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. D—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 D—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. Each question carries two (2) marks.

PART - I

Common to Hindustani / Karnataki / Rabindra Sangeet / Percussion

1. Which instrument has got frets ?

(A) Violin (B) Sarangi

(C) Sitar (D) Tanpura

2. Who is writer of Sangeet Ratnakar ?

(A) Kallinath (B) Lochan

(C) Sharangdev (D) Mammat

3. Who is not from Maiher Gharana ?

(A) Allauddin Khan (B) Nikhil Banerjee

(C) Ravi Shankar (D) Halim Zafer Khan

4. Which Folk dance is from Gujarat ?

(A) Giddha (B) Garva

(C) Ras (D) Nachni

D—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. ·¤æñÙ âæ ßæl âæçÚU·¤æØéQ¤ ãñ?

(A) ßæØçÜÙ (B) âæÚ´U»è

(C) çâÌæÚU (D) ÌæÙÂéÚUæ

2. â´»èÌ ÚUˆÙæ·¤ÚU ·ð¤ ÚU¿çØÌæ ·¤æñÙ ãñ´?

(A) ·¤çËÜÙæÍ (B) Üæð¿Ù

(C) àææÚXÎðß (D) א×ÅU

3. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ ×ñãÚU ƒæÚUæÙð ·¤æ Ùãè´ ãñ?

(A) ¥ËÜæ©gèÙ ¹æ¡ (B) çÙç¹Ü ÕÙÁèü

(C) ÚUßè àæ´·¤ÚU (D) ãÜè× Áæ$ȤÚU ¹æ¡

4. ·¤æñÙ âæ Üæð·¤ÙëˆØ »éÁÚUæÌ âð âÕç‹ÏÌ ãñ?

(A) ç»hæ (B) »ÚUÖæ

(C) ÚUæâ (D) Ùæ¿Ùè

D—1607 3 P.T.O. 5. Who is not a Thumri Singer ?

(A) Girija Devi (B) Sharan Rani

(C) Siddheswari Devi (D) Shobha Gurtu

6. How many main classes of Musical Instruments ?

(A) Three (B) Four

(C) Five (D) Six

7. Who is not a Sitar player ?

(A) Ravi Shankar (B) Shivkumar Sharma

(C) Buddhaditya Mukherjee (D) Rahim Khan

8. Who is not a mainly Dhrupad singer ?

(A) Bhimsen Joshi (B) Fahimuddin Dagar

(C) Gundecha Bandhu (D) A. Rahimuddin Dagar

9. Which treaties has mentioned the word ‘Raga’ for the first time ?

(A) Sangeet Ratnakar (B) Rag Tarangini

(C) Natya Shastra (D) Brihaddeshi

10. Write the name of person who has contributed utmost in the field of Music Aesthetic.

(A) S.K. Saxena (B) Ashok Ranade

(C) B.C. Deva (D) K.C.D. Brihaspati

D—1607 4 5. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ ÆUé×ÚUè »æçØ·¤æ Ùãè´ ãñ?

(A) ç»çÚUÁæ Îðßè (B) àæÚUÙ ÚUæÙè

(C) çâhðàßÚUè Îðßè (D) àææðÖæ »éÅüêU

6. ×éØÌÑ ßælæð´ ·ð¤ ç·¤ÌÙð ß»ü ãñ´?

(A) ÌèÙ (B) ¿æÚU

(C) Âæ¡¿ (D) ÀñU

7. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ çâÌæÚU ßæη¤ Ùãè´ ãñ?

(A) ´. ÚUßè àæ´·¤ÚU (B) çàæß·é¤×æÚU àæ×æü

(C) ÕéhçÎˆØ ×é¹Áèü (D) ÚUãè× ¹æ¡

8. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ ×éØÌÑ ÏýéÂÎ »æØ·¤ Ùãè´ ãñ?

(A) Öè×âðÙ Áæðàæè (B) Èñ¤×égèÙ ÇUæ»ÚU

(C) »é‹Îð¿æ ՋÏê (D) °. ÚUãè×égèÙ ÇUæ»ÚU

9. ÚUæ» àæŽÎ ·¤æ âßüÂýÍ× ÂýØæð» 緤⠻ý‹Í ×ð´ ãé¥æ?

(A) â´»èÌ ÚUˆÙæ·¤ÚU (B) ÚUæ» ÌÚ´U织æè

(C) ÙæÅKàææS˜æ (D) Õëãgðàæè

10. â´»èÌ ·ð¤ âæñ‹ÎØü ÂÚU âßæüçÏ·¤ Üð¹Ù ·¤ÚUÙð ßæÜæ ·¤æñÙ ãñ?

(A) ÇUæò. °â.·ð¤. â€âðÙæ (B) Âýæð. ¥àææð·¤ ÇUè. ÚUæÙæÇðU

(C) Õè.âè. Îðß (D) ·ð¤.âè.ÇUè. ÕëãSÂçÌ

D—1607 5 P.T.O. 11. Match the following :

List - I List - II

(a) Sitar Player (i) Briz Bhushan Kabra

(b) Guitar Player (ii) Shivkumar Sharma

(c) Sarod Player (iii) Nikhil Banerjee

(d) Santoor Player (iv) Amjad Ali Khan

Code :

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

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

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

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

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

12. Who mastered all the four main styles of Tabla ?

(A) Ahmad Jan Thirakwa (B) Samta Prasad

(C) Kishan Maharaja (D) Munne Khan

13. How many Matras in Basant Tal ?

(A) 5 (B) 7

(C) 9 (D) 11

14. A famous karnatak percussionist :

(A) Palghat Mani Iyer (B) T.R. Mahalingam

(C) Madurai Mani Iyer (D) Chembai Vaidyanatha Bhagavatar

15. A vocalist of the 20th century :

(A) Chembai Vaidyanatha Iyer (B) Muthuswami Dikshitar

(C) Tyagaraja (D) Subramanya Bharati

D—1607 6 11. âé×ðçÜÌ ·¤èçÁ° Ñ

âê¿è - I âê¿è - II

(a) çâÌæÚU ßæη¤ (i) ´. ÕëÁÖêá‡æ ·¤æÕÚUæ

(b) ç»ÅUæÚU ßæη¤ (ii) ´. çàæß·é¤×æÚU àæ×æü

(c) âÚUæðÎ ßæη¤ (iii) ´. çÙç¹Ü ÕÙÁèü

(d) â´ÌêÚU ßæη¤ (iv) ¥×ÁÎ ¥Üè ¹æ¡ ·¤æðÇU Ñ

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

12. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ ÌÕÜæ ßæη¤ ¿æÚUæ𴠃æÚUæÙð ·ð¤ ÌÕÜæ ßæÎÙ ×ð´ çâh ÚUãæ?

(A) ¥ã×Î ÁæÙ çÍÚU·¤ßæ (B) âæ×Ìæ ÂýâæÎ

(C) ç·¤àæÙ ×ãæÚUæÁ (D) ×éóæð ¹æ¡

13. Õâ´Ì ÌæÜ ×ð´ ç·¤ÌÙè ×æ˜ææ°ð´ ãæðÌè ãñ´?

(A) 5 (B) 7 (C) 9 (D) 11

14. ·¤ÙæüÅU·¤ ¥ßÙÎ ßæl ·ð¤ °·¤ ·¤ÙæüÅU·¤ »éL¤ Ñ

(A) Âæ܃ææÅU ×ç‡æ ¥§ØÚU (B) ÅUè.¥æÚU. ×ãæçÜ´»×

(C) ×ÎéÚUæ§ü ×ç‡æ ¥§ØÚU (D) ¿ð´Õ§ü ßñlÙæÍ ¥§ØÚU

15. 20 ßè´ àæÌæŽÎè ·¤æ »æØ·¤ Ñ

(A) ¿ðÕ§ü ÕñlÙæÍ ¥§ØÚU (B) ×éÍéSßæ×è ÎèçÿæÌÚU

(C) ˆØæ»ÚUæÁ (D) âéÕýræ‡Ø× ÖæÚUÌè

D—1607 7 P.T.O. 16. Raga Puranira figures in : (A) Kathakali (B) Odissi (C) Kuchipudi (D) Bharatanatyam

17. The Lady who established Kalakshetra ? (A) Rukminidevi Arundale (B) Saraswathi Bai (C) M.S. Subhalakshmi (D) D.K. Pattammal

18. The 9th Melakartha : (A) Dhenuka (B) Natakapriya (C) Keeravani (D) Natabhairavi

19. The great singer of Hindustani Classical Music Tagore has remembered whole life : (A) Faiaz Khan (B) Bishm Chakravarty (C) Jagannath Bhattachariya (D) Kesharbai Kerkar

20. The book consisting Tagores concept of Music is : (A) Sangeet-o-Bhav (B) Sangitor Dharma (C) Sangitor Mukti (D) Sangit Chinta

Questions 21 to 25 : Para Phrasing or Linked Items : Read the passage below and answer each question.

Among all the Oriental Music, Indian Music is artistically fully developed, has a strong theoretical basis, richest in repertoire and has a glorious history, extending over a span of 2000 years. It also possesses all the varieties, viz. Art Music, Sacred or Devotional Music, Dance Music and Folk Music. India has some hundreds of Musical Instruments, from the beginning of its history. Indian Music is melody music, but it performs all the subtleties of musical expression, using all tonal shades, nuances and curves.

Indian classical music has developed melodic forms into ragas, every raga having a particular mood, theme and aesthetic personality, giving full scope to the artist for developing systematic improvisations in accordance with his particular style.

D—1607 8 16. ÚUæ» ÂéÚUçÙÚU ¥æÌæ ãñ Ñ

(A) ·¤ˆÍ·¤Üè (B) ¥æðçÇUâè

(C) ·é¤¿éÂéÇUè (D) ÖÚUÌÙæÅK×

17. ç·¤â ×çãÜæ Ùð ·¤Üæÿæð˜æ ·¤è SÍæÂÙæ ·¤è?

