Chapter – 5 Tansen Important Question

Total Page:16

File Type:pdf, Size:1020Kb

Chapter – 5 Tansen Important Question Chapter – 5 Tansen Important Question A. Very short answer questions – 1 marks 1. Word – Meaning from the given chapter- i. Shady grove ii. Pilgrimage iii. Downcast iv. Courtiers Answer- i. Dark wood ii. Religious journey iii. To feel low discouraged or low iv. Person who attends courts and advices the king or queen 2. Fill in the blanks- i. Tansen — the greatest _____ our country has produced. ii. ‗It will be fun to _____ them‘. He hid behind a tree and _____ like a tiger. iii. When he began to sing, the air became warm. Soon people in the audience were bathed in ______. iv. Tansen‘s tomb is in Gwalior. It is a place of _____. Answer- i. Musician ii. Frighten, roared iii. Perspiration iv. Pilgrimage for musicians 3. True – False. i. Tansen was the second child of his parents. ii. Once he tried to frighten a group of travellers by roaring like a tiger. iii. Tansen asked his daughter and her friend to sing Raga Megh after Raga Deepak to counteract the effect of the latter. iv. Akbar did not punish Tansen‘s enemies. Answer- i. False ii. True iii. True iv. False 4. Match the following- Column I Column II i) Tansen a) Emperor ii) Mukandan Misra b) Holy man iii) Mohammad Ghaus c) Singer iv) Akbar d) Greatest Musician Answer- Column I Column II i) Tansen d) Greatest Musician ii) Mukandan Misra c) Singer iii) Mohammad Ghaus b) Holy man iv) Akbar a) Emperor 5. The story is based on which musician? Answer- The story is based on a great musician Tansen. B. Short Answer Questions – 2 marks 1. What was Tansen‘s father name? Answer- Tansen was the only child of a singer called Mukandan Misra. 2. Where did they live? Answer- Singer Mukandan Misra along with his wife and their only child Tansen lived in Behat near Gwalior. 3. What did Tansen do in the forest? Answer- Tansen used to run away to play in the forest where he learnt to imitate the voices of birds and animals that lived in forest. 4. Who was travelling through the forest? Answer- A famous singer called Swami Haridas was travelling through the forest along with his followers. 5. What did Tansen do on seeing the stranger in the forest? Answer- Tansen talked to himself and said ―Strangers in the forest, it will be fun to frighten them‖. He mimicked a tiger and roared like one. C. Short answer questions – 3 marks 1. How did Swami Haridas and his followers react on hearing the noise of the tiger? Answer- Swami‘s followers scattered in the forest in fear but Swami asked them to not be afraid as sometimes tigers are not at all dangerous. 2. How did Swami Haridas react on seeing Tansen behind the tree? Answer- When his followers found out that there is no tiger but a naughty boy, they took him to Swami Haridas. He did not punish him and took him to his father and told him that he is very talented and wants to make him a singer. 3. How old was Tansen when he went away from his parents? With whom did he go and why? Answer- Tansen was 10 years old when he went away from his parents. Swami Haridas who himself was a singer, called Tansen with him as he wanted to produce a great singer out of him. 4. How long did Tansen live with Swami Haridas? What did he do there? Answer- Tansen lived with Swami Haridas for eleven years. Swami had taught him various things. But most importantly he taught him the art of music. Tansen learned music and became a great singer. 5. Who was Mohammad Ghaus? Answer- Mohammad Ghaus was a holy man. He lived in Gwalior. Tansen‘s father always visited him and was a great follower of him. It was his father‘s last wish that Tansen should meet him. Tansen lived with Mohammad Ghaus and often visited a great musician Rani Mrignaini. D. Long Answer Questions- 5 marks 1. What happened when Tansen sang Raga Deepak? How did he save himself? Answer- Tansen could not disobey wishes by the Akbar. He was afraid of him. So he agreed to take some time and prepare himself. Yes, he did sing the Raga Deepak, and air started becoming warm, people were bathed in perspiration, birds died and the waters began to boil. To save himself Tansen had taught his daughters Saraswati and Rupvati to sing Raga Deepak. And when they joined Tansen, the sky clouded over, and it started raining, this is how Tansen was saved. 