PAPER-II
MUSIC

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 (In words)
D 1 6 1 4

Time 1 1/4 hours] [Maximum Marks 100
Number of Pages in this Booklet 32 Instructions for the Candidates
1.
Write your roll number in the space provided on the top of this page.

2.
This paper consists of fifty multiple-choice type of questions.

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.
After this verification is over, the OMR Sheet Number should be entered on this Test Booklet.


4.
Each item has four alternative responses marked and You have to darken the circle as indicated below on the correct response against each item.


Example

where is the correct response.

5.
Your responses to the items are to be indicated in the OMR Sheet given inside the Paper I Booklet only. If you mark at any place other than in the circle in the OMR Sheet, it will not be evaluated.

6.
Read instructions given inside carefully.

7.
Rough Work is to be done in the end of this booklet.

8.
If you write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except for the space allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means such as change of response by scratching or using white fluid, you will render yourself liable to disqualification.

9.
You have to return the test question booklet and Original OMR Sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are, however, allowed to carry original question booklet and duplicate copy of OMR Sheet on conclusion of examination.

10.
Use only Blue/Black Ball point pen.

11.
Use of any calculator or log table etc., is prohibited.

12.
There is no negative marks for incorrect answers.

13.
In case of any discrepancy in the English and Hindi versions, English version will be taken as final.


Number of Questions in this Booklet 50
¯Ö¸üßõÖÖÙ£ÖµÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö

1.
‡ÃÖ ¯Öéšü Ûêú ‰ú¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ü †¯Ö®ÖÖ ¸üÖê»Ö ®Ö´²Ö¸ü ×»Ö×ÜÖ‹ …

2.
‡ÃÖ ¯ÖÏ¿®Ö-¯Ö¡Ö ´Öë ¯Ö"ÖÖÃÖ ²ÖÆãü×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü …

3.
¯Ö¸üßõÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê®Öê ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ †Ö¯ÖÛúÖê ¤êü ¤üß •ÖÖµÖêÝÖß … ¯ÖÆü»Öê¯ÖÖÑ"Ö ×´Ö®Ö™ü †Ö¯ÖÛúÖê ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛúß ×®Ö´®Ö×»Ö×ÜÖŸÖ

•ÖÖÑ"Ö Ûêú ×»Ö‹ פüµÖê •ÖÖµÖëÝÖê, וÖÃÖÛúß •ÖÖÑ"Ö †Ö¯ÖÛúÖê †¾Ö¿µÖ Ûú¸ü®Öß Æîü
¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê Ûêú ×»Ö‹ ˆÃÖÛêú Ûú¾Ö¸ü ¯Öê•Ö ¯Ö¸ü »ÖÝÖß ÛúÖÝÖ•ÖÛúß ÃÖᯙ ÛúÖê ±úÖ›Ìü »Öë … ÜÖã»Öß Æãü‡Ô µÖÖ ×²Ö®ÖÖ Ã™üßÛú¸ü-ÃÖᯙ Ûú߯Öã×ßÖÛúÖ Ã¾ÖßÛúÖ¸ü Ûú¸ëü …
Ûú¾Ö¸ü ¯Öéšü ¯Ö¸ü "û¯Öê ×®Ö¤ìü¿ÖÖ®ÖãÃÖÖ¸ü ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ Ûêú ¯Öéšü ŸÖ£ÖÖ¯ÖÏ¿®ÖÖë Ûúß ÃÖÓܵÖÖ ÛúÖê †""ûß ŸÖ¸üÆü "ÖîÛú Ûú¸ü »Öë ×Ûú µÖê ¯Öæ¸êüÆïü … ¤üÖêÂÖ¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ ×•Ö®Ö´Öë ¯Öéšü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ¸üÖ †ÖÝÖµÖê ÆüÖë µÖÖ ÃÖß׸üµÖ»Ö ´Öë ÆüÖë †£ÖÖÔŸÖË ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß¡Öã×™ü¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ Ã¾ÖßÛúÖ¸ü Ûú¸ëü ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖµÖ ˆÃÖê»ÖÖî™üÖÛú¸ü ˆÃÖÛêú ãÖÖ®Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ »Öê »Öë …
‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ"Ö ×´Ö®Ö™ü פüµÖê •ÖÖµÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®ÖŸÖÖê †Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖµÖêÝÖß †Öî¸ü Æüß †Ö¯ÖÛúÖê
†×ŸÖ׸üŒŸÖ ÃÖ´ÖµÖ ×¤üµÖÖ •ÖÖµÖêÝÖÖ …
‡ÃÖ •ÖÖÑ"Ö Ûêú ²ÖÖ¤ü OMR ¯Ö¡ÖÛú Ûúß ÛÎú´Ö ÃÖÓܵÖÖ ‡ÃÖ ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ¯Ö¸ü †Ó×ÛúŸÖ Ûú¸ü ¤ëü …


4.
¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ "ÖÖ¸ü ˆ¢Ö¸ü ×¾ÖÛú»¯Ö ŸÖ£ÖÖ ×¤üµÖêÝÖµÖê Æïü … †Ö¯ÖÛúÖê ÃÖÆüß ˆ¢Ö¸ü Ûêú ¾Öé¢Ö ÛúÖê ¯Öê®Ö ÃÖê ³Ö¸üÛú¸ü ÛúÖ»ÖÖ Ûú¸ü®ÖÖ Æîü


