This Booklet con tains 32 printed pages. AF17—XVIII Ques tion Book let No. &Òü šøÅ—šìy 32> ³å[‰t¡ šõË¡à "àìá¡ú šøÅ—-šå[ÑzA¡à Î}J¸à EXAMINATION—STPGT

SUBJECT : MUSIC

Do not open this Question Booklet until you are asked to do so. &Òü šøÅ—šy ™t¡Û¡o Jåºìt¡ >à ¤ºà Òì¤ t¡t¡Û¡o š™¢”z Jåºì¤> >à¡ú Read care fully all the instruc tions given at the back page and on the front page of this Ques tion Book let. &Òü šøÅ—šìy¹ ëÅÈ šõË¡à * šø=³ šõË¡àÚ ëƒ*Úà γÑz [>샢Åऺ㠳ì>àì™àK ÎÒA¡àì¹ šØl¡æ>¡ú In struc tions for Candidates š¹ãÛ¡à=¢ã샹 \>¸ [>샢Åऺã

1. OMR 1. Use Black Ballpoint Pen only for writing &Òü šøÅ—šìy ëºJ๠\>¸ &¤} l¡üv¡¹šìy l¡üv¡¹ particulars of this Question Booklet and [W¡[Òû¡t¡ A¡¹ìt¡ Ç¡‹å³ày A¡àìºà A¡à[º¹ ¤ºšìÚ–i¡ A¡º³ marking responses on the OMR ¤¸¤Ò๠A¡¹ç¡>¡ú Answer Sheet. 2. &Òü š¹ãÛ¡à¹ Î³Ú 2 Qsi¡à 30 [³[>i¡¡ú š¹ãÛ¡àÚ ë³ài¡ 2. This test is of 2 hours and 30 minutes 150 [i¡ MCQ ‹¹ì>¹ šøÅ— =àA¡ì¤¡ú šø[t¡ šøìÅ—¹ ³èº¸àS¡ 1 duration and consists of 150 MCQ-type Ò줡ú questions. Each question carries 1 mark. 3. ®å¡º l¡üv¡ì¹¹ \>¸ ëA¡àì>à ˜¡oàuA¡ >´¬¹ =àA¡ì¤ >à¡ú 3. There is no negative marking for any wrong answer. 4. š¹ãÛ¡à=¢ãìA¡ ¹àó¡ *ÚàA¢¡ A¡¹ìt¡ Òì¤ Ç¡‹å³ày ëA¡àìÆW¡> ¤åA¡ìºìi¡ (šøÅ—šìy) [>[ƒ¢Ê¡ A¡¹à Ñ‚àì>¡ú 4. Rough work should be done only in the space provided in the Question Booklet. 5. šøìÅ—¹ l¡üv¡¹ Ç¡‹å³ày OMR l¡üv¡¹šìy [W¡[Òû¡t¡ A¡¹ìt¡ Ò줡ú l¡üv¡¹ [W¡[Òû¡t¡ A¡¹à¹ [¤ÈìÚ š¹ãÛ¡à=¢ãìA¡ Î줢àZW¡ Ît¡A¢¡t¡à 5. The answers are to be marked on the OMR "¤º´¬> A¡¹ìt¡ Ò줡ú šøìÅ—¹ l¡üv¡¹ &A¡¤à¹ [W¡[Òû¡t¡ A¡¹à ÒìÚ Answer Sheet only. Mark your responses ëKìº ëA¡àì>à "¤Ñ‚àìt¡Òü t¡àìA¡ š[¹¤t¢¡> ¤à Î}ìÅà‹> A¡¹à carefully since there is no chance of ™àì¤ >à¡ú alteration/correction. 6. A¡à[º-ë³àW¡>ãÚ Òüì¹\๠¤à Îàƒà t¡¹º-\àt¡ãÚ ¤Ññ¹ ¤¸¤Ò๠6. Use of eraser or whitener is strictly δšèo¢¹ê¡ìš [>[ȇý¡¡ú prohibited. 7. š¹ãÛ¡à=¢ã샹 ³ì> ¹àJìt¡ Òì¤ ë™ šøÅ—šìy¹ šøÅ—P¡[º 7. Candidates should not that each question is [‡-®¡à[ÈA¡ (Òü}¹à\ã * ¤à}ºà) Ò줡ú &Òü ëÛ¡ìy ®¡àÈà-³à‹¸³ given in bilingual form (English and Bengali). In case of any discrepancy or confusion in the ¤à ®¡àÈà-Î}ÑH¹ìo ëA¡àì>à ‹¹ì>¹ "ÎU[t¡ "=¤à ë¤àc¡à¹ medium/ version, the English Version will be "Îå[¤‹à l¡üšº§¡ Òìº Òü}¹à\ã Î}ÑH¹oìA¡Òü šøAõ¡t¡ Ç¡‡ý¡ ¤ìº treated as the authentic version. Ko¸ A¡¹ì¤>¡ú

Name of the Candi date (in Cap itals) : ______š¹ãÛ¡à=¢ã¹ >à³ (¤Øl¡ "Û¡ì¹) Roll No. : ______OMR Answer Sheet No. : ______ë¹àº >´¬¹ OMR l¡üv¡¹šìy¹ >´¬¹

Full Signa ture of the Candi date with date Signa t ure of the Invi gila t or with date š¹ãÛ¡à=¢ã¹ δšèo¢ ѬàÛ¡¹ t¡à[¹JÎÒ [>¹ãÛ¡ìA¡¹ ѬàÛ¡¹ t¡à[¹JÎÒ /9 Directions : Answer the following questions [>샢[ÅA¡à : Î[k¡A¡ l¡üv¡¹[i¡ [>¤¢àW¡> A¡ì¹ >ãìW¡¹ šøÅ—P¡[º¹ by selecting the correct option. l¡üv¡¹ ƒà*¡ú

1. In Indian classical music, the total 1. ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãìt¡ Åøç¡[t¡¹ ë³ài¡ Î}J¸à Òº number of Shrutis are (A) 20 (A) 20 (B) 21 (B) 21 (C) 22 (C) 22 (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

2. What is the correct order for 2. l¡üƒàv¡, ">åƒàv¡ &¤} Ѭ[¹t¡ ë¤àc¡àì>๠\>¸ ‘Udatta’, ‘Anudatta’ and ‘Swarita’ [>³—[º[Jt¡ ëA¡à>ô yû¡³[i¡ Î[k¡A¡? respectively? (A) >ãWå¡, ³‹¸, l¡üòWå¡ (A) Lower, Middle, Upper (B) l¡üòWå¡, >ãWå¡, ³‹¸ (B) Upper, Lower, Middle (C) l¡üòWå¡, ³‹¸, >ãWå¡ (C) Upper, Middle, Lower (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

3. The most prominent and very 3. ¹àìK ¤¸¤Òê¡t¡ Ѭ¹P¡[º¹ ³ì‹¸ ë™ Ñ¬¹[i¡ "[‹A¡ frequently used swara in a raga is š[¹³àìo šøìÚàK A¡¹à ÒÚ, t¡àìA¡ ¤ìº called (A) ¤àƒã Ѭ¹ (A) Vadi Swara (B) γ¤àƒã Ѭ¹ (B) Samvadi Swara (C) >¸àΠѬ¹ (C) Nyas Swara (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

4. 4. The third part of a song is known as Kàì>¹ t¡õt¡ãÚ [¤®¡àK[i¡ìA¡ ¤ºà ÒÚ (A) Sthayi (A) Ñ‚àÚã (B) Antara (B) "”z¹à (C) Sanchari (C) Îe¡à¹ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

5. Number of Vikrit Swaras in Indian 5. ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãìt¡ [¤Aõ¡t¡ Ѭ칹 Î}J¸à Òº classical music are (A) (A) five šòàW¡[i¡ (B) six (B) áÚ[i¡ (C) seven (C) Îàt¡[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 2 6. Alapti is 6. "àº[œ¡ Òº (A) Sargam (A) ιK³ (B) Anibaddha Alap (B) "[>¤‡ý¡ "àºàš (C) Andolan (C) "àì–ƒàº> (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

7. The number of strings in a Tanpura 7. is/are t¡à>šå¹àÚ t¡àì¹¹ Î}J¸à Òº

(A) one (A) &A¡[i¡

(B) two (B) ƒåÒü[i¡ (C) three (C) [t¡>[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

8. Which musical instrument is 8. ‹øç¡šƒ &¤} ‹à³à¹ "ìU¹ Kàì>¹ ÎìU Î}Kìt¡¹ commonly used for accompaniment \>¸ Îà‹à¹ot¡ ëA¡à>ô ¤àƒ¸™”|[i¡ ¤¸¤Ò๠A¡¹à ÒÚ? with Dhrupad and Dhamar? (A) šàìJàÚà\ (A) Pakhwaj (B) (B) Ghatam Qi¡³ (C) (C) Sreekhol ÅøãìJàº

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

9. A song composed in such a way 9. ë™ Kàì>¹ ®¡àÈàÚ ¹àìK¹ [¤[®¡Ä ºÛ¡oP¡[º šøA¡àÅ that it represents the various šàÚ, ëÎÒü Kà>ìA¡ ¤ìº characteristics of a Raga, is called (A) ºÛ¡oKãt¡ (A) Lakshan-geet (B) Ѭ¹³à[ºA¡à (B) Swarmalika (C) ëJÚຠ(C) Khayal (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

10. 10. Jhala is associated with c¡àºà ëA¡à>ô ¤àƒ¸™ì”|¹ ÎìU ™åv¡û¡?