(A) L¤€×‡æè Îðßè ¥L¤‡ÇðUÜ (B) âÚUSßÌè Õæ§ü

(C) °×.°â. âéŽÕæÜÿ×è (D) ÇUè.·ð¤. Â^æ×Ü

18. Ùæñßæ¡ ×ðÜæ·¤Ìæü Ñ

(A) ÏðÙé·¤æ (B) ÙæÅU·¤çÂýØ

(C) ·¤èÚUßæ‡æè (D) ÙæÅ÷ÖñÚUßè

19. çã‹ÎéSÌæÙè àææS˜èæØ â´»èÌ ·ð¤ 緤⠻æØ·¤ ·¤æð ÅñU»æðÚU Ùð ÁèßÙÖÚU ØæÎ ÚU¹æ?

(A) Èñ¤Øæ$Á ¹æ¡ (B) Öèc× ¿R¤ßÌèü

(C) Á»óææÍ Ö^æ¿æØü (D) ·ð¤âÚUÕæ§ü ·ð¤ÚU·¤ÚU

20. ÅñU»æðÚU ·ð¤ â´»èÌ â´Õ´Ïè çß¿æÚUæð´ ·¤æð ç·¤â ÂéSÌ·¤ ×ð´ â×æçãÌ ç·¤Øæ »Øæ ãñ?

(A) â´»èÌæðÖæß (B) â´»èÌæðÚU Ï×ü

(C) â´»èÌæðÚU ×éçQ¤ (D) â´»èÌ ç¿´Ìæ

Âýà٠ⴁØæ 21 âð 25 : ¥Ùé‘ÀðUÎ çßSÌæÚU ÌÍæ â´Õ´çÏÌ ×Îð´ Ñ çِÙçÜç¹Ì ¥Ùé‘ÀðUÎ ·¤æð Âɸð´ ÌÍæ ÂýˆØð·¤ ÂýàÙ ·¤æ ©žæÚU Îð´Ð

â×ê¿ð Âýæ‘Ø â´»èÌ ·ð¤ Õè¿ ÖæÚUÌèØ â´»èÌ ·¤Üæˆ×·¤ ÚUèçÌ âð Âê‡æüM¤Âð‡æ çß·¤çâÌ ãñ, §â·¤æ °·¤ âàæ€Ì

âñhæ´çÌ·¤ ¥æÏæÚU ãñ, Ú´U»ÂÅUÜ ×ð´ Øã âßæüçÏ·¤ â×ëh ãñ, ÌÍæ 2000 ßáæðZ ·¤è ¥ßçÏ Ì·¤ Èñ¤Üæ §â·¤æ °·¤ »çÚU×æ×Ø §çÌãæâ ãñÐ Øã âÖè Âý·¤æÚU ·¤è çßçßÏÌæ¥æð´, ØÍæ ·¤Üæ â´»èÌ, Ïæç×ü·¤ Øæ Öç€Ì â´»èÌ, ÙëˆØ â´»èÌ ÌÍæ Üæð·¤ â´»èÌ âð Øé€Ì ãñÐ §â·ð¤ §çÌãæâ ·ð¤ ÂýæÚ´UÖ âð ÖæÚUÌ ×ð´ ·é¤ÀU âæñ ßælØ´˜æ ÂæØð ÁæÌð ãñ´Ð ÖæÚUÌèØ â´»èÌ

D—1607 9 P.T.O. The era of ancient music begins in the age of Vedas and ends in the 13th century after which the mediaeval period of music became fully evolved and ultimately was bifurcated into two systems, namely Hindustani and Karnatic.

21. (A) Indian music is involved by religious and devotional music.

(B) Indian music is the contribution of modern age.

(C) Indian music is also called Karnataka music.

(D) Indian music is not necessarily melodious.

22. (A) Ancient music was started in mediaeval period.

(B) Ancient music was started from vedas.

(C) Indian music does not include Hindustani music.

(D) Swara is not important in Indian music.

23. (A) The ancient period of Indian music was from vedas to 13th century.

(B) Indian music is not melodious.

(C) Melody and Taalas are not needed in Indian music.

(D) Swara and Taalas both are not necessary in Indian music.

24. (A) Devotional music and dance are given by Indian music.

(B) Indian music is not Raag prominent.

(C) Taal and Vaadya are not used in Indian music.

(D) Indian music is also called Folk music.

25. (A) Taal and Vaadya are not used in Indian music.

(B) Folk music and devotional music are not Indian music.

(C) Hindustani and Karnataka music are not Indian music.

(D) Indian music is not enriched.

D—1607 10 SßÚU×æÏéØü ÂêçÚUÌ â´»èÌ ãñ ÂÚU‹Ìé âÖè Âý·¤æÚU ·¤è SßÚUƒæÅUæ¥æð´, ¥Íü‘ÀUÅUæ¥æð´ ÌÍæ ßR¤æð´ ·¤æ ©ÂØæð» ·¤ÚUÌð ãé° Øã â´»èÌæˆ×·¤ ¥çÖÃØçQ¤ ·¤è â×SÌ âêÿ×Ìæ¥æð´ ·¤æð ¥ÙéçcÆUÌ ·¤ÚUÌæ ãñÐ

Âýæ¿èÙ â´»èÌ ·¤æÜ ·¤æ ¥æÚ´UÖ ßðÎæð´ ·ð¤ Øé» âð ÌÍæ ¥´Ì 13ßè´ àæÌæŽÎè ×ð´ ãé¥æ çÁâ·ð¤ ©ÂÚUæ‹Ì â´»èÌ ·¤æ ׊ط¤æÜ Âê‡æüÌÑ çß·¤çâÌ ãé¥æ ÌÍæ ¥´ÌÌÑ çã‹ÎéSÌæÙè ÌÍæ ·¤ÙæüÅU·¤ §Ù Îæð ÂhçÌØæð´ ×ð´ çmàææç¹Ì ãé¥æÐ

21. (A) ÖæÚUÌèØ â´»èÌ Ïæç×ü·¤ ÌÍæ ÖçQ¤â´»èÌ âð ØéQ¤ ãñÐ

(B) ÖæÚUÌèØ â´»èÌ ¥æÏéçÙ·¤ Øé» ·¤è ÎðÙ ãñÐ

(C) ÖæÚUÌèØ â´»èÌ ·¤æð ·¤ÙæüÅU·¤ â´»èÌ Öè ·¤ãÌð ãñ´Ð

(D) ÖæÚUÌèØ â´»èÌ ×ð´ âéÚUèÜæÂÙ ·¤æ ãæðÙæ ¥æßàØ·¤ Ùãè´ ãñÐ

22. (A) Âýæ¿èÙ â´»èÌ ·¤æÜ ·¤æ ¥æÚ´UÖ ×ŠØØé» âð ãé¥æÐ

(B) Âýæ¿èÙ â´»èÌ ·¤æÜ ·¤æ ¥æÚ´UÖ ßðÎæð´ ·ð¤ Øé» âð ãé¥æÐ

(C) ÖæÚUÌèØ â´»èÌ ×ð´ çã‹ÎéSÌæÙè â´»èÌ ·¤æ Âý·¤æÚU Ùãè´ ãñÐ

(D) ÖæÚUÌèØ â´»èÌ ×ð´ SßÚU ·¤æ ×ãˆß Ùãè´ ãæðÌæÐ

23. (A) ÖæÚUÌèØ â´»èÌ ·¤æ Âýæ¿èÙ ·¤æÜ, ßðÎæð´ ·ð¤ Øé» âð 13ßè´ àæÌæŽÎè Ì·¤ ÚUãæÐ

(B) ÖæÚUÌèØ â´»èÌ âéÚUèÜæ Ùãè´ ãæðÌæÐ

(C) SßÚU ×æÏéÚUè ÌÍæ ÌæÜ ·¤æ ÂýØæð» ÖæÚUÌèØ â´»èÌ ×ð´ ¥æßàØ·¤ Ùãè´ ãñÐ

(D) SßÚU ¥æñÚU ÌæÜ Øð ÎæðÙæð´ ãè ÖæÚUÌèØ â´»èÌ ×ð´ ¥æßàØ·¤ Ùãè´ ãñÐ

24. (A) ÖçQ¤ â´»èÌ ÌÍæ ÙëˆØ â´»èÌ Öè ÖæÚUÌèØ â´»èÌ ·¤è ÎðÙ ãñÐ

(B) ÖæÚUÌèØ â´»èÌ ÚUæ» ÂýÏæÙ Ùãè´ ãñÐ

(C) çã‹ÎéSÌæÙè â´»èÌ ×ð´ ÌæÜ ßælæð´ ·¤æ ÂýØæð» Ùãè´ ãæðÌæ ãñÐ

(D) ÖæÚUÌèØ â´»èÌ ·¤æð Üæð·¤ â´»èÌ ·¤ãÌð ãñ´Ð

25. (A) ÖæÚUÌèØ â´»èÌ ×ð´ ÌæÜ ßælæð´ ·¤æ ÂýØæð» Ùãè´ ãæðÌæ ãñÐ

(B) Üæð·¤ â´»èÌ, ÖçQ¤ â´»èÌ ÖæÚUÌèØ â´»èÌ Ùãè´ ãñÐ

(C) çã‹ÎéSÌæÙè ÌÍæ ·¤ÙæüÅU·¤ â´»èÌ ÖæÚUÌèØ â´»èÌ Ùãè´ ãñÐ

(D) ÖæÚUÌèØ â´»èÌ â×ëh Ùãè´ ãñÐ

D—1607 11 P.T.O. PART - II Hindustani Sangeet (Vocal / Instrumental)

26. The distance from Meru to Madhyam on the string of Veena : (A) 6" (B) 8" (C) 9" (D) 12"

27. Matra of initial Swara of Masitkhani Gat : (A) 9 (B) 10 (C) 11 (D) 12

28. Dha, Ni, Re, Sa Swara is of which Raga ? (A) Ahir Bhairav (B) Todi (C) Marva (D) Bhairavi

29. ‘Udgata’ is concerned with which Gan ? (A) Dhrupad (B) Tappa (C) Lavani (D) Sam

30. Commercial music teaching centres : (A) Gandharva Sangeet Vidyalaya (B) University (C) Sangeet Natak Akademi (D) I.C.C.R.

