öè âãè ãñÐ

(C) (A) »ÜÌ ãñ Üðç·¤Ù (R) âãè ãñÐ

(D) (A) âãè ãñ ¥æñÚ (R) »ÜÌ ãñÐ

J—1607 27 P.T.O. Sequencing type :

48. Write the correct sequence of the following musicologists according to their chronological year :

(A) Prof. P. Sambamurthy, Dr. S. Ramanathan, Vipulananda, Subbarama Dikshitar

(B) Subbarama Dikshitar, Vipulananda, Prof. P. Sambamurthy, Dr. S. Ramanathan

(C) Dr. S. Ramanathan, Vipulananda, Subbarama Dikshitar, Prof. P. Sambamurthy

(D) Vipulananda, Prof. P. Sambamurthy, Dr. S. Ramanathan, Subbarama Dikshitar

49. Arrange the following order according to the Century :

(i) Tirujnana Sambandar (ii) Ilango Adikal

(iii) Gopalakrishna Bharati (iv) Papanasam Sivan

Code :

(A) (ii) (i) (iii) (iv)

(B) (i) (ii) (iii) (iv)

(C) (ii) (i) (iv) (iii)

(D) (iv) (i) (ii) (iii)

50. Arrange the following Chakras according to their serial order :

(i) Disi (ii) Bana

(iii) Rishi (iv) Rudra

Code :

(A) (iii) (i) (ii) (iv)

(B) (iv) (iii) (ii) (i)

(C) (ii) (iii) (i) (iv)

(D) (i) (ii) (iii) (iv)

J—1607 28 ¥ÙéR¤× Âý·¤æÚ ·¤æ ÂýàÙ Ñ

48. çِÙçÜç¹Ì â´»èÌ·¤æÚUæð´ ·¤æ ·¤æÜR¤× âð âãè ßáü R¤× çÜç¹°Ð

(A) Âýæð. àææ´Ö×éçÌü, Çæ. °â. Úæ×ÙæÍÙ, çßÂéÜæًÎ, âéŽÕÚæ× ÎèçÿæÌ

(B) âéŽÕÚæ× ÎèçÿæÌ, çßÂéÜæًÎ, Âýæð. àææ´Ö×éçÌü, Çæ. °â. Úæ×ÙæÍÙ

(C) Çæ. °â. Úæ×ÙæÍÙ, çßÂéÜæًÎ, âéŽÕÚæ× ÎèçÿæÌ, Âýæð. àææ´Ö×éçÌü

(D) çß×éÜæًÎ, Âýæð. àææ´Ö×éçÌü, Çæ. °â. Úæ×ÙæÍÙ, âéŽÕÚæ× ÎèçÿæÌ

49. çِÙçÜç¹Ì ·¤æ àæÌæçŽÎR¤× ×ð´ Úç¹°Ð

(i) çÌL¤ÁæÙ â´Õ´ÏÚ (ii) §Ü´æ»æð ¥æçÇ·¤Ü

(iii) »æðÂæÜ·ë¤c‡æ ÖæÚÌè (iv) ÂæÂÙæàæÙ çàæßÙ

·¤æðÇ Ñ

(A) (ii) (i) (iii) (iv)

(B) (i) (ii) (iii) (iv)

(C) (ii) (i) (iv) (iii)

(D) (iv) (i) (ii) (iii)

50. çِÙçÜç¹Ì ¿R¤æð´ ·¤æð ©Ù·ð¤ ©ç¿Ì R¤× âð´ Úç¹°Ð

(i) çÎçàæ (ii) ÕÙ

(iii) «¤çâ (iv) L¤Îý

·¤æðÇ Ñ

(A) (iii) (i) (ii) (iv)

(B) (iv) (iii) (ii) (i)

(C) (ii) (iii) (i) (iv)

(D) (i) (ii) (iii) (iv)

