PAPER-III PERCUSSION INSTRUMENTS Signature and Name of Invigilator

1. Inventor of the instrument 'Pushkar' is

(1)Narada


Swati


(3)Bharat

Matang


2. The disciple of Pt. Biru Mishra is

(1)Pt. Basudev Singh


Pt. Lachhu Maharaj


(3)Pt. Garud Prasad


Pt. Ishwar Lal Mishra


3. In which of the following Taalas consisting of 16 matras, there are three 'Khalis'

(1)Teen taal


Badi Sawari


Jat taal


Punjabi


4. Nathdwara tradition of Pakhawaj started in

(1)13th century


14th century


(3)15th century


16th century


5. In how many fingers ring is worn in Tavil

(1)Index finger


Middle finger


(3)Ring finger


In all fingers


6. Arrange the rasas in correct order

(1)Hasya, Karuna, Raudra, Shringar


(2)Shringar, Hasya, Karuna, Raudra


(3)Raudra, Hasya, Shringar, Karuna


(4)Karuna, Raudra, Hasya, Shringar



7. The author of the treatise "Sangeet Chinta Mani" is

(1)Acharya Brihaspati


Sulochana Brihaspati


(3)Abul Fazal


Dr. Prem Lata Sharma


8. A theka of teen taal in one single Avartan of teen taal would be completed in which four layakaris

(1)Chhahgun, Tigun, Athgun, Chowgun


(2)Barahgun, Chhahgun, Chowgun, Dugun


(3)Chhahgun, Barahgun, Chowgun, Tigun


(4)Dugun, Chowgun, Chhahgun, Athgun


9. Staff Notation System has developed from which of the following notation systems

(1)Chievh Notation System


Neumes Notation System


(3)Solfa Notation System


Independently


10. Which one of the following is not a pre-conceived creation

(1)Nauhakka


Paran


(3)Tukda

Peshkar


11. Read Assertion and Reason and select correct answer from the codes given below
Assertion A competent tabla companion should know the styles of all Gharanas.

Reason Because he cannot be a good companion in the absence of this
knowledge.

Codes


and both are true.


is true but is false.


and both are false.


is false and is true.



12. Which instrument was played by Pt. Vinayak Rao Ghanghrekar

(1)Mridangam



Tabla


(3)Pakhawaj


Mridang


13. How many matras are there in Dhruva taal Sankeerna Jati




25





29

14. Tit kat gadi gan is the part of which one of the following taalas


(1)Sul taal


Tivra


(3)Shikhar


Chartaal


15. Which of the following artists is credited with numbered tipahiya in Kathak dance

(1)Pt. Gopikrishna


Vidushi Sitara Devi


(3)Pt. Birju Maharaj


Pt. Rajendra Gangani


16. Select the correct matches from the codes given below

List I List II

a. Law of Octave i. Tempered Scale
b. Fixed Key ii. 240 480
c. Octave Interval iii. Vrindvadan Sangeet
d. Otetorion iv. Pythogorian scale

Codes

a b c d

iv ii iii i


iv i ii iii


ii i iv iii


iii ii i iv


17. Which instrument is mostly used for Lehara in the solo tabla playing

(1)Violin


Israj


(3)Saarangi


Sitar


18. Which of the following artists has used the concept of South Indian Laya Taal in his performance

(1)Pt. Swapan Choudhary

Pt. Suresh Talwalkar


(3)Pt. Anindo Chatterjee


Pt. Nayan Ghosh


19. Which one of the following is Chowguna (four times) of Paungun

(1)Dugun



Tigun


(3)Chowgun


Chhahgun


20. The instrument Metronome produces which of the following taalas

(1)Taal


Laya


(3)Lahra


Avartan


21. Author of the book 'Madal-ul-Mausiki' is

(1)Abul Fazal


Hamid Mohammad Karam Imam


(3)Mohammad Jayasi


Rajab Ali


22. Gajparan was composed by which scholar

(1)Nanapanse


Kudau Singh


(3)Jodh Singh


Parvat Singh


23. Read Assertion and Reason and select correct answer from the code given below
Assertion Taal disciplines the music and gives it a proper shape.

Reason But there could be indeed a music without that discipline. Codes


and both are false.


and both are true.


is false but is true.


is true but is false.



24. In ancient treatise, how many hand strokes (Hast Prahar) are recommended for playing Mridanga




5





7


25. Which part of the Tripushkar Vadya is played by keeping it on the lap

(1)Aankik


Urdhwak


(3)Ghaunsa


Muraj


26. Who is the disciple of Mian Hussain Baksh of Punjab

(1)Haddu Khan


(2)Mian Kadir Baksh


(3)Taj Khan Deredar


(4)Mian Fakir Baksh


27. Which layakari will be produced by changing laya of Quayeda of Basant taal and playing
that into ek taal

3/4


4/3


2/3


3/2

28. The 7/8 timings in Western music is treated as which of the following taalas in North Indian
Music

(1)Dadra


(2)Rupak


(3)Jhaptaal


(4)Teen taal



29. Which one of the following is a correct chronological order of given Sangeet Natak Academy Award winners

(1)Pt. Suresh Talwalkar, Pt. Anindo Chatterjee, Ut. Zakir Hussain, Pt. Kumar Bose


