Signature and Name of Invigilator
Roll No.


1.
(Signature)

(In figures as per admission card) (Name)

2.
(Signature) Roll (In words)


(Name)

J 1 6 1 0

Test Booklet No.
Time 2 1/2 hours] [Maximum Marks 200

PAPER-III
MUSIC


Number of Pages in this Booklet 24 Number of Questions in this Booklet 26

Instructions for the Candidates
1.
Write your roll number in the space provided on the top of this page.

2.
Answer to short answer/essay type questions are to be given in the space provided below each question or after the questions in the Test Booklet itself.


No Additional Sheets are to be used.
3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below
To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet.
Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given.
4.
Read instructions given inside carefully.

5.
One page is attached for Rough Work at the end of the booklet before the Evaluation Sheet.

6.
If you write your name or put any mark on any part of the Answer Sheet, except for the space allotted for the relevant entries, which may disclose your identity, you will render yourself liable to disqualification.

7.
You have to return the test booklet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall.

8.
Use only Blue/Black Ball point pen.

9.
Use of any calculator or log table etc., is prohibited.


wft t oT f1f=
1. 1 ttW 1 1 Rt 31 Rt W q Rt m Il t cWi di1 Rt m l mu
2. t 1 Jw m q 1 Jci Rt cWi 1 Jw cWi dW Rt, 1 J l Wci 1 Jw cWi t1 W l 1 Jw cWi q t m tl W t t mRt 1 Rt ttt m mu l W I
m oT o T f o o T mf o f mif I
3. 1 Rtti 1 J Rt 1 tt W W 1 Rt, 1 Jw -1ci 3 1 ci W Wt tt "l WT t I 1 ttW 1 t1 m t 3 1 ci W 1 Jw -1ci u WW d cit m m mu " t1 cWi m m tl W "l T W m"cit " t1 3 1 ci W 3wl ciRtt t t
1 Jw -1ci u WW cWi m dcWi ci Rt 1 W" 1 Rt T t ci T " cit
t ci W .it I ut t t l mq ttciRt-t cit 1ci tci Rt ciR t I
o f wf w f w T f1f= m f w -wo oT w f w tm
o t m o T 3f t fmf f io o f t T w Tf m f I ff T
w w t wf o mf t f f f 3 T mf t m f
m o

t mf t 3 o fw m o mf
m t t wf o t . w to
o tf t m T i f o f oT m wf f fmft m mft w -wm o T t I m oT 3 w o T w f f %ffT t T I oT ff m o w m t T
T 3 w o t w t 3 i f mft 3 w o T m %ff I
f T
4.
3tRt m tl W T l W mtw ci W ci 1t I

5.
dW Rt-1ci ciWi 3 ci11 ci (Rough Work) ciRt W cWi m l ci w t t W 1 ttW ci 1l t m tl t t3 t t I


6. l m t 3 1 dW Rt-1ci 1 Rt 31 l W ci W 1 t mw m"W 3 1 cit 1 tt1 tt W cWi, mcit 1 t 1 T 1 Rt tw W l 3 mci ciRt W t t W 1 Rtti cWi m l W 3lWTl t Wml l T W IciRt m tl W "
7. 3 1 ci W 1 Rtti 1 tt W W 1 Rt dW Rt-1ci m Rtti ci tt W tl ci W t 3 W 1 Rtti 1 cWi q t 31 1 Rtti 1 W
wl ci t t 3 Rt W
q ttRt WciRt " l I

8. oT t T oT wf w i o mft m T o tf I
9. m t t wf o m o (oi o T f Tfo 3 %ff o w T mif I


J-1610 P.T.O.

MUSIC
ÃÖÓ.ÖߟÖ


PAPER III
¯ÖÏ¿-Ö¯Ö¡Ö III

Note This paper is of two hundred marks containing four sections. Candidates are required to attempt the questions contained in these sections according to the detailed instructions given therein.
-ÖÖ™êü µÖÆü ¯Ö¿-ÏÖ¯Ö¡Ö ¤üÖê ÃÖÖî †.úÓÖë .úÖ Æîü ‹¾ÖÓ ‡ÃÖ´Öë "ÖÖ¸ü .ÖÓ›ü Æïü … †³µÖÙ£ÖµÖÖë .úÖê ‡-Ö´Öë ÃÖ´ÖÖ×ÆüŸÖ ¯ÖÏ¿-ÖÖë .êú ˆ¢Ö¸ü
†»Ö.Ö ÃÖê פüµÖê .ÖµÖê ×¾Öß֟éÖ ×-Ö¤üì¿ÖÖë .ú †-êÖÃãÖÖ¸ü ¤üê-ÖÖ Æüî…