(A) Tabla (A) t¡¤ºà

(B) Sitar (B) ëÎt¡à¹ (C) Pakhwaj (C) šàìJàÚà\ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 3 [ P.T.O. 11. Kaida is played on which musical 11. A¡àÚƒà ëA¡à>ô ¤àƒ¸™ì”| ¤à\àì>à ÒÚ? instrument? (A) ëÎt¡à¹ (A) Sitar (B) Îì¹àƒ (B) Sarod (C) t¡¤ºà (C) Tabla (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

12. According to modern scholars, the 12. "à‹å[>A¡ š[r¡t¡ìƒ¹ ³ìt¡, ë™ Åøç¡[t¡¹ l¡üš¹ ‘Îà’ Shruti on which ‘Sa’ is placed is Ñ‚à[št¡, ëÎ[i¡ Òº (A) Kumudvati (A) A塳å‡t¡ã (B) Manda (B) ³–ƒà (C) Dayavati (C) ƒÚà¤t¡ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 13. How many types of Saptaks are there? 13. Îœ¡A¡ A¡Ú šøA¡à¹? (A) Four (A) W¡à¹ (B) Five (B) šòàW¡ (C) Six (C) áÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

14. The process where the Swaras of 14. ¹àìK¹ Ѭ¹P¡[º >ãWå¡ šƒ¢à ë=ìA¡ yû¡³à>åÎàì¹ l¡üòWå¡ a Raga are sung serially in an ascending order is known as šƒ¢àÚ ™à¤à¹ K[t¡ìA¡ ¤ìº (A) Aroha (A) "àì¹àÒ (B) Abroha (B) "¤ì¹àÒ (C) Pakad (C) šA¡Øl¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

15. Hiding the main ‘Swaroop’ of a Raga 15. ³èº ¹àK ë=ìA¡ Îì¹ [KìÚ ">¸ ¹àìK¹ Ѭ¹ by deviating from the Raga and ¤¸¤Ò๠A¡ì¹ ³èº ¹àìK¹ Ѭ¹ê¡šìA¡ áà[šìÚ using Swaras of a different Raga is ™à*ÚàìA¡ ¤ìº termed as (A) (A) Abirbhav "à[¤®¢¡à¤ (B) Tirobhav (B) [t¡ì¹à®¡à¤ (C) Alap (C) "àºàš (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 4 16. The reference of Veena, Mridanga, 16. ëA¡à>ô ë¤ìƒ ¤ãoà, ³õƒU, ¤}Åã, l¡³¹ç¡ šø®õ¡[t¡ Flute, Damru and other musical ¤àƒ¸™ì”|¹ l¡üìÀJ šà*Úà ™àÚ? instruments are found in which Veda? (A) ˜¡Aô¡ì¤ìƒ (A) Rigveda (B) Îà³ì¤ìƒ (B) Samaveda (C) "=¤¢ì¤ìƒ (C) Atharvaveda (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 17. ‘³Ò஡à¹t¡’ ³ÒàA¡à줸 ëA¡à>ô Nøàì³¹ ¤o¢>à šà*Úà 17. The epic Mahabharata contains the ™àÚ? description of which Grama? (A) ÈØl¡\ Nøà³ (A) Sharaj Grama (B) ³‹¸³ Köà³ (B) Madhyam Grama (C) KàÞê¡à¹ Nøà³ (C) Gandhar Grama (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 18. ‘Ò[¹¤}Å šå¹ào’-& A¡[i¡ Îœ¡ìA¡¹ l¡üìÀJ šà*Úà 18. Haribansha Purana contains the ™àÚ? reference of how many Saptakas? (A) (A) Three [t¡>[i¡ (B) (B) Four W¡à¹[i¡ (C) Five (C) šòàW¡[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

19. Tansen was the court musician of 19. ë™ ¹à\๠ƒ¹¤àì¹ t¡à>ìÎ> ή¡àKàÚA¡ [áìº>, (A) Babar [t¡[> Òìº> (B) Akbar (A) ¤à¤¹ (C) Shah Jahan (B) "àA¡¤¹ (D) None of them (C) ÅàÒ\àÒà> (D) &ò샹 ëA¡l¡üÒü >> 20. The book, Abhinaba Raga Manjari was written by 20. ‘"[®¡>¤ ¹àK ³gæ¹ã’ Nø”‚[i¡ [ºìJ[áìº> (A) Pt. Vishnu Digamber Paluskar (A) š[“¡t¡ [¤Ìå¡[ƒK´¬¹ šºåÑH¹ (B) Pt. Vishnu Narayan Bhatkhande (B) š[“¡t¡ [¤Ìå¡>à¹àÚo ®¡àt¡Jìr¡ (C) Pt. Ahobal (C) š[“¡t¡ "ìÒऺ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/9 5 [ P.T.O. 21. Indira Kala Sangeet 21. Òü[–ƒ¹à A¡ºà ÎUãt¡ [¤Å«[¤ƒ¸àºÚ[i¡ ëA¡à=àÚ Vishwavidyalaya is situated at "¤[Ñ‚t¡? (A) Delhi (A) [ƒÀã (B) Jaipur (B) \Úšå¹ (C) Gwalior (C) ëKàÚà[ºÚ¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

22. Guru of Tansen was 22. t¡à>ìÎì>¹ P¡¹ç¡ [áìº> (A) Sadarang (A) ΃à¹U (B) Gopal Nayak (B) ëKàšàº >àÚA¡ (C) Swami Haridas (C) Ѭà³ã Ò[¹ƒàÎ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

23. In which Swara should Tabla be 23. Î}Kìt¡¹ \>¸ t¡¤ºàìA¡ ëA¡à>ô Ñ¬ì¹ ë³ºàì>à ¤à tuned for accompaniment? ¤òà‹à ÒÚ? (A) Sharaj (A) ÈØl¡\ (B) Gandhar (B) KàÞê¡à¹ (C) Dhaibat (C) 틤t¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

24. In the Samik era, how many Swaras 24. Îà[³A¡ ™åìK A¡Ú[i¡ Ѭ칹 ³à‹¸ì³ Kà> Kà*Úà were used for singing? Òt¡? (A) One (A) &A¡[i¡ (B) Two (B) ƒåÒü[i¡ (C) Three (C) [t¡>[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

25. Ustad Rashid Khan is a famous 25. *Ñzàƒ ¹[Ń Jà> &A¡\> [¤J¸àt¡ (A) Sitar player (A) ëÎt¡à¹ ¤àƒA¡ (B) vocalist (B) A¡q¡ÎUãt¡ [Å¿ã (C) Tabla palyer (C) t¡¤ºà ¤àƒA¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 6 26. The tune of which of the following 26. [>³—[º[Jt¡ ëA¡à>ô ¹¤ã–ƒøÎUãt¡[i¡¹ Îåì¹¹ ÎìU Rabindra Sangeet is same as one of ÅW¡ã> 냤¤³¢ì>¹ ÎõÊ¡ &A¡[i¡ Kàì>¹ Îåì¹¹ [³º the songs composed by Sachin Deb- šà*Úà ™àÚ? barman? (A) *Òü "àÎ>t¡ìº¹ (A) Oi Aasontoler (B) (B) Bipulo Tarango Re [¤šåº t¡¹U ë¹ (C) Jodi Taare Nai Chini Go (C) ™[ƒ t¡àì¹ >àÒü [W¡[> ëKà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

27. Placement of ‘Shuddha Dhaivat’ in 27. "à‹å[>A¡ Åøç¡[t¡ &¤} Ѭ칹 [¤®¡à\> ">å™àÚã Ç¡‡ý¡ the present division of Shruti and 틤ìt¡¹ Ñ‚à> Swara is on (A) 15t¡³ Åøç¡[t¡ (A) 15th Shruti (B) 16t¡³ Åøç¡[t¡ (B) 16th Shruti (C) (C) 17th Shruti 17t¡³ Åøç¡[t¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

28. Among the following, the folk song 28. [>³—[º[Jt¡ ÎUãt¡ ‹à¹àP¡[º¹ ³ì‹¸ ¤à}ºà¹ from Bengal is ëºàA¡ÎUãìt¡¹ ‹à¹à[i¡ Òº (A) Kajri (A) A¡à\ô¹ã (B) Bhatiyali (B) ®¡à[i¡Úàºã (C) Lawani (C) ºà*Úà>ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 29. Which one of the following is a Moorchchana of Sharaj Grama? 29. ÈØl¡\ Nøàì³¹ ³èZá¢>à[i¡ Òº (A) Shuddha-Sharja (A) Ç¡‡ý¡-ÈØl¡\à (B) Soubiri (B) ëÎï¤ã¹ã (C) Suddha-Madhya (C) Ç¡‡ý¡-³‹¸à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

30. In ancient times, Marga Sangeet was 30. šøàW¡ã>A¡àìº ³àK¢ ÎUãt¡ A¡à¹à KàÒüìt¡>? sung by (A) (A) Gandharvas KÞꡤ¢¹à (B) common people (B) Îà‹à¹o \>Ko (C) Both (A) and (B) (C) (A) &¤} (B) l¡ü®¡ÚÒü (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 7 [ P.T.O. 31. Which of the following is not a 31. [>³—[º[Jt¡ ëA¡à>[i¡ ³àK¢ t¡àº¹ê¡ìš šøW¡[ºt¡ [ẠMarga Taal? >à? (A) Chachchatput (A) W¡ZW¡;šåi¡ (B) Chachput (B) W¡àW¡šåi¡ (C) Udghattak (C) l¡üƒQj¡A¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

32. Raga Yamen belongs to which 32. Thata? ¹àK Òü³> ëA¡à>ô k¡àìi¡¹ "”zK¢t¡? (A) (A) Kafi A¡àó¡ã

(B) Kalyan (B) A¡º¸ào

(C) Khambaj (C) Jà´¬à\

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

33. How many Thatas have been 33. š[r¡t¡ ®¡àt¡Jìr¡\ã A¡Ú[i¡ k¡àìi¡¹ šøW¡º> A¡ì¹>? used by Pt. Bhatkhandeji for the (A) classification of Ragas? ƒÅ[i¡

(A) Ten (B) ¤àì¹à[i¡

(B) Twelve (C) ëW¡ï„[i¡

(C) Fourteen (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

(D) None of the above 34. šøàW¡ã> ÎUãt¡ Nø씂 A¡Ú[i¡ Nøà³ ¹àìK¹ l¡üìÀJ šà*Úà ™àÚ? 34. According to ancient musical text, the number of Grama Ragas were (A) Aå¡[Øl¡[i¡ (A) twenty (B) šò[W¡Å[i¡ (B) twenty five (C) [t¡[¹Å[i¡ (C) thirty (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above . 35. Îà ë¹ K š ‹ Îà—ëA¡à>ô ¹àìK¹ "àì¹àÒ? 35. Sa Re Ga Pa Dha S&a—is the Aroha of