J—1607 29 P.T.O. PART - IV

RABINDRA SANGEET

26. Janaganamana was composed as :

(A) Patriotic song (B) Brahma sangeet

(C) Songs for children (D) Devotional songs

27. Identify the raga of the song Anandodhara Bohiche Bhuvane :

(A) Khanaj (B) Malkaunsh

(C) Lalit (D) Pilu

28. Identify the Raga and Tal of the song Garava momo horeche prabhu :

(A) Iman / Ektal (B) Bihas / Choutal

(C) Desh / Dhamar (D) Sree / Tevra

29. The character by the name ‘Amar’ is the hero of Rabindranath’s Gitynatya :

(A) Valmiki Protibha (B) Kalmrigaya

(C) Mayar Khela (D) Shapmochan

30. In which book you can get all Tagores, musical composition ?

(A) Rabichaya (B) Gan

(C) Gitavita (D) Giticharcha

31. The song Jodi Prem Dilena Praney is set to :

(A) Dadra (B) Tewra

(C) Choutal (D) Ektal

J—1607 30 ¹‡Ç - IV ÚUßè‹Îý â´»èÌ

26. ÒÁÙ»‡æ×ÙÓ ·¤è â´»èÌ Ú¿Ùæ ______·ð¤ M¤Â ×ð´ ·¤è »§ü ÍèÐ

(A) ÎðàæÖçQ¤ »èÌ (B) Õýræ â´»èÌ

(C) ÕæÜ-»èÌ (D) ÖçQ¤-»èÌ

27. Ò¥æÙ´ÎÏæÚæ ÕæðçãÀð ÖéßÙðÓ »èÌ ·¤æ Úæ» ÕÌæ°¡ Ñ

(A) ¹ÙæÁ (B) ×æÜ·¤æðàæ

(C) ÜçÜÌ (D) ÂèÜé

28. Ò»ßü ×æð×æð ãæðÚðÀð ÂýÖéÓ »èÌ ·¤æ Úæ» ÌÍæ ÌæÜ ÕÌæ°¡ Ñ

(A) §ü×æÙ / °·¤ÌæÜ (B) çßÙæâ / ¿æñÌæÜ

(C) Îðàæ / Ï×æÚ (D) oýè / Ìðßýæ

29. Ò¥×ÚÓ Ùæ×·¤ ¿çژæ Úßè‹ÎýÙæÍ ·ð¤ ______àæèáü·¤ »èçÌÙæÅ÷Ø ·¤æ ÙæØ·¤ ãñ Ñ

(A) ÕæË×èç·¤ ÂýçÌÖæ (B) ·¤æÜ×ë»Øæ

(C) ×ØæÚ ¹ðÜæ (D) àææ ×æð¿Ù

30. çِÙçÜç¹Ì ×ð´ âð ç·¤â ÂéSÌ·¤ ×ð´ Åñ»æðÚ ·¤è âæÚè â´»èÌæˆ×·¤ Ú¿Ùæ°¡ â´·¤çÜÌ ãñ´ Ñ

(A) Úßè‘ÀUæØæ (B) »æÙ

(C) »èÌçßÌæÙ (D) »æçÌ¿¿üæ

31. ÒØçÎ Âýð× çÎÜð Ùæ Âýæ‡æðÓ »èÌ ______ÌæÜ ×ð´ ãñ Ñ

(A) ÎæÎÚæ (B) Ìðßýæ

(C) ¿æñÌæÜ (D) °·¤ÌæÜ

J—1607 31 P.T.O. 32. The patriotic song of Tagore ‘Swarthaka Janama Amar’ was composed in the year :

(A) 1896 (B) 1900

(C) 1905 (D) 1940

33. Which is the first opera composed by Tagore

(A) Valmiki Pratibha (B) Kalmrigaya

(C) Mayarkhela (D) Parishad

34. To whom Tagore dedicated his Drama ‘Phalguni’ ?

(A) Kaji Najrul Islam (B) Atul Prasad Sen

(C) Dinendranath Tagore (D) Rajanikant Sen

35. Number of Tagores, songs is :

(A) 3000 (B) 3500

(C) Nearly two thousand (D) None of these

36. Who wrote the Tagores notation Book in staff Notation ‘Twentysix songs of Tagore’ ?

(A) Bhimrav Shastri (B) DilipKumar Ray

(C) Alain Danielou (D) Sangameshwar Sastri

37. By whose request Tagore composed his last song ?

(A) Indira Devi Chowdhurani (B) Dinendranath Tagore

(C) Soumyendranath Tagore (D) Sarala Devi

J—1607 32 32. Åñ»æðÚ ·¤æ ÒâæÍü·¤ Á‹×æð ¥×ÚÓ ÎðàæÖçQ¤ »æÙ ·¤è Ú¿Ùæ ______×ð ãé§ü Íè Ñ