SECTION I

.Ö›Óü 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)
‡Ã.Ö›ü Ö2 ×-Ö²Ö-¬ÖŸ´.ú ¯Ö¿-Ö ‹.ú­‹.ú ×¾.ú»¯.ú Ã֣פüµÖ.µÖê ï… ¯ÏÖêÏÖ êÓï†îü
™Ö Ó´ë ÖÖÏÖÖêÖÖ êÖÆü ÖŸµ.ú¯Ö¿-.ú 20­20 †.ú Æü Ö¸¯ÖŸµÏÖ.ú ¯êÖ¿-ÏÖ .úÖ ˆ¢Ö¸ü 500 ¿Ö²¤üÖë ´Öë פüµÖÖ Æüî… ¯Ö¸üß.ÖÖ£Öá .úÖê ¤üÖê-ÖÖë ¯Ö¿-ÏÖÖë .ú ˆ¢êÖ¸ü ¤üê-Öê Æüï… ×
20 40 †Ó.ú)
1. Indian music has been an important integral part of worship and was a source of spiritual development. How relevant it is in the modern times
³ÖÖ¸üŸÖßµÖ ÃÖ.ÓÖßŸÖ ¯Öæ•ÖÖ­†"ÖÔ-ÖÖ ´Öë ‹.ú †×-Ö¾ÖÖµÖÔ †Ó.Öú .êú ºþ¯Ö ´Öë ¸üÆüÖ Æîü, •ÖÖê †ÖÛŸ´Ö.ú ×¾Ö.úÖÃÖ .úÖ ³Öß ‹.ú ´ÖÖ¬µÖ´Ö £ÖÖ … †Ö•Ö .ú ÃêÖ-¤ü³ÖÔ ´Öë µÖÆü .úÆüÖÑ ŸÖ.ú ¯ÖÖÏÃÖÓ×.Ö.ú Æîü
OR †£Ö¾ÖÖ

What is the utility of Electronic Instruments/Equipments in music teaching Can such instruments/equipments provide Distant Education of Music Give an analysis.
.Ö ÖÖ-.ú¸Ö/¾ªÖêÖü .ú¸.Ö/¾Öú«üÃÓÖ
ÃÖÓÖßŸÖ ×¿..Ö ´ë ¾ÖîÖÖ×-Ö.ú ˆ¯Öü.ÖëÖÖÖë .úß ŒµÖÖ ˆ¯ÖµÖ×.ŸÖÖ Æî? ŒµÖÖ ‡-Ö ˆ¯ÖüÖëÖÖªë .êüÖ¸Ö Ö.ßŸÖ .úß ¤æü¸ü¾ÖŸÖá ׿Ö.ÖÖ ÃÖÓ³Ö¾Ö Æîü ×¾Ö¿»ÖÂêÖ.Ö .úßוֵÖê …
2. Give your views on the importance and utility of Research in Music. Which factors should be adopted for the systematic completion of Research work
ÃÖ.ÓÖßŸÖ ´Öë ¿ÖÖê¬Ö .ú ´êÖÆü¢¾Ö ‹¾ÖÓ ˆ¯ÖÖ¤êüµÖŸÖÖ ¯Ö¸ü †¯Ö-Öê ×¾Ö"ÖÖ¸ü ¾µÖŒŸÖ .úßוֵÖê … ÃÖ.ÓÖßŸÖ ´Öë ¾µÖ¾ÖÛÃ£ÖŸÖ œüÓ.Ö ÃÖê ¿ÖÖê¬Ö.úÖµÖÔ .úÖ¯æ.ÖÔ .ú¸ü-Ö.êÖµÖ×.ú-Ö ²ÖŸÖë Ö ÖÖ»Ö-.ú¸ü-Ö Ö¾¿µÖî?
êÖ êú×»ê ÖÖ.ú¯Ö Ö†Ö.úÆü
OR †£Ö¾ÖÖ

Textual tradition of Music have contributed much in the preservation of many oral traditions. Express your views.
ÃÖ.ÓÖßŸÖ ´Öë ×»Ö×.ÖŸÖ ¯Ö¸ü´¯Ö¸üÖ «üÖ¸üÖ †-Öê.úÖë ´ÖÖ×.îÖ.ú ¯Ö¸ü´¯Ö¸üÖ†Öë .úÖê ÃÖ¸Óü×.ÖŸÖ .ú¸ü-Öê ´Öë ²ÖÆãüŸÖ µÖÖê.Ö¤üÖ-Ö ×´Ö»ÖÖ Æüî… †¯Ö-Öê ×¾Ö"ÖÖ¸ü ¾µÖŒŸÖ .úßוֵÖê …