31. Frequency of notes of Gandhara : (A) 240 (B) 270 (C) 320 (D) 360

32. Chords are used in which Sangeet ? (A) Rabindra (B) Hindustani (C) Western (D) Karnatak

33. Which musical instrument is more modern ? (A) Tabla (B) Bheri (C) Dhundubi (D) Pakhwaj

34. Which one of the following is a western musicologist ? (A) B.C. Dev (B) A.N. Jairazbhoi (C) A. Denelue (D) Leela Omchiri

D—1607 12 ¹‡Ç - II

çã‹ÎéSÌæÙè â´»èÌ (»æØÙ / ßæÎÙ)

26. ßè‡ææ ·ð¤ ÌæÚU ÂÚU ×ðL¤ âð ׊Ø× ·¤è ÎêÚUè Ñ (A) 6" (B) 8" (C) 9" (D) 12"

27. ×âè̹æÙè »Ì ·ð¤ ÂýæÚUçÖ·¤ SßÚU ·¤è ×æ˜ææ Ñ (A) 9 (B) 10 (C) 11 (D) 12

28. Ò$Šæ $Ùè ÚðU âÓ SßÚU ç·¤â ÚUæ» ·¤æ ãñ?

(A) ¥ãèÚU ÖñÚUß (B) ÌæðǸè (C) ×æÚUßæ (D) ÖñÚUßè

29. Ò©Î÷»æÌæÓ ç·¤â »æÙ âð âÕç‹ÏÌ ãñ?

(A) ÏýéÂÎ (B) ÅUŒÂæ (C) Üæ߇æè (D) âæ×

30. ÃØæßâæçØ·¤ â´»èÌ çàæÿæ‡æ ·ð¤‹Îý Ñ

(A) »æ´Ïßü â´»èÌ çßlæÜØ (B) çßàßçßlæÜØ

(C) â´»èÌ ÙæÅU·¤ ¥·¤æÎ×è (D) ¥æ§ü.âè.âè.¥æÚU.

31. »´ÏæÚU ·¤è ¥æ´ÎæðÜ٠ⴁØæ Ñ (A) 240 (B) 270 (C) 320 (D) 360

32. ·¤æòÇüU÷â ·¤æ ÂýØæð» ç·¤â â´»èÌ ×ð´ ãæðÌæ ãñ?

(A) ÚUßè‹Îý (B) çã‹ÎéSÌæÙè (C) Âæà¿æˆØ (D) Îçÿæ‡æ

33. ·¤æñÙ âæ ßæl ¥æÏéçÙ·¤ ãñ?

(A) ÌÕÜæ (B) ÖðÚUè (C) Îé‹ÎéçÖ (D) ¹æßÁ

34. çِ٠×ð´ âð ·¤æñÙ çßÎðàæè â´»èÌàææS˜æè ãñ?

(A) Õè.âè. Îðß (B) °.°Ù. ÁØÚUæÁÖæòØ

(C) °. ÇðUÙðËØê (D) ÜèÜæ ¥æð×ç¿ÚUè

D—1607 13 P.T.O. 35. Dr. Lalmani Mishra played which instrument ? (A) Veena (B) Sarod (C) Guitar (D) Tabla

36. Which of the following is Sangeet Vishvavidyalaya ? (A) Rajasthan University (B) Indra Kala Sangeet Vishwavidhyalaya (C) Agra University (D) B.H.U.

37. Arrange the Angas of Dhrupad in required form : (A) Sthai, Sanchari, Aabhog, Antara (B) Aabhog, Sanchari, Antara, Sthai (C) Antara, Sanchari, Aabhog, Sthai (D) Sthai, Antara, Sanchari, Aabhog

38. Arrange Re, Ga, Ma, Pa, Ni on string of Veena in descending order : (A) 4", 6", 9", 12", 20" (B) 6", 4", 12", 9", 20" (C) 20", 12", 9", 6", 4" (D) 12", 9", 6", 4", 20"

39. Matching type question : Two types of statements are given below. Match the statement of first list with the statement of second list and mark the correct answer. List - I List - II (a) Ga Komal Ma Tivra (i) Maru Vihag (b) Use of both Ma (ii) Multani (c) Re-Pa prohibited (iii) Madhuwanti (d) Re-Dha prohibited in Aaroha (iv) Malkaus Code : (a) (b) (c) (d) (A) (iii) (i) (iv) (ii) (B) (ii) (iii) (i) (iv) (C) (i) (iii) (ii) (iv) (D) (iv) (ii) (i) (iii)

D—1607 14 35. ÇUæò. ÜæÜ×ç‡æ ç×Ÿæ €Øæ ÕÁæÌð Íð?

(A) ßè‡ææ (B) âÚUæðÎ (C) ç»ÅUæÚU (D) ÌÕÜæ

36. â´»èÌ çßàßçßlæÜØ ·¤æñÙ âæ ãñ?

(A) ÚUæÁSÍæÙ ØêçÙßçâüÅUè (B) §‹Îýæ·¤Üæ â´»èÌ çßàßçßlæÜØ

(C) ¥æ»ÚUæ çßàßçßlæÜØ (D) Õè.°¿.Øê.

37. ÏýéÂÎ ·ð¤ ¥´»æð´ ·¤æð ¥ÂðçÿæÌ M¤Â ×ð´ R¤×Õh ·¤èçÁØð Ñ

(A) SÍæ§ü, â´¿æÚUè, ¥æÖæð», ¥´ÌÚUæ

(B) ¥æÖæð», â´¿æÚUè, ¥´ÌÚUæ, SÍæ§ü

(C) ¥´ÌÚUæ, â´¿æÚUè, ¥æÖæð», SÍæ§ü

(D) SÍæ§ü, ¥´ÌÚUæ, â´¿æÚUè, ¥æÖæð»

38. ßè‡ææ ·ð¤ ÌæÚU ÂÚU ÚðU, », ×, Â, Ùè ·¤æð ¥ßÚUæðãè R¤× ×ð´ R¤×Õh ·¤èçÁØð Ñ (A) 4", 6", 9", 12", 20" (B) 6", 4", 12", 9", 20" (C) 20", 12", 9", 6", 4" (D) 12", 9", 6", 4", 20"

39. âé×ðçÜÌ Âý·¤æÚU ·ð¤ ÂýàÙ Ñ Ùè¿ð Îæð Âý·¤æÚU ·ð¤ ·¤ÍÙ çÎØð Áæ ÚUãð ãñ´, ÂýÍ× âê¿è ·ð¤ ·¤ÍÙ ·¤æ ÎêâÚðU ·¤ÍÙ ·ð¤ âãè ©žæÚU âð ç×ÜæÙ ·¤ÚU âãè ·¤æ 翋ã Ü»æ§Øð Ñ

âê¿è - I âê¿è - II

(a) » ·¤æð×Ü × Ìèßý (i) ×æM¤çÕãæ»

(b) ÎæðÙæð´ × ·¤æ ÂýØæð» (ii) ×éËÌæÙè

(c) ÚðU- ßçÁüÌ (iii) ×Ïéß´Ìè

(d) ¥æÚUæðã ×ð´ ÚðU-Ï ßçÁüÌ (iv) ×æÜ·¤æðâ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (iii) (i) (iv) (ii) (B) (ii) (iii) (i) (iv) (C) (i) (iii) (ii) (iv) (D) (iv) (ii) (i) (iii)

D—1607 15 P.T.O. 40. Which instrument was played by Akbar, the great ?

(A) DHOLAK (B) MRIDANG

(C) NAKKARA (D) DHOL

41. On which SHRUTI does PANCHAM fall in MADHYAMA-GRAM ?

(A) 15th (B) 16th (C) 17th (D) 18th

42. Which is the correct series of Shruties of Shuddy Swaras ?

(A) 4 3 2 4 3 2 4 (B) 4 2 4 3 2 3 4 (C) 3 2 4 4 2 4 3 (D) 4 3 2 4 4 3 2

43. Name the western musicologist who adopted Hindu religion :

(A) Martin Klinton (B) Alen Danelue (C) Mooplore (D) Mark Legi

44. Match the following :

List - I List - II

(a) Natya Shastra (i) Matanga

(b) Brihaddeshi (ii) Ahobala

(c) Sangeet Parijat (iii) Bharat

(d) Sangeet Makarand (iv) Narad

Code :

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

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

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

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

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

45. Name the GUITARIST of Hindustani music :

(A) Pt. Shivkumar Sharma (B) Hariprasad Chaurasiya

(C) Buddhaditya Mukharjee (D) Pt. Brij Bhushan Kabra

D—1607 16 40. ¥·¤ÕÚU ×ãæÙ ·¤æñÙ âæ ßæl ÕÁæÌæ Íæ?

(A) ÉUæðÜ·¤ (B) ×ëδ»

(C) ـ·¤æÚUæ (D) ÉUæðÜ

41. ׊Ø× »ýæ× ×ð´ ´¿× 緤⠟æéçÌ ÂÚU SÍæçÂÌ ãñ?

(A) 15 ßè´ (B) 16 ßè´ (C) 17 ßè´ (D) 18 ßè´

42. àæéh SßÚUæð´ ·¤è çÙÏæüçÚUÌ ŸæéçÌØæð´ ·¤æ âãè ·ý¤× €Øæ ãñ? (A) 4 3 2 4 3 2 4 (B) 4 2 4 3 2 3 4 (C) 3 2 4 4 2 4 3 (D) 4 3 2 4 4 3 2

43. ç·¤â Âæà¿æˆØ â´»èÌàææS˜æè Ùð çã‹Îê Ï×ü ¥ÂÙæØæ?

