Signature and Name of Invigilator 1. (Signature) OMR Sheet No. : ...... (To be filled by the Candidate) (Name) Roll No. 2. (Signature) (In figures as per admission card) (Name) Roll No. N 0 9 6 1 7 PAPER - II (In words) Time : 1¼ hours] KARNATIK MUSIC [Maximum Marks : 100 Number of Pages in this Booklet : 16 Number of Questions in this Booklet : 50 Instructions for the Candidates ¬⁄UˡÊÊÁÕ¸ÿÙ¢ ∑§ Á‹∞ ÁŸŒ¸‡Ê 1. Write your roll number in the space provided on the top of 1. ß‚ ¬ÎDU ∑§ ™§¬⁄U ÁŸÿà SÕÊŸ ¬⁄U •¬ŸÊ ⁄UÙ‹U Ÿê’⁄U Á‹Áπ∞– this page. 2. This paper consists of fifty multiple-choice type of questions. 2. ß‚ ¬˝‡Ÿ-¬òÊ ◊¢ ¬øÊ‚ ’„ÈÁfl∑§À¬Ëÿ ¬˝‡Ÿ „Ò¥– 3. At the commencement of examination, the question booklet 3. ¬⁄UˡÊÊ ¬˝Ê⁄êU÷ „ÙŸ ¬⁄U, ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê •Ê¬∑§Ù Œ ŒË ¡ÊÿªË– ¬„‹U ¬UÊ°ø Á◊Ÿ≈U will be given to you. 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N-09617 !N-09617-PAPER-II! 1 P.T.O. KARNATIK MUSIC PAPER - II
Note : This paper contains fifty (50) objective type questions of two (2) marks each. All questions are compulsory.
1. Ahobala mentioned how many ‘Gamakas’ in ‘Parijata’ ? (1) 17 (2) 10 (3) 15 (4) 12
2. The old time measure Jhampha Chapu corresponds the present day tala : (1) Misra Chapu (2) Tisra Chapu (3) Khanda Chapu (4) Jampa
3. Not a Pan in the ancient Tamil music : (1) Malahari (2) Kausikam (3) Sikamaram (4) Salagam
4. “Krishnamakemi” kriti Raga punnagavarali is in : (1) Prahlada Vijaya (2) Nouka Charitra (3) Geeta Govinda (4) Krishna leela tarangini
5. Arohanam and Avarohanam of Bilahari sung in Viloma-krama results in : (1) Gauda malhar (2) Garudadhwani (3) Gambhiravani (4) Gurupriya
6. The great ‘Kavi Kunjara Bharati’ is the maternal grandfather of : (1) Kotisvara Iyer (2) Gopalakrishna Bharati (3) Ghanam Krishnayyar (4) Mazhavai Chidambara Bharati
7. Sequence in order of audava, shadava, audava shadava and sampoorna : (1) Gaurimanohari, Lalita, Nagaswaravali, Kumudakriya (2) Lalita, Nagaswaravali, Gaurimanohari, Kumudakriya (3) Kumudakriya, Lalita, Nagaswaravali, Gaurimanohari (4) Nagaswaravali, Lalita, Kumudakriya, Gaurimanohari
N-09617 !N-09617-PAPER-II! 2 Paper-II ∑§áÊʸÁ≈U∑§ ‚¥ªËà ¬˝‡Ÿ¬òÊ - II