SECTION II

.Ö›Óü 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)
-ÖÖê™ü ‡ÃÖ .Ö›Óü ´Öë ¯ÖÏŸµÖ.ú ‹êÛê""û.ú ‡.úÖ‡Ô ×¾Ö¿ÖÂêÖ-ÖŸÖÖ ÃÖê ¯ÖÏ¿-Ö Æîü … †³µÖ£Öá .úÖê .êú¾Ö»Ö ‹.ú ‹êÛ""û.ú ‡.úÖ‡Ô ×¾Ö¿ÖÂÖ-ÖŸÖÖ .úÖ"Ö-Ö.ú¸ü ÖêÖÖÖ¯Ö¿-ÖÖë .úÖ ˆ¢¸ü Æü ÖÏÖêÖ¿-Ö ¯Ö-¦Æü .úë .úÖ î¾Ö ˆÃ.úÖ
êê ãˆÃß.úŸß-ë ÏÖ¤êî…¯Ÿµ.ú¯Ïü(15) †ÓÖÆü Öˆ¢Ö¸ü »Ö.Ö³Ö.Ö ÃÖÖî ¿Ö²¤üÖë ´Öë †¯Ö×.êÖŸÖ Æüî… ×
15 45 †.úÓ) Elective I ×¾Ö.ú»¯Ö I Hindustani Music Vocal and Instrumental
×Æü-¤ãüßÖÖ-Öß ÃÖ.ÖߟÖÓ- .ÖÖµÖ-Ö ‹¾ÖÓ ¾ÖÖ¤ü-Ö
3. How far the paintings of Rag Raginees are helpful in the feeling of Rasa in music Explain in detail.
ÃÖÓ.ÖßŸÖ ´Öë ¸üÖ.Ö­¸üÖ×.Ö-Öß ×"Ö¡ÖÖë ÃÖê ÃÖÓ.ÖßŸÖ .úß ¸üÃÖ­×-Ö¯Ö×¢Ö .ú ˆ§êüê¿µÖ ´Öë .úÆüÖÑ ŸÖ.ú ÃÖÆüÖµÖŸÖÖ ×´Ö»ÖŸÖß Æüî? ×¾ÖßÖÖ¸ü ÃÖê ¾Ö.ÖÔ-Ö .úßוֵÖê …
4. Describe the different kinds of chords of western music and show their importance in the Ras-Nishpatti of music. ¯Ö¿"ÖÖ Ö.ßŸÖ ú.ú›üÃêÖÖ--Ö¯Ö.úÖ¸Ö.ú¾.ÔÖ üŸÖÆüµêÃÓÖߟ.ú߸üí×-ÖÂ¯Ö Öˆ-ÖÖ´Æü¢¾Ö¤¿Ö‡µÖÖÖŸµÃÓÖ.êÖÔÖ.ú׾׳Ïüë ÖÖÖ-.ú¸êãÖÖ.Ö ÖÖ×¢´ë .úÖüÖÔê…
5. Mention in brief the different systems of Rag classification in ancient, medieval and modern times. ´Ö¬µÖ †Ö¸îü †Ö¬Ö×-ãÖ.ú .úÖ»Ö ´Öë ¸üÖ.Ö ¾Ö.Öá.ú¸ü.Ö .úß ×¾Ö׳Ö--Ö ¯Ö¨üןֵÖÖë .úß ÃÖÓ×.Ö¯ŸÖ ¾µÖÖ.µÖÖ .úßוֵÖê … OR/†£Ö¾ÖÖ Elective II
.Ö›Óü II Karnatak Music
.ú-ÖÖÔüÓ
™.ú ÃÖ.ÖߟÖ

3. Importance of musical mnemonics in Karnatak Music compositions.
.ú-ÖÖ™Ôü.ú ÃÖÓ.ÖßŸÖ ¸ü"Ö-ÖÖ†Öë ´Öë ÃÖ.ÓÖߟÖÖŸ´Ö.ú ôÖéן֭ÃÖÆüÖµÖ.ú ŸÖ¢¾ÖÖë .úÖ ´ÖÆü¢¾Ö …
4. Sollukettu Svaras adopted in the composition of Dikshitar.
¤üß×.ÖŸÖÖ¸ü .úß ¸ü"Ö-ÖÖ†Öë ´Öë »Öß .Ö‡Ô ÃÖÖê»»Öã.êú¼åü þָü …
5. Chaturdandi Prakasika is an important Lakshana grantha.
"ÖŸÖã¤Ôü.›üß ¯ÖÏ.úÖ׿Ö.úÖ ‹.ú ´ÖÆü¢¾Ö¯Ö.æÖÔ »Ö.Ö.Ö .ÖÓÏ£Ö Æîü …
OR/†£Ö¾ÖÖ
Elective III
.Ö›Óü III
RABINDRA SANGEET

