1. What important aspects should be followed while preparing the synopsis of any topic for research in music. Also write on any two of the following
Areas of research

Problems of research

Research methodology

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

2. What is the concept of beautiful Explain about the factors components helpful in the aesthetical presentation of music performance.

Give your views on any four of the following:

Changing pattern of Ragas or Talas

Vanishing Ragas or Talas

Vocational courses and career orientation in music

Regional music of your area with examples

Aspects of musicology

Vrindgan or Vrindvadan


3. Define Rasa and also explain its importance in music.

4. Explain western staff notation with special reference to Time signature, key signature and value of notes.

5. Define a musical scale. Explain in brief the different kinds of scale with special reference to the merits and demerits of equally tempered scale.

3. There are positive aspects in contemporary music. Comment.

4. Elucidate the significance of musical stone pillars in temples.

5. Trace the evolution of Bhashanga ragas quoting examples.

3. Give the analysis of European music with respect to Indian music as described by Tagore.

4. What is the influence of 'Thumri' on songs of Rabindranath

5. 'Rabindranath's home had a profound influence on his compositions.' Discuss.
3. Describe the main characteristics of Marg taal system.

4. Explain the playing specialities of Ajarada gharana. Write in notation one quaida of this gharana with four paltas and a tihai.

5. Give full description of any one instrument from the following with sketch. Write short note on the playing technique of the same Tabla, Pakhawaj, Mridangam

6. Compare between the consonance and dissonance. Also write the names of consonant pair of swaras in musical scale.

7. What do you understand by Musical Interval Explain the various kinds of musical intervals.

8. Give your views on the utilization and importance of Notation system in music. Write a comparative sum-up of the notation system of Pt. Bhatkhande with that of Western Staff Notation.

9. Describe the Dhyan Theory of Ragas. What is the relation between Rag-Ragini paintings and Dhyan Theory of Ragas Explain.

10. Write short notes on any five of the following
Raga Lakshan, Sasabda Kriya, Neraval, Rajakhani Gat, Ladi, Vaggeykar Jati, Farshbandi, Prasa, Yati, Tirobhav Marga Sangeet,
11. Do you consider Lakshya to be of greater importance than Lakshana Substantiate or write about the chief characteristics of any two Ragas of your choice.

12. Western musical instruments adopted in South Indian Music or North Indian Music.

13. Describe the Sapta-taal system of Karnatak Music and give Lakshnas of three taalas.

14. Throw light on the utility of taalas having equal matras in music. Also write two different Layakies in any one such Tala.

Vocal and instrumental rendering of the Classical Ragas is a vital factor in creating Rasa of music, because the musician fills the listeners with different emotions by selecting appropriate Ragas. Besides Rasa, the musician also tends the listeners to spirituality. Whatever Rasa in music is derived is only determined by the Raga Tala, Swar, Bandish, Form, Laya, instruments and the verse. There is Tirobhav Avirbav of different Rasas by each and every component of the presentation of Raga. Swar gives pleasure by its spontaneous flow. Shruti, Gram, Moorchana, Sthan, Alankar, Varna, Yati, create the subjective form of Bandish and this very "Swar Saundarya adopts different shapes through the medium of Rag-Raginees. Other forms like Dhrupad, Dhamar, Khyal, Thumri, Baj and Masitkhani-Raja Khani Gats also express internal emotions of the human mind. Different Layas Vilambit, Madhya, Drut also help in bringing out different Rasas like Shanta, Bhakti, Karun, Shringar and Veer. Also the time theory of Ragas, selection of Raga according to particular season, pitch, vibration, Laya all can create different emotions. Kaku Bhed, Alpatva-Bahutva, Nyas, Apanyas, Gamak, are all helpful in deriving different Rasas. By putting too much grammar, tans, Boltans and Gamak, the main element of Rasa is neglected and such music cannot give pleasure. Only a balanced use of the said components adds different colours, shades and Rasas in music.

15. Describe the importance of Raga in creating Rasa in music.

16. Which main components of Raga determine the Rasa in music

17. Name the elements of Swar, Tal and form of music which are helpful in Rasa­delineation.

18. Give your views on the use of Grammar, taans and Boltans in creating Rasa in music.

19. Suggest the method of a balanced presentation with a perfect blend of components in music.