2. What happened after Tansen and his daughters were done singing the Raga Deepak? Answer- After Tansen and his done singing it was seen that Tansen fell ill as it took immense power for Tansen to sing the song. The Raga Deepak took all the power of his lungs. He was sick for a long time and Akbar felt guilty that testing Tansen caused him so much pain. 3. Who is your favourite musician? Write about him in brief. Answer- My favourite musician is A.R. Rahman. It is his professional name. His original name is A.S. Dileep Kumar. He celebrates his birthday on 6 January. He is an Indian music director, singer, and music producer. But he is known for his contribution to the Indian classical music with electron and world music. He is the Padma Bhushan receiver. And he has won various others awards such as Grammy award, Berklee College of Music, National Film Award, BAFTA award, Golden Globe Awards. I too want to become a musician and A.R. Rahman is my role model. He inspires me and millions of people all around the world. 4. Write biography of Tansen in 80-100 words. Answer- Tansen was the only child of a famous singer Mukandan Misra. They belonged to Behat near Gwalior.Tansen himself was a musician. He was a very asset to the Hindustani classical music. He learnt music under the influence of king of Rewa, Raja Ramchandra Singh. Akbar was immensely impressed by Tansen‘s Talent and he asked Tansen to join musicians at the Mughal court. He remained in Akbar‘s court till 1585 when he died. Tansen‘s Tomb is in Gwalior. It is a place of pilgrimage for musicians. 5. Write biography of Akbar in 80 words. Answer- Akbar was the third Mughal Emperor, who was the son of Humayun. He had a very strong personality and a successful general, Akbar expanded the Mughal Empire and included many subcontinents. He was a great fan of the great musician Tansen. He even requested Raja Ramchandra Singh to let Tansen sing in his court along with other Mughal musicians. With all the blessings and agreement from Akbar, Tansen married his daughter Meherunnissa. Akbar died on 27 October in the year of 1605 due to an attack of dysentery. .
Recommended publications
  • Pandit Ravi Shankar—Tansen of Our Times
    Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times by S. Kalidas IND I A INTERNAT I ONAL CENTRE 40, MAX MUELLER MARG , NEW DELH I -110 003 TEL .: 24619431 FAX : 24627751 1 Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times The views expressed in this publication are solely those of the author and not of the India International Centre. The Occasional Publication series is published for the India International Centre by Cmde. (Retd.) R. Datta. Designed and produced by FACET Design. Tel.: 91-11-24616720, 24624336. Pandit Ravi Shankar—Tansen of our Times Pandit Ravi Shankar died a few months ago, just short of his 93rd birthday on 7 April. So it is opportune that we remember a man whom I have rather unabashedly called the Tansen of our times. Pandit Ravi Shankar was easily the greatest musician of our times and his death marks not only the transience of time itself, but it also reminds us of the glory that was his life and the immortality of his legacy. In the passing of Robindro Shaunkar Chowdhury, as he was called by his parents, on 11 December in San Diego, California, we cherish the memory of an extraordinary genius whose life and talent spanned almost the whole of the 20th century. It crossed all continents, it connected several genres of human endeavour, it uplifted countless hearts, minds and souls. Very few Indians epitomized Indian culture in the global imagination as this charismatic Bengali Brahmin, Pandit Ravi Shankar. Born in 1920, Ravi Shankar not only straddled two centuries but also impacted many worlds—the East, the West, the North and the South, the old and the new, the traditional and the modern.