¸üüÓ
²Öß-¦ÃÖ.ÖߟÖ

3. Explain in details the influence of western music on Tagore's compositions.
™üî.ÖÖ¸êü .úß .Öߟָü"Ö-ÖÖ†Öë ¯Ö¸ü ¯ÖÖ¿"ÖÖŸµÖ ÃÖ.ÓÖßŸÖ .ú ¯êÖϳÖÖ¾Ö .úß ¾µÖÖ.µÖÖ .úßו֋ …
4. Give an account of Tagore's influence on his contemporary musicians.
†¯Ö-Öê ÃÖ´ÖÃÖÖ´Ö×µÖ.ú ÃÖ.ÓÖߟÖ.úÖ¸üÖë ¯Ö¸ü ™üüî.ÖÖê¸ü .êú ¯Ö³ÏÖÖ¾Ö .úÖ ×¾Ö¾Ö¸ü.Ö ¤üßו֋ …
5. How has Tagore expressed his feelings for his creator through his compositions
†¯Ö-Öß .Öߟָü"Ö-ÖÖ†Öë .ú ´êÖÖ¬µÖ´Ö ÃÖê ™üî.ÖÖ¸êü ‡¿¾ÔÖ¸ü .ú ¯êÖÏ×ŸÖ †¯Ö-Öê ´Ö-ÖÖ³êÖÖ¾Ö ×.úÃÖ ¯Ö.úÏÖ¸ü ¯ÖÏ.ú™ü ×.úµÖê
OR/†£Ö¾ÖÖ
Elective IV
×¾Ö.ú»¯Ö IV
PERCUSSION INSTRUMENTS

†¾Ö-Ö¨ü ¾ÖÖª

3. Explain the playing specialities of Delhi and Farrukhabad gharana of Tabla and write in notation two compositions each of the above gharanas. ŸÖ²Ö»Öê .ú פêü»»Öß ŸÖ£ÖÖ ±ú¹ýÔ.ÖÖ²ÖÖ¤ü .úß ¾ÖÖ¤ü-Ö ×¾Ö¿ÖÂêÖŸÖÖ†Öë .úÖê ÃÖ´Ö—ÖÖ‡µÖê ŸÖ£ÖÖ ‡-Ö .úß ¤üÖ­¤êüÖê ¸ü"Ö-ÖÖ‹Ñ ×»Öׯֲ֨ü .úßוֵÖê …
4. Write your views on the utility of talas having equal matras and compare any three taal pairs having equal matras. ÃÖ´Ö­´ÖÖסÖ.ú ŸÖÖ»ÖÖë .úß ˆ¯ÖµÖÖ×.êÖŸÖÖ ¯Ö¸ü †¯Ö-Öê ×¾Ö"ÖÖ¸ü ×»Ö×.ÖµÖê ŸÖ£ÖÖ ×.ú-Æüà ÃÖ´Ö­´ÖÖסÖ.ú ŸÖÖ»Ö •ÖÖ×›êÍüµÖÖë .úß ŸÖã»Ö-ÖÖ
.úßוֵÖê …

5. Explain the main characteristics of Marg Taal system and write down the Kriyavidhi
of Ek-kal chatchatputa and ek-kal chach-put.
´ÖÖ.ÖÔ ŸÖÖ»Ö ¯Ö¨ü×ŸÖ .úß ´Öã.µÖ ×¾Ö¿ÖêÂÖŸÖÖ‹Ñ ÃÖ´Ö—ÖÖ‡µÖê ŸÖ£ÖÖ ‹.ú.ú»Ö "Ö""ÖŸ¯Öã™ü †Ö¸îü ‹.ú.ú»Ö "ÖÖ"Ö¯Ö™ãü .úß ×.úµÎÖÖ×¾Ö׬Ö
×»Ö×.ÖµÖê …


SECTION III
.Ö›Óü III

Note This section contains nine questions each to be answered in about fifty words. Each question carries ten marks. ×
10 90 marks)
‡Ã.Öü Öë ¯ÏÖ ï…¯ÏÖêÏÖ.úÖ Öü Ö.³Ö.Ö²¤üë Ö†¯ÖêÖŸÖ î…¯ÏÖ.ú¯ÏÖ ¤ü
™Ö Ó›´î Ö¿-Æü ÖŸµ.ú¯Ö¿-ˆ¢¸»ÖÖ ¯Ö"ÖÖÃÖ ¿Ö´ë ×.Æü ÖŸµêÖ¿-ÃÖ
†ÓÖÆî… Ó