•ÖîÃÖÖ ×Ûú ®Öß"Öê פüÜÖÖµÖÖ ÝÖµÖÖ Æîü …

ˆ¤üÖÆü¸üÞÖ
•Ö²Ö×Ûúú(C) ÃÖÆüß ˆ¢Ö¸ü Æîü …

5. ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü Ûêú¾Ö»Ö ¯ÖÏ¿®Ö ¯Ö¡Ö I Ûêú †®¤ü¸ü פüµÖê ÝÖµÖê OMR ¯Ö¡ÖÛú ¯Ö¸ü Æüß
†Ó×ÛúŸÖ Ûú¸ü®Öê Æïü … µÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü פüµÖê ÝÖµÖê ¾Öé¢Ö Ûêú †»ÖÖ¾ÖÖ×ÛúÃÖß †®µÖ ãÖÖ®Ö ¯Ö¸ü ˆ¢Ö¸ü ×"ÖÅ®ÖÖÓ×ÛúŸÖ Ûú¸üŸÖê ŸÖÖê ˆÃÖÛúÖ ´Ö滵ÖÖÓÛú®Ö®ÖÆüà ÆüÖêÝÖÖ …

6.
†®¤ü¸ü פüµÖê ÝÖµÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬µÖÖ®Ö¯Öæ¾ÖÔÛú ¯ÖœÌëü …

7.
Ûú""ÖÖ ÛúÖ´Ö (Rough Work) ‡ÃÖ ¯Öã×ßÖÛúÖ Ûêú †×®ŸÖ´Ö ¯Öéšü ¯Ö¸ü Ûú¸ëü …

8.
µÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö Ûêú †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ¸üÖê»Ö®Ö´²Ö¸ü, ±úÖê®Ö ®Ö´²Ö¸ü µÖÖ ÛúÖê‡Ô ³Öß ‹êÃÖÖ ×"ÖÅ®Ö ×•ÖÃÖÃÖê †Ö¯ÖÛúß ¯ÖÆü"ÖÖ®Ö ÆüÖêÃÖÛêú, †Ó×ÛúŸÖ Ûú¸üŸÖê Æïü †£Ö¾ÖÖ †³Ö¦ü ³ÖÖÂÖÖ ÛúÖ ¯ÖϵÖÖêÝÖ Ûú¸üŸÖê µÖÖ ÛúÖê‡Ô

†
®µÖ †®Öã×"ÖŸÖ ÃÖÖ¬Ö®Ö ÛúÖ ¯ÖϵÖÖêÝÖ Ûú¸üŸÖê •ÖîÃÖê ×Ûú †Ó×ÛúŸÖ ×ÛúµÖê ÝÖµÖê

ˆ¢Ö¸ü ÛúÖê ×´Ö™üÖ®ÖÖ µÖÖ ÃÖ±êú¤ü õÖÖÆüß ÃÖê ²Ö¤ü»Ö®ÖÖ ŸÖÖê ¯Ö¸üßõÖÖ Ûêú ×»ÖµÖê

†
µÖÖêÝµÖ 'ÖÖê×ÂÖŸÖ ×ÛúµÖê •ÖÖ ÃÖÛúŸÖê Æïü …




9.
†Ö¯ÖÛúÖê ¯Ö¸üßõÖÖ ÃÖ´ÖÖ¯ŸÖ ÆüÖê®Öê ¯Ö¸ü ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ‹¾ÖÓ ´Öæ»Ö OMR ¯Ö¡ÖÛú×®Ö¸üßõÖÛú ´ÖÆüÖê¤üµÖ ÛúÖê »ÖÖî™üÖ®ÖÖ †Ö¾Ö¿µÖÛú Æîü †Öî¸ü ¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ Ûêú ²ÖÖ¤üˆÃÖê †¯Ö®Öê ÃÖÖ£Ö ¯Ö¸üßõÖÖ ³Ö¾Ö®Ö ÃÖê ²ÖÖÆü¸ü »ÖêÛú¸ü •ÖÖµÖë … ÆüÖ»ÖÖÓ×Ûú †Ö¯Ö¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ ¯Ö¸ü ´Öæ»Ö ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ŸÖ£ÖÖ OMR ¯Ö¡ÖÛú Ûúß ›ãü¯»ÖßÛêú™ü¯ÖÏ×ŸÖ †¯Ö®Öê ÃÖÖ£Ö »Öê •ÖÖ ÃÖÛúŸÖê Æïü …

10.
Ûêú¾Ö»Ö ®Öß»Öê/ÛúÖ»Öê ²ÖÖ»Ö ¯¾ÖÖ‡Õ™ü ¯Öê®Ö ÛúÖ Æüß ‡ÃŸÖê´ÖÖ»Ö Ûú¸ëü …


11.
×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü ÛúÖ ÃÖÓÝÖÞÖÛú (Ûîú»ÖÛãú»Öê™ü¸ü) µÖÖ »ÖÖÝÖ ™êü²Ö»Ö †Öפü ÛúÖ

¯ÖϵÖÖêÝÖ ¾ÖÙ•ÖŸÖ Æîü …


12.
ÝÖ»ÖŸÖ ˆ¢Ö¸üÖë Ûêú ×»Ö‹ ÛúÖê‡Ô ®ÖÛúÖ¸üÖŸ´ÖÛú †ÓÛú ®ÖÆüà Æïü …


13. µÖפü †ÓÝÖÏê•Öß µÖÖ ØÆü¤üß ×¾Ö¾Ö¸üÞÖ ´Öë ÛúÖê‡Ô ×¾ÖÃÖÓÝÖ×ŸÖ ÆüÖê, ŸÖÖê †ÓÝÖÏê•Öß ×¾Ö¾Ö¸üÞÖ
†Ó×ŸÖ´Ö ´ÖÖ®ÖÖ •ÖÖ‹ÝÖÖ …
D-16-14