(A) ×æçÅüUÙ €ÜðÅUÙ (B) °ðÜðÙ ÇðUÙðËØê (C) ×êÂÕæðÚU (D) ×æ·ü¤Üð»è

44. ×ðÜ ç×Üæ§Øð Ñ

âê¿è - I âê¿è - II

(a) ÙæÅKàææS˜æ (i) ×Ì´»

(b) ÕýãžæÎðàæè (ii) ¥ãæðÕÜ

(c) â´»èÌ ÂçÚUÁæÌ (iii) ÖÚUÌ

(d) â´»èÌ ×·¤Ú´UÎ (iv) ÙæÚUÎ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (i) (ii) (iv) (C) (iv) (iii) (ii) (i) (D) (i) (iv) (iii) (ii)

45. çã‹ÎéSÌæÙè â´»èÌ ·¤æ ç»ÅUæÚU ßæη¤ ·¤æñÙ ãñ?

(A) ´. çàæß·é¤×æÚU àæ×æü (B) ãçÚUÂýâæÎ ¿æñÚUçâØæ

(C) ÕéhæçÎˆØ ×é¹Áèü (D) ´. ÕýÁÖêá‡æ ·¤æÕÚUæ

D—1607 17 P.T.O. 46. Assertion (A) : Acharya K.C.D. Brihaspati was well versed in Sanskrit, wrote so many books which explored the mysterious of history etc, was a good singer, writer and a teacher.

Reason (R) : Acharya Brihaspati worked a lot in the field of aesthetics and philosophy.

(A) (A) right (R) wrong (B) (A) wrong (R) wrong

(C) (A) right (R) right (D) (A) wrong (R) right

47. Assertion (A) : A vocalist who is an expert in Dhrupad he can also sing Khayal well.

Reason (R) : Dhrupad singer who is an expert in Laykari his voice is made very mejastic.

(A) (A) true (R) false (B) (A) false (R) true

(C) (A) and (R) both false (D) (A) true (R) true

48. In which Gharana of Tabla, Quades of Aadi Laya are mostly played :

(A) Delhi (B) Punjab

(C) Ajarada (D) Farukhabad

49. Which Gharana is famous for GATEN ?

(A) Delhi (B) Punjab

(C) Ajarada (D) Farukhabad

50. The Taal having 11 Matras :

(A) Laxmi Taal (B) Ganesh Taal

(C) Rudra Taal (D) Parvati Taal

D—1607 18 46. çßÏæÙ (A) : ¥æ¿æØü ·ñ¤Üæàæ ¿‹ÎýÎðß ÕëãSÂçÌ â´S·ë¤Ì ·ð¤ ™ææÌæ ÍðÐ ¥æÂÙð ¥Ùð·¤ ÂéSÌ·¤æð´ ·¤è ÚU¿Ùæ ·¤è çÁÙ·ð¤ mæÚUæ â´»èÌ ·ð¤ §çÌãæâ ¥æñÚU ¥Ùð·¤ »êɸ ÚUãSØæð´ ·¤æ ©Î÷ƒææÅUÙ ç·¤ØæÐ ¥æ °·¤ ŸæðcÆU »æØ·¤, Üð¹·¤ ¥æñÚU »éL¤ ÍðÐ

Ì·ü¤ (R) : ¥æ¿æØü ÕëãSÂçÌ Ùð âæñ‹ÎØüàææS˜æ °ß´ ÎæàæüçÙ·¤ Âÿæ ÂÚU ÕãéÌ ·¤æØü ç·¤ØæÐ

(A) (A) âãè ãñ (R) »ÜÌ ãñ (B) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ

(C) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ (D) (A) »ÜÌ ãñ (R) âãè ãñ

47. çßÏæÙ (A) : ØæÜ ßãè ¥‘ÀUæ »æ â·¤Ìæ ãñ, çÁâÙð ÏýéÂÎ ·¤æð âæÏæ ãæðÐ

Ì·ü¤ (R) : ÏýéÂÎ »æØ·¤è ·¤æð çâh ·¤ÚUÙð âð ·¤‡ÆU â´S·¤æÚU ¥æñÚU ÜØ·¤æÚUè ÂéC ãæðÌè ãñÐ

(A) (A) âãè ãñ (R) »ÜÌ ãñ (B) (A) »ÜÌ ãñ (R) âãè ãñ

(C) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ (D) (A) âãè ãñ (R) âãè ãñ

48. ¥æǸè ÜØ ·ð¤ ·¤æØÎð ÌÕÜð ·ð¤ 緤⠃æÚUæÙð ×ð´ ¥çÏ·¤ ÕÁÌð ãñ´?

(A) çÎËÜè (B) ´ÁæÕ

(C) ¥ÁÚUæɸæ (D) ȤM¤¹æÕæÎ

49. »Ìð´, 緤⠃æÚUæÙð ·¤è ¥çÏ·¤ ×àæãêÚU ãñ´?

(A) çÎËÜè (B) ´ÁæÕ

(C) ¥ÁÚUæɸæ (D) ȤM¤¹æÕæÎ

50. ‚ØæÚUã ×æ˜ææ ·¤è ÌæÜ Ñ

(A) Üÿ×è ÌæÜ (B) »‡æðàæ ÌæÜ

(C) L¤Îý ÌæÜ (D) ÂæßüÌè ÌæÜ

D—1607 19 P.T.O. PART - III

Karnatic Music (Vocal / Instrumental)

26. “Janani Mamava” is a :

(A) Navavarna Kriti (B) Navagraha Kriti

(C) Navaratri Kriti (D) Navaratna Malika Kriti

27. A Vivadi Mela :

(A) Sarasangi (B) Varunapriya

(C) Dhenuka (D) Gowrimanohari

28. Gopalakrishna Bharati was born in :

(A) Tiruvarur (B) Chidambaram

(C) Narimanam (D) Madurai

29. A Margi Tala :

(A) Dhruva (B) Simhanandana

(C) Sarabanandana (D) Sampatveshtaka

30. A Tevaram song :

(A) Todudaiya Seviyan (B) Sadhinchene

(C) Saranam Aiyappa (D) Varuhalamo

31. A Marathi metrical form in Harikatha :

(A) Utpalamala (B) Dindi

(C) Cindu (D) Viruttam

D—1607 20 ¹‡Ç - III ·¤ÙæüÅ·¤ â´»èÌ (»æØÙ, ßæÎÙ)

26. ÁÙÙè ×æ×ß °·¤ ______ãñÐ

(A) Ùßæ߇æü ·ë¤çÌ (B) Ùß»ýã ·ë¤çÌ

(C) ÙßÚUæç˜æ ·ë¤çÌ (D) ÙßÚUˆÙ×æçÜ·¤æ ·ë¤çÌ

27. °·¤ çßßæÎè ×ðÜæ Ñ

(A) âÚUâæ´»è (B) ßM¤‡æçÂýØæ

(C) ÏðÙé·¤æ (D) »æñÚUè×ÙæðãÚUè

28. »æðÂæÜ·ë¤c‡æ ÖæÚUÌè ·¤æ Á‹×SÍÜ Ñ

(A) çÌL¤ßæM¤ÚU (B) ç¿ÎæÕÚU×÷

(C) ÙÚUèׇæ× (D) ×ÎéÚñU

29. °·¤ ×æ»èü ÌæÜ Ñ

(A) Ïýéß (B) çâ´ãÙ´ÎÙæ

(C) âßüÙ´ÎÙæ (D) âÂÌßðcÅU·¤æ

30. °·¤ ÌðßæÚU× »èÌ Ñ

(A) ÌæðÇéUÇñUØæ âðçßØÙ (B) âæçδ¿ðÙð

(C) àæÚU‡æ×ñÄ،Âæ (D) ßM¤ãÜæ×æð´

31. ãçÚU·¤Íæ ×ð´ °·¤ ×ÚUæÆUè ÀU´Î M¤Â Ñ

(A) ©ˆÂÜ×æÜæ (B) çδÇUè

(C) ç¿´Îê (D) çßL¤žæ×

D—1607 21 P.T.O. 32. A song set to Misra Chapu Tala :