.ú.úü (9 ×
10 90 †.ú)
6. Explain the concept of beauty according to Indian and Western Scholars.
³ÖÖ¸üŸÖßµÖ ‹¾ÖÓ ¯ÖÖ¿"ÖÖŸµÖ ×¾Ö«üÖ-ÖÖë .êú †-ÖãÃÖÖ¸ü ÃÖÖî-¤üµÖÔ .úß ¬ÖÖ¸ü.ÖÖ .úÖê ÃÖ´Ö—ÖÖ‡µÖê …
7. What is the relation between Raga and Season Explain with examples of few Ragas in brief.
¸üÖ.Ö †Öî¸ü ŠúŸÖã ´Öë ŒµÖÖ ÃÖ´²Ö-¬Ö Æüî? .ãú"û ¸üÖ.ÖÖë .ú ˆ¤êüÖÆü¸ü.Ö ¤êüŸÖê ÆãüµÖê ÃÖÓ.Öê¯Ö ´Öë ÃÖ´Ö—ÖÖ‡µÖê …
OR/†£Ö¾ÖÖ

Write your views on the importance of Taal in Indian Music.
³ÖÖ¸üŸÖßµÖ ÃÖÓ.ÖßŸÖ ´Öë ŸÖÖ»Ö .êú ´ÖÆü¢¾Ö ¯Ö¸ü †¯Ö-Öê ×¾Ö"ÖÖ¸ü ×»Ö×.ÖµÖê …
8. Explain Rasa and its different kinds in brief.
¸üÃÖ .úÖê ¯Ö׸ü³ÖÖ×ÂÖŸÖ .ú¸üŸÖê ÆãüµÖê ¸üÃÖ .êú ×¾Ö׳Ö--Ö ¯Ö.úÏÖ¸üÖë .úÖ ÃÖ×.ÓÖ¯ŸÖ ×¾Ö¾Ö¸ü.Ö ¤ëü …
OR/†£Ö¾ÖÖ
Describe the classification of instruments in brief.
¾ÖÖª ¾Ö.Öá.ú¸ü.Ö .úÖ ÃÖ×.ÓÖ¯ŸÖ ¾Ö.ÖÔ-Ö .úßוֵÖê …
9. Tradition of music has been of great importance in Indian Music. Justify this statement with brief introduction of any one Gharana or Sampradaya in this context. ³ÖÖ¸üŸÖßµÖ ÃÖ.ÓÖßŸÖ .ú ÃêÖ-¤ü³ÖÔ ´Öë ¯ÖÖ׸ü¾ÖÖ׸ü.ú ¯Ö¸ü´¯Ö¸üÖ .úÖ ²ÖÆãüŸÖ ´ÖÆü¢¾Ö ¸üÆüÖ Æîü ‡ÃÖß ÃÖ-¤ü³ÖÔ ´Öë ×.úÃÖß ‹.ú †£Ö¾ÖÖ
ÃÖ´¯Ö¤ÏüÖµÖ .úÖ ÃÖ×.ÓÖ¯ŸÖ ¯Ö׸ü"ÖµÖ ¤êüŸÖê ÆüãµÖê ˆŒŸÖ .ú£Ö-Ö .úß ¯ÖãÛ™ü .úßוֵÖê …
10. Write notes on any five of the following Sargam, Vaggeykar, Varna, Alankar, Kalawant, Nayak, Padam, Varnam, Javali, Kriti, Tillana, Theka, Varshamangal, Quaida, Rela.
×-Ö´-Ö×»Ö×.ÖŸÖ ´Öë ÃÖê ×.ú-Æüà ¯ÖÖ"Ö Ñ¯Ö¸ü ×»Ö×.ÖµÖê
ÃÖ¸ü.Ö´Ö, ¾ÖÖ..ÖµêÖ.úÖ¸ü, ¾Ö.ÖÔ, †»ÖÓ.úÖ¸ü, .ú»ÖÖ¾Ö-ŸÖ, -ÖÖµÖ.ú, ¯Ö¤ü´Ö, ¾Ö.ÖÔ´Ö, •ÖÖ¾Ö×»Ö, .éúןÖ, šêü.úÖ, ¾ÖÂÖÖÔ´Ö.ÓÖ»Ö,

