Emotion has a significant role in Raga-Nishpatti where vocal and instrumental music have special place. A musician selects Ragas according to circumstances and fills the audience with different emotions and feelings. The emotions which are derived out of music are based on Raga, Tal, Swar, Geet, Style, Lay, instrument and the meaning of the text. A Swara depicts the depth of feelings by its intricate presentation and Bhava and Rasa are closely related to each other. Swaras are capable of showing Rasas and Bhavas. Komal and Teevra Swaras are associated with emotions, and not only Swara but Shruthi, Meend, Gamak and imagination of an artist create Rasa in a Raga. In this context, Pada (Kavya) or Bandish is important in creating Rasa. Music, based on Swara-combinations, is a Literature, which consists of Bhava, Rasa, Chanda and Alankar. The imaginative expression of an artist is depicted by the inherent beauty of a Bandish (composition). Bandish is infact a characteristic form of a Raga. Emotions can be expressed by singing or playing the Ragas by following the time-theory of Ragas. The relation of Raga and Season is traditional and related to feelings. By selecting the Ragas and their presentation in adherence to time theory fills the audiences with Rasa and Bhava. For creating emotions in Swaras of music, of Kaku is also an important and powerful element and enhances Rasa of singing and playing. Even Vilambit, Madhya and Drut Layas play important role in creating emotions, which can present serious and frivolous expressions in music. Besides this, Varna, Alankar, Sthaya, Gamak, Saptak and Tan-Alap also have significant role in creating Rasa and Bhavas. The musical performance of an artist is judged as full of Rasa by knowing that which composition, Gata or resonance of an artist's programme and echo has filled the audience with maximum Rasa. As the interaction of inherent feeling of Bandish by use of Swara, and its embellishments is developed in Raga, a divine atmosphere is created with pleasure in place of Rasa and Bhava. In music the totality of various embellishments instead of separate Swaras creates ecstasy and divine pleasure of music.

1. Which factors in music create Rasa and Bhava Specially

2. How the Swaras and Shruties are capable of creating Rasa in a Raga

3. How the Bandish (composition) helpful in depiciting different beauty of a Raga in music

4. Why the traditional relation of Raga and Season is important in Indian music

5. How the use of Kaku, Laya, Tal, Gamak and Tan etc., are powerful elements in creating Bhavas of Swaras of music

6. What is the reason of the disintegration of Northern and Southern music Explain.

7. Though the Mughal Empire had a downfall in 13th century, but even then the classical music was developed to greater heights in that era. "Express your views on this statement.

8. Write a critical analysis of any two books of the following in brief
Rag Vivodh, Sangeet Sar, Sadrag-Chandroday, Sangeet Chinta, Geet-Vitan, Geet-Govinda.


9. Define any two from Kriti, Tillana, Keertan, Varsha-Mangal, Vasantotsav.
10. Explain the Rest Signs of western music.

11. What are the vocal and instrumental ranges of sound

12. Describe the Shad-Ang of Karnatic music.

13. Describe the effects of music with special reference to human welfare.

14. "There is no adherence to rules so strictly in Folk music as compared to classical music". Express your views.

15. What are the possibilities of the emergence of New Gharanas in music Discuss.

16. Write a note on the dance styles like Kathakali, Oddissi, Kuchipudi and Kathak.

17. What is a Sandhi Prakash Raga Explain its kinds by citing some examples.

18. Discuss the musical contribution of any two scholars in the era of revival of the traditional music of your region.

19. Describe the chief characteristics of any two Ragas from the following with one alap in each: Bilabal, Todi, Kanhara, Kafi.

20. How the following components help in adding beauty to Rag Kaku, Swar, Laya, Alankar, Time theory of Ragas.

21. Express your views chronologically on historical background of music teaching in Vedic Period, Medieval Period and the institutional instruction of music.

22. "The Aesthetics of music is infact known as the aestheties of Raga" explain.

23. 'The performing arts like folk music and dance are nurtured, and preserved as National heritage. Explain. Also describe some of the folk dramas of your state.

24. In the history of music, the second half of the 19th century is considered as the period of revival. Explain. Also describe the musical constribution of any two scholars of this period.

25. In research methodology, the success of research work depends on the selection of topic, synopsis, bibliography, data collection, editing, and writing of desertation. Express your views.

21. Give a detailed account of the evolution of Veena through different stages, from ancient times to modern times.

22. Explain the concept and the content of Thyagaraja's opera 'Prahlada Bhakta Vijaya' in detail.

23. Explain the scheme of Raga-classification in South-Indian music system.

24. Distinguish between Kruti and Keertana and give an account of the major composers of South Indian music who have composed in both the above forms.

25. Explain any four folk art forms of South-India and explain the musical content in each of them.

21. Write down the akar martrik notation of the antara of the song ¡ÊªÊ. .¥ª‹ ‹Ê...§" and explain its lyrics-tonal exaltation in the context of its devotional flavour.

22. Find out the song (/U.ËãŒ. ‚¥ªËÃ) set to 4 beat rhythm. State your note of appreciation for such a rhythm taken up by Rabindranath.

23. When and where did Rabindranath listen to S. N. Ratanjankar's Kheyal Singing Explain in short Rabindranath's reaction to Ratanjankar's rendition of Chhayanat.

24. To whom did Rabindranath dedicate his work ".‚ãÃ" (Vasant) Explain the justification of this exemplary dedication.

25. Who was A. Arnold Bake What is the title of his book on Rabindra Sangit Write a brief note on his contribution to the world of Rabindra Sangit.

21. Trace the origin of TABLA PAKHAWAJ and describe its development till today.
22. Describe KAMALKI and FARAMAISHI in TABLA PAKHAWAJ and give their examples.

23. Write in NOTATION 'TILWADA TAAL in its Aadi and Quadi Laya'.

24. Describe clearly the correct method of accompaniment to vocal melody instruments and Dance.

25. Name an artist (TABLA/PAKHAWAJ) of National repute and describe his/her merits in detail.

26. Throw light on the role of supplementary components like distant education of music in instruction, use of electronic gadgets, and music academics in imparting music education.

27. The quality of classical music has been affected by the contemporary trends of music and new experiments at present." Express your views on the said statement.

28. During the last five decades, the number of women artists and women authors has subsequently increased. Discuss the contribution of at least five women artists and women authors of National repute in music.