(A) Marivere - Anandabhairavi

(B) Chakkaniraja - Kharaharapriya

(C) Minakshi Memudam - Purvikalyani

(D) Anupama Gunambudhi - Atana

33. The name of the 12th Chakra in the 72 Mela scheme :

(A) Bana (B) Rutu

(C) Aditya (D) Disi

34. A famous violinist :

(A) S. Balachandar (B) Lalgudi Jayaraman

(C) Karaikkudi Mani (D) O.S. Tyagarajan

35. The South Indian Raga equivalent to Bilaval That :

(A) Kiravani (B) Sankarabharana

(C) Kalyani (D) Kambhoji

36. A Tala with Khanda Jati Laghu used in Sapta Tala Alankara :

(A) Ata (B) Rupaka

(C) Matya (D) Dhruva

37. A Lady violinist :

(A) M.L. Vasanthakumari (B) Aruna Sairam

(C) T. Rukmini (D) T. Brinda

38. The Prati Madhyama Audava Raga :

(A) Hamsadhvani (B) Abhogi

(C) Madhyamavati (D) Amritavarshini

D—1607 22 32. °·¤ ç×Ÿæ ¿æÂê ÌæÜ »èÌ Ñ

(A) ×ÚUèßðÚðU - ¥æÙ´ÎÖñÚUßè

(B) ¿€·¤ÙèÚUæÁæ - ·¤ÚUãÚUçÂýØæ

(C) ×èÙæÿæè ×ð×éÎ× - Âêßèü·¤ËØæ‡æè

(D) ¥ÙéÂ×æ »é‡ææ´Õéçh - ¥ÅUæÙæ

33. 72 ×ðÜ ØæðÁÙæ ×ð´ 12ßð´ ¿R¤ ·¤æ Ùæ× Ñ

(A) Õæ‡ææ (B) «¤Ìé

(C) ¥æçΈØæ (D) çÎâè

34. °·¤ Âýçâh ßæØçÜÙßæη¤ Ñ

(A) °â. ÕæÜ濋ÎÚU (B) ÜæÜ»éçǸ ÁØÚUæ×Ù

(C) ·¤æçÚU·é¤ÇUè ×Ùè (D) ¥æð.°â. ˆØæ»ÚUæÁÙ

35. çÕÜæßÜ ÍæÅU ·ð¤ â×æÙ Îçÿæ‡æ ÖæÚUÌèØ ÚUæ» Ñ

(A) ·¤èÚUßæ‡æè (B) àæ´·¤ÚUæÖÚU‡ææ

(C) ·¤ËØæ‡æè (D) ·¤æ×ÖæðÁè

36. âŒÌÌæÜ ¥Ü´·¤æÚU ×ð´ ¹´ÇU ÁæçÌ Üƒæé ·¤æ ÂýØæð» ·¤ÚUÙð ßæÜæ ÌæÜ Ñ

(A) ¥ÅUæ (B) M¤Â·¤æ

(C) ×ÅKæ (D) Ïýéßæ

37. °·¤ ×çãÜæ ßæØçÜÙßæçη¤æ Ñ

(A) °×.°Ü. ßâ´Íæ·é¤×æÚUè (B) ¥L¤‡ææ âæ§üÚUæ×

(C) ÅUè. L¤ç€×‡æè (D) ÅUè. Õë´Îæ

38. °·¤ ÂýçÌ ×ŠØ×æ ¥æñÇUß ÚUæ» Ñ

(A) ã´âŠßçÙ (B) ¥æÖæð»è

(C) ׊Ø×æßÌè (D) ¥×ëÌßçáü‡æè

D—1607 23 P.T.O. 39. A Javali composer :

(A) Arunagirinatha (B) Dharmapuri Subbarayar

(C) Kshetrajna (D) Narayana Tirtha

40. Bhajana Invocation songs :

(A) Abhanga (B) Dhruvapada

(C) Todaya Mangalam (D) Panchapadi

41. Viloma Chapu Tala was introduced by :

(A) Patnam Subramanya Iyer (B) Tyagaraja

(C) Syama Sastri (D) Mysore Vasudevachar

42. Match the following :

List - I List - II

(a) Tyagaraja (i) Venkatesa

(b) Muthuswami Dikshitar (ii) Tyagarajanuta

(c) Syama Sastri (iii) Syamakrishna

(d) Patnam Subramanya Iyer (iv) Guruguha

Code :

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

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

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

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

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

D—1607 24 39. °·¤ ÁæßÜè ßæØ·¤æÚU Ñ

(A) ¥L¤‡æ ç»çÚUÙæÍ (B) Ï×üÂéÚUè âééŽÕæÚUæØÚU

(C) ÿæð˜æ™æ (D) ÙæÚUæ؇æÌèÍü

40. ÖÁÙ Sßæ»Ì »æÙ Ñ

(A) ¥Ö´»æ (B) ÏýéßÂÎ

(C) ÌæðÇØ×´»Ü× (D) ´¿ÂÎè

41. çßÜæð× ¿æÂé ÌæÜ ·¤æ ÂýßÌüÙ ç·¤âÙð ç·¤Øæ?

(A) Â^Ù× âéÕýræ‡Ø ¥ÄØÚU (B) ˆØæ»ÚUæÁæ

(C) àØæ×æ àææS˜æè (D) ×ñâêÚU ßæâéÎðßæ¿æÚU

42. çِÙçÜç¹Ì ·¤æ ç×ÜæÙ ·¤èçÁØð Ñ

âê¿è - I âê¿è - II

(a) ˆØæ»ÚUæÁæ (i) ßð´·¤ÅðUàæ

(b) ×éˆÍéSßæ×è ÎèçÿæÌÚU (ii) ˆØæ»ÚUæÁÙéÌæ

(c) àØæ× àææS˜æè (iii) àØæ× ·ë¤c‡æ

(d) Â^Ù× âéÕýræ‡Ø ¥ÄØÚU (iv) »éL¤»éãæ

·¤æðÇU Ñ

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

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

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

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

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

D—1607 25 P.T.O. 43. Match the following :

List - I List - II

(a) Audava (i) Vachaspati

(b) Shadava (ii) Ritigaula

(c) Vakra (iii) Malayamarutam

(d) Sampurna (iv) Suddha Dhanyasi

Code :

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

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

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

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

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

44. Match the following :

List - I List - II

(a) | (i) Guru

(b) 8' (ii) Laghu

(c) + (iii) Plutam

(d) 8 (iv) Kakapadam

Code :

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

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

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

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

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

D—1607 26 43. çِÙçÜç¹Ì ·¤æ ç×ÜæÙ ·¤èçÁØð Ñ

âê¿è - I âê¿è - II

(a) ¥æñÇ¸ß (i) ßæ¿SÂçÌ

(b) áæÇ¸ß (ii) ÚUèçÌ»æñÜæ

(c) ßR¤ (iii) ×ÜØ×æL¤Ì×÷

(d) â´Âê‡æü (iv) àæéh ϋØæàæè ·¤æðÇU Ñ

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

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

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

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

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

44. çِÙçÜç¹Ì ·¤æ ç×ÜæÙ ·¤èçÁØð Ñ

âê¿è - I âê¿è - II

(a) | (i) »éL¤

(b) 8' (ii) ܃æé

(c) + (iii) ŒÜéÌ×÷

(d) 8 (iv) ·¤æ·¤ÂÎ×÷ ·¤æðÇU Ñ

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

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

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

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

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

D—1607 27 P.T.O. 45. Match the following :

List - I List - II

(a) Tambura (i) Pegs

(b) Gottuvadyam (ii) Key

(c) Violin (iii) Sympathetic Strings

(d) Piano (iv) Finger Board

Code :

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

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

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

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

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

46. Assertion and Reasoning :

Assertion (A) : Tyagaraja wrote the Gita Govinda.

Reason (R) : He wrote the Nowka Charitra.

(A) (A) true (R) false (B) (A) false (R) false

(C) (A) true (R) true (D) (A) false (R) true

47. Assertion and Reasoning :

Assertion (A) : The Yazh had many types.

Reason (R) : There are no Yazh players today.

(A) (A) is true (R) is true (B) (A) is false (R) is true

(C) (A) and (R) are false (D) (A) is true and (R) is false

D—1607 28 45. çِÙçÜç¹Ì ·¤æ ç×ÜæÙ ·¤èçÁØð Ñ

âê¿è - I âê¿è - II

(a) Ì´ÕêÚUæ (i) ¹ê¡çÅUØæ¡

(b) ƒææðÅéUßæl× (ii) ·é´¤Áè

(c) ßæØçÜÙ (iii) ÌÚUÕ ·ð¤ ÌæÚU

(d) çÂØæÙæð (iv) çÈ´¤»ÚU ÕæðÇüU

·¤æðÇU Ñ

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

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

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

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

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

46. ·¤ÍÙ ¥æñÚU ·¤æÚU‡æ Ñ

·¤ÍÙ (A) : ˆØæ»ÚUæÁ Ùð »èÌ »æðçß´Î ·¤è ÚU¿Ùæ ·¤èÐ

·¤æÚU‡æ (R) : ©‹ãæð´Ùð Ùæñ·¤æ ¿çÚU˜æ çܹæÐ

(A) (A) âãè ãñ ¥æñÚU (R) »ÜÌ ãñ (B) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ

(C) (A) âãè ãñ ¥æñÚU (R) Öè âãè ãñ (D) (A) »ÜÌ ãñ ¥æñÚU (R) âãè ãñ

47. ·¤ÍÙ ¥æñÚU ·¤æÚU‡æ Ñ

·¤ÍÙ (A) : ØæÛæ ·ð¤ ·¤§ü Âý·¤æÚU ãæðÌð ãñ´Ð

·¤æÚU‡æ (R) : ¥æÁ ØæÛæ ßæη¤ çßl×æÙ Ùãè´ ãñÐ

(A) (A) âãè ãñ (R) Öè âãè ãñ (B) (A) »ÜÌ ãñ (R) âãè ãñ

(C) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ (D) (A) âãè ãñU (R) »ÜÌ ãñ

D—1607 29 P.T.O. Sequencing type :

48. Write the correct sequence of the following texts of their origin.

(A) Sama Gana, Natya Sastra, Sangita Ratnakara, Ragavibodha

(B) Natya Sastra, Samaveda, Ragavibodha, Sangita Ratnakara

(C) Sangita Ratnakara, Natya Sastra, Ragavibodha, Sama Gana

(D) Ragavibodha, Sama Gana, Natya Sastra, Sangita Ratnakara

49. Arrange the following in the order of 72 melakarta scheme.

(i) Natabhairavi

(ii) Dhenuka

(iii) Natakapriya

(iv) Ganamurthy

Code :

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

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

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

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

50. Arrange the following Janya Ragas in the order of their Parent Scales :

(i) Hamsadvani

(ii) Kambhoji

(iii) Bhairavi

(iv) Malahari

Code :

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

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

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

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

D—1607 30 ¥ÙéR¤× Âý·¤æÚU ·ð¤ ÂýàÙ Ñ

48. çِÙçÜç¹Ì ÂæÆUæð´ ·¤æð ©Ù·ð¤ ©ˆÂçžæ ·ð¤ R¤× ×ð´ çÜç¹° Ñ

(A) âæ×»æÙ, ÙæÅKàææS˜æ, â´»èÌÚUˆÙæ·¤ÚU, ÚUæ»çßÕæðÏ

(B) ÙæÅKàææS˜æ, âæ×ßðÎ, ÚUæ»çßÕæðÏ, â´»èÌÚUˆÙæ·¤ÚU

(C) â´»èÌÚUˆÙæ·¤ÚU, ÙæÅKàææS˜æ ÚUæ»çßÕæðÏ, âæ×»æÙ

(D) ÚUæ»çßÕæðÏ, âæ×»æÙ, ÙæÅKàææS˜æ, â´»èÌÚUˆÙæ·¤ÚU

49. çِÙçÜç¹Ì ·¤æð 72 ×ðÜ·¤Ìæü ØæðÁÙæ R¤× ×ð´ ÚUç¹° Ñ

(i) ÙÅUÖñÚUßè

(ii) ÏðÙé·¤æ

(iii) ÙÅUçÂýØæ

(iv) »‡æ×êçÌü ·¤æðÇU Ñ (A) (ii) (i) (iii) (iv) (B) (iv) (ii) (iii) (i) (C) (iii) (ii) (iv) (i) (D) (i) (iii) (iv) (ii)