.úÖµÖ¤üÖ, ¸êü»ÖÖ …

11. "Swar Mela Kalanidhi" Granth is rated high as the authentic work of Pt. Ramamatya in Karnatak Music." Explain with reasons. ¯ÖÓ. ¸üÖ´ÖÖ´ÖÖŸµÖ .úŸéÖ "þָü´Ö»êÖ .ú»ÖÖ×-Ö׬Ö" .ÖÓÏ£Ö .úß .Ö.Ö-ÖÖ ¤ü×.Ö.ÖÖŸµÖ ¯Ö¨ü×ŸÖ (.ú-ÖÖ™Ôü.ú ÃÖÓ.ÖߟÖ) .êú †Ö¬ÖÖ¸ü³ÖŸæÖ .ÖÓÏ£ÖÖë ´Öë .úß •ÖÖŸÖß Æüî… ŸÖ.Ôú ÃÖ×ÆüŸÖ ÃÖ´Ö—ÖÖ‡µÖê …
12. Write short notes on any five of the following
Oddissi Dance, Kathak, Bharatnatyam, Kaikottikali, Kajri, Chaiti, Bhangra, Maand, Gitinatya, Nautanki, Lavani, Laggi, Tukda, Paran.
×-Ö´-Ö×»Ö×.ÖŸÖ ´Öë ÃÖê ×.ú-Æüß ¯ÖÖ"Ö Ñ¯Ö¸ü ÃÖÓ×.Ö¯ŸÖ ×™ü¯¯Ö.Öß ×»Ö×.ÖµÖê
†Ö×›êüÃÖß .ú£Ö.ú, .ú.úêÖî™üß .ú»»Öß, .ú•Ö¸üß, "ÖîŸÖß, ³ÖÖ.ÑÖ›üÍÖ, ´ÖÖ›Óü, .ÖßןÖ-ÖÖ™ü¶, -ÖÖî™üÓ.úß, »ÖÖ¾Ö.Öß, »Ö..Öß, ™üã.ú›üÍÖ, …
13. Write in brief on the western time signature and value of notes.
¯ÖÖ¿"ÖÖŸµÖ ÃÖÓ.ÖßŸÖ .êú ™üÖ‡´Ö ×ÃÖ.-Öê"Ö¸ü ‹¾ÖÓ ¯ÖÖ¿"ÖÖŸµÖ ´ÖÖ»ÖÖ†Öë ¯Ö¸ü ÃÖ.ÓÖê¯Ö ´Öë ×»Ö×.ÖµÖê …
14. Explain with examples

Musical quality of sound.


Vibration and frequency.


.úÖê ˆ¤üÖÆü¸ü.Ö ÃÖ×ÆüŸÖ ÃÖ´Ö—ÖÖ‡µÖê
-ÖÖ¤ü .úß ÃÖÓ.ÖߟÖÖê¯ÖµÖÖê×.ÖŸÖÖ …
.ú´¯Ö-Ö ‹¾ÖÓ †ÖÓ¤üÖê»Ö-Ö ÃÖÓ.µÖÖ …

OR/†£Ö¾ÖÖ
Write in notation the following

Tigun of Roopak taal.


Aad of Keharwa.


×-Ö´-Ö×»Ö×.ÖŸÖ .úÖê ×»Öׯֲ֨ü .úßוֵÖê
ºþ¯Ö.ú .úÖê ןÖ.Öã-Ö ´Öë …
.úÆü¸ü¾ÖÖ .úß †Ö›üÍ…