(A) 1896 (B) 1900

(C) 1905 (D) 1940

33. Åñ»æðÚ mæÚæ Úç¿Ì ÂýÍ× »èçÌÙæÅ÷Ø ·¤æñÙ âæ ãñ Ñ

(A) ßæË×èç·¤ ÂýçÌÖæ (B) ·¤æÜ×ë»Øæ

(C) ×æØæÚ ¹ðÜæ (D) ÂçÚáÎ÷

34. Åñ»æðÚ Ùð ¥ÂÙæ ÙæÅ·¤ ÒȤæË»éÙèÓ ç·¤âð â×çÂüÌ ç·¤Øæ Íæ Ñ

(A) ·¤æÁè ÙÁM¤Ü §SÜæ× (B) ¥ÌéÜ ÂýâæÎ âðÙ

(C) ÎèÙð‹Îý ÙæÍ Åñ»æðÚ (D) ÚÁÙè·¤æ´Ì âðÙ

35. Åñ»æðÚU ·ð¤ »èÌæð´ ·¤è ⴁØæ ______ãñ Ñ

(A) 3000 (B) 3500

(C) ֻܻ Îæð ãÁæÚ (D) §Ù×ð´ âð ·¤æð§ü Ùãè´

36. ÒÅ÷ßð´Åè-çâ€â â洂⠥æȤ ÙæðÅðàæÙÓ àæèáü·¤ ÂéSÌ·¤ ×ð´ Åñ»æðÚ ·ð¤ ÙæðÅðàæÙ ·¤æð SÅæȤ ÙæðÅðàæÙ ×ð´ ç·¤âÙð ÕÙæØæ Ñ

(A) Öè×Úæß àææè (B) çÎÜè ·é¤×æÚ Úð

(C) °ÜðÙ ÇðçÙØÜé (D) â´»×ðàßÚ àææS˜æè

37. ç·¤â·ð¤ ¥ÙéÚæðÏ ÂÚ Åñ»æðÚ Ùð ¥ÂÙð ¥´Ìè× »æÙ ·¤è â´»èÌ Ú¿Ùæ ·¤è Ñ

(A) §´çÎÚæ Îðßè ¿æñÏÚæÙè (B) ÎèÙð‹ÎýÙæÍ Åñ»æðÚ

(C) âæñØð‹ÎýÙæÍ Åñ»æðÚ (D) âÚÜæ Îðßè

J—1607 33 P.T.O. 38. What according to Tagore is the conception about Chhanda and Tal ?

(A) Chhanda is essential

(B) Tal is only mathematics

(C) Tal is variety of Rythem

(D) In music lyric, Tone and Chhanda are essential

39. Write the first line of Rabindra Sangeet heared on Rag ‘Shree’ :

(A) Rakho Rakho re (B) Kar Milana Chao Birahi

(C) Tomara Preme (D) Bara Asha Kore

40. When Tagore got the Noble prize for his English Gitanjali ?

(A) 1940 (B) 1938

(C) 1926 (D) 1913

41. Name of the person with whom Tagore exchanges his views on music :

(A) Mahitlal Majumdar (B) Dilip Kumar Ray

(C) Rajani Kanto Sen (D) Buddhadev Bose

42. In Tagore’s early age, who inspired him most for Music composition ?

(A) Radhika Prasad Goswami (B) Ganendranath Tagore

(C) Jyotirindranath Tagore (D) Srikantha Singh

43. ‘Bahe Nirantar’ the first line of Tagore’s composition in which following Raga :

(A) Nishasag (B) Sarfarda

(C) Gandhari (D) Bhiravi

J—1607 34 38. Åñ»æðÚ ·ð¤ ¥ÙéâæÚ À´Î °ß´ ÌæÜ ·¤è ¥ßÏæڇææ €Øæ ãñ?

(A) À´Î ¥çÙßæØü ãñ (B) ÌæÜ ·ð¤ßÜ »ç‡æÌ ãñ

(C) ÌæÜ ÜØ ·¤æ °·¤ Âý·¤æÚ ãñ (D) â´»èÌ ×ð´ »èÌ, SßÚ ÌÍæ À´Î ¥çÙßæØü ãñ

39. Úæ» oýè ÂÚ ¥æÏæçÚÌ Úßè‹Îý â´»èÌ ·¤è ÂýÍ× Â´çQ¤ ÕÌæ°¡ Ñ

(A) Úæ¹æð Úæ¹æð Úð (B) ·¤æÚ ç×ÜÙ ¿æ¥æð çßÚãè

(C) Ìæð×æÚ Âðý×ð (D) ÕǸæð ¥æàæ ·¤æðÚð

40. »èÌæ´ÁÜè ·ð¤ ¥´»ÚðÁè M¤Â ÂÚ Åñ»æðÚ ·¤æð ÙæðÕÜ ÂéÚS·¤æÚ ·¤Õ ç×Üæ ?