50. çِÙçÜç¹Ì Á‹ØÚUæ»æð´ ·¤æð ©Ù·ð¤ ×ðÜ·¤Ìæü ·ð¤ R¤× ×ð´ ÚUç¹° Ñ

(i) ã´âŠßçÙ

(ii) ·´¤ÖæðÁè

(iii) ÖñÚUßè

(iv) ×ËãæÚUè ·¤æðÇU Ñ (A) (iv) (iii) (ii) (i) (B) (i) (ii) (iii) (iv) (C) (ii) (iv) (i) (iii) (D) (iii) (i) (ii) (iv)

D—1607 31 P.T.O. PART - IV

RABINDRA SANGEET

26. Which is Rinsodh (shortened) form of drama ?

(A) Mukta dhara (B) Saradotsav

(C) Rakta Karabi (D) Visarjan

27. Rabindranath composed the song ‘O Aamar deshar mati’ when his age was :

(A) 15 years (B) 35 years

(C) 45 years (D) 75 years

28. The tune of the song Ohe Jibana Bhallabha is :

(A) Dhrupad (B) Baul

(C) Kirtan (D) Khayal

29. Identify the rag of the song Bahe Nirantara Ananta Anandadhara :

(A) Nisasaq (B) Bilawal

(C) Bhirav (D) Ashawari

30. The song Jage nath Jochana Rate is in Tal :

(A) Surphakta (B) Kharva

(C) Dadra (D) Dhamar

31. What is the last dance drama composed by Tagore ?

(A) Mayar Khela (B) Kalmrigaya

(C) Chandalik (D) Chitrangada

D—1607 32 ¹‡Ç - IV ÚÕè‹Îý â´»èÌ

26. çÚUÙàææðÏ (â´çÿæŒÌ) ÇþUæ×æ ·¤æñÙ âæ ãñ?

(A) ×éQ¤ ÏæÚUæ (B) àæÚUÎæðˆâß

(C) ÚUQ¤ ·¤ÚUçÕ (D) çßâÁüÙ

27. ÚUßè‹ÎýÙæÍ ÅñU»æðÚU Ùð ÒÒ¥æð ¥æ×æÚU ÎðàæðÚU ×æÅUèÓÓ »èÌ ç·¤â ©×ý ×ð´ çܹæ?

(A) 15 ßáü (B) 35 ßáü

(C) 45 ßáü (D) 75 ßáü

28. Ò¥æðãð ÁèÕÙ ßËÜÖæðÓ »èÌ â´»èÌ ·¤è ç·¤â çßlæ ãñ?

(A) ÏýéÂÎ (B) Õæ©Ü

(C) ·¤èÌüÙ (D) ¹ØæÜ

29. ÒÕæñãð çÙÚU‹ÌÚU ¥Ù‹Ì ¥æًΠÏæÚUæÓ »èÌ ç·¤â ÚUæ» ÂÚU ¥æÏæçÚUÌ ãñ?

(A) çÙàææ àææ¹ (B) çÕÜæßÜ

(C) ÖñÚUß (D) ¥æâæßÚUè

30. ÒÁæ»ðÙæÍ ’ØæðˆâÙæ ÚUæÌðÓ »èÌ ç·¤â ÌæÜ ×ð´ ãñ?

(A) âêÜȤæQ¤æ (B) ·¤ãÚUßæ

(C) ÎæÎÚUæ (D) Ï×æÚU

31. ÅñU»æðÚU ·¤æ ¥ç‹Ì× ÙëˆØ-ÙæÅK ·¤æñÙ âæ ãñ?

(A) ×æØæÚU ¹ñÜæ (B) ·¤æÜ×ë»Øæ

(C) ¿æ‡ÇUæçÜ·¤æ (D) 翘ææ´»Îæ

D—1607 33 P.T.O. 32. The language of the lyrics of Rabindranath’s Bhanusinher Padavali is :

(A) Hindi (B) Sanskrit

(C) Maithili (D) Bengali

33. What string instrument is mainly used as accompaniment in Tagore’s music ?

(A) Sitar (B) Veena

(C) Esraj (D) Violin

34. The song Jaya Taba Vichitra Ananda is composed in the rag :

(A) Alahia Bilawal (B) Bhirav

(C) Sarang (D) Ramkeli

35. Which song Tagore included in his Drama Visarjan ?

(A) Ami Ekla Chalachi ye Bhabe (B) Pinakete Lage Tankar

(C) Ami Marer Sagor (D) Tumi Dak Die Cho Kon Sakale

36. Rabindranath’s Sangit O Bhav is :

(A) A Poem (B) Song

(C) A Book (D) An Article

37. Rabindranath’s father Debendranath Tagore gave his son a five hundred rupees cheque for his singing :

(A) Nayan Tomare Pay na Dekhite (B) Prathama Adi Taba Shakti

(C) Tumi Bina Ke Prabhu (D) Hrydaya Nandana Bone

D—1607 34 32. ÒÖæÙéçâ´ãðÚUU ÂÎæßÜèÓ Ùæ×·¤ »èÌ ·¤è Öæáæ €Øæ ãñ?

(A) çã‹Îè (B) â´S·ë¤Ì

(C) ×ñçÍÜè (D) Õ¡»Üæ

33. ÅñU»æðÚU â´»èÌ ×ð´ ·¤æñÙ âæ ̋˜æßæl Âý×é¹ M¤Â âð â´»çÌ ÎðÌæ ãñ?

(A) çâÌæÚU (B) ßè‡ææ

(C) §âÚUæÁ (D) ßæ§çÜÙ

34. ÒÁØ ÌÕæñ çßç¿˜æ ¥æًÎÓ »èÌ ç·¤â ÚUæ» ×ð´ ÚU¿æ »Øæ ãñ?

(A) ¥ËãñØæ çÕÜæÕÜ (B) ÖñÚUß

(C) âæÚ´U» (D) ÚUæ×·ð¤çÜ

35. ÇþUæ×æ ÒçßâÁüÙÓ ×ð´ ÅñU»æðÚU Ùð 緤⠻èÌ ·¤æð âç×çÜÌ ç·¤Øæ ãñ?

(A) ¥æ×è °·¤Üæ ¿æðÜð ÀUè (B) çÂÙæ·ð¤Ìð Üæ»ð Å´U·¤æÚU

(C) ¥æ×è ×æÚðUÚU àææ»æðÚU (D) Ìé×è ÇUæ·¤çÎØð ÀUæð ·¤æñÙ àææñ·¤æÜè

36. ÚUßè‹ÎýÙæÍ ·¤æ â´»èÌ Öæß €Øæ ãñ?

(A) ·¤çßÌæ (B) »æÙæ

(C) ç·¤ÌæÕ (D) Üð¹

37. ÚUßè‹ÎýÙæÍ ·ð¤ çÂÌæ Îðßð‹ÎýÙæÍ Ùð ÚUßè‹ÎýÙæÍ ·¤æð 緤⠻æÙð ·ð¤ çÜØð L¤. 500/- ·¤æ ¿ð·¤ ÂýÎæÙ ç·¤Øð?

(A) ÙØÙ Ìé×æÚðU Âæ° Ùæ Îð¹èÌð (B) ÂýÍ× ¥æçÎ ÌÕæñ àæç€Ì

(C) Ìé×è çÕÙæ ·ð¤ ÂýÖé (D) NÎØ Ù‹ÎÙ Õæ»ð

D—1607 35 P.T.O. 38. Identify the raga and tala of the song Sunno Hate Phiri Hey :

(A) Bibhas/Chowtal (B) Hemkhem/Tewra

(C) kaphi/Surfaktal (D) Behag/Dadra

39. The character Uttya is in the Rabindranath’s dance drama :

(A) Shyama (B) Chandalika

(C) Chitrangada (D) Mayarkhela

40. The famous essay “The Origin and Function of Music” is written by :

(A) C.F. Andrus (B) Ajit Kumar Chakravarti

(C) Herbert Spencer (D) Rabindranath Tagore

41. Who wrote the song “Vimala Prabhate Mili” ?

(A) Debendranath Tagore (B) Satyendranath Tagore

(C) Jyotindranath Tagore (D) Hemendranath Tagore

42. In which song Tagore use Taalpherta ?

(A) Modhu Gandhe Bhora (B) Mona more meghero sangi

(C) Kabe Aami Bakir Holem (D) Gan Amar Jaye Bheshe Jay

43. Which Rag Rabindranath Tagore has not used in his composition ?

(A) Aahir Bhairon (B) Kamaj

(C) Basanta (D) Bhupali

44. Who other than Tagore has written Patriotic songs in Bengal ?

(A) Kangalicharan Sen (B) Balendranath Tagore

(C) Satyendranath Tagore (D) Soudamini Devi

D—1607 36 38. Òâéóææð ãÌð çȤçÚU ãðÓ »èÌ ·¤æ ÚUæ» ß ÌæÜ ÕÌæ§Øð Ñ

(A) çßÖæâ/¿æñÌæÜ (B) ãð×¹ð×/ÌðßÚUæ

(C) ·¤æȤè/âêÜȤ淤ÌæÜ (D) çÕãæ»/ÎæÎÚUæ

39. ©žæØ Ùæ×·¤ Âæ˜æ ç·¤â ÙëˆØÙæçÅU·¤æ ×ð´ ãñ?

(A) àØæ×æ (B) ¿æ‡ÇUæçÜ·¤æ

(C) 翘ææ´»Îæ (D) ×æØæ¹ñüÜæ

40. Òâ´»èÌ ·¤è ©ˆÂçžæ ß çR¤ØæÓ (The Origin and Function of Music) Ùæ×·¤ Âýçâh Üð¹ ç·¤âÙð çܹæ?