SECTION IV
.Ö›Óü IV

Note This section contains five questions based on the following paragraph. Each question should be answered in about thirty words and carries five marks. ×
5 25 marks)
‡Ã.Ö›ü Öë ×-Ö´-Ö×»Ö×.ÖÖ †-Ö""¤ü ¯Ö¸ü †¬ÖüŸÖ ÑÖ¿-Ö ü…¯ÖÏÖêÖ¿-Ö.úÖˆ¢¸ü»Ö.³.ŸÖßÃÖ
™ÖÓ´ŸãêûÖÖ׸¯ÖÖ"Ö ¯ÏÆ.ú¯ÏÖÖÖÖ ¿Ö²¤üë Ö놯êÖŸÖ î…¯ÏÖêÏÖ ÑÓÖ.úÖÆü… ×
5 25 †.ú)
Ö´Ö×.Æü ÖŸµ.ú ¯Ö¿-¯ÖÖ"Ö †.úë îÓ
Composition is an important part of Indian Music, which can preserve the rich heritage of Indian Music for the future generation. There have been changes in the form of Ragas and Talas, and these changes have directly influenced the compositions. Composition consists of two parts-Raga and Tal. When the Prabandh form of music was prevalent, its compositions were in accordance of the same, and did not have the freedom of improvisation. But with the evolution of Dhrupad, the rigid rules of the compositions were relaxed and developed four parts viz. Sthayi, Antara, Sanchari and Abhog. Alap was an integral part of such a form of Dhrupad singing. When Khyal evolved on the basis of Dhrupad, much scope for the elaboration of Rag and Tal became easy in singing of Khyal and Alap, Tan, Sargam, Laykaries and other different embellishments were important in a composition. We find that Swami Haridas, Tansen, Baizu-Bakshoo, Sadarang were important amongst them for Dhrupad Style, while Adarang, Saraspriya, Sadarang, Manrang, Harrang, Daraspriya, Prempia, Nehrang and others were important for khyal compositions. But all of them were vaggeykars/scholars who rendered rich tradition of Bandishes by following the rules and laws of Raga. These compositions of the scholars reflect the changing form of Ragas. In present day music, several compositions have been written and composed by musicians but could not be popular and exist for future because these compositions did not have traditional cult and the basic correct ingredients of Raga Roop. In fact the adherence to follow the rules of Raga is important for the aesthetic appeal with a combination of individual talent and improvisation of a scholar musician.
²ÖפÓü¿Ö ³ÖÖ¸üŸÖßµÖ ¿ÖÖáÖßµÖ ÃÖ.ÓÖßŸÖ .úÖ ‹.ú †Ö¾Ö¿µÖ.ú †.ÓÖ Æüî†Ö¸îü .ú¾êÖ»Ö ²ÖÓפü¿Ö .êú Æüß ´ÖÖ¬µÖ´Ö ÃÖê ×Æü-¤ãüßÖÖ-Öß ÃÖ.ÓÖßŸÖ .úß ÃÖ´Öé¨ü¿ÖÖ»Öß ¯Ö¸ü´¯Ö¸üÖ .úÖê ¯ÖßœÍüß ¤ü¸ü ¯ÖßœÍüß ŸÖ.ú ÃÖ¸ãü×.ÖŸÖ ¸ü.ÖÖ •ÖÖ ÃÖ.úŸÖÖ Æüî… ÃÖ.ÓÖßŸÖ ´Öë ¸üÖ.Ö­ŸÖÖ»Ö .êú þֺþ¯ÖÖë ´Öë ²Ö¤ü»ÖÖ¾Ö †ÖµÖê ˆ-.úÖ ¯ÏÖ.Ö ¯Ö³ÖÖ¾Ö ²Öפü¿ÖÖ¯Ö¸¯›üŸÖÖ ¸üüÖ î… ²Öü¿Ö êüÖ³ÖÖ.Æü ¸üÖ.†îü ŸÖÖ»… •²Ö .úÖ £Ö ŸÖ²Ö