(A) Raga Bhupali (A) ¹àK ®å¡šàºã

(B) Raga Behag (B) ¹àK ë¤ÒàK (C) Raga Yamen (C) ¹àK Òü³> (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 8 36. Anga of Bhairav Raga is 36. í®¡¹¤ ¹àìK¹ "U Òº (A) Purvanga (A) šè¤¢àU (B) Uttaranga (B) l¡üv¡¹àU (C) Dhrupadanga (C) ‹øç¡šƒàU (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

37. Gandharva Geet is 37. KàÞꡤ¢ Kãt¡ Òº (A) Marga Sangeet (A) ³àK¢ ÎUãt¡ (B) Prabandha Sangeet (B) šø¤Þê¡ ÎUãt¡ (C) Deshi Sangeet (C) ëƒÅã ÎUãt¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

38. Vadi Swara of behag Raga is 38. ë¤ÒàK ¹àìK¹ ¤àƒã Ѭ¹ Òº (A) Ma (A) ³ (B) Pa (B) š (C) Dha (C) ‹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

39. Raga from Kafi Thata is 39. A¡àó¡ã k¡àìi¡¹ ¹àK[i¡ Òº (A) Behag (A) ë¤ÒàK (B) Bhairavi (B) í®¡¹¤ã (C) Bhimpalashri (C) ®¡ã³šºÅøã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

40. Which of the following Raga is a Sandhiprakash Raga? 40. [>[³—[º[Jt¡ ëA¡à>ô ¹àK[i¡ Î[Þê¡šøA¡àÅ ¹àK?

(A) Bageshri (A) ¤àìKÅøã

(B) Bhairav (B) í®¡¹¤ (C) Behag (C) ë¤ÒàK (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 9 [ P.T.O. 41. How many Komal Swaras are used 41. ³àºìA¡àÈ ¹àìK A¡Ú[i¡ ëA¡à³º Ѭ칹 ¤¸¤Ò๠ÒÚ? in Malkoush Raga? (A) ƒåÒü[i¡ (A) Two (B) [t¡>[i¡ (B) Three (C) (C) Four W¡à¹[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

42. What is the Jati of Jounpuri Raga? 42. ë\ï>šå¹ã ¹àìK¹ \à[t¡ Òº (A) Sharav–Sampurna (A) ÈàØl¡¤–δšèo¢ (B) Aurav–Sharav (B) +Øl¡¤–ÈàØl¡¤ (C) Aurab–Aurab (C) +Øl¡¤–+Øl¡¤ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 43. N.i, Sa Ga Ma Pa Dha Pa, Ga Ma Dha Pa, Ma Ga Re Sa—this combination 43. [>. , Îà K ³ š ‹ š, K ³ ‹ š, ³ K ë¹ of notes depicts which Raga? Îà—&Òü Ѭ¹Î³èÒ[i¡ ëA¡à>ô ¹àìK¹? (A) Ramkeli (A) ¹à³ìA¡ºã (B) Bhairavi (B) í®¡¹¤ã (C) Bhairav (C) í®¡¹¤ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 44. Out of the 72 Thatas of Pt. Venkatamakhi, how many Thatas 44. š[r¡t¡ 뮡S¡i¡³Jã¹ 72[i¡ k¡àìi¡¹ ³ì‹¸ A¡o¢ài¡A¡ã are currently used in Carnatic ÎUãt¡ š‡ý¡[t¡ìt¡ A¡[i¡ k¡àìi¡¹ šøW¡º> "àìá? music? (A) Îìt¡ì¹à[i¡ (A) Seventeen (B) Eighteen (B) "àk¡àì¹à[i¡ (C) Nineteen (C) l¡ü[>Å[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

45. The bandish—‘Piyan Ki Nazariyan’ is 45. ‘[šÚà A¡ã >\[¹Úà’—¤[–ƒÅ[i¡ ëA¡à>ô ¹àìK? based on which Raga? (A) í®¡¹¤ã (A) Bhairavi (B) Bhairav (B) í®¡¹¤ (C) Behag (C) ë¤ÒàK (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 10 46. Number of Matras of Rupakra Taal 46. ¹ê¡šA¡Øl¡à t¡à캹 ³àyà Î}J¸à Òº is (A) W¡à¹ (A) four (B) šòàW¡ (B) five (C) áÚ (C) six (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

47. 47. The Theka of Choutaal is generally ëW¡ït¡à캹 ëk¡A¡à Îà‹à¹ot¡ ëA¡à>ô Î}Uãt ¡‹à¹à¹ used to accompany ÎìU ¤à\àì>à ÒìÚ =àìA¡?

(A) Dhrupad (A) ‹øç¡šƒ (B) Khayal (B) ëJÚຠ(C) Gazal (C) K\º (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

48. Among the following, the Taal with 48. [>³—[º[Jt¡ ëA¡à>ô t¡àº[i¡¹ Jà[º ë>Òü? no Khali is (A) [yt¡àº (A) Tritaal (B) (B) Nabataal >¤t¡àº

(C) Kaharwa Taal (C) A¡àÒ๤à t¡àº

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

49. Taal used to accompany Bada 49. ¤Øl¡ ëJÚà캹 ÎìU Î}Kìt¡¹ \>¸ ¤¸¤Ò๠A¡¹à Khayal is ÒÚ (A) Tewra Taal (A) ët¡*Øl¡à t¡àº (B) Dadra Taal (B) ƒàƒ¹à t¡àº (C) Ektaal (C) &A¡t¡àº (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

50. Symbol used to show Khali of a Taal is 50. t¡à캹 Jà[º [W¡Òû¡[i¡ Òº

(A) × (A) ×

(B) + (B) +

(C) 0 (C) 0 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 11 [ P.T.O. 51. The number of Vibhagas in Tewra 51. ët¡*Øl¡à t¡àìº [¤®¡àìK¹ Î}J¸à Òº Taal are (A) ƒåÒü[i¡ (A) two (B) [t¡>[i¡ (B) three (C) W¡à¹[i¡ (C) four (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

52. 52. The Chougun of Tritaal will start &A¡ "à¤t¢¡ì> [yt¡à캹 ëW¡ïP¡o ëA¡à>ô ³yà ë=ìA¡ from which Matra in one Avartan? Ç¡¹ç¡ Òì¤? (A) Eleventh Matra (A) &Kàì¹à ³àyà (B) Twelfth Matra (B) ¤àì¹à ³àyà (C) Thirteenth Matra (C) ët¡ì¹à ³àyà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

53. Among the following, which pair of 53. [>³—[º[Jt¡ ëA¡à>ô ƒå[i¡ [Ò–ƒåÑzà>ã t¡à캹 t¡à[º &¤} Hindustani Taals have the same Jà[º¹ Î}J¸à γà>? number of Taali and Khali? (A) &A¡t¡àº &¤} ëW¡ït¡àº (A) Ektaal and Choutaal (B) ¹ê¡šA¡ &¤} ët¡*Øl¡à (B) Roopak and Tewra (C) (C) Jhaptaal and Surphaktaal cò¡àšt¡àº &¤} Îå¹óò¡àA¡t¡àº (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

3 3 54. indicates Layakari of 54. ëA¡à>ô ºÚA¡à¹ã ë¤àc¡àÚ? 2 2

(A) Dergun (A) ëƒØl¡P¡o (B) Digun (B) [‡P¡o (C) Tingun (C) [t¡>P¡o (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 55. The Khali of Jhaptaal is on which Matra? 55. cò¡àšt¡àìº Jà[º A¡t¡ ³àyàÚ? (A) Third Matra (A) tõ¡t¡ãÚ ³àyàÚ (B) Fifth Matra (B) še¡³ ³àyàÚ (C) Seventh Matra (C) Îœ¡³ ³àyàÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 12 56. The number of Matras of Jhampak 56. c¡´šA¡ t¡à캹 ³àyà Î}J¸à Òº Taal are (A) W¡à¹ (A) four (B) šòàW¡ (B) five (C) (C) six áÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

57. The Rabindra Sangeet—‘Nibiro 57. ‘[>[¤Øl¡ Q> "òà‹àì¹’—&Òü ¹¤ã–ƒøÎUãt¡[i¡¹ t¡àº[i¡ Ghano Aandhare’ is composed in Òº which Taal? (A) >¤t¡àº (A) Nabataal (B) (B) Ekadashi Taal &A¡àƒÅã t¡àº (C) Nabapanchataal (C) >¤še¡t¡àº (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

58. Which one of the following is not a 58. [>³—[º[Jt¡ ëA¡à>[i¡ A¡o¢ài¡A¡ã t¡àº >Ú? Carnatic Taal? (A) ‹ø硤 t¡àº (A) Dhruba Taal (B) (B) Jhampa Taal c¡´š t¡àº (C) Triput Taal (C) [yšåi¡ t¡àº (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

59. How many Vibhagas are there in 59. ‹ø硤 t¡àìº A¡[i¡ [¤®¡àK "àìá? Dhruba Taal? (A) [t¡>[i¡ (A) Three (B) (B) Four W¡à¹[i¡ (C) Five (C) šòàW¡[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

60. How many Taals were introduced by 60. ¹¤ã–ƒø>à= k¡àA塹 šø¤[t¢¡t¡ t¡à캹 Î}J¸à A¡Ú[i¡? Rabindranath Tagore? (A) [t¡>[i¡ (A) Three (B) Five (B) šòàW¡[i¡ (C) Six (C) áÚ[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 13 [ P.T.O. 61. What is the Chhanda of Surphaktaal 61. [Ò–ƒåÑzà>ã ÅàÑ|ãÚ ÎUãìt¡ ¤¸¤Òê¡t¡ Îå¹óò¡àA¡t¡à캹 used in North Indian classical á–ƒ A¡ã? music? (A) 4|2|2|2 (A) 4|2|2|2 (B) 2|2|2|2|2 (B) 2|2|2|2|2 (C) | | | (C) 2|2|2|4 2 2 2 4 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