(2)Ut. Zakir Hussain, Pt. Anindo Chatterjee, Pt. Suresh Talwalkar, Pt. Kumar Bose


(3)Pt. Kumar Bose, Pt. Anindo Chatterjee, Pt. Suresh Talwalkar, Ut. Zakir Hussain


(4)Ut. Zakir Hussain, Pt. Suresh Talwalkar, Pt. Anindo Chatterjee, Pt. Kumar Bose


30. The author of 'Taal Martanda' is

(1)Pt. Ram Narayan


Girish Chandra Srivastav


(3)Pt. Vijay Shankar Mishra


Pt. Satya Narayan Vashishtha


31. Which of the following instruments is a odd one

(1)Damama


Hudukka


(3)Dhaunsa


Bheri


32. Which eminent tabla maestro of Calcutta passed away in 2016

(1)Pt. Gyan Prakash Ghosh


Pt. Shankar Ghosh


(3)Pt. Karamat Khan


Pt. Kanhai Dutt


33. The verse Totak Vritta belongs to which category

(1)Tishra


Khanda


(3)Chatashra


Mishra


34. In which chapter of the Natyashastra the classification of Vadya has been mentioned




29





31



35. Select the correct matches from the codes given below

List I List II

a. Gat Quayeda i. Mukta Vistar
b. Peshkar ii. Palte
c. Gat iii. Nauhakka
d. Tihai iv. Tridhari

Codes

a b c d

ii i iv iii


i iii iv ii


iii i iv ii


iv iii ii i

36. What is used for tuning with Mridangam

(1)Hammer


Brass


piece of Iron


A piece of wood or stone


37. The practice of applying mud on the open face of Mridanga was called

(1)Mukhlepan


Vilepan


Trilepan


Sammilan


38. From which tabla maestro of Banaras Gharana Prof. Lalji Srivastav received training

(1)Pt. Kanthe Maharaj


Prof. Shyam Lal Mishra


(3)Pt. Ganesh Mishra


Pt. Bikoo Maharaj


39. The second dha which comes on sam in Kamali Chakkardar comes in which category of dha














40. How many Ganas are there in Bhujang Prayat Vritta













41. Which of the following was called Naubat in the Mughal period

(1)Aatodya


(2)Kutap


(3)Bhand


(4)Avanaddha Vadya


42. is used in

(1)Kathak


(2)Tabla


(3)Swar Vadya


(4)All of the above


43. Arrange the ganas in the correct order

(1)Yagan, Tagan, Magan, Ragan


(2)Magan, Yagan, Tagan, Ragan


(3)Yagan, Magan, Tagan, Ragan


(4)Yagan, Tagan, Ragan, Magan


44. The gattas of tabla are usually 11


1 inch long and 1/2 inch thick


3 inches long and 1/2 inch thick


4 inches long and 2 1/2 inches thick


5 inches long and 3 1/2 inches thick


45. Read Assertion and Reason and select correct answer from the code given below

Assertion Different Gharanas of tabla are like different flowers which together
resemble a bouquet.
Reason Varieties of compositions enhance the beauty.

Codes


is true but is false.


is false but is true.


and both are true.


and both are false.



46. Which of the following is not a disciple of Ustad Munne Khan

(1)Ustad Abid Hussain


(2)Ustad Wahid Khan


(3)Nadir Hussain Khan


(4)Ustad Wazid Hussain Khan


47. Chitra and Vibhavari verses are sung in the taalas of how many matras












48. Select the correct matches from the codes given below

Music Festivals Places

a. Sankat Mochan Samaroh i. Varanasi
b. Kalidas Samaroh ii. Jalandhar
c. Harivallabh Samaroh iii. Ujjain
d. Sawai Gandharva Samaroh iv. Mathura
v. Pune

Codes

a b c d

i ii v iv


iii ii i iv


v iii ii iv


i iii ii v


49. Which chapter of Sangeet Makrand describes the Das prana of Taalas

(1)Taladhyaya


Sangeetadhyaya


(3)Vadyadhyaya


Nrityadhyaya



50. Author of the book 'Musalman Evam Bhartiya Sangeet' is

(1)Acharya Brihaspati


Sulochana Brihaspati


(3)Abul Fazal


Dr. Lal Mani Mishra


51. The author of "Bharatiya Sangeet mein Taal aur Roopvidhan" is

(1)Dr. Prem Lata Sharma


(2)Dr. Vimala Musalgaokar


(3)Dr. Subhadra Choudhary


(4)Dr. Yogmaya Shukla


52. When and where was the renowned Pakhawaj Maestro Pt. Ramashish Pathak born

(1)1930 Gaya


1940 Darbhanga


(3)1936 Darbhanga


1935 Lucknow


53. One palla of Farmaishi Chakkardar will be of how many matras in Shikhartaal

matra


27 matra


matra


28 matra


54. In one single Avarthan of any taal, there would be two complete Layakaris of the same taal

(1)Tigun-Chhahgun


(2)Dugun-Athgun


(3)Sawadogun-Naugun


(4)Pachgun-Chowgun


55. What is the name of sign for half matra in Western staff notation

(1)Minim


(2)Semi Breve


(3)Square


(4)Crochet


56. Match the following, select correct answer from the code given below

a. 54 i. Teen taal in ek taal
b. 74 ii. Ek taal in teen taal
c. 34 iii. Ada chauta in Kaharava
d. 32 iv. Pancham sawari in ek taal
v. Pancham sawari in Jhaptaal