üÖÖŸµÏÓëüÖÍÆÆü פÓ.ú¤ê ÖîÖÖ¸Ö ÖÖ²ÏÖˆÃÖ.úß ²ÖÓפü¿Öë £Öà, .ú»¯Ö-ÖÖŸ´Ö.ú ²ÖœÍüŸÖ .úÖ .Ö¡êÖ -ÖÆüà ×±ú¸ü ¬Ö¯ÐãÖ¤ü .êú ×¾Ö.úÖÃÖ .êú ÃÖÖ£Ö ²ÖפÓü¿Ö .êú "ÖÖ¸ü †.ÓÖ ×¾Ö.ú×ÃÖŸÖ ÆüãµÖê -ãÖÖ‡, †ÔŸÓÖ¸üÖ, ÃÖ"ÓÖÖ¸üß­†Ö³ÖÖê.Ö … ¬ÖЯãÖ¤ü .ú ‡ÃêÖ ¯ÖÏ.úÖ¸ü ´Öë †Ö»ÖÖ¯Ö Ã£ÖÖ-Ö »Öê ×»ÖµÖÖ … ‡ÃÖ.êú ²ÖÖ¤ü ¬ÖЯãÖ¤ü .ú Æêüß †Ö¬ÖÖ¸ü ¯Ö¸ü .µÖÖ»Ö .úÖ ×-Ö´ÖÖ.ÔÖ Æãü†Ö †Öî¸ü ŸÖ²Ö .ÖÖµÖ-Ö ´Öë ¸üÖ.Ö †Öî¸ü ŸÖÖ»Ö ¤üÖ-êÖÖë Æüß .úÖê ×¾ÖßÖÖ¸ü .úß †×¬Ö.ú þ֟ÖÓ¡ÖŸÖÖ ×´Ö»Öß … †Ö»ÖÖ¯Ö .êú ÃÖÖ£Ö ²ÖפÓü¿Ö ´Öë »ÖµÖ.úÖ¸üß, ÃÖ¸ü.Ö´Ö †Ö¸îü ×¾Ö׳Ö--Ö †»Ö.úÓÖ׸ü.ú ¯Ö.úÏÖ¸üÖë .úÖê ´ÖÆü¢¾Ö ×´Ö»ÖÖ … µÖפü ²ÖÓפü¿Ö .êú ¸ü"Ö×µÖŸÖÖ†Öë .úÖ .ú¸ëü ŸÖÖê ¤üê.ÖŸÖê Æüï×.ú ¬ÖЯãÖ¤ü .úß ²ÖÓפü¿ÖÖë .êú ¸ü"Ö×µÖŸÖÖ Ã¾ÖÖ´Öß Æü¸üߤüÖÃÖ, ²Öî•Öæ ²Ö.¿Öæ, ÃÖ¤üÖ¸Óü.Ö ¸üÆêü … .µÖÖ»Ö .úß ²ÖÓפü¿ÖÖë .úê
J-1610 21 P.T.O.
ÃÖ¤üÖ¸ü., †¤üÖü.Ö-ÖÓ., Æü¸üü., ¤ü¸ÖׯµÖÖ, øüÃׯֵÖ, ¯êÖׯֵÖÖ, ¯Ï-ÖׯµÖÖÖêü¸ü.¸üÆ, ×.ú-ŸÖµÖê óÖÖÖ..µÖ.úÖ¸ü £êÖ-ÆüêÖëÓÖ¸ÓÖ,´¸üÖ¸ÓÖüÃÖÖÖÖÖ´ÏÖÖÖ,-ÆÓÖ êüã Öß¾ÖêÖ;וÖ-
¸üÖ.Ö .êú ×-ÖµÖ´ÖÖë .úÖ .ú¸ü ²ÖÓפü¿ÖÖë .úÖê ÃÖ´Öé¨ü¿ÖÖ»Öß ¯Ö¸ü´¯Ö¸üÖ ¤üß, ‡-Ö ²ÖפÓü¿ÖÖë ÃÖê ¸üÖ.ÖÖë .ú ²êÖ¤ü»ÖŸÖê ¿ÖÖáÖßµÖ Ã¾Öºþ¯Ö .úÖ
ÆüÖŸêÖÖ Æîü … †Ö•Ö -ÖµÖß -ÖµÖß ²ÖפÓü¿Öë ¸üÆüß ¯Ö¸ü ÃÖÓ.ÖߟÖ-ÖÖë ¯Ö¸ü´¯Ö¸üÖ ÃÖê Æü™ü .ú¸ü ´Öæ»Ö ŸÖ¢¾ÖÖë .úÖ ÃÖ´ÖÖ¾Öê¿Ö ‡-Ö´Öë -ÖÆüà ×.úµÖÖ,
Óë ÖÖÆüÃ,ŒµëÖÖêÖî,¾µŒŸÖÖןָÖÖ.úÃÖÖÖ
²Öפü¿ÖÖ.ú¯Ï"Ö»Ö-Ö -Öüà ÆÖê Ö.úÖÖÖ×.ú ¸ü..ú ÃÖ-¤üµÖÔÖÛÖ.ŸÖ ¯ÏÖ³Ö †Öîü .ú»¯Ö-ÖŸ´.ú .ÖãÖ .êÖÖ£ÃÖ£²ÖÓפü¿Ö ×-Ö´ÔÖ êÖµê¸üÖÖ êÖµÖÖë.úÖ ¯ÖÖÖ-Ö.ú¸-ÖÖ†ŸµÖ-ŸÖ Ö¾ÖÖ.úÆ…
ÖÖ..ú×»Ö..ú×-´Ö»ü†¿µîü
15. Describe the importance of composition in music.
ÃÖ.ÓÖßŸÖ ´Öë ²ÖפÓü¿Ö .êú ´ÖÆü¢¾Ö .úÖê ²ÖŸÖÖ‡µÖê …
16. How the composition influence the music
²ÖפÓü¿ÖÖë .úÖ ÃÖ.ÓÖßŸÖ ´Öë ŒµÖÖ ¯Ö³ÏÖÖ¾Ö ¯Ö›ÍüŸÖÖ Æüî?
17. What was the form of composition in different vocal forms
×¾Ö׳Ö--Ö .ÖÖµÖ-Ö ¿Ö×»îÖµÖÖë ´Öë ²ÖÓפü¿ÖÖë .úÖ ŒµÖÖ Ã¾Öºþ¯Ö £ÖÖ
18. Name the composers of the compositions of Dhrupad.
¬ÖãЯ֤ü .úß ²ÖÓפü¿ÖÖë .êú ¸ü"Ö×µÖŸÖÖ†Öë .êú ²ÖŸÖÖ‡µÖê …
19. Name the composers of the compositions of Khyal.
.µÖÖ»Ö .úß ²ÖÓפü¿ÖÖë .ú ¸êü"Ö×µÖŸÖÖ†Öë .ú -êÖÖ´Ö ²ÖŸÖÖ‡µÖê …
FOR OFFICE USE ONLY
Marks Obtained
Question Number Marks Obtained
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26


Total Marks Obtained (in words) ...........................................
(in figures) ..........................................
Signature Name of the Coordinator ...................................
(Evaluation) Date .........................

J-1610 24