(A) 1940 (B) 1938

(C) 1926 (D) 1913

41. ©â ÃØçQ¤ ·¤æ Ùæ× ÕÌæ°¡ çÁâ·ð¤ âæÍ Åñ»æðÚæð´ Ùð â´»èÌ ÂÚ ¥ÂÙð çß¿æÚæð´ ·¤æ çßçÙ×Ø ç·¤Øæ Ñ

(A) ×çãÌÜæÜ ×Áé×ÎæÚ (B) çÎÜè ·é¤×æÚ Úð

(C) ÚÁÙè ·¤æ´Ìæð âðÙ (D) Õéh Îðß Õæðâ

42. Åñ»æðÚ ·¤æð ©Ù·ð¤ ÂæÚ´çÖ·¤ ßØ ×ð´ â´»èÌ Ú¿Ùæ ·¤è Âýðڇææ ç·¤âÙð Îè Ñ

(A) ÚæçÏ·¤æ ÂýâæÎ »æðSßæ×è (B) »‡æð‹Îý ÙæÍ Åñ»æðÚ

(C) ’Øæðç̋ÎýÙæÍ Åñ»æðÚ (D) oýè·¤‡ÆU çⴃæ

43. Åñ»æðÚ ·¤è °·¤ â´»èÌ Ú¿Ùæ ·¤è ÂýÍ× Â´çQ¤ ÒÕãð çÙÚ´ÌÚÓ ç·¤â Úæ» ×ð´ ãñ Ñ

(A) çÙàææâæ» (B) âÚȤÚÎæ

(C) »æ´ÏæÚè (D) ÖñÚßè

J—1607 35 P.T.O. 44. Who composed some of the tune of Rabindra Sangeet ?

(A) Indiradevi Choudhurani (B) Sarala Devi

(C) Bishnu Chakravarti (D) Jyotirindranath Tagore

45. Who prepared maximum number of notation of Tagore songs ?

(A) Jyotirindranath Tagore (B) Sarala devi

(C) Kangari Charan Sen (D) Dinendranath Tagore

46. Which song Tagore composed in his early ages ?

(A) Je Dhruvapada (B) Ayore mora Fasal kati

(C) Bal Golab more bal (D) Tomar holosuru

47. Which song Tagore composed in his last period ?

(A) Mone Roye Gyalo Monera Katha

(B) Jivana Jakhun Sukhaye Jaye

(C) Amar Pranor Pare

(D) Ki Paini Tari Hisab Milate

48. Which song is in the preface of Tagore’s Gitavitan ?

(A) Kanna Hasir Dol Dolano

(B) Gan Amar Jaye Bhesa

(C) Tumi Kemon Kore Gan Kora He Guni

(D) Prathomo Jugero Udaya Digongane

49. Which song Tagore composed for Harvest ceremony ?

(A) O Amar Deshar Mati (B) Aaye re Mora Fasal Kati

(C) Eso Shyamala Sundara (D) Jete Jyodi Hoe Jabo Jabo

J—1607 36 44. Úßè‹Îý â´»èÌæ ·ð¤ ·é¤À âéÚæð´ ·¤æð ç·¤âÙð â´Úç¿Ì ç·¤Øæ ãñ Ñ

(A) §´çÎÚæ Îðßè ¿æñÏéÚæÙè (B) âÚÜæ Îðßè

(C) çÕc‡æé ¿R¤ßÌèü (D) ’ØæðçÌçڋÎýÙæÍ Åñ»æðÚ

45. Åñ»æðÚ ·ð¤ »èÌæð´ ·¤æ ¥çÏ·¤Ì× ÙæðÅðàæÙ ç·¤âÙð ÕÙæØæ ãñ Ñ

(A) ’ØæðçÌçڋÎý Åñ»æðÚ (B) âÚÜæ Îðßè

(C) ·´¤»æÚè ¿Ú‡æ âðÙ (D) ÎèÙð‹ÎýÙæÍ Åñ»æðÚ

46. ¥ÂÙð ¥æÚ´çÖ·¤ ßØ ×ð´ Åñ»æðÚ Ùð 緤⠻èÌ ·¤è Ú¿Ùæ ·¤è Íè Ñ

(A) Áð ÏëéßÂÎ (B) ¥æ°Úð ×æðÚæ ȤâÜ ·¤æÅðU

(C) ÕÜ »æðÜæÕ ×æðÚð ÕÜ (D) Ìæð×æÚ ãæðÜæð àæéL¤

47. ¥ÂÙè ¥´çÌ× ¥ßçÏ ×ð´ Åñ»æðÚ Ùð 緤⠻èÌ ·¤è Ú¿Ùæ ·¤è ?