62. In the Layakari of Taal, Kuar Laya 62. t¡à캹 ºÚA¡à¹ãìt¡ Aå¡ÚàØl¡ ºìÚ ëƒJàì>à ÒÚ shows (A) [t¡> ³àyàìA¡ ƒåÒü ³àyàÚ (A) three Matras in two Matras (B) Îàt¡ ³àyàìA¡ W¡à¹ ³àyàÚ (B) seven Matras in four Matras (C) šòàW¡ ³àyàìA¡ W¡à¹ ³àyàÚ (C) five Matras in four Matras (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

63. The book, Natyashastra was written 63. ‘>ài¡¸ÅàÑ|’ Nø”‚[i¡ [ºìJ[áìº> by (A) ®¡¹t¡ (A) Bharat (B) ³t¡U (B) Matanga (C) >ใ (C) Narad (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 64. Åà¹U샤 tò¡à¹ ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂¹ ëA¡à>ô 64. Sharangadev classified Ragas in which chapter of his book, Sangeet "‹¸àìÚ ¹àìK¹ ëÅøoã[¤>¸àΠδšìA¢¡ &A¡[i¡ [¤Ñzõt¡ Ratnakar? "àìºàW¡>à A¡ì¹ìá>? (A) First (A) šø=³ (B) Second (B) [‡t¡ãÚ (C) Third (C) tõ¡t¡ãÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

65. The number of Deshi Taals 65. ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂 l¡ü[À[Jt¡ ëƒÅã t¡à캹 mentioned in the musical text, Î}J¸à Òº Sangeet Ratnakar is (A) (A) one hundred and twenty &A¡ìÅà Aå¡[Øl¡[i¡ (B) one hundred and thirty (B) &A¡ìÅà [t¡[¹Å[i¡ (C) one hundred and forty (C) &A¡ìÅà W¡[ÀÅ[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 14 66. The book written by Matanga is 66. ³t¡ìU¹ ëºJà Nø”‚[i¡¹ >à³ Òº (A) Natyashastra (A) ‘>ài¡¸ÅàÑ|’ (B) Sangeet Ratnakar (B) ‘ÎUãt¡ ¹â—àA¡¹’ (C) Sangeet Makarand (C) ‘ÎUãt¡ ³A¡¹–ƒ’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 67. The total number of chapters in the book, Sangeet Ratnakar are 67. ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂 ë³ài¡ "‹¸àìÚ¹ Î}J¸à Òº (A) five (A) šòàW¡[i¡ (B) six (B) áÚ[i¡ (C) seven (C) Îàt¡[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

68. The total number of Ragas described in Sangeet Ratnakar are 68. ‘ÎUãt¡ ¹â—àA¡¹’ Nø씂 ë³ài¡ A¡Ú[i¡ ¹àìK¹ ¤o¢>à šà*Úà ™àÚ? (A) 164 (A) 164 (B) 264 (B) (C) 265 264

(D) None of the above (C) 265 (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 69. The total number of Shrutis mentioned in the book, Natyashastra 69. are ‘>ài¡¸ÅàÑ|’ Nø씂 ¤[o¢t¡ Åøç¡[t¡¹ ë³ài¡ Î}J¸à Òº

(A) twenty (A) Aå¡[Øl¡[i¡ (B) twenty-one (B) &Aå¡Å[i¡ (C) twenty-two (C) ¤àÒüÅ[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

70. Author of the musical treatise 70. ‘ÎUãt¡ šà[¹\àt¡’ ÎUãt¡ Nø”‚[i¡ [ºìJ[áìº> Sangeet Parijat is (A) (A) Ahobal "ìÒऺ

(B) Matanga (B) ³t¡U

(C) Jaidev (C) \Ú샤 (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/9 15 [ P.T.O. 71. In which century was Sangeet 71. ‘ÎUãt¡ ¹â—àA¡¹’ Nø”‚[i¡ ëA¡à>ô Åt¡à¦ãìt¡ ¹[W¡t¡? Ratnakar written? (A) &A¡àƒÅ Åt¡à¦ã (A) Eleventh century (B) ‡àƒÅ Åt¡à¦ã (B) Twelfth century (C) (C) Thirteenth century yìÚàƒÅ Åt¡à¦ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

72. The book authored by Pt. 72. š. 뮡S¡i¡³Jã¹ ëºJà Nø”‚[i¡ Òº Venkatamakhi is (A) ‘¹àK³àºà’ (A) Ragamala (B) ‘W¡t塃¢r¡ã šøA¡à[ÅA¡à’ (B) Chaturdandi Prakashika (C) (C) Sangeet Sar ‘ÎUãt¡ Î๒ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

73. The first person to determine the 73. [™[> Τ¢šø=³ ¤ão๠t¡àì¹¹ l¡üš¹ 12[i¡ Ѭ칹 placement of 12 Swaras on the Ñ‚à> [>[ƒ¢Ê¡ A¡ì¹[áìº>, [t¡[> Òìº> strings of a Veena was (A) ëºàW¡> (A) Lochan (B) (B) Ahobal "ìÒऺ (C) Bharat (C) ®¡¹t¡ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

74. The architect of the scheme of 74. 72 [i¡ 볺àA¡t¢¡à¹ š[¹A¡¿>à[i¡ A¡à¹ [áº? 72 Melakartas was (A) >ใ (A) Narad (B) (B) Jaidev \Ú샤 (C) Matanga (C) ³t¡U (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

75. Kathakali dance form belongs to 75. A¡=àA¡[º ëA¡à>ô šøìƒìŹ >õt¡¸îźã? which State? (A) ëA¡¹àºà (A) Kerala (B) Andhra Pradesh (B) "Þøý¡šøìƒÅ (C) Maharashtra (C) ³Òà¹àÊ¡ö (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 16 76. Baul music is a folk musical form of 76. ¤àl¡üº Kà> ëA¡à>ô šøìƒìŹ ëºàA¡ÎUãìt¡¹ &A¡[i¡ (A) Bihar ‹à¹à? (A) (B) Bengal [¤Ò๠(B) (C) Chhattisgarh ¤à}ºà (C) (D) None of the above á[v¡ÅKØl¡ (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 77. Deepchandi Taal is generally used to accompany 77. ƒãšW¡–ƒã t¡àº Îà‹à¹ot¡ ëA¡à>ô ÎUãt¡ ‹à¹à¹ ÎìU (A) Dhrupad Î}Kìt¡¹ \>¸ ¤¸¤Ò๠A¡¹à ÒÚ?

(B) Bada Khayal (A) ‹øç¡šƒ

(C) Thumri (B) ¤Øl¡ ëJÚàº

(D) None of the above (C) k塳[¹ (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 78. How many Vanis are there in Dhrupad? 78. ‹ø硚샹 ¤àoã¹ Î}J¸à A¡Ú[i¡? (A) Three (A) [t¡>[i¡ (B) Four (B) W¡à¹[i¡ (C) Five (C) šòàW¡[i¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

79. Ustad Amir Khan belonged to 79. *Ñzàƒ "à³ã¹ Jòà ëA¡à>ô Q¹à>๠[Å¿ã? (A) Patiala Gharana (A) šà[t¡Úàºà Q¹à>à (B) Kirana Gharana (B) [A¡¹à>à Q¹à>à (C) Agra Gharana (C) "àNøà Q¹à>à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 80. Tappa style of singing was introduced by 80. i¡Ùà ÎUãt¡ ¹ã[t¡¹ šø¤t¢¡> A¡ì¹[áìº>

(A) Shori Miyan (A) ëÅà¹ã [³d¡à (B) Tansen (B) t¡à>ìÎ> (C) Sadarang (C) ΃à¹U (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/9 17 [ P.T.O. 81. The lyrics of Gazals are mostly 81. "[‹A¡à}Å ëÛ¡ìy K\캹 A¡=à ëºJà ÒÚ written in (A) ¤à}ºà ®¡àÈàÚ (A) Bengali language (B) Î}ÑHõt¡ ®¡àÈàÚ (B) Sanskrit language (C) l¡üƒ¢å-ó¡à΢㠮¡àÈàÚ (C) Urdu-Farsi languages (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 82. Ò\à[K[¹ >õt¡¸ ëA¡à>ô ¹àì\¸¹ >õt¡¸îźã? 82. Hozagiri is a dance form of (A) [yšå¹à (A) Tripura (B) "àÎà³ (B) Assam (C) ³[ošå¹ (C) Manipur (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 83. ¤à}ºà¹ ë™ ëºàA¡ÎUãìt¡¹ ‹à¹à[i¡ ³à[c¡³àÀà샹 83. The folk musical form of Bengal ‡à¹à Kãt¡ ÒÚ, ëÎ[i¡ Òº sung by boatsmen is known as (A) ®¡àƒåKà> (A) Bhadugaan (B) ®¡à[i¡Úàºã (B) Bhatiyali (C) (C) Gambhira K´±ã¹à (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

84. 84. The song ‘Kobe Trishito E Moru ‘A¡ì¤ tõ¡[Èt¡ & ³¹ç¡ áà[Øl¡Úà ™àÒü¤’ Kà>[i¡ Chariya Jaibo’ was written by [ºìJ[áìº>

(A) Rabindranath Tagore (A) ¹¤ã–ƒø>à= k¡àA塹

(B) Atul Prasad Sen (B) "t塺šøÎàƒ ëÎ>

(C) Dwijendra Lal Ray (C) [‡ì\–ƒøºàº ¹àÚ

(D) None of them (D) &ò샹 ëA¡l¡üÒü >>

85. Mamita dance is performed on the 85. ë™ l¡ü;ΤìA¡ ëA¡–ƒø A¡ì¹ ³à[³t¡à >õt¡¸ l¡üšÑ‚àš> occasion of A¡¹à ÒÚ, ëÎ[i¡ Òº (A) marriage (A) [¤¤àÒ l¡üšºìÛ¡¸ (B) harvest of new paddy (B) >tå¡> ‹à> A¡ài¡à l¡üšºìÛ¡¸ (C) birth of a child (C) Δzàì>¹ \–µ l¡üšºìÛ¡¸ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 18 86. Kajri is a folk musical form of 86. A¡à\ô¹ã ëA¡à>ô ¹àì\¸¹ ëºàA¡ÎUãt¡? (A) Uttar Pradesh (A) l¡üv¡¹ šøìƒÅ (B) Bengal (B) ¤à}ºà (C) Maharashtra (C) ³Òà¹àÊ¡ö (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 87. Among the following, which one is 87. [>³—[º[Jt¡ ëA¡à>[i¡ ëºàA¡ÎUãìt¡¹ ‹à¹à >Ú? not a form of folk music? (A) K\º (A) Gazal (B) ºà*Úà>ã (B) Lawani (C) iå¡Îå (C) Tushu (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 88. Aõ¡[t¡ìt¡ A¡Ú[i¡ ®¡àK =àìA¡? 88. Kriti consists of how many parts? (A) ƒåÒü[i¡ (A) Two (B) [t¡>[i¡ (B) Three (C) W¡à¹[i¡ (C) Four (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 89. [yšå¹à ιA¡à¹ ëA¡à=àÚ i¡öàÒü¤àº ëó¡àAô¡ [³l¡ü[\A¡ 89. The Government of Tripura estab- lished Tribal Folk Music College at A¡ìº\[i¡ šø[t¡Ë¡à A¡ì¹ìá? (A) (A) Agartala "àK¹t¡ºà (B) Khumlung (B) J峺åR¡ (C) Amarpur (C) "³¹šå¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