(A) âè.°È¤. °‹ÇþUØê$Á (B) ¥çÁÌ ·é¤×æÚU ¿R¤ßÌèü

(C) ãÚUÕÅüU SÂð‹âÚU (D) ÚUßè‹ÎýÙæÍ ÅñU»æðÚU

41. Òçß×Ü ÂýÖæÌð ç×ÜèÓ Ùæ×·¤ »èÌ ·¤è ÚU¿Ùæ ç·¤âÙð ·¤è?

(A) Îðßð‹ÎýÙæÍ ÅñU»æðÚU (B) âˆØð‹ÎýÙæÍ ÅñU»æðÚU

(C) ’Øæðç̋ÎýÙæÍ ÅñU»æðÚU (D) ãð×ð‹ÎýÙæÍ ÅñU»æðÚU

42. ÒÌæÜ çȤÚUÌæÓ ·¤æ ÂýØæð» ÚUßè‹ÎýÙæÍ Ùð 緤⠻èÌ ×ð´ ç·¤Øæ ãñ?

(A) ×æðÏê »‹Ïð ÖæðÚUæ (B) ×æðÙæð ×æðÚðU ×ðƒæðÚU â´»è

(C) ·¤æðÕð ¥æ×è ÕæçãÚU ãæðÜð× (D) »æÙ ¥æ×æÚU ÁæØ Öðáð ÁæØ

43. ÚUßè‹ÎýÙæÍ Ùð ¥ÂÙè ÚU¿Ùæ¥æð´ ×ð´ ç·¤â ÚUæ» ·¤æ ÂýØæð» Ùãè´ ç·¤Øæ ãñ?

(A) ¥ãèÚU ÖñÚUß (B) ¹×æÁ

(C) Õâ‹Ì (D) ÖêÂæÜè

44. ÚUßè‹ÎýÙæÍ ·ð¤ ¥çÌçÚUQ¤ Õ´»æÜ ×ð´ ç·¤âÙð ÎðàæÂýð× ·ð¤ »èÌæð´ ·¤è ÚU¿Ùæ ·¤è ãñ?

(A) ·´¤»æÜè¿ÚUÙ âðÙ (B) ÕÜð‹ÎýÙæÍ ÅñU»æðÚU

(C) âˆØð‹ÎýÙæÍ ÅñU»æðÚU (D) âæñÎæç×Ùè Îðßè

D—1607 37 P.T.O. 45. Tagore’s two songs are the National Anthem of two countries. Except India which is the other country ?

(A) Pakistan (B) Nepal

(C) Bhutan (D) Bangladesh

46. Which is Rabindra’s Patriotic song of his early life ?

(A) A Bharate Rakho (B) Amor Deshar Mati

(C) Nishidin Barsha Rakhis (D) Bidhir Bandhan Katbe Tumi

47. The title of anthology of Rabindranath’s congregation addresses is :

(A) Manusher Dharma (B) Atmakatha

(C) Shabutor Sankat (D) Santiniketan

48. Which Tagore song is based on Baul ?

(A) Aamar Praner Manush (B) Moha Viswe Muhakashe

(C) Vani Tobe Dhada Anonta (D) Prem Prane Gane Gandho

49. Who appreciated first Tagore’s poems of Gitanjali in England ?

(A) C.F. Andrews (B) Rothanstain

(C) A. Bake (D) Yeats

50. The Song “Aamar Praner Pare Chale Gyelo” belongs to thematic category called :

(A) Puja (B) Vichitra

(C) Prema (D) Swadesh

D—1607 38 45. ÚUßè‹ÎýÙæÍ ÅñU»æðÚU ·¤è ÚU¿Ùæ¥æð´ ×ð´ ÖæÚUÌ ·ð¤ ÚUæCþ»æÙ ·ð¤ ¥çÌçÚUQ¤ ¥æñÚU °·¤ ç·¤â Îðàæ ·¤æ ÚUæCþ»æÙ âç×çÜÌ ãñ?

(A) Âæç·¤SÌæÙ (B) ÙðÂæÜ

(C) ÖêÅUæÙ (D) Õ¡»ÜæÎðàæ

46. ÚUßè‹ÎýÙæÍ ·ð¤ ÂýæÚ´UçÖ·¤ ÁèßÙ ·¤æ ÚU¿æ ãé¥æ Îðàæ Âýð× »èÌ ·¤æñÙ âæ ãñ?

(A) ° ÖæÚUÌð ÚUæ¹æð (B) ¥æð ¥æ×æÚU ÎðàæÚU ×æÅUè

(C) çÙçàæçÎÙ Öáæü ÚU¹èàæ (D) çÕçÏÕæü‹ÏêÙ ·¤æÅ÷ßð Ìé×è

47. ÚUßè‹ÎýÙæÍ mæÚUæ ×ç‹ÎÚUæð´ ×ð´ çÎØð Öæáæ‡ææð´ ·¤æ â´»ýã 緤⠻ý‹Í ×ð´ ãñ?

(A) ×æÙéáðÚU Ï×æü (B) ¥æˆ×·¤æñÍæ

(C) àæéÖéÌæÚU â´·¤ÅU (D) àææç‹ÌçÙ·ð¤ÌÙ

48. ÚUßè‹ÎýÙæÍ ÅñU»æðÚU ·¤æ ·¤æñÙâæ »èÌ Õæ©Ü ÂÚU ¥æÏæçÚUÌ ãñ?

(A) ¥æ×æÚU Âýæ‡æðÚU ×æÙéá (B) ×æðãæ çßàßð ×éãæ ·¤æàæð

(C) ßæ‡æè Ìæð Õæñ ÏæÎ ¥Ù´žæ (D) Âýð×ð Âýæ‡æð »æÙ𠻋Ïæð

49. §¡‚Üñ‡ÇU ×ð´ ÚUßè‹ÎýÙæÍ ÅñU»æðÚU ·¤è »èÌæ´ÁçÜ ·ð¤ »èÌæð´ ·¤æ âßüÂýÍ× ç·¤âÙð âÚUæãæ?

(A) âè.°È¤. °ð‹ÇþUØê$Á (B) ÚUæð΋SÅUæ§Ù

(C) °. Õæ·ð¤ (D) §ØðÅ÷â

50. Ò¥æ×æÚU Âýæ‡æðÚU ÂæñÚðU ¿éÜð »ñÜæðÓ »èÌ ç·¤â çßÏæ ·¤æ »æÙæ ãñ?

(A) ÂêÁæ (B) çß翘æ

(C) Âýð× (D) SßÎðàæ

D—1607 39 P.T.O. PART - V PERCUSSION INSTRUMENTS

26. Beats in Gajjhampa : (A) 11 (B) 13 (C) 15 (D) 17

27. “Durdur” falls under which class of instruments ? (A) Tatvadya (B) Ghanvadya (C) Sushirvadya (D) Avanaddhvadya

28. Khali is on which beat in Sawari Tal ? (A) 7 (B) 8 (C) 9 (D) 10

29. Siddhar Khan was pioneer of which Gharana ? (A) Dilli (B) Punjab (C) Ajrada (D) Farukhabad

30. Dilawar Khan was artiste of which Talvadya ? (A) Tabla (B) Pakhwaj (C) Dholak (D) Nakkara

31. Who mastered four major Baag of Tabla ? (A) Munne Khan (B) Ahmad Jan Thirkua (C) Kale Khan (D) Masit Khan

32. Arrange following Musicologists in chronological sequence : (i) Sharangdev (ii) Bharat (iii) Bhatkhande (iv) Matang Codes : (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (ii) (iv) (i) (iii) (D) (iv) (ii) (i) (iii)

D—1607 40 ¹‡Ç - V ¥ßÙh ßæl

26. »ÁÛæ´Âæ ÌæÜ ×ð´ ×æ˜ææ°¡ Ñ (A) 11 (B) 13 (C) 15 (D) 17

27. ÒÎéÎüéÚUÓ ç·¤â ß»ü ·¤æ ßæl ãñ? (A) ÌÌ÷ ßæl (B) ƒæÙ ßæl (C) âéçáÚU ßæl (D) ¥ßÙh ßæl

28. âßæÚUè ÌæÜ ×ð´ ¹æÜè ç·¤â ×æ˜ææ ÂÚU ãæðÌè ãñ? (A) 7 (B) 8 (C) 9 (D) 10

29. çâhæÚU ¹æ´ 緤⠃æÚUæÙð ·ð¤ â´SÍæ·¤ Íð? (A) çÎËÜè (B) ´ÁæÕ (C) ¥ÁÚUæÇæ (D) ȤM¤¹æÕæÎ

30. çÎÜæßÚU ¹æ´ ç·¤â ÌæÜ ßæl ·ð¤ ·¤Üæ·¤æÚU Íð? (A) ÌÕÜæ (B) ¹æßÁ (C) ÉUæðÜ·¤ (D) ـ·¤æÚUæ

31. ÌÕÜð ·ð¤ ¿æÚU Âý×é¹ ÕæÁæð´ ·¤æð ç·¤âÙð çâh ç·¤Øæ? (A) ×éóæð ¹æ´ (B) ¥ã×Î ÁæÙ çÍÚU·é¤¥æ (C) ·¤æÜð ¹æ´ (D) ×âèÌ ¹æ´

32. çِÙçÜç¹Ì â´»èÌ àææçS˜æØæð´ ·¤æð â×ØæÙéâæÚU R¤×Õh ·¤èçÁØð Ñ (i) àææXüÎðß (ii) ÖÚUÌ (iii) Öæ̹‡ÇðU (iv) ×Ì´» ·¤æðÇU Ñ (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (ii) (iv) (i) (iii) (D) (iv) (ii) (i) (iii)

D—1607 41 P.T.O. 33. Who has written the book titled “Tabla ka Udgam, Vikas Aur Vadanshailian” ?