(A) ×æðÙð ÚæðØð »ð Üæð ×æð ÙðÚU ·¤Íæ (B) ÁèßÙ Á¹éÙ âé·¤æ° Áæ°

(C) ¥æ×æÚ Âýæ‡æðÚ ÂÚð (D) ç·¤ Âæ° çÙ ÌæçÚ çãâæÕ ç×ÜæÌð

48. Åñ»æðÚ ·¤è Ú¿Ùæ »èÌçßÌæÙ ·¤è ÂýSÌæßÙæ ×ð´ ·¤æñÙ âæ »èÌ ãñ ?

(A) ·¤æóææ ãçâÚ ÎæðÜ ÎæðÜæÙæð (B) »æÙ ¥×æÚ ÁæØð Öðáð

(C) Ìéç× ·ð¤×æðÙ ·¤æðÚð »æÙ ·¤æðÚæ ãð »éÙè (D) ÂýÍæð×æð´ Áé»ðÚæð ©ÎØ çδ»»æÙð

49. ãæßðüSÅ â×æÚæðã ·ð¤ çÜ° Åñ»æðÚ Ùð 緤⠻èÌ ·¤è â´»èÌ Ú¿Ùæ ·¤è?

(A) ¥æð ¥æ×æÚ ÎðàæðÚ ×æÅè (B) ¥æØð Úð ×æðÚæ ȤâÜ ·¤æÅè

(C) °àææð àØæ×Ü âé´ÎÚ (D) ÁðÌð ÁæðçÎ ãæðØ ÁæÕæð ÁæÕæð

J—1607 37 P.T.O. 50. Who prepared Notations of some of Tagores Music ?

(A) Shyam Sunder Misra (B) Vinayak Ray Masoji

(C) Dhirendra Krishna Deb barman (D) Bhim Rao Shastri

PART - V

PERCUSSION

26. MATRAS of Taal Basant :

(A) 7 (B) 9

(C) 11 (D) 13

27. Which class does PUSHKAR belong to ?

(A) TANTRA VADYA (B) SUSHIR VADYA

(C) GHAN VADYA (D) AVANADHHA VADYA

28. Measurement of DHA lying on the first MATRA of Taal JHUMARA :

1 1 (A) 1 (B) 1 4 2

(C) (D) 3 1 4

29. GHARANA of VILAYAT ALI :

(A) DELHI (B) PANJAB

(C) FARUKHABAD (D) BANARAS

30. TAAL having 11 MATRAS :

(A) BASANT (B) BRAHMA

(C) RUDRA (D) LAXMI

J—1607 38 50. Åñ»æðÚ ·ð¤ ·é¤À â´»èÌ ·¤æ ÙæðÅðàæÙ ç·¤âÙð ÕÙæØæ Ñ

(A) àØæ× âé´ÎÚ ç×oýæ (B) çßÙæØ·¤ ÚæØ ×æâæð Áè

(C) ÏèÚð‹Îý ·ë¤c‡æ Îðß Õ×üÙ (D) Öè× Úæß àææè

¹‡Ç - V ¥ßÙh ßæl

26. ÒÕâ´ÌÓ ÌæÜ ·¤è ×æ˜ææ´°ð´ Ñ

(A) 7 (B) 9

(C) 11 (D) 13

27. ÒÂéc·¤ÚÓ ç·¤â ß»ü ·¤æ ßæl ãñ?