1 P.T.O.

MUSIC
Paper II
Hindustani Karnatik Rabindra Sangeet
(Vocal, Instrumental Musicology and Percussion Instrument)
Special Instructions


Note Candidates are required to answer all the 25 questions in Part which are compulsory. They should select any one of the groups from Part II, Part III, Part IV, Part V and answer all the 25 questions in that part. Each question carries two marks.
PART I Common to Hindustani Karnatik Rabindra Sangeet Percussion Instrument.
1. Who has made the first attempt to establish Swaras on the string of Veena

Pt. Lochan Pt. Shrinivas


Pt. Hridaya Narayan Pt. Ahobal


2. First of all, who depicted the Rasa in music

Abhinav Gupta Bharat


Narad Matang


3. Match the following
a.
Pratham i. Pancham

b.
Chaturtha ii. Shadaj

c.
Krushtha iii. Madhyam

d.
Atiswar iv. Nishad


Codes
a b cd


ii iii i iv


iii ii i iv


ii iv iii i


iv ii iii i


4. How many Mantras are there in Archika Samhita of Samaveda as recommended by all scholars

590 600


595 585


5. Who is the main singer in singing of Samagana

Prastota Udgata


Pratiharta Subrahmanya


6. Who is not sitar player

Pt. Budhadity Mukharji Ustad Halim Jafar Khan


Pt. Nayan Ghosh Ustad Ashish Khan




ÃÖÓÝÖßŸÖ ¯ÖÏ
¿®Ö¯Ö¡Ö II
×Æü®¤ãüßÖÖ®Öß Ûú®ÖÖ™ÔüÛú ¸ü²Öß®¦ü ÃÖÓÝÖߟÖ
¾ÖÖ¤ü®Ö ‹¾ÖÓ ÃÖÓÝÖߟֿÖÖÃ¡Ö ŸÖ£ÖÖ †¾Ö®Ö¨ü ¾ÖÖª
×¾Ö¿Öêì¿Ö

ÂÖ ×®Ö¤ü
®ÖÖê™ü ¯Ö¸üßõÖÖ£Öá ³ÖÖÝÖ I Ûú ÃÖ³Öß 25 ¯Öê¿®ÖÖÏë Ûú ˆ¢Ö¸êü ¤üë… .ÖÆü ³ÖÖÝÖ †×®Ö¾ÖÖ.ÖÔ Æüî… ¯Ö¸üßõÖÖ£Öá ³ÖÖÝÖ II, ³ÖÖÝÖ III, ³ÖÖÝÖ IV ŸÖ£ÖÖ ³ÖÖÝÖ V ´Öë ÃÖê ×ÛúÃÖß ‹Ûú ³ÖÖÝÖ Ûêú ÃÖ³Öß 25 ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü ¤üë… ¯ÖÏÖÛú ¯Ï¿®êüê Óï…Ÿ.êÖÖÛú †Ûú Æü
³ÖÖÝÖ I ×Æü®¤ãüßÖÖ®Öß Ûú®ÖÖ™ÔüÛú ¸ü²Öß®¦ü ÃÖÝÖßŸÖ ŸÖ£ÖÖ †¾Ö®Ö¨Óü ¾ÖÖª "ÖÖ¸üÖë Ûêú ×»Ö‹
1. ¾ÖßÞÖÖ Ûú ŸÖÖ¸ü ¯Ö¸ü þָü ãÖÖ¯Ö®ÖÖ Ûú¸ü®Öê ÛúÖ ¯ÖÏÏ.ÖÖÃÖ ×ÛúÃÖÛúÖ Æîü ?ê£Ö´Ö ¯Ö

¯ÖÓ. »ÖÖê"Ö®Ö ¯ÖÓ. ÁÖß×®Ö¾ÖÖÃÖ


¯ÖÓ. Çü¤ü.Ö ®ÖÖ¸üÖ.ÖÞÖ ¯ÖÓ. †ÆüÖê²Ö»Ö



2. ÃÖÓÝÖßŸÖ ´Öë ¸üÃÖ ÛúÖ ×•ÖÛÎú ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö ×ÛúÃÖ®Öê ×Ûú.ÖÖ

†×³Ö®Ö¾Ö ÝÖã¯ŸÖ ³Ö¸üŸÖ


®ÖÖ¸ü¤ü ´ÖŸÖÝÓÖ



3. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ ÛúßוÖ.Öê
a.
¯ÖÏ£Ö´Ö i. ¯ÖÓ"Ö´Ö