    [Show full text]
  • Final Electoral Roll
    FINAL ELECTORAL ROLL - 2021 STATE - (S12) MADHYA PRADESH No., Name and Reservation Status of Assembly Constituency: 15-GWALIOR(GEN) Last Part No., Name and Reservation Status of Parliamentary Service Constituency in which the Assembly Constituency is located: 3-GWALIOR(GEN) Electors 1. DETAILS OF REVISION Year of Revision : 2021 Type of Revision : Special Summary Revision Qualifying Date :01/01/2021 Date of Final Publication: 15/01/2021 2. SUMMARY OF SERVICE ELECTORS A) NUMBER OF ELECTORS 1. Classified by Type of Service Name of Service No. of Electors Members Wives Total A) Defence Services 1199 36 1235 B) Armed Police Force 0 0 0 C) Foreign Service 0 0 0 Total in Part (A+B+C) 1199 36 1235 2. Classified by Type of Roll Roll Type Roll Identification No. of Electors Members Wives Total I Original Mother roll Integrated Basic roll of revision 1202 36 1238 2021 II Additions Supplement 1 After Draft publication, 2021 2 0 2 List Sub Total: 2 0 2 III Deletions Supplement 1 After Draft publication, 2021 5 0 5 List Sub Total: 5 0 5 Net Electors in the Roll after (I + II - III) 1199 36 1235 B) NUMBER OF CORRECTIONS/MODIFICATION Roll Type Roll Identification No. of Electors Supplement 1 After Draft publication, 2021 0 Total: 0 Elector Type: M = Member, W = Wife Page 1 Final Electoral Roll, 2021 of Assembly Constituency 15-GWALIOR (GEN), (S12) MADHYA PRADESH A . Defence Services Sl.No Name of Elector Elector Rank Husband's Address of Record House Address Type Sl.No. Officer/Commanding Officer for despatch of Ballot Paper (1) (2) (3) (4) (5) (6)
    [Show full text]
  • Indian Music and Mian Tansen
    Indian Music and Mian Tansen Pandit Birendra Kishore Roy Chowdhury Indian Music and Mian Tansen' is a highly informative small book about Hindustani music, written by Pt. Birendra Kishore Roy Choadhury, self published in the late 1950's. He explains much about the traditional lineages in North Indian music. 2 About the Author 3 4 Chapter 1 - THE HINDUSTHANI CLASSICAL MUSIC Chapter 2 - THE FOUR BANIS OF THE DHRUBAPADA Chapter 3 - TANSEN SCHOOL OF MUSIC Chapter 4 - TANSEN'S DESCENDANTS IN VARANASI Chapter 5 - SENI GHARANA AT RAMPUR STATE Chapter 6 - TANSEN AND RABINDRANATH 5 Chapter One The Indian classical music had a divine origin according to the ancient seers of India. Both the vedic and the Gandharva systems of music were nurtured in the hermitage of Rishis. Of course the kings who were the disciples of those great teachers give proper scopes for the demonstrations of their musical teachings. After the end of Pouranic period a vast culture of music and arts grew up in India as integral parts of the temple worship. The same culture was propagated by the kings in the royal courts as those notable men were devoted to the deity of the temples. Thus the development of the classical music or Marga sangeet of India lay in the hands ofthe priest classes attached to the temples with the patronage of the kings. The demonstrations took place both in the temples well as in the royal palaces. These temples and palaces contained spacious hall for staging demonstrations of the music, dance and the theatres. The kings used to preserve the lines of top ranking artists attached to the temples and courts by providing fixed allowances and rent - free pieces of lands handed over to them for their hereditary possesion and enjoyment.
    [Show full text]
  • Bhakti Movement
    TELLINGS AND TEXTS Tellings and Texts Music, Literature and Performance in North India Edited by Francesca Orsini and Katherine Butler Schofield http://www.openbookpublishers.com © Francesca Orsini and Katherine Butler Schofield. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Orsini, Francesca and Butler Schofield, Katherine (eds.), Tellings and Texts: Music, Literature and Performance in North India. Cambridge, UK: Open Book Publishers, 2015. http://dx.doi.org/10.11647/OBP.0062 Further details about CC BY licenses are available at http://creativecommons.org/ licenses/by/4.0/ In order to access detailed and updated information on the license, please visit: http://www.openbookpublishers.com/isbn/9781783741021#copyright All external links were active on 22/09/2015 and archived via the Internet Archive Wayback Machine: https://archive.org/web/ Digital material and resources associated with this volume are available at http:// www.openbookpublishers.com/isbn/9781783741021#resources ISBN Paperback: 978-1-78374-102-1 ISBN Hardback: 978-1-78374-103-8 ISBN Digital (PDF): 978-1-78374-104-5 ISBN Digital ebook (epub): 978-1-78374-105-2 ISBN Digital ebook (mobi): 9978-1-78374-106-9 DOI: 10.11647/OBP.0062 King’s College London has generously contributed to the publication of this volume.