(A) ̋˜æ ßæl (B) âéçáÚ ßæl

(C) ƒæÙ ßæl (D) ¥ßيÎßæl

28. Öé×Úæ ÌæÜ ×ð´ ÂçãÜè ×æ˜ææ ·ð¤ Ïæ ·¤æ ×æÙ Ñ

1 1 (A) 1 (B) 1 4 2

(C) (D) 3 1 4

29. ÌÕÜæ ßæη¤ ÒãæÁè çßÜæØÌ ¥ÜèÓ ·¤æ ƒæÚæÙæ Ñ

(A) ç΄è (B) ´ÁæÕ (C) ȤL¤¹æÕæÎ (D) ÕÙæÚâ

30. 11 ×æ˜ææ ·¤è ÌæÜ Ñ

(A) Õâ´Ì (B) Õýræ (C) L¤Îý (D) Üÿ×è

J—1607 39 P.T.O. 31. Founder of Delhi Gharana (TABLA) : (A) SIDDHAR KHAN (B) CHAND KHAN (C) MASIT KHAN (D) KALLU KHAN

32. Provide correct chronological order of the following musicologists : (i) SHARANGA DEO (ii) BHARAT (iii) BHATKHANDE (iv) MANANGA (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (ii) (iv) (i) (iii) (D) (iv) (ii) (i) (iii)

33. In which year was Pt. SAMTA PRASAD MISHRA (GUDAI MAHARAJ) awarded ‘PADMA BHUSHANA’ ? (A) 1962 (B) 1972 (C) 1982 (D) 1992

34. TAAL having TAALI on first, eight, and twevelth : (A) TRITAAL (B) ADACHAR TAAL (C) GAJ JHAMPA (D) SAWARI

35. Number of MARGI TAALAS : (A) 3 (B) 5 (C) 7 (D) 9

36. Which class does KARTAAL belong to : (A) GHAN (B) SUSHIR (C) AVANADDHA (D) TANTRI

37. Sub name of ‘PAGAL DAS’ : (A) RAM SHANKAR DAS (B) RAMAA SHANKAR DAS (C) SHANKAR DAS (D) UMA DAS

J—1607 40 31. çÎ„è ƒæÚæÙæ (ÌÕÜæ) ·ð¤ â´SÍæ·¤ Ñ

(A) çâŠÎæÚ ¹æ´ (B) ¿¡æÎ ¹æ´

(C) ×âèÌ ¹æ´ (D) ·¤„é ¹æ´

32. çِÙçÜç¹Ì â´»èÌ àææçØæð´ ·¤æð â×ØæÙéâæÚ R¤×ՊΠ緤çÁØð Ñ

(i) àææÚUXÎðß (ii) ÖÚÌ (iii) Öæ̹‡Çð (iv) ×Ì´»

(A) (i) (ii) (iii) (iv)

(B) (ii) (i) (iv) (iii)

(C) (ii) (iv) (i) (iii)

(D) (iv) (ii) (i) (iii)

33. Âñ. âæ×Ìæ ÂýâæÎ ç×oý (»éΧü ×ãæÚæÁ) ·¤æð ç·¤â âÙ÷ ×ð´ ÒÂk Öéá‡æÓ ç×Üæ ?

(A) 1962 (B) 1972 (C) 1982 (D) 1992

34. ÂãÜè, ¿æñÍè, ÌÍæ ÕæÚãßè´ ×æ˜ææ ÂÚ ÌæÜè Ñ

(A) ç˜æÌæÜ (B) ¥æÇ¸æ ¿æÚ ÌæÜ

(C) »ÁÛæ´Âæ (D) âßæÚè

35. ×æ»èü ÌæÜð´ ç·¤ÌÙè ãæðÌè ãñ´?

(A) 3 (B) 5 (C) 7 (D) 9

36. Ò·¤æÚÌæÜÓ ç·¤â ß»ü ·¤æ ßæl ãñ?

(A) ƒæÙ (B) âéçáÚ (C) ¥ßيΠ(D) ̋˜æè

37. ÒÂæ»ÜÎæâÓ ç·¤â·¤æ ©ÂÙæ× Íæ? (A) Úæ× àæ´·¤ÚÎæâ (B) Ú×æ àæ´·¤ÚÎæâ (C) àæ´·¤Ú Ú×æÎæâ (D) ©×æ Îæâ

J—1607 41 P.T.O. 38. Match the following :

(a) KARAMATULLA KHAN (i) DHOLAK

(b) RAJA CHHATRAPATI SINGH (ii) MRIDANGAM

(c) UMAYAPURAM SHIVRAMAN (iii) TABLA

(d) BAFAATI KHAN (iv) PAKHAWAJ

Code :

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (iv) (i) (ii) (iii)

(C) (iii) (iv) (ii) (i)

(D) (iii) (iv) (i) (ii)

39. Number of DESI TAALAS in ‘Sangeet Ratnaker’ :

(A) 108 (B) 110

(C) 115 (D) 120

40. Name the animal whose skin is used to make DUAL of TABLA/PAKHAWAJ :

(A) Horse (B) Elephant

(C) Camel (D) Goat

41. Assertion (A) : LAGGI-LADIES are generally used in TAAL DADRA and KHARAWA.

Reason (R) : Because the nature of these TAALAS is jesting rather than serious.