b.
"ÖŸÖã£ÖÔ ii. ÂÖ›Ëü•Ö

c.
ÛÎãúšü iii. ´Ö¬.Ö´Ö

d.
†×ŸÖþÖÖ¸ü iv. ×®ÖÂÖÖ¤ü


Ûæú™ü
ab cd

ii iii i iv


iii ii i iv


ii iv iii i


iv ii iii i



4. ÃÖÖ´Ö¾Öê¤ü Ûúß ¯Öæ¾ÖÖÔÙ"ÖÛú ÃÖÓ×ÆüŸÖÖ ´Öë ÃÖ¾ÖÔ´ÖÖ®.Ö ×ÛúŸÖ®Öê ´Ö®¡Ö Æïü

590 600


595 585



5. ÃÖÖ´ÖÝÖÖ®Ö Ûú¸ü®Öê ´Öë ¯ÖÏ´ÖãÜÖ ÝÖÖ.ÖÛú ÛúÖî®Ö Æîü

¯ÖÏßÖÖêŸÖÖ ˆ¤ËüÝÖÖŸÖÖ


¯ÖÏןÖÆüŸÖÖÔ ÃÖã²ÖÎÉÞ.Ö



6. ×®Ö´®Ö ´Öë ÃÖê ÛúÖî®Ö ×ÃÖŸÖÖ¸ü ²Ö•ÖÖ®Öê ¾ÖÖ»Öê ®ÖÆüà Æïü

¯ÖÓ. ²Öã¨üÖפüŸ.Ö ´ÖãÜÖ•Öá ˆ. Æü»Öß´Ö •ÖÖ±Ìú¸ü ÜÖÖÑ


¯ÖÓ. ˆ. †Ö¿ÖßÂÖ ÜÖÖÑ



7. In which year U. Zakir Hussain was honoured with 'Padmabhushan'

2001 2002


2003 2004


8. Who introduced Gwaliar Gharana in Maharashtra

Vasudeorao Joshi Balkrishnabuva Ichalkaranjikar


Ramkrishnabuva Vaze Pt. Vishnu Digamber Paluskar


9. The importance of 'Alaapa'

Negligible Somewhat


Countable Most countable


10. The number of Koota-Tanas in the old treatise

48 49


50 51


11. 'Lakshana should follow Lakshya' is explained in

Sangita Ratnakara Sangita Sara


Svaramelakalanidhi Sangita Makaranda


12. Match the following
a.
Musical Stone Pillars i. Kurula

b.
Pancha Dasa Gamaka ii. Vidyaranya

c.
Thaya iii. Suchindram

d.
Chhanda iv. Venkatamakhi


Codes
ab cd

i iii ii iv


iii i iv ii


iii ii i iv


ii iv i iii


13. The 108 Karnas can be seen in the temple at

Tirupati Trichur


Kudumiamalai Chidambaram


14. Nadai Pallavi is based on

Gati Bheda Raga Bheda


Drutam Anudrutam


15. The earliest example of Raga Sanchara can be seen in rock inscriptions at

Madurai Pudukottai


Chidambaram Suchindram


16. How many songs have been included in 'Geetanjali'

57 67


127 157



7. ˆ. •ÖÖ×Ûú¸ü ÆãüÃÖî®Ö ÛúÖê ×ÛúÃÖ ¾ÖÂÖÔ ´Öë ¯Ö©³ÖæÂÖÞÖ ÃÖê ÃÖ´´ÖÖ×®ÖŸÖ ×Ûú.ÖÖ ÝÖ.ÖÖ