90. In Aakarmatrik notation system, the 90. "àA¡à¹³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ &A¡ ³ày๠symbol for one Matra is [W¡Òû¡[i¡ Òº (A) 0 (A) 0 (B) 1 (B) 1 (C) à (C) à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

91. In Aakarmatrik notation system 91. "àA¡à¹³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ëA¡à³º ‹ Komal Dha is shown as [A¡®¡àì¤ ëƒJàì>à ÒÚ? (A) D|ha (A) ‹] (B) Dha (B) ‹ (C) Da (C) ƒ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 19 [ P.T.O. 92. The notation system used in 92. l¡üv¡¹ ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãìt¡ ¤¸¤Òê¡t¡ Ѭ¹[º[š[i¡¹ North Indian classical music was šø¤t¢¡> A¡ì¹[áìº> introduced by (A) š[r¡t¡ šºåÑH¹ (A) Pt. Paluskar (B) š[r¡t¡ ®¡àt¡Jìr¡ (B) Pt. Bhatkhande (C) (C) Krishnadhan Bandyopadhyay Aõ¡Ì¡‹> ¤ì–ƒ¸àšà‹¸àÚ (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 93. In Bhatkhande notation system, 93. ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ t¡ã¤ø ³‹¸³ [A¡®¡àì¤ Teevra Madhyam is shown as ëƒJàì>à ÒÚ? | (A) Ma (A) ³] (B) Ma (B) ³ (C) Ma (C) ³ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 94. In Aakarmatrik notation system, { } 94. { } symbol implies "àA¡à¹³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ [W¡Òû¡[i¡¹ ‡à¹à (A) exclusion of some Swaras ë¤àc¡àì>à ÒÚ during repeatation (A) šå>¹à¤õ[v¡A¡àìº A¡t¡A¡P¡[º Ѭ¹ ¤àƒ ëƒ*Úà (B) repeatation (B) šå>¹à¤õ[v¡ (C) change in some Swaras during (C) šå>¹à¤õ[v¡A¡àìº ëA¡àì>à Ѭ칹 š[¹¤t¢¡> repeatation (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 95. ƒr¡³à[yA¡ Ѭ¹[º[š š‡ý¡[t¡¹ l¡üŠ±à¤> A¡ì¹[áìº> 95. Dandamatrik notation system was introduced by (A) ë\¸à[t¡[¹–ƒø>à= k¡àA塹 (A) Jyotirindranath Tagore (B) ëÛ¡yì³àÒ> ëKàѬà³ã (B) Khetramohan Goswami (C) Aõ¡Ì¡‹> ¤ì–ƒ¸àšà‹¸àÚ (C) Krishnadhan Bandyopadhyay (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 96. [>ì³—àv¡û¡ ëA¡à>ô Ѭ¹[º[š š‡ý¡[t¡ìt¡ D [W¡Òû¡[i¡ 96. The symbol D is used in which of the ¤¸¤Ò๠A¡¹à ÒÚ? following notation systems? (A) (A) Aakarmatrik notation "àA¡à¹³à[yA¡ Ѭ¹[º[š (B) (B) Bhatkhande notation ®¡àt¡Jìr¡ Ѭ¹[º[š (C) Dandamatrik notation (C) ƒr¡³à[yA¡ Ѭ¹[º[š (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 97. In Bhatkhande notation system, Mir 97. ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ³ãìØl¡¹ [W¡Òû¡[i¡ Òº is shown by (A) ¯ (A) ¯ (B) ° (B) ° (C) S (C) S (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 20 98. Symbol used to show Som in 98. ®¡à¹t¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ë™ [W¡ìÒû¡¹ ÎàÒà외 Bhatkhande notation is γô ë¤àc¡àì>à ÒÚ, ëÎ[i¡ Òº (A) 0 (A) 0 (B) 1 (B) 1 (C) + (C) + (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

99. The notation system used in Rabindra Sangeet is 99. ¹¤ã–ƒøÎUãìt¡ ¤¸¤Òê¡t¡ Ѭ¹[º[š š‡ý¡[t¡[i¡ Òº (A) Dandamatrik notation (A) ƒr¡³à[yA¡ Ѭ¹[º[š (B) Bhatkhande notation (B) ®¡àt¡Jìr¡ Ѭ¹[º[š (C) Aakarmatrik notation (C) "àA¡à¹³à[yA¡ Ѭ¹[º[š (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

100. In Bhatkhande notation, Komal 100. ®¡àt¡Jìr¡ Ѭ¹[º[š š‡ý¡[t¡ìt¡ ëA¡à³º KàÞê¡à¹ Gandhar is shown as [A¡®¡àì¤ ëƒJàì>à ÒÚ? (A) Ga (A) K (B) Ga (B) | K (C) Ga (C) K] (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 101. The name of the book where the notations of Tagore songs are 101. ¹¤ã–ƒøÎUãìt¡¹ Ѭ¹[º[š ëA¡à>ô Nø씂 Î}A¡[ºt¡ complied is ¹ìÚìá? (A) Rabindra Sangeeter Swaralipi (A) ‘¹¤ã–ƒøÎUãìt¡¹ Ѭ¹[º[š’ (B) Geetabitan (B) ‘Kãt¡[¤t¡à>’ (C) Swarabitan (C) ‘Ѭ¹[¤t¡à>’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

102. The percussion instrument from the 102. following is [>³—[º[Jt¡ ¤àƒ¸™”|P¡[º¹ ³ì‹¸ t¡àº¤àƒ¸[i¡ Òº (A) Flute (A) ¤òà[Å (B) Pakhwaj (B) šàìJàÚà\ (C) Violin (C) ë¤Òàºà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 21 [ P.T.O. 103. Chongpreng is a folk musical 103. W¡³ìšø} ëA¡à>ô ¹àì\¸¹ ëºàA¡ÎUãìt¡¹ ¤àƒ¸™”|? instrument of (A) [yšå¹à (A) Tripura (B) "àÎà³ (B) Assam (C) š[ÆW¡³¤U (C) West Bengal (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 104. t¡à>šå¹à¹ [‡t¡ãÚ &¤} tõ¡t¡ãÚ t¡à¹ ƒå[i¡ ëA¡à>ô Ñ¬ì¹ 104. The second and third strings of ¤Øòà‹à ÒÚ? Tanpura are set to which Swara? (A) Îà (A) Sa (B) ë¹ (B) Re (C) K (C) Ga (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 105. šøàW¡ã> ÎUãt¡`¡ìƒ¹ ³ìt¡, ‘[¤še¡ã’ Ŧ[i¡ 105. According to ancient scholars, the [>³—[º[Jt¡ ëA¡à>ô ‹¹ì>¹ ¤ão๠\>¸ ¤¸¤Òê¡t¡ term ‘Vipanchi’ was used for which of the following Veenas? Òt¡? (A) (A) Three-stringed Veena [t¡> t¡à¹™åv¡û¡ ¤ãoà (B) (B) Seven-stringed Veena Îàt¡ t¡à¹™åv¡û¡ ¤ãoà

(C) Nine-stringed Veena (C) >Ú t¡à¹™åv¡û¡ ¤ãoà

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

106. Pt. Ravi Shankar is a famous 106. š[r¡t¡ ¹[¤Å}A¡¹ &A¡\> [¤J¸àt¡

(A) Sarod player (A) Îì¹àƒ ¤àƒA¡

(B) Tabla player (B) t¡¤ºà ¤àƒA¡

(C) Violin player (C) ë¤Òàºà ¤àƒA¡

(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

107. Sreekhol is generally used to 107. ÅøãìJຠÎà‹à¹ot¡ ¤à\àì>à ÒÚ ëA¡à>ô ÎUãt¡ ‹à¹à¹ accompany ÎìU? (A) Dhrupad (A) ‹øç¡šƒ (B) Kirtan (B) A¡ãt¢¡> (C) Khayal (C) ëJÚຠ(D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 22 108. The musical instrument Jaltarang 108. \ºt¡¹U ¤àƒ¸™”|[i¡ &A¡[i¡ is a (A) t¡tô¡ ¤àƒ¸ (A) Tat Vadya (B) "¤>‡ý¡ ¤àƒ¸ (B) Avanaddha Vadya (C) Q> ¤àƒ¸ (C) Ghana Vadya (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