ÁŸŒ¸‡Ê — ß‚ ¬˝‡Ÿ-¬òÊ ◊¥ ¬øÊ‚ (50) ’„È-Áfl∑§À¬UËÿ ¬˝‡Ÿ „Ò¥– ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ ŒÙ (2) •¢∑§ „Ò¥– ‚÷Ë ¬˝‡Ÿ •ÁŸflÊÿ¸ „¥Ò–
1. •„Ê’‹Ê Ÿ “¬ÊÁ⁄U¡ÊÔ ◊¥ Á∑§ÃŸ “ª◊∑§Ê¥” ∑§Ê ©À‹π Á∑§ÿÊ „Ò? (1) 17 (2) 10 (3) 15 (4) 12
2. ¬˝ÊøËŸ ÃÊ‹ ¤Êê¬ øÊ¬È Á∑§‚ •ÊœÈÁŸ∑§ ÃÊ‹ ∑§ ‚◊∑§ˇÊ „Ò? (1) Á◊üÊ øÊ¬È (2) ÁÃd øÊ¬È (3) π¥«U øÊ¬È (4) ¤Êê¬Ê
3. ¬˝ÊøËŸ ÃÁ◊‹ ‚¥ªËà ◊¥ ∞∑§ ¬áÊ Ÿ„Ë¥ „Ò — (1) ◊À„Ê⁄UË (2) ∑§ÊÒÁ‡Ê∑§◊ (3) Á‚∑§Ê◊⁄U◊ (4) ‚ʋʪ◊
4. ““∑ΧcáÊ◊Ê∑§◊Ë”” ∑ΧÁà ⁄Uʪ ¬ÈÛÊʪfl⁄UÊ‹Ë — (1) ¬˝„‹ÊŒ Áfl¡ÿ (2) ŸÊ©∑§Ê øÁ⁄UòÊ (3) ªËà ªÊÁfl¥ŒÊ (4) ∑ΧcáÊ ‹Ë‹Ê Ã⁄¥UÁªáÊË
5. Áfl‹Ê◊ ∑˝§◊ ◊¥ Á’À„Ê⁄UË ∑§ •Ê⁄UÊ„áÊ◊ •ÊÒ⁄U •fl⁄UÊ„áÊ◊ ªÊŸ ∑§Ê ¬Á⁄UáÊÊ◊ „ÊÃÊ „Ò — (1) ªÊÒ«∏Ê ◊À„Ê⁄U (2) ªM§«∏äflÁŸ (3) ªê÷Ë⁄UflÊáÊË (4) ªÈL§Á¬˝ÿÊ
6. ◊„ÊŸ “∑§Áfl ∑¥È§¡⁄U ÷Ê⁄UÃË” Á∑§‚∑§ ŸÊŸÊ „Ò¥? (1) ∑§ÊÁ≈U‡fl⁄UÊ •ƒÿ⁄U (2) ªÊ¬Ê‹∑ΧcáÊ ÷Ê⁄UÃË (3) ÉÊŸ◊ ∑ΧcáÊ•ƒÿ⁄U (4) ◊¤Êfl߸ ÁøŒê’⁄U ÷Ê⁄UÃË
7. •ÊÒ«UflÊ, ·Ê«˜UflÊ, •ÊÒ«UflÊ ·Ê«˜UflÊ •ÊÒ⁄U ‚¥¬Íáʸ ∑§ ∑˝§◊ ◊¥ ‹ªÊßÿ — (1) ªÊÒ⁄UË◊ŸÊ„⁄UË, ‹Á‹ÃÊ, ŸÊªSfl⁄UÊflÁ‹, ∑ȧ◊ÈŒÁ∑˝§ÿÊ (2) ‹Á‹ÃÊ, ŸÊªSfl⁄UÊflÁ‹, ªÊÒ⁄UË◊ŸÊ„⁄UË, ∑ȧ◊ÈŒÁ∑˝§ÿÊ (3) ∑ȧ◊ÈŒÁ∑˝§ÿÊ, ‹Á‹ÃÊ, ŸÊªSfl⁄UÊflÁ‹, ªÊÒ⁄UË◊ŸÊ„⁄UË (4) ŸÊªSfl⁄UÊflÁ‹, ‹Á‹ÃÊ, ∑ȧ◊ÈŒÁ∑˝§ÿÊ, ªÊÒ⁄UË◊ŸÊ„⁄UË
N-09617 !N-09617-PAPER-II! 3 Paper-II 8. “Hechharikagarara” is the kriti belongs to : (1) Utsavasampradaya (2) Divyanama (3) Prahlada Bhakti Vijaya (4) Seetarama Vijaya
9. A kriti comes in ‘Kalahastisa Pancharatnam’ : (1) Elatharemettu in Salagabhairavi (2) Samagana lola in Hindolam (3) Samagana lola in Salagabhairavi (4) Sarasa samadana in Kappi narayani
10. Thyagaraja pays homage to Bhadrachala Ramadas in the Kriti : (1) Tera teeyagarada (2) Kshirasagara sayana (3) Entaro mahanubhavulu (4) Nenandu vedakudura
11. Recepient of Padmashri in Koodiyattam : (1) Kalamandalam Krishnan Nair (2) Kalamandalam Gopi (3) Kalamandalam Sivan Nampoothiri (4) Sh. Rama Poduval
12. Arrange the following according to their melakarta no : (1) Shadvidhamargini, Viswambari, Jhenkaradhwani, Jyoti swaroopini (2) Viswambari, Shadvidhamargini, Jyoti swaroopini, Jhenkaradhwani (3) Jyoti swaroopini, Viswambari, Jhenkaradhwani, Shadvidhamargini (4) Jhenkaradhwani, Shadvidhamargini, Viswambari, Jyoti swaroopini
13. If ‘ga’ of ‘Todi’ is taken as ‘sa’ will result in : (1) Kalyani (2) Hari Kambhoji (3) Natabhairavi (4) Sankarabharanam
N-09617 !N-09617-PAPER-II! 4 Paper-II 8. “„ìÊÁ⁄U∑§ÊªÊ⁄UÊ⁄UÊ” Á∑§‚∑§Ë ∑ΧÁà „Ò?