2001 2002


2003 2004



8. ×Ûú®ÖÛêú ´ÖÖ¬.Ö´Ö ÃÖê ´ÖÆüÖ¸üÖ™Òü ´Öë ݾÖÖ×»Ö.Ö¸ü ÛúÖ ¯Ö׸ü"Ö.Ö Æãü†Ö

¾ÖÖÃÖã¤êü¾Ö ¸üÖ¾Ö •ÖÖê¿Öß ²ÖÖ»ÖÛéúÂÞÖ²Öã¾ÖÖ ‡"Ö»ÖÛú¸Óü•ÖßÛú¸ü


¸üÖ´ÖÛéúÂÞÖ²Öãê ¯ÖÓ. ×¾ÖÂÞÖפüÝÖÓ²Ö¸ü ¯Ö»ÖãÃÛú¸ü


¾ÖÖ ¾Ö—Öã
9. ¸üÖÝÖ­ÝÖÖ.Ö®Ö ´Öë ÛúÖ ´ÖÆü¢¾Ö

®ÖÝÖÞ.Ö ØÛú×"ÖŸÖ


†×¬ÖÛú ÃÖ¾ÖÖÔ׬ÖÛú


10. ¯ÖÏÖ"Öß®Ö ÝÖÏ®£ÖÖë ´Öë Ûæú™ü­ŸÖÖ®ÖÖë Ûúß ÃÖÜ.ÓÖÖ

48 49


50 51


11. '»ÖõÖÞÖ ÛúÖê »Öõ.Ö ÛúÖ †®ÖãÝÖÖ´Öß ÆüÖê®ÖÖ ‹êÃÖÖ ˆ»»ÖêÜÖ ÛúÆüÖÑ Æîü

ÃÖÓÝÖßŸÖ ¸üŸ®ÖÖÛúÖ¸ü ÃÖÓÝÖßŸÖ ÃÖÖ¸ü


þָü´Öê»ÖÛú»ÖÖ×®Ö×¬Ö ÃÖÓÝÖßŸÖ ´ÖÛú¸ü®¤ü


12. ÃÖã´Öê×»ÖŸÖ Ûúßו֋
a.
ÃÖÓÝÖßŸÖ ¯ÖÖÂÖÞÖ ÃŸÖ´³Ö i. Ûãú¹ý»Ö

b.
¤ü¿Ö ÝÖ´ÖÛú ii. ×¾ÖªÖ¸üÞ.Ö

c.
šüÖ.Ö iii. ÃÖã"Öß®¦ü´Ö

d.
"û®¤ü iv. ¾Öê®Ûú™ü´ÖÜÖß


Ûæú™ü
ab cd

i iii ii iv


iii i iv ii


iii ii i iv


ii iv i iii


13. 108 ÛúÞÖÔ ×ÛúÃÖ ´Ö×®¤ü¸ü Ûúß ¤üß¾ÖÖ¸ü ¯Ö¸ü ˆŸÛúßÞÖÔ Æîü

ןֹý¯Ö×ŸÖ ×¡Ö"Öæ¸ü


Ûãú›ãü´.ÖÖ´Ö»ÖÖ‡Ô ×"Ö¤ü´²Ö¸ü´ÖË


14. ®Ö›ü‡Ô ¯Ö»»Ö¾Öß ×ÛúÃÖ ¯Ö¸ü †Ö¬ÖÖ׸üŸÖ Æîü

ÝÖ×ŸÖ ³Öê¤ü ¸üÖÝÖ ³Öê¤ü


¦ãüŸÖ´Ö †®Öã¦ãüŸÖ´Ö


15. ¯ÖÏÖ"Öß®Ö ¸üÖÝÖ ÃÖÓ"ÖÖ¸üÞÖ Ûêú ˆ¤üÖÆü¸üÞÖ ×ÛúÃÖ ×¿Ö»ÖÖ»ÖêÜÖ ¯Ö¸ü ¤üÙ¿ÖŸÖ Æïü

´Ö¤ãü¸ü‡Ô ¯Öã›ãüÛúÖê¼üÖ‡Ô


×"Ö¤ü´²Ö¸ü´ÖË ÃÖæ"Öß®¦ü´Ö


16. 'ÝÖߟÖÖÓ•Ö»Öß' ´Öë ×ÛúŸÖ®Öê ÝÖßŸÖ Æïü

57 67


127 157


17. 'Jhampak Tal' was the creation of whom

Rabindranath Dwijendranath


Satyendranath Shantidev Ghosh


18. Match the following List I List II
a.
Ardha Jhamptal i. Rupakda

b.
Kaharwa ii. Jhampak

c.
Jhamptal iii. Surfhanktal

d.
Trital iv. Madhyaman


Codes
ab cd

ii i iii iv


i iii ii iv


ii iii iv i


i ii iv iii


19. By which style of Singing Rabindranath was mostly influenced

Banaras Gharana


Gwalior Gharana


Kirana Gharana


Vishnupur Gharana


20. Which style of Hindustani Classical Singing got minimum importance in Rabindra Sangeet

Khyal Dhrupad


Dhamar Tappa


21. Who is the recipient of Padmashree Award

Ramkumar Mishra


Sri Anindo Chetterjee


Sri Vijay Ghate


Sri Kumar Bose


22. How many bores (Chhidra) are there in a Pudi of Tabla

16 32


48 64


23. Which State uses "Dhole Damama" as a prominent instruments

Rajasthan Uttar Pradesh


Uttarakhand Madhya Pradesh


24. To which Swara is Tabla generally tuned

Shadaj Gandhar


Madhyam Pancham


25. Which taal vadya is traditionally played with Shahnai

Tabla Dholak


Dukkad Tasha



17. '—Ö´¯ÖÛú ÛúÖ ÃÖé•Ö®Ö ×ÛúÃÖ®Öê ×Ûú.ÖÖ Æîü

¸ü²Öß®¦ü®ÖÖ£Ö ×«ü•Öꮦü®ÖÖ£Ö


ÃÖŸ.Öꮦü®ÖÖ£Ö ¿ÖÖ×®ŸÖ¤êü¾Ö


18. ÃÖã´Öê×»ÖŸÖ ÛúßוÖ.Öê ÃÖæ"Öß I ÃÖæ"Öß II
a.
†¬ÖÔ­—Ö¯ÖŸÖÖ»Ö i. ºþ¯ÖÛú›ÌüÖ

b.
ÛúÆü¸ü²ÖÖ ii. —Ö´¯ÖÛú

c.
—Ö¯ÖŸÖÖ»Ö iii. ÃÖã¸ü±úÖÓÛúŸÖÖ»Ö

d.
ס֟ÖÖ»Ö iv. ´Ö¬.Ö´ÖÖ®Ö


󜅐ݟ
ab cd

ii i iii iv


i iii ii iv


ii iii iv i


i ii iv iii



19. ×ÛúÃÖ ÝÖÖ.Ö®Ö ¿Öî»Öß ÃÖê ¸ü²Öß®¦ü®ÖÖ£Ö ÃÖ¾ÖÖÔ׬ÖÛú ¯ÖϳÖÖ×¾ÖŸÖ £Öê

²Ö®ÖÖ¸üÃÖ Ý¾ÖÖ×»Ö.Ö¸ü


×Ûú¸üÖ®ÖÖ ×¾ÖÂÞÖã¯Öã¸ü



20. ×ÛúÃÖ ×Æü®¤ãüßÖÖ®Öß ÝÖÖ.Ö®Ö ¿Öî»Öß ÛúÖ ¸ü²Öß®¦ü ÃÖÓÝÖßŸÖ ¯Ö¸ü ®.Öæ®ÖŸÖ´Ö ¯ÖϳÖÖ¾Ö £ÖÖ

Ü.ÖÖ»Ö ¬ÖÐã¯Ö¤ü


¬Ö´ÖÖ¸ü ™ü¯¯ÖÖ



21. ×®Ö´®Ö×»×ÜŸÖ ´Öë ×ÛúÃÖ ŸÖ²Ö»ÖÖ­¾ÖÖ¤üÖê ¯Ö¤Ëü´ÖÁÖß ¯Ö¸üÃÛúÖ¸ü ¯ÖÏîü
ÖÖ ÛúÛúãÖ¯ŸÖÆ?