109. The stringed instrument used for 109. ¹¤ã–ƒøÎUãìt¡¹ ÎìU Î}Kìt¡¹ \>¸ ¤¸¤Òê¡t¡ accompaniment with Rabindra t¡à¹™åv¡û¡ ¤àƒ¸™”|[i¡ Òº Sangeet is (A) ³[–ƒ¹à (A) Mandira (B) &ιà\ (B) Eshraj (C) t¡¤ºà (C) Tabla (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 110. ël¡à®¡à¹ ëº> ÎUãt¡ Îì´¶º> ëA¡à=àÚ "àìÚà[\t¡ 110. Dover Lane Music Conference is ÒÚ? organized at (A) (A) Kolkata ëA¡àºA¡àt¡à (B) Gwalior (B) ëKàÚà[ºÚ¹ (C) Delhi (C) [ƒÀã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 111. Among the following, the Western 111. [>³—[º[Jt¡ ¤àƒ¸™”|P¡[º¹ ³ì‹¸ šàÆW¡àt¡¸ ÎUãìt¡¹ musical instrument is ¤àƒ¸™”|[i¡ Òº (A) Sitar (A) ëÎt¡à¹ (B) Tabla (B) t¡¤ºà (C) Piano (C) [šÚàì>à (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 112. Identify the Santoor player from the following 112. [>³—[º[Jt¡ìƒ¹ ³ì‹¸ Δñ¹ ¤àƒA ëA¡,¡Î>àv¡û¡ A¡ì¹à (A) Pt. Jashraj (A) š[r¡t¡ ™Å¹à\ (B) Pt. Vishwamohan Bhat (B) š[r¡t¡ [¤Å«ì³àÒ> ®¡ài¡ (C) Ustad Amzad Ali Khan (C) *Ñzàƒ "à³\àƒ "à[º Jà> (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 113. The famous Shehnai player Ustad 113. [¤J¸àt¡ Îà>àÒü ¤àƒA¡ *Ñzàƒ [¤Î[³ÀàÒ Jòà Bismillah Khan was awarded the Bharat Ratna in the year ®¡à¹t¡¹ìâ— ®è¡[Èt¡ Ò> ëA¡à>ô Îàìº? (A) 2000 (A) 2000 (B) 2001 (B) 2001 (C) 2002 (C) 2002 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 23 [ P.T.O. 114. Tripurendra Bhowmik was 114. [yšåì¹–ƒö 뮡ï[³A¡ ëA¡à>ô ¤àƒ¸™ì”|¹ ¤àƒA¡ [áìº>? associated with the playing of which (A) ë¤Òàºà musical instrument? (B) ëÎt¡à¹ (A) Violin (C) Îì¹àƒ (B) Sitar (D) (C) Sarod l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 115. [>ì³—àv¡û¡ t¡¤ºà ¤àƒA¡ìƒ¹ ³ì‹¸ ëA¡ ¤à³ Òàìt¡ t¡¤ºà ¤à\à>? 115. Who among the following is a left-handed Tabla player? (A) š[r¡t¡ "[>–ƒ¸ W¡¸ài¡à\¢ã (A) Pt. Anindya Chatterjee (B) š[r¡t¡ ¹à³A塳๠[³Åø (B) Pt. Ram Kumar Mishra (C) š[r¡t¡ A塳๠ë¤àÎ (C) Pt. Kumar Bose (D) &ò샹 ëA¡l¡üÒü >> (D) None of them 116. Îì¹àƒ ¤àƒ¸™”|[i¡ìA¡ [>³—[º[Jt¡ ëA¡à>[i¡¹ ³ì‹¸ 116. Sarod can be classified under ëÅøo㤇ý¡ A¡¹à ™àÚ? (A) (A) Avanaddha Vadya "¤>‡ý¡ ¤àƒ¸ (B) Sushir Vadya (B) Îå[ȹ ¤àƒ¸ (C) Ghana Vadya (C) Q> ¤àƒ¸ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

117. Match the following : 117. >ãìW¡¹P¡[º 볺à> @

List—I List—II List—I List—II a. Guitar 1. Budhaditya Mukherjee a. Kãi¡à¹ 1. ¤å‹à[ƒt¡¸ ³åJà\¢ã b. Sitar 2. V. G. Jog b. ëÎt¡à¹ 2. [®¡. [\. ë™àK c. Violin 3. Brij Bhushan Kabra c. ë¤Òàºà 3. ¤õ\®è¡Èo A¡à¤¹à d. Flute 4. Hariprasad Chowrasia d. ¤òà[Å 4. Ò[¹šøÎàƒ ëW¡ï¹à[ÎÚà Codes : Codes : (A) a b c d (A) a b c d 3 1 2 4 3 1 2 4 (B) a b c d (B) a b c d 2 1 3 4 2 1 3 4 (C) a b c d (C) a b c d 3 2 4 1 3 2 4 1 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

118. Suchitra Mitra is a famous 118. Îå[W¡yà [³y &A¡\> [¤J¸àt¡ (A) Indian classical music artist (A) ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãt¡ [Å¿ã (B) Nazrul Geeti artist (B) >\¹ç¡ºKã[t¡ [Å¿ã (C) Rabindra Sangeet artist (C) ¹¤ã–ƒøÎUãt¡ [Å¿ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 24 119. The book that contains the 119. ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ ÎUãt¡ Î}A¡º> Nø”‚[i¡¹ >à³ collection of songs of Rabindranath Òº Tagore is (A) ‘šè¹¤ã’ (A) Purabi (B) ‘Kãt¡[¤t¡à>’ (B) Geetabitan (C) (C) Sonar Tori ‘ëÎà>๠t¡¹ã’ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

120. How many Parjaays are there in 120. ¹¤ã–ƒøÎUãìt¡ ë³ài¡ A¡Ú[i¡ š™¢àÚ "àìá? Rabindra Sangeet? (A) Îàt¡[i¡ (A) Seven (B) "ài¡[i¡ (B) Eight (C) >Ú[i¡ (C) Nine (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above

121. The Rabindra Sangeet—‘Prathama 121. ‘šø=³ "à[ƒ t¡¤ Å[v¡û¡’—&Òü ¹¤ã–ƒøÎUãt¡[i¡¹ Adi Taba Shakti’ is based on which t¡àº[i¡ Òº Taal? (A) ëW¡ït¡àº (A) Choutaal (B) cò¡àšt¡àº (B) Jhaptaal (C) Îå¹óò¡àA¡t¡àº (C) Surphaktaal (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 122. 122. What was the relationship of ë\¸à[t¡[¹–ƒø>à= k¡àAå¡ì¹¹ ÎìU ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ Jyotirindranath Tagore with A¡ã δšA¢¡ [áº? Rabindranath Tagore? (A) ®¡àÒü (A) Brother (B) ëáìº (B) Son (C) A¡àA¡à (C) Uncle (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú (D) None of the above 123. ‘"à³à¹ ëÎà>๠¤à}ºà’—&Òü ¹¤ã–ƒøÎUãìt¡¹ 123. The Parjaay of the Rabindra š™¢àÚ[i¡ Òº Sangeet—‘Aamar Sonar Bangla’ is (A) (A) Puja Parjaay šè\à š™¢àÚ (B) Swadesh Parjaay (B) ѬìƒÅ š™¢àÚ (C) Prem Parjaay (C) ëšø³ š™¢àÚ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 25 [ P.T.O. 124. The number of Maatras in 124. >¤še¡t¡à캹 ³àyà Î}J¸à Òº Nabapanchataal is (A) šì>ì¹à (A) fifteen (B) Îìt¡ì¹à (B) seventeen (C) "àk¡àì¹à (C) eighteen (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

125. The first song of Bichitra Parjaay is 125. [¤[W¡y š™¢àìÚ¹ šø=³ ¹¤ã–ƒøÎUãt¡[i¡ Òº (A) Nrityero Taale Taale (A) >õìt¡¸¹ t¡àìº t¡àìº (B) Aamay Khamo Hey Khamo (B) "à³àÚ Û¡ì³à ëÒ Û¡ì³à (C) Dui Haate (C) ƒåÒü Òàìt¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

126. The Taal of the Rabindra Sangeet—‘Duare Dao More Rakhiya’ 126. ‘ƒåÚàì¹ ƒà* ë³àì¹ ¹à[JÚà’—&Òü ¹¤ã–ƒøÎUãìt¡¹ is t¡àº[i¡ Òº (A) Nabataal (A) >¤t¡àº (B) Ekadashi Taal (B) &A¡àƒÅã t¡àº (C) Rupakra Taal (C) ¹ê¡šA¡Øl¡à t¡àº (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

127. The Rabindra Sangeet based on 127. Dhrupad style is ‹øç¡šƒàìU¹ ¹¤ã–ƒøÎUãt¡[i¡ Òº

(A) Shaktirup Hero (A) Å[v¡û¡¹ê¡š ëÒì¹à (B) Mondire Mamo Ke (B) ³[–ƒì¹ ³³ ëA¡ (C) Nabo Aanonde Jago (C) >¤ "à>ì–ƒ \àìKà (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

128. The author of the book, Jeevansmriti 128. ‘\ã¤>Ѷõ[t¡’ Nø”‚[i¡¹ ëºJA¡ Òìº> is (A) (A) Dwarakanath Tagore ‡à¹A¡à>à= k¡àA塹

(B) Debendranath Tagore (B) ëƒì¤–ƒø>à= k¡àA塹

(C) Jyotirindranath Tagore (C) ë\¸à[t¡[¹–ƒø>à= k¡àA塹 (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/9 26 129. The first music teacher of 129. ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ šø=³ ÎUãt¡P¡¹ç¡ [áìº> Rabindranath Tagore was (A) ™ƒå ®¡j¡ (A) Jadu Bhatta (B) ÅøãA¡–k¡ [Î}Ò (B) Shrikantha Singha (C) (C) Bishnuchandra Chakraborty [¤Ìå¡W¡–ƒø W¡yû¡¤t¢¡ã (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

130. The divisional structure of Shashthi 130. ÈË¡ã t¡à캹 á–ƒ[i¡ Òº Taal is (A) 4|2 (A) 4|2 (B) 2|4 (B) 2|4 (C) | | (C) 2|2|2 2 2 2 (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

131. The Rabindra Sangeet based on 131. šàÆW¡àt¡¸ ÎUãìt¡¹ Îåì¹¹ "àƒìÅ¢ ¹[W¡t¡ Western music tune from the ¹¤ã–ƒøÎUãt¡[i¡ Òº following is (A) "à³à¹ ëÎà>๠¤à}ºà (A) Aamar Sonar Bangla (B) "à³à¹ šøàìo¹ ³à>åÈ (B) Aamar Praner Manush (C) Katobaro Bhebechinu (C) A¡t¡¤à¹ 뮡ì¤[á>å (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