(1) ©àSÊfl‚ê¬˝ŒÊÿ (2) ÁŒ√ÿŸÊ◊Ê
(3) ¬˝„‹ÊŒ ÷ÁÄà Áfl¡ÿÊ (4) ‚ËÃÊ⁄UÊ◊ Áfl¡ÿÊ
9. “∑§‹Ê„ÁSÃ‚Ê ¬¥ø⁄UàŸ◊” ◊¥ ∞∑§ ∑ΧÁà •ÊÃÊ „Ò —
(1) ‚‹ÊªÊ÷Ò⁄UflË ◊¥ ß‹ÊÃ⁄U◊≈˜U≈ÈU
(2) Á„ã«UÊ‹◊ ◊¥ ‚Ê◊ªÊŸÊ ‹Ê‹Ê
(3) ‚‹ÊªÊ÷Ò⁄UflË ◊¥ ‚Ê◊ªÊŸÊ ‹Ê‹Ê
(4) ∑§Á嬟Ê⁄UÊÿáÊË ◊¥ ‚⁄U‚Ê‚◊ʌʟÊ
10. àÿʪ⁄UÊ¡ •¬ŸË Á∑§‚ ∑ΧÁà ◊¥ ÷Œ˝Êø‹ ⁄UÊ◊ŒÊ‚ ∑§Ê üÊhÊ¥¡‹Ë •Á¬¸Ã ∑§⁄Uà „Ò¥?
(1) Ã⁄UÊ ÁÃÿʪ⁄UÊŒÊ (2) ˇÊË⁄U‚ʪ⁄UÊ ‡ÊÿáÊ
(3) ∞ãÃ⁄UÊ ◊„ÊŸÈ÷Êfl‹È (4) ŸŸãŒÈ flŒ∑ȧŒÈ⁄UÊ
11. ∑ȧÁ«Uÿ≈˜U≈U◊ ◊¥ ¬Œ˜◊üÊË ¬˝Êåà ∑§⁄UŸ flÊ‹ „Ò¥ —
(1) ∑§‹Ê◊á«U‹◊ ∑ΧcáÊŸ ŸÊÿ⁄U
(2) ∑§‹Ê◊á«U‹◊ ªÊ¬Ë
(3) ∑§‹Ê◊á«U‹◊ Á‡ÊflŸ Ÿê◊¬ÍÁÃ⁄UË
(4) üÊË ⁄UÊ◊Ê ¬Ê«ÈUflÊ‹
12. ÁŸêŸÁ‹Áπà ∑§Ê ©Ÿ∑§ ◊‹∑§ûÊʸ ‚¥ÅÿÊ ∑§ •ŸÈ‚Ê⁄U √ÿflÁSÕà ∑§ËÁ¡∞ —
(1) ·«˜UÁflœ◊ÊÁª¸áÊË, Áfl‡flÊê’⁄UË, ¤Ê¥∑§Ê⁄UäflÁŸ, íÿÊÁÃSflM§Á¬áÊË
(2) Áfl‡flê’⁄UË, ·«˜UÁflœ◊ÊÁª¸áÊË, íÿÊÁÃSflM§Á¬áÊË, ¤Ê¥∑§Ê⁄UäflÁŸ
(3) íÿÊÁÃSflM§Á¬áÊË, Áfl‡flÊê’⁄UË, ¤Ê¥∑§Ê⁄UäflÁŸ, ·«˜UÁflœ◊ÊÁª¸áÊË
(4) ¤Ê¥∑§Ê⁄UäflÁŸ, ·«˜UÁflœ◊ÊÁª¸áÊË, Áfl‡flÊê’⁄UË, íÿÊÁÃSflM§Á¬áÊË
13. ÿÁŒ “ÃÊ«∏Ë” ∑§ “ªÊ” ∑§Ê “‚Ê” ∑§ M§¬ ◊¥ Á‹ÿÊ ¡Ê∞ ÃÊ ß‚∑§Ê ¬Á⁄UáÊÊ◊ „ÊªÊ —
(1) ∑§ÀÿÊáÊË (2) „Á⁄U ∑§ê÷Ê¡Ë
(3) Ÿ≈UÊ ÷Ò⁄UflË (4) ‡Ê¥∑§⁄UÊ÷⁄UáÊ◊
N-09617 !N-09617-PAPER-II! 5 Paper-II 14. The Geyanataka ‘Parijathaharana’ is written by : (1) Narayana Tirthar (2) Gopalakrishna Bharati (3) Bhadrachala Ramadas (4) Arunachala Kavirayar
15. Another name given to Varamu raga : (1) Sudha Saveri (2) Sudha Hindolam (3) Sudha Bangala (4) Sudha Dhanyasi
16. ‘Gupta’ means : (1) Name given to ‘Tisra jaati Ata talam’ (2) Name given to ‘Tisra jaati Eka talam’ (3) Name given to ‘a raga with three anyaswaras’ (4) Name given to a ‘gitam’ in a ‘Ghana raga’
17. The pitch of a string is inversely proportional to its : (1) Thickness (2) Length (3) Width (4) Tension
18. Raga which is not in the ragamalika ‘simhasanastite’ ? (1) Kalyani (2) Saurashtra (3) Vasanta (4) Madhyamavati
19. The kriti in which the content of the sahitya is the lakshana of an ideal kriti : (1) Ragasudharasa (2) Sogasugamridangatalamu (3) Kaddanavariki (4) Swararaga Sudharasa