    [Show full text]
  • Portrait of Tansen
    Portrait of Tansen Moti Chandra There is a genuine desire among music lovers to discover the person­ ality of a great artist. Stray details of his life, lively anecdotes, stirring or evocative moments during a performance go to build a picture of the man. And the externals of his personality are indicated by portraits, which, for all their limitations, afford a glimpse of the maestro. The first six Moghul rulers prized learning and culture, and, above all, the art of miniature painting. While Humayun took the initial steps to develop this branch, it was Akbar who laid the actual foundations of a proper school of this art form. The city built by Akbar at Fatehpur Sikri was the ideal locale for a community of craftsmen and aesthetes devoted to the pursuit of the arts. That remarkable chronicler of the times, Abul Fazl, has in his two works, the Akbar Namah and the Aini Akbari, left us a faithful account of the varied interests of Akbar's court. Akbar attracted a wealth of talent towards himself. The Aini Akbari has a special chapter on the art of painting and mentions Akbar's personal interest in the atelier at his court. The master painters were the two Persians, Abdus Samad and Mir Sayyid Ali; the rest of the artists were mainly Hindus. The painters concentrated on two branches of the art of miniature: book illustration and portraiture. In drawing a portrait, the artist's primary concern was to seize a likeness. Thus we have a pictorial record of the Nine Jewels who added lustre to Akbar's court.
    [Show full text]
  • Dr. Mallika Banerjee Born in a Family Dedicated to Music Dr. Mallika
    Dr. Mallika Banerjee Born in a family dedicated to music Dr. Mallika Banerjee was initiated to Hindustani vocal Classical music at an early age by her mother Smt. Parul Banerjee, a well-known vocalist. Later she became personal disciple of Prof. Krishna Bisht, the eminent exponent of Delhi Gharana. Apart from Khayal she is equally adept in light classical forms which she has learnt under the guidance of her mother. Academically she is a Doctorate in Music from the University of Delhi. Her area of research was ancient world music systems. She is a notable artiste in the field of Hindustani classical music and in recognition of her artistry she has been awarded by some very respected organizations – 1. Surmani - By Sur Singar Parishad, Mumbai 2. Nada Brahma Shiromani – By Lok kala Manch Delhi 3. Sangeet Bhushan – by Society for Action through Music 4. Gunijan Samman – By Swaranjali Delhi Prior to IGNOU she has experience of working in All India Radio as Programme Executive for 20 years. Mallika is now working in IGNOU as one of the Faculty member in music. She is an approved A Grade Classical Vocalist of AIR Delhi and an empanelled artiste of ICCR. Apart from of Classical and Light Classical music Mallika is also proficient in Bengali Ragpradhan and Nazrulgeeti. List of Publications- Book – Music in Ancient Civilizations – ISBN – 978-81-8457-763-1 Course Contents – Contributed a Unit in the course material for Post Graduate Programme in Gender Studies,(Constructing Gender through Arts and Media) on women and Indian Music through ages, with the topic “Construction of Tradition”(ISBN: 978-81-266-6329-9) Contributed units for the SLMs for programmes of Music run by NIOS.