132. The Rabindro Sangeet—‘Eso 132. ‘&ìÎà Ÿ೺ Îå–ƒ¹’—&Òü ¹¤ã–ƒøÎUãt¡[i¡ ëA¡à>ô Shyamolo Sundoro’ was composed ˜¡t塹 \>¸ ¹[W¡t¡? for which season? (A) ¤È¢à (A) Rainy (B) (B) Spring ¤Î”z (C) Autumn (C) Ź; (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

133. The Rabindra Sangeet—‘Bipulo 133. ‘[¤šåº t¡¹U ë¹’—&Òü ¹¤ã–ƒøÎUãt¡[i¡ [>³—[º[Jt¡ Tarango Re’ is based on which the ëA¡à>ô ¹àK[i¡¹ l¡üš¹ ¹[W¡t¡? following Raga? (A) (A) Behag ë¤ÒàK (B) Bhimpalashri (B) ®¡ã³šºÅøã (C) Bhairavi (C) í®¡¹¤ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 27 [ P.T.O. 134. The Rabindra Sangeet sung on the 134. ¤õÛ¡ì¹àšo l¡ü;Τ l¡üšºìÛ¡ ë™ ¹¤ã–ƒøÎUãt¡[i¡ occasion of tree plantation is Kà*Úà ÒÚ, ëÎ[i¡ Òº (A) Morubijoyer Keton Urao (A) ³¹ç¡[¤\ìÚ¹ ëA¡t¡> l¡üØl¡à* (B) Eso Aamar Ghare (B) &ìÎà "à³à¹ Qì¹ (C) Bone Jodi Phutlo Kusum (C) ¤ì> ™[ƒ óå¡i¡º Aå¡Îå³ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 135. The birthday of Rabindranath Tagore is celebrated on 135. ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ \–µ[ƒ> l¡üƒô™àš> A¡¹à ÒÚ (A) 22nd Shrabon (A) 22ëÅ Åøà¤o (B) 11th Poush (B) 11Òü ëšïÈ (C) 25th Baishakh (C) 25ëÅ í¤ÅàJ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

136. In 1941, the king of Tripura 136. 1941 Îàìº [yšå¹à¹ ¹à\à ¹¤ã–ƒø>à= k¡àA塹ìA¡ honoured Rabindranath Tagore with ëA¡à>ô l¡üšà[‹ìt¡ ®è¡[Èt¡ A¡ì¹>? the title (A) P¡¹ç¡ìƒ¤ (A) Gurudev (B) (B) Guruji P¡¹ç¡\ã (C) Bharatbhaskar (C) ®¡à¹t¡®¡àÑH¹ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

137. From the following Ragas, which 137. [>³—[º[Jt¡ ¹àKP¡[º¹ ³ì‹¸ ëA¡à>[i¡ t¡à>ìÎ> ÎõÊ¡ Raga was not created by Tansen? >Ú? (A) Miyan Ki Todi (A) [³d¡à A¡ã ëi¡àØl¡ã (B) Miyan Ki Mallhar (B) [³d¡à A¡ã ³À๠(C) Miyan Ki Sarang (C) [³d¡à A¡ã Îà¹} (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

138. Kawali form of music was 138. introduced by A¡à*Úàºã ÎUãìt¡¹ šø¤t¢¡A¡ [áìº> (A) Amir Khusro (A) "à³ã¹ JÎ¹ç¡ (B) Tansen (B) t¡à>ìÎ> (C) Swami Haridas (C) Ѭà³ã Ò[¹ƒàÎ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/9 28 139. Mirabai is a famous 139. ³ã¹à ¤à# &A¡\> [¤J¸àt¡ (A) Khayal artist (A) ëJÚຠ[Å¿ã (B) Bhajan composer and artist (B) ®¡\> ¹W¡[Út¡à &¤} [Å¿ã (C) Dhrupad artist (C) ‹øç¡šƒ [Å¿ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 140. Jhumra Taal was created by 140. c塳¹à t¡à캹 Ñ÷Ê¡à Òìº> (A) Ustad Zakir Hussain (A) *Ñzàƒ \à[A¡¹ ëÒàìÎ> (B) Pt. Ram Kumar Mishra (B) š[r¡t¡ ¹à³A塳๠[³Åø (C) Amir Khusro (C) (D) None of them "à³ã¹ JÎ¹ç¡ (D) &ò샹 ëA¡l¡üÒü >> 141. The Gandharva Mahavidyalaya in Bombay and Lahore was established 141. ë¤à´¬àÒü * ºàìÒàì¹ KàÞꡤ¢ ³Òà[¤ƒ¸àºìÚ¹ by šø[t¡Ë¡àt¡à [áìº> (A) Pt. V. N. Bhatkhande (A) š[r¡t¡ [®¡. &>. ®¡àt¡Jìr¡ (B) Ustad Abdul Karim Khan (B) *Ñzàƒ "à¦åº A¡[¹³ Jòà (C) Pt. V. D. Paluskar (C) š[r¡t¡ [®¡. [l¡. šºåÑH¹ (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 142. The book, A Historical Study of 142. Indian Music was written by ‘& [ÒìСà[¹A¡¸àº Сà[l¡ "ó¡ Òü[r¡Úà> [³l¡ü[\A¡’ Nø”‚[i¡ [ºìJ[áìº> (A) Swami Prajnananda (A) Ѭà³ã šø`¡à>à>–ƒ (B) Kumar Gandharva (B) (C) Ustad Amir Khan A塳๠KÞꡤ¢ (C) (D) None of them *Ñzàƒ "à³ã¹ Jòà (D) &ò샹 ëA¡l¡üÒü >> 143. The author of the book, Sangeet Sar is 143. ‘ÎUãt¡ Î๒ Nø”‚[i¡¹ ëºJA¡ Òôìº> (A) Kshetramohan Goswami (A) ëÛ¡yì³àÒ> ëKàѬà³ã (B) Jadu Bhatta (B) ™ƒå ®¡j¡ (C) Krishnadhan Bandyopadhyay (C) Aõ¡Ì¡‹> ¤ì–ƒ¸àšà‹¸àÚ (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 144. Who among the following was a 144. music teacher of Rabindranath [>³—[º[Jt¡ ¤¸[v¡û¡ìƒ¹ ³ì‹¸ ëA¡ ¹¤ã–ƒø>à= k¡àAå¡ì¹¹ Tagore? ÎUãt¡ [ÅÛ¡A¡ [áìº>? (A) Kshetramohan Goswami (A) ëÛ¡yì³àÒ> ëKàѬà³ã (B) Jadu Bhatta (B) ™ƒå ®¡j¡ (C) Sourindramohan Tagore (C) ëÎï[¹–ƒøì³àÒ> k¡àA塹 (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

/9 29 [ P.T.O. 145. ‘Snigdha Shyam Beni Barna’—this 145. ‘[Ñ•Mý¡ Ÿೠë¤oã ¤o¢à’—Kà>[i¡¹ Ñ÷Ê¡à [áìº> song was composed by (A) A¡à\ã >\¹ç¡º Òüκೠ(A) Kazi Nazrul Islam (B) (B) Rabindranath Tagore ¹¤ã–ƒø>à= k¡àA塹 (C) Dwijendralal Ray (C) [‡ì\–ƒøºàº ¹àÚ (D) None of them (D) &ò샹 ëA¡l¡üÒü >>

146. The composer of the song—‘Moder 146. ‘ë³à샹 K¹¤, ë³à샹 "àÅà, "à ³[¹ ¤à}ºà Garob, Moder Asha, A mori Bangla ®¡àÈà’ Kà>[i¡¹ Ñ÷Ê¡à Òìº> Bhasha’ is (A) Dwijendra Lal Ray (A) [‡ì\–ƒøºàº ¹àÚ (B) Atul Prasad Sen (B) "t塺šøÎàƒ ëÎ> (C) Rajanikanta Sen (C) ¹\>ãA¡à”z ëÎ> (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 147. ‘Baashi Sune Aar Kaaj Nai’—this song was composed by 147. ‘¤òà[Å Ç¡ì> "๠A¡à\ >àÒü’—Kà>[i¡¹ Ñ÷Ê¡à Òìº> (A) Rahul Debbarman (A) ¹à׺ 냤¤³¢> (B) Sachin Debbarman (B) ÅW¡ã> 냤¤³¢> (C) Salil Choudhury (C) Î[ºº ëW¡ï‹å¹ã (D) None of them (D) &ò샹 ëA¡l¡üÒü >> 148. Pulin Debbarma was a (A) North Indian classical music 148. šå[º> 냤¤³¢à [áìº> &A¡\> artist (A) l¡üv¡¹ ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãt¡ [Å¿ã (B) Folk music artist (B) (C) South Indian classical music ëºàA¡ÎUãt¡ [Å¿ã artist (C) ƒ[Û¡o ®¡à¹t¡ãÚ ÅàÑ|ãÚ ÎUãt¡ [Å¿ã (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 149. Pulin Debbarma received his 149. training in classical music from ëA¡à>ô šø[t¡Ë¡à> ë=ìA¡ šå[º> 냤¤³¢à ÅàÑ|ãÚ (A) Banaras Hindu University, ÎUãìt¡¹ [ÅÛ¡àºà®¡ A¡ì¹>? Banaras (A) ¤à>à¹Î [Ò–ƒå Òül¡ü[>®¡à[΢[i¡, ¤à>à¹Î (B) M. S. University, Baroda (B) &³. &Î. Òül¡ü[>®¡à[΢[i¡, ¤ì¹àƒà (C) Marris College of Music, (C) ³[¹Î A¡ìº\ "óô¡ [³l¡ü[\A¡, ºìÝ¡ï Lucknow (D) (D) None of the above l¡üšì¹¹ ëA¡à>[i¡Òü >Ú 150. The music institution set up by 150. šå[º> 냤¤³¢à ‡à¹à Ñ‚à[št¡ ÎUãt¡ šø[t¡Ë¡à>[i¡ Òº Pulin Debbarma was (A) A¡ìº\ "óô¡ [³l¡ü[\A¡ &r¡ ó¡àÒü> "ài¢¡Î (A) College of Music and Fine Arts (B) A¡ìº\ "óô¡ [³l¡ü[\A¡ ëi¡ö[>} (B) College of Music Training (C) College of Music Research (C) A¡ìº\ "óô¡ [³l¡ü[\A¡ [¹ÎàW¢¡ (D) None of the above (D) l¡üšì¹¹ ëA¡à>[i¡Òü >Ú