¸üÖ´ÖÛãú´ÖÖ¸ü ×´ÖÁÖ ÁÖß †Ö×®Ö®¤üÖê "Ö™ü•Öá


ÁÖß ×¾Ö•Ö.Ö ÁÖß Ûãú´ÖÖ¸ü ²ÖÖêÃÖ



22. ŸÖ²Ö»ÖÖ ¾ÖÖª Ûúß ¯Öæ›Ìüß ´Öë Ûãú»Ö ×ÛúŸÖ®Öê ×"û¦ü ÆüÖêŸÖê Æïü

16 32


48 64



23. "œüÖê»Ö­¤ü´ÖÖ´ÖÖ" ×ÛúÃÖ ¸üÖ•.Ö ÛúÖ ¯ÖÏ´ÖãÜÖ »ÖÖêÛú ¾ÖÖª Æîü

¸üÖ•ÖãÖÖ®Ö ˆ¢Ö¸ü ¯ÖϤêü¿Ö


ˆ¢Ö¸üÖÜÖÞ›ü ´Ö¬.Ö ¯ÖϤêü¿Ö



24. ŸÖ²Ö»ÖÖ ×ÛúÃÖ Ã¾Ö¸ü ´Öë ×´Ö»ÖÖ.ÖÖ •ÖÖŸÖÖ Æîü

ÂÖ›Ëü•Ö ÝÖÓ¬ÖÖ¸ü


´Ö¬.Ö´Ö ¯ÖÓ"Ö´Ö



25. ¿ÖÆü®ÖÖ‡Ô Ûêú ÃÖÖ£Ö ¯Ö¸ü´¯Ö¸üêú †®Öãü ÛúÖî®Ö ÃÖÖ ŸÖÖ»Ö ¾ÖÖª ²Ö•ÖÖÖÖ •ÖÖŸÖÖ Æîü
ÖÛÃÖÖ¸ .?

ŸÖ²Ö»ÖÖ œüÖê»ÖÛú


¤ãüŒÛú›Ìü ŸÖÖ¿ÖÖ


PART II
Hindustani Music (Vocal Instrumental)

26. If number of vibration of Shadaj String is 240, what will it be of a Pancham String

300 320


340 360


27. Why is called 'Madhyama'

Placed in the middle between both the Shadajas in Veena.


Due to distortion of sound.


Due to becoming sharp in sound.


Placed in the middle of both Mandra × Madhya Nishadas.


28. Who authored music books on the name of King Anoop Singh of Bikaner

Damodar Pandit Ramamatya


Madhav Vidhyaranya Bhavbhatt


29. Who has not used 'Swarmandal' instrument while singing

Ustd. Bade Gulam Ali Khan Ustd. Najakat Ali Khan


Pt. Kumar Gandharva Ustd. Rasheed Khan


30. Which of the following pair of Ragas has the same notes but different Thata

Bhoopali Deskar Bahar Miya Malhar


Puriya Sohni Todi Multani


31. Where is Sangeet Natak Academy's Head office situated

Mumbai Delhi


Kolkata Chennai


32. Which institution compaigns Indian Music in foreign countries

I.C.H.R. I.C.A.R.


I.C.C.R. I.C.S.R.


33. Which music-interval consonance did Bharat obtained after reducing one Shruti of Pancham in Sarana Chatushtayee

Shadaj-Pancham Samwad


Shadaj-Gandhar Samwad


Shadaj-Madhyam Samwad


Rishabh-Pancham Samwad


34. Which Gharana is famous for 'Ashtanga Gayaki'

Agra Gharana Jaipur Gharana


Gwalior Gharana Delhi Gharana


³ÖÖÝÖ II
×Æü®¤ãüßÖÖ®Öß ÃÖÓÝÖßŸÖ (ÝÖÖ.Ö®Ö ¾ÖÖ¤ü®Ö)


26. .Öפü ÂÖ›Ëü•Ö Ûúß †Ö®¤üÖê»Ö®Ö ÃÖÓÜ.ÖÖ 240 Æîü, ŸÖÖê ¯ÖÓ"Ö´Ö Ûúß †Ö®¤üÖê»Ö®Ö ÃÖÓÜ.ÖÖ Œ.ÖÖ ÆüÖêÝÖß

300 320


340 360



27. þָü ÛúÖê Ûúß ÃÖÓ-ÖÖ Œ.ÖÖë ¤üß ÝÖ‡Ô Æîü

¾ÖßÞÖÖ Ûêú ¤üÖê®ÖÖë ÂÖ›Ëü•ÖÖë Ûêú ´Ö¬.Ö ´Öë ×Ã£ÖŸÖ …


¬¾Ö×®Ö Ûêú ×¾ÖÛúÖ¸ü Ûêú ÛúÖ¸üÞÖ …


¬¾Ö×®Ö Ûêú ŸÖß¾ÖÎ ÆüÖê®Öê Ûêú ÛúÖ¸üÞÖ …


´Ö®¦ü ¾Ö ´Ö¬.Ö ×®ÖÂÖÖ¤üÖë Ûêú ´Ö¬.Ö ´Öë ×Ã£ÖŸÖ …



28. ²ÖßÛúÖ®Öê¸ü Ûêú ´ÖÆüÖ¸üÖ•Ö †®Öæ¯Ö ØÃÖÆü Ûêú ®ÖÖ´Ö ÃÖê ×ÛúÃÖ ÝÖÓÏ£ÖÛúÖ¸ü ®Öê ÃÖÓÝÖßŸÖ ÝÖÏ®£ÖÖë Ûúß ¸ü"Ö®ÖÖ Ûúß