20. Vasanta bhairavi is a janya raga of : (1) Vakulabharanam (2) Mayamalavagoula (3) Suryakantam (4) Natabhairavi
21. Raga ‘Simhavahini’ derived from the mela : (1) Harikambodhi (2) Charukeshi (3) Sarasangi (4) Shankarabharana
N-09617 !N-09617-PAPER-II! 6 Paper-II 14. ªÿŸÊ≈U∑§ “¬ÊÁ⁄U¡ÊÄ⁄UáÊ” ∑§ ‹π∑§ „¥Ò — (1) ŸÊ⁄UÊÿáÊÊ ÃËÕ¸⁄U (2) ªÊ¬Ê‹∑ΧcáÊ ÷Ê⁄UÃË (3) ÷Œ˝Êø‹ ⁄UÊ◊ŒÊ‚ (4) •L§áÊÊø‹ ∑§Áfl⁄UÊÿ⁄U
15. fl⁄U◊È ⁄Uʪ ∑§Ê ŒÍ‚⁄UÊ ŸÊ◊ ÁŒÿÊ ªÿÊ „Ò — (1) ‡ÊÈh ‚fl⁄UË (2) ‡ÊÈh Á„ã«UÊ‹◊ (3) ‡ÊÈh ’ãªÊ‹Ê (4) ‡ÊÈh œãÿÊ‚Ë
16. “ªÈåÃÊ” ŸÊ◊ „Ò — (1) “ÁÃüÊÊ ¡ÊÁà •≈UÊ ÃÊ‹◊” ∑§Ê (2) “ÁÃüÊÊ ¡ÊÁà ∞∑§ ÃÊ‹◊” ∑§Ê (3) “ÃËŸ •ãÿ Sfl⁄UÊ¥ flÊ‹ ⁄Uʪ” ∑§Ê (4) “ÉÊŸ ⁄Uʪ ◊¥ ªËÃ◊” ∑§Ê
17. ÃÊ⁄U ∑§Ê ‚È⁄U Á∑§‚∑§Ê ¬˝ÁËÊ◊× •ÊŸÈ¬ÊÁÃ∑§ „ÊÃÊ „Ò? (1) ◊Ê≈UÊ߸ (2) ‹¥’Ê߸ (3) øÊÒ«∏Ê߸ (4) ßÊfl
18. ∞∑§ ⁄Uʪ ¡Ê ⁄Uʪ◊ÊÁ‹∑§Ê “Á‚¥„ÊSÊŸÊÁSÃÔ ◊¥ Ÿ„Ë¥ „Ò — (1) ∑§ÀÿÊáÊË (2) ‚ÊÒ⁄UÊc≈˛U (3) fl‚¥ÃÊ (4) ◊äÿ◊ÊflÊÁÃ
19. fl„ ∑§ÊÒŸ-‚Ë ∑ΧÁà „Ò Á¡‚∑§ ‚ÊÁ„àÿ∑§ Áfl·ÿ ◊¥ •ÊŒ‡Ê¸ ∑ΧÁà ∑§Ê ‹ˇÊáÊ „Ò? (1) ⁄Uʪ‡ÊÈœÊ⁄U‚ (2) ‡Êʪ‡ÊȪ◊ÎŒ¥ªÃÊ‹◊È (3) ∑§Œ˜ŒŸflÊÁ⁄U∑§Ë (4) Sfl⁄U⁄Uʪ ‚ÈœÊ⁄U‚
20. fl‚ãà ÷Ò⁄UflË Á∑§‚∑§Ê ¡ãÿ ⁄Uʪ „Ò? (1) fl∑ȧ‹Ê÷⁄UáÊ◊ (2) ◊ÊÿÊ◊Ê‹flªÊÒ‹Ê (3) ‚Íÿ¸∑§ÊãÃ◊ (4) Ÿ≈U÷Ò⁄UflË
21. ⁄Uʪ Á‚ê„ÊflÊÁ„ŸË Á∑§‚ ◊‹ ‚ √ÿÈà¬ÛÊ „Ò? (1) „Á⁄U∑§ê’ÊŒË (2) øÊL§∑§‡ÊË (3) ‚Ê⁄UÊ‚¥ªË (4) ‡Ê¥∑§⁄UÊ÷⁄UáÊÊ
N-09617 !N-09617-PAPER-II! 7 Paper-II 22. Maveli Natkam : (1) A drama performed in Kerala (2) A Tamil Dance drama performed in Vedaranyam Temple (3) A Dance drama performed in Padmanabha Swami Temple Trivandrum (4) A Book in Telugu about Mahabali Chakravarty
23. Match the following : List-I List-II (a) Sravanam (i) Paramapurusha (b) Archanam (ii) Bhavatiyakatha (c) Dasyam (iii) Bhavativiswaso (d) Sakhyam (iv) Aradhayami Code : (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (i) (ii) (iv) (iii) (3) (ii) (iii) (i) (iv) (4) (ii) (iv) (i) (iii)
