PAPER-III

MUSIC

SECTION I mm I

Note This section consists of two essay type questions with internal choice. Each question carries twenty marks to be answered in about five hundred words. Candidate has to answer both the questions. ×
20 40 marks)

1. In Music Education, which different disciplines can have Interdisciplinary approach Explain with examples.

2.Write a detailed note on the modern trends of classical music.

3. "The main object of research in all subjects is the advancement of knowledge." In this context, what should be the research methodology in music Explain in detail.

4.What are the merits and demerits of Institutional music teaching as compared to traditional mode of music teaching Describe.

SECTION II

II Note This section contains three questions from each of the electives/specializations. The candidate has to choose only one elective/specialization and answer all the three questions from it. Each question carries fifteen marks and is to be answered in about three hundred words. ×15 45 marks)

5. Explain Rasa and its different varieties. How Rasa is related to music

6. How Aesthetics is related to music What are the factors helpful in the aesthetical presentation of music performance Explain.

7. Describe various types of musical scales. Can equally tempered scale be applicable to Indian music

8. What is the importance of Kala Pramana in the aesthetic appeal of music

9. Compare the salient features of compositions of Swati Thirunal and Tyagaraja.

10. Recent developments in Katcheri Paddhati and their impact.

11. The emotions expressed in Tagore's compositions are relevant in contemporary India.' Elaborate.

12. In what way has North Indian Classical Music influenced Tagore's compositions

13. How did his family and home environment shape Rabindranath Tagore's life and works


14. Compare the North Indian and Karnatak taal system and write the forms of Dhruva, Jhamp and Triput talas of Karnataka.

15. Write your views in detail on the topic "Tabla accompaniment with classical vocal, instrumental and Kathak Dance".

16. What is the sequence of repertoires in Tabla solo playing Explain and express your views on the popularity of Tabla solo playing.


Note This section contains nine questions each to be answered in about fifty

words. Each question carries ten marks. ×10 90 marks)

17. Describe the Indian classification of instruments or Vrinda-gayan.

18. Define consonance and dissonance. Also write the consonant pair of notes in a scale.

19. Describe the merits and demerits of Avanaddha Vadya Vadaka.

20. Describe any one Grantha of your discipline of Medieval period in short.

21. What is meant by Dhyan theory of Ragas or Lakshan Geetas Explain.

22. Describe the Kansya tal with sketch.

23. Describe the chief characteristics of western staff notation with special reference to key signature.

24. Describe some important music intervals of music.

25. Write in notation the Ku-aad of Jhaptaal.

26. Write short notes on any one of the following

Characteristics of Raja Madhuwanti and Multani.

(b)Janya Raga Mohanam and Bhairavi Their characteristics.

Theka of Ada-Chautal and Jhoomra.

Influence of Hindustani Sangeet on Rabindra Sangeet.


27. Describe the salient features of any two Gharanas or Sampradayas of your discipline in brief.

28. Compare and contrast between Harmony and Melody. Can Harmony be applicable to Indian Music

Note This section contains five questions based on the following paragraph. Each question should be answered in about thirty words and each question carries five marks. ×5 25 marks)

29. Kaku is the most vital component in creating Rasa of Music. Kaku is the source of life in music. For the first time Bharat laid down the theory that the use of Kaku is compulsory to give total effects to the pathya of Natya and he wrote a complete detail on "Kaku Swara Vyanjanam" in the 17th part of Natyashastra. Bharat has directed that use of Kaku is related to the Vachik Abhinay of the four kinds of Abhinay. After Bharat scholars like Sharangdeo, Anandvardhan and others have elaborately discussed the significance of Kaku in the context of sound. Kaku means when one single word interprets different shades or meanings thereby that the application of swar is known as Kaku. When the swaras in music are pitched high for the purpose of creating emotions and feelings that process is known as Kaku.
Pt. Sharangdeo has mentioned Kaku in the context of Chaya Sthaya in the Prakeerna chapters of the ten chapters and has described Swar Kaku, Rag Kaku, Anya Rag Kaku, Desh Kaku, Chetra Kaku and Yantra Kaku. The application of swara in Khyal, Thumri Tappa etc. is different because of the different shades of Kaku known as Kaku Bhed, but khayal style of singing is totally based on Kaku. Khayal means that the presentation of Raga is based on improvisation and in this improvisation Kaku plays an important role in such a decoration and imagination of Khayal style.

Mention the concept of Rasa-Nishpatti by Kaku according to Bharat.

30. Which of the music scholars referred to the importance of Kaku after Bharat

31. What is meant by Kaku

32. Describe the views of Pt. Sharangdeo on Kaku.

33. How many varieties of Kaku are there