    [Show full text]
  • Music, the Media, and Communal Relations in North India, Past and Present
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 1996 Music, the Media, and Communal Relations in North India, Past and Present Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/87 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 5 Music, the Media, and Communal Relations in North India, Past and Present PETER MANUEL MUCH OF THE DISCUSSION of communalism has attempted to ascertain the depth of the evident communal sentiment reflected in recent distur­ bances and the rise of Hindu militancy. Amrita Basu's essay above echoes a similar question about cultural history: do current developments reflect profound, long-standing, grass-roots animosity, or, alternately, are they merely the products of contemporary elite manipulation, ultimately con­ ditioned by factorsother than religious ones? While sociopolitical history is a natural focusfor such inquiries, the study of expressive culture may re­ veal much about social practices and attitudes, both elite and grass-roots, past and present. This chapter focuses on musical culture in north India, outlining relevant aspects of the social history of classical music, and pre­ senting some observations on twentieth-century folkand popular musics. My discussion of the contemporary scene will also refer to related forms of expressive culture, notably Hindi cinema and the sociopolitical uses of cassettes. Given the extraordinary diversity of South Asian musical genres and practices, any attempt to generalize about music's relation to communal­ ism is destined to a degree of superficiality.
    [Show full text]
  • Ragatime: Glimpses of Akbar's Court at Fatehpur Sikri
    DOI: http://dx.doi.org/10.14236/ewic/EVA2017.61 Ragatime: Glimpses of Akbar’s Court at Fatehpur Sikri Terry Trickett London NW8 9RE UK [email protected] ‘Ragatime’ is a piece of Visual Music in the form of a raga that recreates the sights and sounds of Akbar’s Court at Fatehpur Sikri. As the centre of the Mughal Empire for a brief period in the 16th century, Fatehpur Sikri was remarkable for its architecture, art and music. Akbar’s favourite musician, Mian Tansen, was responsible for developing a genre of Hindustani classical music known as dhrupad; it’s the principles of this genre that I’ve encapsulated in my own interpretation of Raga Bilaskhani Todi. Ragatime starts with a free flowing alap which, as tradition dictates, sets the rasa (emotion or sentiment) of the piece. The following section, gat, is announced by rhythmic drumming which signals the soloist to begin an extended improvisation on the Raga’s defined note pattern. It is the subtle differences in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that demarcate one raga from another. To Western ears, raga is a musical form that remains ambiguous and elusive; only a declared master of the art, or guru, can breathe life into each raga as he or she unfolds and expands it. Similarly, a raga’s tala, or rhythm, requires a freedom of expression that embraces the ‘rhythm of the universe as personified by Shiva, Lord of the Dance’.
    [Show full text]
  • Medieval India 2020
    M e d i e v a l I n d i a 2 0 2 0 Architecture in Pallava Chola Empire It was a great age of temple Caste system was widely building. The Pallavas prevalent during the Chola introduced the art of excavating period . Brahmins and temples from the rock. In fact, Kshatriyas enjoyed special the Dravidian style of temple privileges. The i nscriptions of architecture began with the the later period of the Chola Pallava rule. rule mention about two major Mahendravarman I introduced divisions among the castes – the rock - cut temples. This style Valangai and Idangai castes. of Pallava temples are seen at However, there was cooperation places like Mandagappattu, among various cas tes and sub - ahendravadi, Mamandur, castes in social and Dalavanur, Tiruchirappalli, religious life. The position of Vallam, Siyamangalam and women did not improve. The Tirukalukkunram. practice of ‘sati’ was prevalent The second stage of Pallava among the royal families. The architecture is represented by devadasi system or dancing the monolithic r athas and girls attached to temples Mandapas found at emerged during this period. Mamallapuram. Both Saivism and Narasimhavarman I took the V aishnavism continued to credit for these wonderful flourish during the Chola architectural monuments. The period. A number of temples five rathas , popularly called as were built with the patronage of the Panchapanadava rathas , Chola kings and queen signifies five different styles of temple architecture. Foreign Travellers Vijayanagara Kingdom However, among these travellers, only The most striking feature about Duarte Barbosa and Dominigo the location of Vijayanagara is Paes visited Vijayanagar during the natural basin formed by the the reign of Krishna Deva Raya .