24. The Vishnu Temple in Tirumayam is famous for : (1) Palm Leaves (2) Musical Iconography (3) Frescos (4) Nataraja Poses
25. Sangeeta Ratnakara mentions the following numbers of flutes : (1) 10 (2) 12 (3) 15 (4) 18
26. Author of ‘Ragatharangini’ : (1) Lochana Kavi (2) Narayana Deva (3) Somaraya (4) Parameswara
27. A martial wind instrument mentioned in Ramayana and Mahabharata : (1) Gomukhi (2) Gomukha (3) Godari (4) Golli
N-09617 !N-09617-PAPER-II! 8 Paper-II 22. ◊Êfl‹Ë ŸÊ≈U∑§◊ „Ò — (1) ∑§⁄U‹ ◊¥ ¬˝SÃÈà ∞∑§ ŸÊ≈U∑§ (2) flŒÊ⁄Uáÿ◊ ◊¥ÁŒ⁄U ◊¥ ¬˝SÃÈà ∞∑§ ÃÁ◊‹ ŸÎàÿ ŸÊ≈U∑§ (3) ¬Œ˜◊ŸÊ÷Ê SflÊ◊Ë ◊¥ÁŒ⁄, ÁòÊflãŒ˝◊ ◊¥ ¬˝SÃÈÈà ∞∑§ ŸÎàÿ ŸÊ≈U∑§ (4) ◊„Ê’‹Ë ø∑˝§flÃ˸ ∑§ ’Ê⁄U ◊¥ Ã‹ÈªÈ ◊¥ ∞∑§ ¬ÈSÃ∑§
23. ÁŸêŸÁ‹Áπà ∑§Ê ‚È◊Á‹Ã ∑§ËÁ¡ÿ — ‚ÍøË-I ‚ÍøË-II (a) üÊfláÊ◊ (i) ¬⁄U◊¬ÈL§· (b) •ø¸Ÿ◊ (ii) ÷flÃËÿ∑§ÕÊ (c) ŒÊSÿ◊ (iii) ÷flÃËÁfl‡fl‚Ê (d) ‚ÊÅÿ◊ (iv) •Ê⁄UÊäÿÊÁ◊ ∑ͧ≈U — (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (i) (ii) (iv) (iii) (3) (ii) (iii) (i) (iv) (4) (ii) (iv) (i) (iii)
24. ÁÃL§◊Êÿ◊ ◊¥ ÁSÕà ÁflcáÊÈ ◊ÁãŒ⁄U Á∑§‚ Á‹ÿ ¬˝Á‚h „Ò? (1) ¬Êã«ÈU Á‹Á¬ (2) ‚¥ªËÃ◊ÿ ¬˝ÁÃ◊ÊÁflôÊÊŸ (3) Á÷ûÊË ÁøòÊ (4) Ÿ≈U⁄UÊ¡ ◊ÈŒ˝Ê
25. ‚¥ªËà ⁄UàŸÊ∑§⁄U ’Ê¥‚È⁄UË ∑§Ë ÁŸêŸÁ‹Áπà ‚¥ÅÿÊ ∑§Ê ©À‹π ∑§⁄UÃÊ „Ò — (1) 10 (2) 12 (3) 15 (4) 18
26. “⁄UʪÃ⁄¥UÁªáÊË” ∑§Ê ‹π∑§ „Ò — (1) ‹ÊøŸÊ ∑§Áfl (2) ŸÊ⁄UÊÿáÊÊ Œfl (3) ‚Ê◊⁄UÊÿÊ (4) ¬⁄U◊‡fl⁄UÊ
27. ⁄UÊ◊ÊÿáÊ •ÊÒ⁄U ◊„Ê÷Ê⁄Uà ◊¥ flÁáʸà ‚Òãÿ ‚ÈÁ·⁄U flÊl „Ò — (1) ªÊ◊ÈπË (2) ªÊ◊ÈπÊ (3) ªÊŒ⁄UË (4) ªÊÀ‹Ë
N-09617 !N-09617-PAPER-II! 9 Paper-II 28. Veda Parayana goshtis included : (1) Devotional music (2) Ritualistic music (3) Hymnal music (4) Sacred music
29. Period of ‘Narayana theertha’ is : (1) 18 (2) 16 (3) 12 (4) 14
30. Son of Subbaraya Sastri : (1) Annayya (2) Venkit Ramana Sastri (3) Syama Sastri (4) Anna Swamy Sastri
31. The chapters in the lakshana grandha Sangita Samayasara is known as : (1) Ratnakosas (2) Adhyayas (3) Purvavidhana (4) Adhikaranas