/9 30 SPACE FOR ROUGH WORK / ¹àó¡ A¡àì\¹ \>¸ \àÚKà

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/9 31 [ P.T.O. READ THE FOLLOW ING INSTRUC TIONS CARE FULLY : [>³—[º[Jt¡ [>샢Åऺ㠮¡àìºà A¡ì¹ šØl¡æ> : 1. Out of the four alternatives for each question, only one circle for the correct answer is to be darkened completely with Black Ballpoint Pen on the OMR Answer Sheet. The answer once marked is not liable to be changed. šø[t¡[i¡ šøìÅ—¹ l¡üv¡¹ [ÒÎàì¤ ë™ W¡à¹[i¡ [¤A¡¿ ëƒ*Úà "àìá t¡à ë=ìA¡ Ç¡‹å³ày Ç¡‡ý¡ l¡üv¡¹[i¡¹ ëšø[Û¡ìt¡ OMR l¡üv¡¹šìy ëƒ*Úà ¤õv¡[i¡ A¡àìºà ¤ºšìÚ–i¡ A¡º³ ‡à¹à δšèo¢¹ê¡ìš A¡àìºà A¡ì¹ [W¡[Òû¡t¡ A¡¹ìt¡ Ò줡ú &A¡¤à¹ l¡üv¡¹ [W¡[Òû¡t¡ A¡¹à ÒìÚ ëKìº t¡àìA¡ "๠š[¹¤t¢¡> A¡¹à ™àì¤ >à¡ú 2. The candidates should ensure that the OMR Answer Sheet is not folded. Do not make any stray marks on the Answer Sheet. Do not write your Roll No. anywhere else except at the specified space on the OMR Answer Sheet. š¹ãÛ¡à=¢ã¹à ëA¡àì>஡àì¤Òü OMR l¡üv¡¹šy[i¡ ®ò¡à\ A¡¹ì¤> >à¡ú OMR l¡üv¡¹šìy ëA¡àì>à¹A¡³ ƒàK A¡ài¡à ¤à ³”z¤¸ ëºJà ™àì¤ >à¡ú š¹ãÛ¡à=¢ã¹à tò¡à샹 ë¹àº >ബ๠l¡üv¡¹šìy [>[ƒ¢Ê¡ A¡¹à \àÚKà áàØl¡à ">¸ ëA¡àì>à \àÚKàÚ [ºJì¤> >à¡ú 3. Handle the Question Booklet and Answer Sheet with utmost care, as under no circumstances (except technical defect), another set of Question Booklet and OMR Answer Sheet will be provided. OMR l¡üv¡¹šy &¤} šøÅ—šìy¹ ¤¸¤Òàì¹ Îà[¤¢A¡ Ît¡A¢¡t¡à "¤º´¬> A¡¹ìt¡ Ò줡ú ëA¡àì>à "¤Ñ‚àìt¡Òü (³å‰o yç¡[i¡ * š‡ý¡[t¡Kt¡ yç¡[i¡ áàØl¡à) OMR l¡üv¡¹šy * šøÅ—šy šàìÂi¡ ëƒ*Úà ™àì¤ >à¡ú 4. The candidates will write the correct Question Booklet Number and OMR Answer Sheet Number in the Attendance Sheet. š¹ãÛ¡à=¢ãìA¡ "¸àìi¡ì“¡X Åãi¡-& tò¡à¹ OMR l¡üv¡¹šìy¹ >ബ๠&¤} šøÅ—šìy¹ >ബ๠[>®å¢¡º®¡àì¤ [ºJìt¡ Ò줡ú 5. Candidates are not allowed to carry any textual material, printed or written, bits of papers, pager, mobile phone, electronic devices or any other material except the Admit Card and Photo Identity Card inside the Examination Hall/Room. š¹ãÛ¡à=¢ãìA¡ "¸àl¡[³i¡ A¡àl¢¡ &¤} ó¡ìi¡à "àÒüìl¡>[i¡[i¡ A¡àl¢¡ áàØl¡à ">¸ ëA¡àì>à áàšàì>à ¤à ëºJà A¡àK\, šk¡> * ³å‰o\àt¡ Îà³Nøã, ëš\à¹, ë³à¤àÒüº ëó¡à>, ">¸ ëA¡àì>à¹A¡³ ÒüìºC¡ö[>A¡ [l¡®¡àÒüÎ [>ìÚ š¹ãÛ¡à Òìº/A¡ìÛ¡ šøì¤Å A¡¹ìt¡ ëƒ*Úà Òì¤ >à¡ú 6. Each candidate must show on demand his/her Admit Card and Photo Identity Card to the Invigilator/Examination Officials. š¹ãÛ¡à Òìº Òü>[®¡[\ìºi¡¹ A¡tõ¢¡A¡ [A¡}¤à š¹ãÛ¡à ëA¡ì–ƒø¹ [®¡t¡ì¹ š¹ãÛ¡à-Î}[ÅÃÊ¡ "à[‹A¡à[¹A¡ A¡tõ¢¡A¡ ƒà[¤ A¡¹à Òìº šøìt¡¸A¡ š¹ãÛ¡à=¢ã tò¡à¹ "¸àl¡[³i¡ A¡àl¢¡ * ó¡ìi¡à "àÒüìl¡>[i¡[i¡ A¡àl¢¡ ëƒJàìt¡ ¤à‹¸ =àA¡ì¤>¡ú 7. No candidate, without special permission of the Centre Superintendent or Invigilator, should change his/her seat. ëΖi¡à¹ Îåšà[¹>ìi¡>ìl¡–i¡ ¤à Òü>[®¡[\ìºi¡¹-&¹ [¤ìÅÈ ">å³[t¡ áàØl¡à š¹ãÛ¡à=¢ã š¹ãÛ¡à Òìº tò¡à¹ ¤Î๠тà> š[¹¤t¢¡> A¡¹ìt¡ šà¹ì¤> >à¡ú 8. Candidates will have to sign twice in the Attendance Sheet presented by the Invigilator on duty; first after taking their seats in the Examination Hall/Room and second at the time of handing over their OMR Answer Sheet to the Invigilator. š¹ãÛ¡à=¢ã[ƒKìA¡ Òü>[®¡[\ìºi¡ì¹¹ ëƒ*Úà "¸àìi¡ì“¡X Åãi¡-& ƒåÒü¤à¹ ѬàÛ¡¹ A¡¹ìt¡ Òì¤, šø=³¤à¹ š¹ãÛ¡à Òìº tò¡à샹 "àÎ> NøÒìo¹ š¹ &¤} [‡t¡ãڤ๠Òü>[®¡[\ìºi¡ì¹¹ [>A¡i¡ OMR l¡üv¡¹šy \³à ëƒ*Ú๠γìÚ¡ú 9. The candidates should not leave the Examination Hall/Room without handing over their OMR Answer Sheet to the Invigilator on duty and without signing the Attendance Sheet twice. Cases where a candidate has not signed the Attendance Sheet a second time will be deemed not to have handed over the Answer Sheet and dealt with as an unfair means case. "¸àìi¡ì“¡X Åãi¡-& ƒåÒü¤à¹ ѬàÛ¡¹ A¡¹à &¤} A¡t¢¡¤¸¹t¡ Òü>[®¡[\ìºi¡¹-&¹ [>A¡i¡ l¡üv¡¹šy \³à ëƒ*Úà ¤¸t¡ãt¡ ëA¡àì>à š¹ãÛ¡à=¢ã š¹ãÛ¡à Òº t¡¸àK A¡¹ìt¡ šà¹ì¤> >à¡ú ™[ƒ ëA¡àì>à š¹ãÛ¡à=¢ã "¸àìi¡ì“¡X Åãi¡-& ƒåÒü¤à¹ ѬàÛ¡¹ >à A¡ì¹> t¡ì¤ [t¡[> tò¡à¹ OMR l¡üv¡¹šy \³à A¡ì¹>[> ¤ìº Ko¸ Òì¤ &¤} t¡à ">å[W¡t¡ A¡à™¢ [ÒÎàì¤ ‹¹à Ò줡ú 10. Use of any type of calculating device is prohibited. ë™ ëA¡àì>à ‹¹ì>¹ A¡¸àºAå¡ìºi¡ì¹¹ ¤¸¤Ò๠δšèo¢¹ê¡ìš [>[ȇý¡¡ú 11. The candidates are governed by all the rules and regulations of the Board with regard to their conduct in the Examination Hall/Room. All cases of unfair means will be dealt with as per rules and regulations of the Board. š¹ãÛ¡à Òº/A¡ìÛ¡¹ ³ì‹¸ š¹ãÛ¡à=¢ã¹ "àW¡¹o ë¤àìl¢¡¹ [>Ú³ * [>샢[ÅA¡à ">å™àÚã W¡à[ºt¡ Ò줡ú Τ ‹¹ì>¹ ">å[W¡t¡ A¡à™¢ ë¤àìl¢¡¹ [>Ú³ * [>샢[ÅA¡à ">å™àÚã [>[ƒ¢Ê¡ Ò줡ú 12. No part of the Question Booklet and the OMR Answer Sheet shall be detached under any circumstances. ëA¡àì>à "¤Ñ‚àìt¡Òü šøÅ—šy &¤} OMR l¡üv¡¹šìy¹ ëA¡àì>à "}Å ëáòØl¡à ¤à "àºàƒà A¡¹à ™àì¤ >à¡ú 13. On completion of the test, the candidate must hand over the OMR Answer Sheet to the Invigilator in the Hall/Room. The candidates are allowed to take away the Question Booklet with them. š¹ãÛ¡à ëÅÈ Ò*Ú๠šì¹ š¹ãÛ¡à=¢ã "¤Å¸Òü tò¡à¹ OMR l¡üv¡¹šy A¡t¢¡¤¸¹t¡ Òü>[®¡[\ìºi¡ì¹¹ A¡àìá \³à ëƒì¤>¡ú š¹ãÛ¡à=¢ã¹à šøÅ—šy[i¡ tò¡à샹 Îàì= [>ìÚ ë™ìt¡ šàì¹>¡ú

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