¤üÖ´ÖÖê¤ü¸ü ¯ÖÓ×›üŸÖ ¸üÖ´ÖÖ´ÖÖŸ.Ö


´ÖÖ¬Ö¾Ö ×¾ÖªÖ¸üÞ.Ö ³ÖÖ¾Ö³Ö¼ü



29. ÝÖÖ.Ö®Ö ´Öë 'þָü´ÖÞ›ü»Ö' ®ÖÖ´ÖÛú ¾ÖÖª ÛúÖ ¯ÖÏ.ÖÖêÝÖ ×ÛúÃÖ ÝÖÖ.ÖÛú ®Öê ®ÖÆüà ×Ûú.ÖÖ

ˆ. ²Ö›Ìêü ÝÖã»ÖÖ´Ö †»Öß ÜÖÖÑ ˆ. ®Ö•ÖÌÖÛúŸÖ †»Öß ÜÖÖÑ


¯ÖÓ. Ûãú´ÖÖ¸ü ÝÖÓ¬Ö¾ÖÔ ˆ. ¸üÖ׿֤ü ÜÖÖÑ



30. ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖ •ÖÖê›üß Ûêú þָü ‹Ûú •ÖîÃÖê »Öêü †»ÖÝÖ Æïü
Ì×Ûú®Ö £ÖÖš

³Öæ¯ÖÖ»Öß ¤êü¿ÖÛúÖ¸ü ²ÖÆüÖ¸ü­×´Ö.ÖÖ ´Ö»ÆüÖ¸ü


¯Öæ׸ü.ÖÖ­ÃÖÖêÆü®Öß ŸÖÖê›Ìüß­´Öã»ÖŸÖÖ®Öß



31. 'ÃÖÓÝÖßŸÖ ®ÖÖ™üÛú †ÛúÖ¤ü´Öß' Ûúß ´ÖãÜ.Ö ¿ÖÖÜÖÖ ÛúÆüÖÑ ×Ã£ÖŸÖ Æîü

´ÖãÓ²Ö‡Ô ×¤ü»»Öß


ÛúÖê»ÖÛúÖŸÖÖ "Öê®®Ö‡Ô



32. ³ÖÖ¸üŸÖß.Ö ÃÖÝÓÖßŸÖ ÛúÖ ×¾Ö¤êü¿ÖÖë ´Öë ¯ÖÏ"ÖÖ¸ü Ûú¸ü®Öê ¾ÖÖ»Öß ÃÖÓãÖÖ Æîü

†Ö‡Ô.ÃÖß.‹"Ö.†Ö¸ü.


†Ö‡Ô.ÃÖß.‹.†Ö¸ü.


†Ö‡Ô.ÃÖß.ÃÖß.†Ö¸ü.


†Ö‡Ô.ÃÖß.‹ÃÖ.†Ö¸ü.



33. ÃÖÖ¸üÞÖÖ "ÖŸÖã™ü.Öß ´Öë ¯ÖÓ"Ö´Ö Ûúß ‹Ûú ÁÖã×ŸÖ ÛúÖ †¯ÖÛúÂÖÔ Ûú¸ü®Öê ¯Ö¸ü ³Ö¸üŸÖ ÛúÖê ×ÛúÃÖ ÃÖÓ¾ÖÖ¤ü Ûúß ˆ¯Ö»Öײ¬Ö Æãü‡Ô

ÂÖ›Ëü•Ö­¯ÖÓ"´Ö ÃÖÓ¾ÖÖ¤ü ÂÖ›Ëü•Ö­ÝÖÖÓ¬ÖÖ¸ü ÃÖÓü

Ö¾ÖÖ¤


ÂÖ›Ëü•Ö­´Ö¬.Ö´Ö ÃÖÓ¾ÖÖ¤ü ׸üÂÖ³Ö­¯ÖÓ"Ö´Ö ÃÖ¾ÖÓÖ¤ü



34. †Â™üÖÓÝÖ ÝÖÖ.ÖÛúß Ûêú ×»Ö‹ ÛúÖî®Ö ÃÖÖ ¯ÖÏ×ÃÖ¨ü Æîü

†ÖÝÖ¸üÖ •Ö.Ö¯Öã¸ü


ݾÖÖ×»Ö.Ö¸ü פü»»Öß


35. Arrange the following Sitar players according to their seniority
i. Ustad Vilayat Khan ii. Ustad Inayat Khan
iii. Ustad Imdad Khan iv. Ustad Shujat Khan
Codes

ii, iv, iii iii, ii, iv


ii, iv, iii iii, ii, iv


36. Who is the first Guitar player to play Indian classical music on Guitar

Pt. Vishwamohan Bhatt


Pt. Brijbhushan Kabra


Shri Nalin Mazumdar


Shrimati Kamla Shankar


37. Who does not belong to Maihar Gharana from the following

U. Ali Akbar Khan


Pt. Nikhil Banarjee


Pt. Hariprasad Chaurasia


Pt. Shivakumar Sharma


38. Name the instrument which is played as a solo instrument in Indian classical music.

Loha Tarang Ghungru Tarang


Jal Tarang Kashtha Tarang


39. Which chapter of Sangeet Ratnakar discusses dance

Pratham Chaturtha


Saptam Pancham


40. Name the instrument with the help of which Lav-Kush sang Ramayana.

Panav Mridanga


Veena Shankha


41. According to Sangeet Makarand, which instruments are plucked with nail

Avanaddh Vadya Tantri Vadya


Ghana Vadya Sushir Vadya


42. Which type of Veena is mentioned in Mahabharata

Vallaki Shat-tantri


Alabu Chitra


43. Which sign is used to show pitch in Western Music

Key Signature Time Signature


Bar Line Minim



35. ×ÃÖŸÖÖ¸ü ¾ÖÖ¤üÛúÖë ÛúÖê ¾Ö׸üšüŸÖÖ Ûêú ÛÎú´ÖÖ®ÖãÃÖÖ¸ü ÃÖã´Öê×»ÖŸÖ Ûúßו֋
i. ˆÃŸÖÖ¤ü ×¾Ö»ÖÖ.ÖŸÖ ÜÖÖÑ
ii. ˆÃŸÖÖ¤ü ‡®ÖÖ.ÖŸÖ ÜÖÖÑ
iii. ˆÃŸÖÖ¤ü ‡´Ö¤üÖ¤ü ÜÖÖÑ
iv. ˆÃŸÖÖ¤ü ¿Öã•ÖÖŸÖ ÜÖÖÑ