(A) (A) Right (R) Wrong

(B) (A) Wrong (R) Right

(C) (A) Right (R) Right

(D) (A) Wrong (R) Wrong

J—1607 42 38. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁØð Ñ

(a) ·¤Úæ×Ìé„æ ¹æ´ (i) ɸæðÜ·¤

(b) ÚæÁæ À˜æÂçÌ çâ´ã (ii) ×ëδ»×÷

(c) ©×ØæÂéÚ× çàæßÚæ×Ù÷ (iii) ÌÕÜæ

(d) Õ$ȤæÌè ¹æ´ (iv) ¹æßÁ ·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (iv) (i) (ii) (iii)

(C) (iii) (iv) (ii) (i)

(D) (iii) (iv) (i) (ii)

39. Òâ´»èÌ Ú%æ·¤ÚÓ ×ð´ Îðâè ÌæÜæð´ ·¤è ⴁØæ Ñ

(A) 108 (B) 110

(C) 115 (D) 120

40. ÌÕÜð ·¤è ÒÎé¥æÜÓ ç·¤â·¤è ¹æÜ âð ÕÙÌè ãñ?

(A) ƒææðǸæ (B) ãæÍè

(C) ª¡¤Å (D) Õ·¤Úè

41. çßÏæÙ (A) : ÎæÎÚæ ß ·¤ãÚßæ ÌæÜæð´ ×ð´ ÂýæØÑ Ü‚»è-ÜǸè ÕÁæ§ü ÁæÌè ãñ´Ð

Ì·ü¤ (R) : €Øæð´ç·¤ §Ù ÌæÜæð´ ·ð¤ SßM¤Â ×ð´ »æ´ÖèØü ·¤×, ¿´¿ÜÌæ ¥çÏ·¤ ãñÐ

(A) (A) âãè ãñ ç·¤‹Ìé (R) »ÜÌ ãñÐ

(B) (A) »ÜÌ ãñ ç·¤‹Ìé (R) âãè ãñÐ

(C) (A) ÌÍæ (R) ÎæðÙæð âãè ãñ´Ð

(D) (A) ÌÍæ (R) ÎæðÙæð »ÜÌ ãñ´Ð

J—1607 43 P.T.O. 42. Which fraction depects PAUN-GUN ?

(A) 5 (B) 4 4 5

(C) 7 (D) 9 4 4

43. The TAAL generally used with THUMARI : (A) TRITAAL (B) KHEMTA (C) DHUMALI (D) DEEPCHANDI

44. Which system ‘SAPTA SULADI TAALAS’ belong to ? (A) Hindustani TAAL system (B) Karnatak TAAL system (C) Both the TAAL systems (D) None of these

45. Name the writer of TAAL-KOSH : (A) HARISHCHANDRA SRIVASTAVA (B) GIRISHCHANDRA SRIVASTAVA (C) SATISHCHANDRA SRIVASTAVA (D) LALJI SRIVASTAVA

46. Match the following : (a) CHANTI (i) FARUKHABAD GHARANA (b) PAKHAWAJ (ii) LUCKNOW GHARANA (c) GATEN (iii) PANJAB GHARANA (d) DANCE (iv) DELHI GHARANA Code : (a) (b) (c) (d) (A) (iv) (iii) (i) (ii) (B) (iii) (iv) (i) (ii) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i)

J—1607 44 42. ÂæñÙð Îæð »éÙ ç·¤â çÖóæ âð âãè ãñ?

(A) 5 (B) 4 4 5

(C) 7 (D) 9 4 4 43. Æé×Úè ·ð¤ âæÍ ÂýæØÑ ÂýØéQ¤ ãæðÙð ßæÜè ÌæÜ Ñ

(A) ÌèÙÌæÜ (B) ¹ð×Åæ

(C) Ïé×æÜè (D) Î迋Îè

44. Òâ# âéÜæçÎ ÌæÜð´Ó 緤⠊ÎçÌ âð âÕç‹ÏÌ ãñ´?