(A) Aban E. Mistry (B) Yogmaya Shukla

(C) Anuradha Pal (D) Shobha Kudesia

34. Ustad Hazi Vilayat Ali established which of the following Gharanas ?

(A) Dilli (B) Punjab

(C) Banaras (D) Farukhabad

35. How many beats are there in Basant Tal ?

(A) 7 (B) 9 (C) 11 (D) 13

36. In which year Samta Prasad (Gudai Maharaj) was awarded Padmabhushan ?

(A) 1972 (B) 1982 (C) 1992 (D) 1998

37. Match the following :

(a) Karamtulla Khan (i) Farukhabad Gharana

(b) Masit Khan (ii) Banaras

(c) Kishan Maharaj (iii) Punjab

(d) Alla Rakkha Khan (iv) Dilli

Code :

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

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

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

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

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

D—1607 42 33. ÒÌÕÜð ·¤æ ©Î÷»×, çß·¤æâ ¥æñÚU ßæÎÙ àæñçÜØæ¡Ó ÂéSÌ·¤ ç·¤âÙð çܹè?

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

(C) ¥ÙéÚUæÏæ ÂæÜ (D) àææðÖæ ·é¤ÎðçâØæ

34. Ò©SÌæÎ ãæÁè çßÜæØÌ ¥ÜèÓ Ùð 緤⠃æÚUæÙð ·¤è SÍæÂÙæ ·¤è?

(A) çÎËÜè (B) ´ÁæÕ

(C) ÕÙæÚUâ (D) ȤM¤¹æÕæÎ

35. Õâ‹Ì ÌæÜ ×ð´ ç·¤ÌÙè ×æ˜ææ°´ð ãæðÌè ãñ´?

(A) 7 (B) 9 (C) 11 (D) 13

36. âæ×Ìæ ÂýâæÎ (»éΧü ×ãæÚUæÁ) ·¤æð ÂkÖêá‡æ ·¤è ©ÂæçÏ ç·¤â âÙ÷ ×ð´ ç×Üè?

(A) 1972 (B) 1982 (C) 1992 (D) 1998

37. ×ðÜ ç×Üæ§Øð Ñ

(a) ·¤ÚUæ×ÌéËÜæ ¹æ´ (i) ȤM¤¹æÕæÎ ƒæÚUæÙæ

(b) ×âèÌ ¹æ´ (ii) ÕÙæÚUâ

(c) ç·¤àæÙ ×ãæÚUæÁ (iii) ´ÁæÕ

(d) ¥ËÜæ ÚU€¹æ ¹æ´ (iv) çÎËÜè ·¤æðÇU Ñ

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

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

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

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

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

D—1607 43 P.T.O. 38. Match the following : (a) Alla Rakkha Khan (i) Nayan (b) Gudai Maharaj (ii) Kumar Lal (c) Karamtulla Khan (iii) Zakir Hussain (d) Nikhil Ghosh (iv) Sabir Khan Code : (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (ii) (iii) (iv) (i) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i)

39. In Tabla/Pakhwaj SYAHI is made of what on PUDI ? (A) Coal powder (B) Wood powder (C) Iron ore powder (D) None of these

40. Number of Margi Tals : (A) 3 (B) 5 (C) 7 (D) 9

41. The meaning of Layakari of Sawagun :

(A) 1 (B) 3 (C) 5 (D) 7 4 4 4 4

42. Match the following : (a) Game Khan (i) Farukhabad Gharana (b) Zakir Hussain (ii) Lucknow Gharana (c) Sapan Chaudhari (iii) Punjab Gharana (d) Sabir Khan (iv) Dilli 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)

D—1607 44 38. ×ðÜ ç×Üæ§Øð Ñ (a) ¥ËÜæ ÚU€¹æ ¹æ´ (i) ÙØÙ (b) »éΧü ×ãæÚUæÁ (ii) ·é¤×æÚU ÜæÜ (c) ·¤ÚUæ×ÌéËÜæ ¹æ´ (iii) Áæç$·¤ÚU ãéâñÙ (d) çÙç¹Ü ƒææðá (iv) âæçÕÚU ¹æ´ ·¤æðÇU Ñ (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (ii) (iii) (iv) (i) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i)

39. ÌÕÜæ/¹æßÁ ×ð´ ÂéǸè ÂÚU SØæãè ç·¤ââð ÕÙÌè ãñ? (A) ·¤æðØÜð ·¤æ ¿êÚUæ (B) Ü·¤Ç¸è ·¤æ ÕéÚUæÎæ (C) ·¤“æð Üæðãð ·¤æ ¿êÚUæ (D) ©ÂÚUæð€Ì ×ð´ âð ·¤æð§ü Ùãè´

40. ×æ»èü ÌæÜæð´ ·¤è ⴁØæ Ñ (A) 3 (B) 5 (C) 7 (D) 9

41. âßæ»éÙ ·¤è ÜØ·¤æÚUè ·¤æ ¥Íü ãñ Ñ

(A) 1 (B) 3 (C) 5 (D) 7 4 4 4 4

42. ×ðÜ ç×Üæ§Øð Ñ (a) »æ×ð ¹æ´ (i) ȤM¤¹æÕæÎ ƒæÚUæÙæ (b) Áæç$·¤ÚU ãéâñÙ (ii) ܹ٪¤ ƒæÚUæÙæ (c) âÂÙ ¿æñÏÚUè (iii) ´ÁæÕ ƒæÚUæÙæ (d) âæçÕÚU ¹æ´ (iv) çÎËÜè ƒæÚUæÙæ ·¤æðÇU 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)

D—1607 45 P.T.O. 43. The author of the book “Bhartiya Sangeet Vadya” : (A) Acharya Vrihaspati (B) B.C. Dev (C) Lalmani Mishra (D) Girish Chandra Srivastava

44. The author of the book “Talkosh” : (A) Harishchandra Srivastava (B) Girishchandra Srivastava (C) Satish Chandra Srivastava (D) Lalji Srivastava

45. Which Tal is normally used in Tappa Gayaki ? (A) Trital (B) Punjabi (C) Tilwada (D) Deepchandi

46. Jhoomra Tal is played with which of the following ? (A) Dhrupad (B) Vilambit Khyal (C) Dhrut Khyal (D) Thumri

47. How many Beats are there in Ek Tal (Chatashra Jati) of Karnataka Tal Paddhati ? (A) 4 (B) 8 (C) 12 (D) 16

48. What is the form of Karnatak Tal “Aath Tal” ? (A) 1 (B) 10 (C) 101 (D) 1100

49. “Nana Panse” played which instrument ? (A) Pakhwaj (B) Tabla (C) Nakkara (D) Dholak

50. Assertion (A) : Maximum expansion of Peshkar is possible. Reason (R) : Because other ‘Boles’ can be used in addition to the ‘Boles’ used in original work. (A) (A) is true (R) is false (B) (A) is false (R) is true (C) (A) is true (R) is true (D) (A) is false (R) is false

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D—1607 46 43. ÒÖæÚUÌèØ â´»èÌ ßælÓ ÂéSÌ·¤ ·ð¤ Üð¹·¤ ·¤æ Ùæ× Ñ (A) ¥æ¿æØü ÕëãSÂçÌ (B) Õè.âè. Îðß (C) ÜæÜ×ç‡æ çןæ (D) ç»ÚUèàæ ¿‹Îý ŸæèßæSÌß

44. ÒÒÌæÜ·¤æðàæÓÓ ÂéSÌ·¤ ·ð¤ Üð¹·¤ ·¤æ Ùæ× Ñ (A) ãçÚU࿋Îý ŸæèßæSÌß (B) ç»ÚUèà濋Îý ŸæèßæSÌß (C) âÌèà濋Îý ŸæèßæSÌß (D) ÜæÜÁè ŸæèßæSÌß

45. ÒÅUŒÂæÓ »æØ·¤è ×ð´ ÂýæØÑ ç·¤â ÌæÜ ·¤æ ÂýØæð» ãæðÌæ ãñ? (A) ç˜æÌæÜ (B) ´ÁæÕè (C) çÌÜßæǸæ (D) Î迋Îè

46. ÒÛæê×ÚUæÓ ÌæÜ ç·¤â·ð¤ âæÍ ÕÁæ§ü ÁæÌè ãñ? (A) ÏýéÂÎ (B) çßÜçÕÌ ØæÜ (C) ÎýéÌ ØæÜ (D) ÆUé×ÚUè

47. ·¤ÙæüÅU·¤ ÌæÜ ÂhçÌ ·¤è °·¤ ÌæÜ (¿ÌS˜æ ÁæçÌ) ×ð´ ç·¤ÌÙè ×æ˜ææ ãæðÌè ãñ? (A) 4 (B) 8 (C) 12 (D) 16

48. ·¤ÙæüÅU·¤ ÌæÜ Ò¥ÆU ÌæÜÓ ·¤æ €Øæ SßM¤Â ãñ? (A) 1 (B) 10 (C) 101 (D) 1100

49. ÒÒÙæÙæ ÂæÙâðÓÓ €Øæ ÕÁæÌð Íð? (A) ¹æßÁ (B) ÌÕÜæ (C) ـ·¤æÚUæ (D) ÉUæðÜ·¤

50. çßÏæÙ (A) : Âðàæ·¤æÚU ·¤æ âßæüçÏ·¤ çßSÌæÚU â´Öß ãñÐ Ì·ü¤ (R) : €Øæð´ç·¤ ×êÜ ÚU¿Ùæ ×ð´ ÂýØéQ¤ ÕæðÜæ𴠷𤠥çÌçÚUQ¤ ¥‹Ø ÕæðÜæð´ ·¤æ Öè ÂýØæð» ç·¤Øæ Áæ â·¤Ìæ ãñÐ (A) (A) âãè (R) $»ÜÌ (B) (A) $»ÜÌ (R) âãè (C) (A) âãè (R) âãè (D) (A) $»ÜÌ (R) $»ÜÌ

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D—1607 47 P.T.O. Space For Rough Work

D—1607 48