ii, iv, iii iii, ii, iv


ii, iv, iii iii, ii, iv



36. ×ÝÖ™üÖ¸ü ¯Ö¸ü ³ÖÖ¸üŸÖß.Ö ¿ÖÖáÖß.Ö ÃÖÓÝÖßŸÖ ²Ö•ÖÖ®Öê ¾ÖÖ»Öê ¯ÖÆü»Öê ×ÝÖ™üÖ¸ü ¾ÖÖ¤üÛú Æüï

¯ÖÓ. ×¾Ö¿¾Ö´ÖÖêÆü®Ö ³Ö¼ü ¯ÖÓ. ²ÖΕֳÖæÂÖÞÖ ÛúÖ²Ö¸üÖ


ÁÖß ®Ö×»Ö®Ö ´Ö•Öæ´Ö¤üÖ¸ü ÁÖß´ÖŸÖß Ûú´Ö»ÖÖ ¿ÖÓÛú¸ü



37. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ´ÖîÆü¸ü Ûêú ¾ÖÖ¤üÛú ®ÖÆüà Æïü

ˆ. †»Öß †Ûú²Ö¸ü ÜÖÖÑ ¯ÖÓ. ×®Ö×ÜÖ»Ö ²Öî®Ö•Öá


¯ÖÓ. Æü¸ü߯ÖÏÃÖÖ¤ü "ÖÖî¸ü×ÃÖ.ÖÖ ¯ÖÓ. ׿־ÖÛãú´ÖÖ¸ü ¿Ö´ÖÖÔ



38. ‹êÃÖê ¾ÖÖª ÛúÖ ®ÖÖ´Ö ²ÖŸÖÖ‡.Öê וÖÃÖê ×Æü®¤ãüßÖÖ®Öß ¿ÖÖáÖß.Ö ÃÖÓÝÖßŸÖ ´Öë ‹Ûú»Ö ¾ÖÖ¤ü®Ö Ûêú ºþ¯Ö ´Öë ²Ö•ÖÖ.ÖÖ •ÖÖŸÖÖ Æîü

»ÖÖêÆü ŸÖ¸ÓüÝÖ ŸÖ¸ÓüÝÖ


•Ö»ÖŸÖ¸ÓüÝÖ ÛúÖšüŸÖ¸ÓüÝÖ




39. ÃÖÓÝÖßŸÖ ¸üŸ®ÖÖÛú¸ü Ûêú ×ÛúÃÖ †¬.ÖÖ.Ö ´Öë ®ÖéŸ.Ö ÛúÖ ¾ÖÞÖÔ®Ö Æîü

¯ÖÏ£Ö´Ö "ÖŸÖã£ÖÔ


ÃÖ¯ŸÖ´Ö ¯ÖÓ"Ö´Ö



40. »Ö¾Ö­Ûãú¿Ö ®Öê ¸üÖ´ÖÖ.ÖÞÖ ÛúÖ ÝÖÖ.Ö®Ö ×ÛúÃÖ ¾ÖÖª Ûêú ÃÖÖ£Ö ×Ûú.ÖÖ

¯ÖÞÖ¾Ö ´Öé¤ÓüÝÖ


¾ÖßÞÖÖ ¿ÖÓÜÖ



41. ÃÖÓÝÖßŸÖ ´ÖÛú¸ü®¤ü Ûêú †®ÖãÃÖÖ¸ü ¾ÖÖª ÛúÖî®Ö ÃÖê Æïü

†¾Ö®Ö¨ü ¾ÖÖª ŸÖ®¡Öß ¾ÖÖª


¾ÖÖª ÃÖã×ÂÖ¸ü ¾ÖÖª



42. ´ÖÆüÖ³ÖÖ¸üŸÖ ´Öë ×ÛúÃÖ ¾ÖßÞÖÖ ÛúÖ ˆ»»ÖêÜÖ Æîü

¾Ö»»ÖÛúß ¿ÖŸÖŸÖ®¡Öß


†»ÖÖ²Öã ×"Ö¡ÖÖ



43. ¯ÖÖ¿"ÖÖŸ.Ö ÃÖÓÝÖßŸÖ ´Öë ÃÖ¯ŸÖÛú ¤ü¿ÖÖÔ®Öê Ûêú ×»Ö.Öê ×ÛúÃÖ ×"ÖÆËü®Ö ÛúÖ ¯ÖÏ.ÖÖêÝÖ ×Ûú.ÖÖ •ÖÖŸÖÖ Æîü

Ûúß ×ÃÖÝ®Öê"Ö¸ü ™üÖ‡´Ö ×ÃÖÝ®Öê"Ö¸ü


²ÖÖ¸ü »ÖÖ‡®Ö ×´Ö×®Ö´Ö


44. How are two Swar-Melodies used in a

Simultaneo