Codes

a b c d

iv iii ii v


iv v ii iii


iii ii v i


v iii iv ii

57. Who had started institutionalised training in music

(1)Pt. Vishnu Narayan Bhatkhande


(2)Ut. Maulabakhsh


(3)Pt. Vishnu Digambar Paluskar


(4)Ut. Hassu Haddu Khan


58. Kartall in Arabi is known as

(1)Kasa


(2)Kansa


(3)Khanjira


(4)Ganjira



59. Which of the following artists played most of all on taals of Visham matras

(1)Ustad Afaq Hussain Khan


Ustad Karamat Khan


(3)Ustad Alla Rakha Khan


Ustad Latif Ahmad Khan


60. Which of the following is different

(1)Rudra


Jaya


(3)Garuda


Pratap Shikhar


61. Arrange the taals in their ascending order of matras

(1)Vishnu Matta Jay Mangal Yati Shikhar


(2)Yati Shikhar Vishnu Matta Jay Mangal


(3)Matta Jay Mangal Yati Shikhar Vishnu


(4)Jay Mangal Matta Vishnu Yati Shikhar


62. What is the form of South Indian Taal Math

(1)101


(2)001


(3)110


(4)010


63. Read Assertion and Reason and select correct answer from the code given below

Assertion Maximum improvisation of Peshkar is possible in expandable
compositions of Tabla.

Reason This shows the creative potential of the artist.

Codes


and both are false.


and both are true.


is false but is true.


is true but is false.



64. The Laykari in playing Ek taal in Pancham Sawari Taal from sam to sam is

5/4


4/5


5/3


4/3

65. Select the correct matches of father-daughter from the codes given below

Father Daughter

a. Ut. Allauddin Khan i. Meeta
b. Mani Lal Nag ii. Savani
c. Pt. Ram Narayan iii. Aruna Kale
d. Pt. Suresh Talwalkar iv. Annapoorna Devi

Codes

a b c d

i ii iii iv


iv iii ii i


iv i ii iii


iv i iii ii


66. In which taalas there is no "Khali" on ninth matra

(1)Fardost


(2)Jattaal


(3)Tilwada


(4)Tappa


67. The Laykari in playing Ek taal in Basant taal from sam to sam is 43

4/3


3/4


2/3


3/2


68. The magazine "Chhayanat" is published from

(1)Uttar Pradesh


Madhya Pradesh


(3)Bihar


(4)New Delhi


69. According to Bharat Muni Haritaki, Yuvakriti and Gopuchha are the forms of the musical instrument

(1)Patah


(2)Tripushkar


(3)Panav


(4)Mardal


70. In single avartan a dugun of Ganesh taal will start from

10 1/2


10 1/3


10 1/4


10 2/3


71. Read the following passage carefully and answer Questions on the basis of your understanding of the text

Laya in music which is generally called Gati, is in practice since a time immemorial. The human life, the sun and the moon and everything in this universe is moving in a laya (rhythm); where there is no laya, there is Pralaya (total annihilation). Percussion instruments as the base of laya are found in different shapes and forms in different periods from Bhoomi Dundubhi to tabla since vedic ages. Swara is indeed the core of music, but it is never complete without laya; for manifestation of laya, percussion instruments are a must. A music without laya and taal is wild and unpleasant and has no beauty. It is difficult to measure taal, but one can experience the same by arranging the Avartan (periodicity) of taalas into layas. At present the laya, apart from music, is also being applied in the field of technology, therapy and literature. The musical compositions in different layas have remarkable impact on plants and vegetation and in the treatment of humane ailments. Music would have not come into existence, had there been no layas, hence laya is considered central to the music. That is why the maestros have put so much emphasis on Riyaz, which is practicing of layas. The beauty of a music is manifested through it's layas. It is said that a boat has no life and direction without its sailor, a music too has no beauty and purpose without it's layas. Thus laya is the essence and heart of the music.


What is essential for manifestation of laya

(1)Swara


(2)Percussion instrument


(3)Raag


(4)All of the above


72. A music composed in proper laya has therepeutical impact on

(1)Ragas


ailing people


literature


everything


73. The base of a music is

(1)Laya


(2)Swara


(3)Avartan


(4)Music


74. The beauty in a music is through

(1)Swara


(2)Raga


(3)Laya


(4)Bandish


75. Maestros have put emphasis on Riyaz with whom

(1)Lagan


(2)with Guru


(3)Laya


(4)Gayan