    [Show full text]
  • Tansen Tansen
    NCERT Solutions Supplementary Class 6 English - Chapter 5 Tansen Tansen Exercise Questions (Page 19) Question 1: Why did Swami Haridas say Tansen was ‘talented’? Answer: Tansen was a very naughty child who could imitate the calls of birds and animals perfectly. One day, a famous singer named Swami Haridas along with his disciples settled down in a shady grove to take rest. Seeing them, Tansen tried to frighten them away by roaring like a tiger. When the travellers found out it was Tansen who made the sound, Swami Haridas was impressed by his skill and called him ‘talented’. Question 2: Why did Akbar ask Tansen to join his court? Answer: Tansen learnt music from Swami Haridas for eleven years and became a great and famous singer. Once Tansen went to Akbar’s court to sing and soon became a great favourite of the Emperor. Akbar was highly impressed with his performance and he asked Tansen to join his court immediately. Question 3: How do we know that Akbar was fond of Tansen? Give two reasons. Answer: Tansen became a great favourite of the Emperor Akbar. The Emperor would often call upon Tansen to sing at any time of the day for a performance. Akbar would often just walk into Tansen’s house to hear him practice. Besides, he would also give the singer various beautiful presents. Question 4: What did the other courtiers feel about Tansen? Answer: With the increase in Tansen’s popularity, the other courtiers of Akbar’s court became jealous of him. They decided to ruin his music career and get rid of him forever.
    [Show full text]
  • Ragas Are There? — P
    THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXII 1991 mimumHHmMjUUMmBimMlIBBBBBBBlIBBBBUIlllIHlBW" ■■nBBBBBBBBBBBflBBBBBBBflBBBBBBBBBBBBM 5n? * jiffitfro to* i tr^TT to nrafci to firoiftr n “I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!” Edited by T. S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras-600 014 Annual Subscription - Inland Rs.40: Foreign $ 3-00 V OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full.) The Editor of the Journal is not responsiblev«r for the views expressed by contributors in their articles. CONTENTS . PAGE y The 64th Madras Music Conference - Official Report — 1 Advisory Committee Meetings — 19 The Sadas — 52 Margadarsi Whom Swati Tirunal Followed — T.S. Parthasarathy — 72 Compositions of Ettayapuram Rulers -—Dr. Gowri Kuppuswamy & Dr. M. Hariharan — 82 Development of the Repertoire in Modern Bharata Natyam —-Annie-Marie Gaston (Anjali) — 95 Tana Varnam - Its Identity and Significance -—Lalita Ramakrishna — 135 How many Janya Ragas are there? — P.
    [Show full text]
  • 12. Performing Arts: Music, Dance and Drama(5.6
    MODULE - V Performing Arts: Music, Dance and Drama Painting, Performing Arts and Architecture Notes 12 PERFORMING ARTS: MUSIC, DANCE AND DRAMA usic, dance, drama, folk theatre or puppetry our country India, had all of it in abundance. Oh! somebody playing the Dhol (music instrument) and there is Mmusic, we run to see what it is. Well, it is Lohri which is normally held on 13th January every year in the Northern part of our country. People are singing and dancing with a lot of enthusiasam. These dances are called Bhangra and Gidda in Punjab. These songs and dances portray the various stages in our lives. They reflect the socio-religious customs and practices of rural people earlier, but now are a part of modern city culture also. No school programme is complete without them. They are linked through centuries of celebration and might have started with fertility rites to obtain prosperity for the agricultural community i.e. fertility of land and cattle but also of birth and survival of children. There are many reasons for celebration that it is difficult to list them. Why don’t you make a list of these activities and find out how and why people celebrate them. You will not only find this activity interesting but you will be unable to put a full stop to it. Do you know why? Because the number is so large that you will never be able to know all the music, dance and drama that our country has. India is a land of rich culture and heritage. Since the beginning of our civilization, music, dance and drama have been an integral aspect of our culture.
    [Show full text]