32. Composer who uses Itaranama mudra : (1) Patnam Subramanya Iyer (2) Bhadrachala Ramadasa (3) Mysore Sadasiva Rao (4) Paidala Gurumurty Shastri
33. Birth place of Baluswamy Dixitar is : (1) Tiruvyar (2) Tanjore (3) Tiruvaroor (4) Velakini
34. Earlier name of Mohanam : (1) Regupti (2) Hindol (3) Bhup (4) Bhupali
35. An anthology in which the Pans are described : (1) Tirukkural (2) Paripadal (3) Tiruvachakam (4) Tevaram
36. Composer of 108 Raga Tala Malika : (1) Ramaswamy Sivan (2) Ramaswamy Dikshitar (3) Govinda Dikshitar (4) Mahavaidyanatha Ayyar
N-09617 !N-09617-PAPER-II! 10 Paper-II 28. flŒ¬⁄UÊÿáÊ ªÊc∆UË ◊¥ ‚Áê◊Á‹Ã — (1) ÷ÁÄà ‚¥ªËà (2) œÊÁ◊¸∑§ ‚¥ªËà (3) SÃÊòÊ ‚¥ªËà (4) ÿôÊʬflËà ‚¥ªËÃ
29. ŸÊ⁄UÊÿáÊ ÃËÕ¸ ∑§Ê ∑§Ê‹ „Ò — (1) 18 (2) 16 (3) 12 (4) 14
30. ‚Èé’Ê⁄UÊÿ ‡ÊÊSòÊË ∑§Ê ¬ÈòÊ „Ò — (1) •ÊÛʃÿÊ (2) fl¥∑§≈U ⁄U◊áÊÊ ‡ÊÊSòÊË (3) ‡ÿÊ◊Ê ‡ÊÊSòÊË (4) •ÛÊÊ SflÊ◊Ë ‡ÊÊSòÊË
31. ‹ˇÊáʪ˝¥Õ ‚¥ªËÂÊêÿ‚Ê⁄U ◊¥ •äÿÊÿÊ¥ ∑§Ê ∑§„Ê ¡ÊÃÊ „Ò — (1) ⁄UàŸ∑§Ê· (2) •äÿÊÿ (3) ¬Ífl¸ÁflœÊŸÊ (4) •Áœ∑§⁄UáÊ
32. ⁄UøŸÊ∑§Ê⁄U ¡Ê ßÃ⁄UŸÊ◊ ◊ÈŒ˝Ê ∑§Ê ¬˝ÿʪ ∑§⁄Uà „Ò¥ — (1) ¬^áÊ◊ ‚È’˝◊áÿ •ƒÿ⁄U (2) ÷Œ˝Ê¿U‹ ⁄UÊ◊ŒÊ‚ (3) ◊Ò‚Í⁄U ‚ŒÊÁ‡Êfl ⁄UÊfl (4) ¬ÒŒÊ‹ ªÈL§◊ÍÁø ‡ÊÊSòÊË
33. ’Ê‹ÈSflÊ◊Ë ÁŒÁˇÊÃÊ⁄U ∑§Ê ¡ã◊ SÕÊŸ „Ò — (1) ÁÃL§flÿÊ⁄U (2) Ã¥¡Ê⁄U (3) ÁÃL§flÊM§⁄U (4) fl‹ÊÁ∑§ÁŸ
34. ◊Ê„Ÿ◊ ∑§Ê ¬Ífl¸ ŸÊ◊ „Ò — (1) ⁄UªÈÁåà (2) Á„ã«UÊ‹ (3) ÷ͬ (4) ÷ͬʋË
35. ∑§Ê߸ ∑§Ê√ÿ‚¥ª˝„ Á¡‚◊¥ ¬áÊ ∑§Ê ©À‹π „Ê, ∑§„‹ÊÃÊ „Ò — (1) ÁÃL§Ä∑ȧ⁄U‹ (2) ¬Á⁄U¬Ê«U‹ (3) ÁÃL§flÊø∑§◊ (4) ÃflÊ⁄U◊
36. 108 ⁄Uʪ ÃÊ‹ ◊ÊÁ‹∑§Ê ∑§ ⁄UøŸÊ∑§Ê⁄U — (1) ⁄UÊ◊SflÊ◊Ë Á‡ÊflŸ (2) ⁄UÊ◊SflÊ◊Ë ŒËˇÊËÃ⁄U (3) ªÊÁfl㌠ŒËˇÊËÃ⁄U (4) ◊„ÊflÒlŸÊÕ •ƒÿ⁄U
N-09617 !N-09617-PAPER-II! 11 Paper-II 37. “Shankari Nivani” in Raga Begada is composed by : (1) Subbaraya Shastri (2) Shyama Shastri (3) Baluswamy Dixitar (4) Ponnaih
38. Mandari raga is derived from : th st th nd (1) 47 Mela (2) 51 Mela (3) 40 Mela (4) 72 Mela