(A) çã‹ÎéSÌæÙè ÌæÜ ÂŠÎçÌ (B) ·¤ÙæüÅ·¤ ÌæÜ ÂŠÎçÌ

(C) ÎæðÙæð´ ŠÎçÌØæ¡ (D) ç·¤âè ŠÎçÌ âð Ùãè´

45. ÒÌæÜ-·¤æðàæÓ Ùæ×·¤ »ý‹Í ·ð¤ Üð¹·¤ ·¤æ Ùæ× Ñ

(A) ãçÚ࿋Îý oýèßæSÌß (B) ç»Úèà濋Îý oýèßæSÌß

(C) âÌèà濋Îý oýèßæSÌß (D) ÜæÜÁè oýèßæSÌß

46. çِ٠·¤æð âé×ðçÜÌ ·¤èçÁØð Ñ

(a) ¿æ¡Åè (i) ȤL¤¹æÕæÎ ƒæÚæÙæ

(b) ¹æßÁ (ii) ܹ٪¤ ƒæÚæÙæ

(c) »Ìð´ (iii) ´ÁæÕ ƒæÚæÙæ

(d) ÙëˆØ (iv) çÎ„è ƒæÚæÙæ ·¤æðÇ Ñ

(a) (b) (c) (d) (A) (iv) (iii) (i) (ii) (B) (iii) (iv) (i) (ii) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i)

J—1607 45 P.T.O. 47. Name the writer of “PAKHAWAJ AUR TABLA KE GHARANE AVAM PARAMPARAEN” : (A) YOG MAYA SHUKLA (B) AVAM E MISTRI (C) ANURADHA PAL (D) SHOBHA KUDESIA

48. Match the following : (a) GAME KHAN (i) FARUKHABAD GHARANA (b) ZAQIR HUSSAIN (ii) LUCKNOW GHARANA (c) SAPAN CHAUDHARY (iii) PANJAB GHARANA (d) SABIR KHAN (iv) DELHI GHARANA Code : (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (i) (iv) (iii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii)

49. GHARANA famous for Quadas of AADILAYA : (A) LUCKNOW BAAJ (B) DELHI BAAJ (C) AJARADA BAAJ (D) PANJAB BAAJ

50. Name the writer of “BHARATIYA SANGEET VADYA” : (A) ACHARYA BRIHASPATI (B) B. C. DEVA (C) Dr. LALMANI MISHRA (D) Dr. A. K. SEN

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J—1607 46 47. ÒÒ¹æßÁ ¥æñÚ ÌÕÜæ ·ð¤ ƒæÚæÙð °ß´ ÂڐÂÚæ°ð´ÓÓ Ùæ×·¤ »ý‹Í ç·¤âÙð çܹæ ãñ?

(A) Øæð»×æØæ àæé€Üæ (B) ¥æßæ× §ü. ç×S˜æè

(C) ¥ÙéÚæÏæ ÂæÜ (D) àææðÖæ ·é¤ÎðçàæØæ

48. çِ٠·¤æð âé×ðçÜÌ ·¤èçÁØð Ñ

(a) »æ×ð ¹æ´ (i) ȤL¤¹ÕæÎ ƒæÚæÙæ

(b) Áæç·¤Ú ãéâñÙ (ii) ܹ٪¤ ƒæÚæÙæ

(c) SßÂÙ ¿æñÏÚè (iii) ´ÁæÕ ƒæÚæÙæ

(d) âæçÕÚ ¹æ´ (iv) çÎ„è ƒæÚæÙæ ·¤æðÇ Ñ

(a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (i) (iv) (iii) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii)

49. ¥æǸè ÜØ ·ð¤ ·¤æØÎæð´ ·ð¤ çÜØð ÂýçâŠÎ ÕæÁ Ñ

(A) ܹ٪¤ ÕæÁ (B) ç΄è ÕæÁ

(C) ¥ÁÚæǸæ ÕæÁ (D) ´ÁæÕ ÕæÁ

50. ÒÖæÚÌèØ â´»èÌ ßælÓ ÂéSÌ·¤ ·ð¤ Üð¹·¤ Ñ

(A) ¥æ¿æØü ÕëãSÂçÌ (B) Õè. âè. Îðßæ

(C) Çæò. ÜÜ×ç‡æ ç×oýæ (D) Çæò. °. ·ð¤. âðÙ

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J—1607 47 P.T.O. Space For Rough Work

J—1607 48