39. Keeping time with both the hands is known as : (1) Samyukta (2) Samahasta (3) Samika (4) Sannipata
40. Tamil lexicon that explains the Navarasas : (1) Silappadikaram (2) Manimekhalai (3) Diwakaram (4) Thiruppavai
41. The Raga which does not belong to ‘Ritu’ chakra : (1) Yaga Priya (2) Pavani (3) Shulini (4) Chalanata
42. Asraya raga is : (1) A Sampoorna Janya raga (2) A Janya raga which takes only the swaras of it’s melakarta raga (3) A raga which is known with two names (4) A well known raga after which a mela raga is named
43. Reason (R) : Music criticism is only about evaluation. Assertion (A) : Criticism has to intellectually communicate the aesthetics in music. Code : (1) (R) is wrong and (A) is correct (2) Both (R) and (A) are wrong (3) (A) is wrong (R) is correct (4) Both (A) and (R) are correct
44. Nirveda is the sthayi bhava for : (1) Shanta Rasa (2) Bhibatsa Rasa (3) Karuna Rasa (4) Veera Rasa
N-09617 !N-09617-PAPER-II! 12 Paper-II 37. ⁄Uʪ ’ª«∏ ◊¥ “‡Ê¥∑§⁄UË ÁŸflÊŸË” ∑§Ë ⁄UøŸÊ ∑§Ë „Ò — (1) ‚Èé’Ê⁄UÊÿÊ ‡ÊÊSòÊË (2) ‡ÿÊ◊Ê ‡ÊÊSòÊË (3) ’Ê‹ÈSflÊ◊Ë ÁŒÁˇÊÃÊ⁄U (4) ¬ÊÛʃÿÊ
38. ◊¥ŒÊÁ⁄U ⁄Uʪ Á∑§‚‚ ©à¬ÛÊ „È•Ê „Ò? (1) 47 fl¥ ◊‹ ‚ (2) 51 fl¥ ◊‹ ‚ (3) 40 fl¥ ◊‹ ‚ (4) 72 fl¥ ◊‹ ‚
39. ŒÊŸÊ¥ „ÊÕÊ¥ ‚ ‚◊ÿ ∑§Ë ÁªŸÃË ∑§⁄UŸÊ ∑§„‹ÊÃÊ „Ò — (1) ‚Ê◊ÿÈÄÃÊ (2) ‚◊„SÃÊ (3) ‚ÊÁ◊∑§Ê (4) ‚ÁÛʬÊÃÊ
40. ÃÁ◊‹ ‡ÊéŒ∑§Ê‡Ê Á¡‚◊¥ Ÿfl⁄U‚Ê¥ ∑§Ê √ÿÊÅÿÊŸ „Ò — (1) Á‚‹å¬ÁŒU∑§Ê⁄U◊ (2) ◊ÁáÊ◊π‹Ò (3) ÁŒflÊ∑§⁄U◊ (4) ÁÃL§å¬Êfl߸
41. ∑§ÊÒŸ-‚Ê ⁄Uʪ “´§ÃÈ ø∑˝§” ∑§Ê Ÿ„Ë¥ „Ò? (1) ÿʪ Á¬˝ÿÊ (2) ¬ÊflŸË (3) ‡ÊÍÁ‹ŸË (4) ø‹ŸÊ≈UÊ
42. •ÊüÊÿ ⁄Uʪ „Ò — (1) ∞∑§ ‚ê¬Íáʸ ¡ãÿ ⁄Uʪ (2) ∞∑§ ¡ãÿ ⁄Uʪ ¡Ê ∑§fl‹ •¬Ÿ ◊‹∑§Ãʸ ⁄Uʪ ∑§ Sfl⁄UÊ¥ ∑§Ê ‹ÃÊ „Ò (3) ∞∑§ ⁄Uʪ Á¡‚ ŒÊ ŸÊ◊Ê¥ ‚ ¡ÊŸÃ „Ò¥ (4) ∞∑§ ÁflÅÿÊà ⁄Uʪ Á¡‚ ¬⁄U ◊‹ ⁄Uʪ ∑§Ê ŸÊ◊ ⁄UπÊ ªÿÊ „Ò
43. Ã∑¸§ (R) : ‚¥ªËà •Ê‹ÊøŸÊ ∑§fl‹ ©‚∑§Ê ◊ÍÀÿÊ¥∑§Ÿ ∑§⁄UÃË „Ò– •Á÷∑§ÕŸ (A) : •Ê‹ÊøŸÊ, ‚¥ªËà ∑§ ‚ÊÒãŒÿ¸¬⁄U∑§ ∑§Ê ’ÊÒÁh∑§ •Á÷√ÿÁÄÃ, „ÊŸÊ øÊÁ„∞– ∑ͧ≈U — (1) (R) ª‹Ã „Ò •ÊÒ⁄U (A) ‚„Ë „Ò (2) ŒÊŸÊ¥ (R) •ÊÒ⁄U (A) ª‹Ã „Ò¥ (3) (A) ª‹Ã „Ò (R) ‚„Ë „Ò (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥
44. ÁŸ⁄UflŒ Á∑§‚ ⁄U‚ ∑§Ê SÕÊÿË ÷Êfl „Ò? (1) ‡ÊÊãà ⁄U‚ (2) ÷Ë÷à‚ ⁄U‚ (3) ∑§L§áÊ ⁄U‚ (4) flË⁄U ⁄U‚
N-09617 !N-09617-PAPER-II! 13 Paper-II 45. The name of Yagapriya in asampurna mela paddhati is : (1) Tarangini (2) Nagabharanam (3) Kalavati (4) Sugandhini
46. Which is Ekaswara Vakra raga ? (1) Nattakurinji (2) Nilambari (3) Begada (4) Riti Gaula
47. In the lakshana grandha ‘Dattilam’ verses are described as : (1) Karikas (2) Sthupas (3) Slokas (4) Dhruva
48. A Kriti in saveri which includes Swara Sahitya : (1) Durusuga Kripa (2) Pahimam (3) Sri Ramachandra Raghava (4) Bhasurangi Bale
49. The Author of “Panditaradhya Charitamu” is : (1) Shaji Maharaja (2) Palkurki Somanatha (3) Chikkadevaraja Wodeyar (4) Bharatinanja
50. The precious book ‘Gandharva-veda’ on gandharvagana is compiled by :
(1) Bharata (2) Narada (3) Matanga (4) Tumburu
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N-09617 !N-09617-PAPER-II! 14 Paper-II 45. •‚¥¬ÍáÊʸ ◊‹ ¬hÁà ◊¥ ÿʪÁ¬˝ÿÊ ∑§Ê ∑§„Ê ªÿÊ „Ò — (1) Ã⁄¥UÁªáÊË (2) ŸÊª÷⁄UáÊ◊ (3) ∑§‹ÊflÃË (4) ‚Ȫ¥ÁœŸË
46. ∞∑§ Sfl⁄U fl∑˝§ ⁄Uʪ ∑§ÊÒŸ-‚Ê „Ò? (1) ŸÊ≈˜U≈UÊ∑ȧÁ⁄Uã¡Ë (2) ÁŸ‹Êê’⁄UË (3) ’ª«∏Ê (4) ⁄UËÁà ªÊÒ‹Ê
47. ‹ˇÊáÊ ª˝¥Õ “ŒÁûÊ‹◊” ∑§Ê√ÿ ∑§Ê ©À‹π Á∑§‚ M§¬ ◊¥ Á∑§ÿÊ ¡ÊÃÊ „Ò? (1) ∑§Ê⁄UË∑§ (2) SÃͬ (3) ‡‹Ê∑§ (4) œ˝Èfl
48. ‚Êfl⁄UË ∑ΧÁà Á¡‚◊¥ Sfl⁄U ‚ÊÁ„àÿ ¬ÊÿÊ ¡ÊÃÊ „Ò — (1) ŒÈL§‚ÈªÊ ∑Χ¬Ê§ (2) ¬Ê„Ë◊Ê◊ (3) üÊË ⁄UÊ◊ øãŒ˝ ⁄UÊÉÊfl (4) ÷Ê‚È⁄UÊãªË ’Ê‹
49. ¬¥Á«UÃÊ⁄UÊäÿ øÁ⁄UÃ◊È ∑§Ê ‹π∑§ „Ò — (1) ‡ÊÊ¡Ë ◊„Ê⁄UÊ¡ (2) ¬Ê‹∑ȧ⁄U∑§Ë ‚Ê◊ŸÊÕÊ (3) ÁøÄ∑§Œfl⁄UÊ¡ flÊ«∏ÿÊ⁄U (4) ÷Ê⁄UÃËŸã¡Ê
50. ª¥œfl¸ªÊŸ ‚¥’¥œË •◊ÍÀÿ ∑ΧÁà “ª¥œfl¸-flŒ” ∑§ ‚¥∑§‹Ÿ∑§ûÊʸ „Ò — (1) ÷⁄Uà (2) ŸÊ⁄UŒ (3) ◊Ã¥ª (4) ÃÈê’ÈL§
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N-09617 !N-09617-PAPER-II! 15 Paper-II Space For Rough Work
N-09617 !N-09617-PAPER-II! 16 Paper-II