1 P.T.O.D—1606

Time : 1¼ hours] [Maximum Marks : 100

Signature and Name of Invigilator

1. (Signature)

(Name)

2. (Signature)

(Name)

Roll No. (In words)

Test Booklet No.

Roll No.

(In figures as per admission card)

PAPER—II

MUSIC

D—1 6 0 6

Number of Pages in this Booklet : 48 Number of Questions in this Booklet : 50

Instructions for the Candidates1. 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 bookletwill be given to you. In the first 5 minutes, you are requestedto open the booklet and compulsorily examine it as below :

(i) To have access to the Question Booklet, tear off the paperseal on the edge of this cover page. Do not accept abooklet without sticker-seal and do not accept an openbooklet.

(ii) Tally the number of pages and number of questions inthe booklet with the information printed on the coverpage. Faulty booklets due to pages/questions missingor duplicate or not in serial order or any otherdiscrepancy should be got replaced immediately by acorrect booklet from the invigilator within the period of5 minutes. Afterwards, neither the question bookletwill be replaced nor any extra time will be given.

(iii) After this verification is over, the Serial No. of the bookletshould be entered in the Answer-sheets and the SerialNo. of Answer Sheet should be entered on this Booklet.

4. Each item has four alternative responses marked (A), (B), (C)and (D). You have to darken the oval as indicated below on thecorrect response against each item.

Example : A B C D

where (C) is the correct response.

5. Your responses to the items are to be indicated in the AnswerSheet given inside the Paper I booklet only. If you mark atany place other than in the ovals in the Answer Sheet, it willnot 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 or put any mark on any part of the testbooklet, except for the space allotted for the relevant entries,which may disclose your identity, you will render yourselfliable to disqualification.

9. You have to return the test question booklet to the invigilatorsat the end of the examination compulsorily and must not carryit with you outside the Examination Hall.

10. Use only Blue/Black Ball point pen.

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

12. There is NO negative marking.

ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU Ù•ÕÚU çÜç¹°Ð2. §â ÂýàÙ-˜æ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð3. ÂÚUèÿææ ÂýæÚ•UÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU

¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙ•ÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØðÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ(i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è

âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æSßè·¤æÚU Ù ·¤Úð¢UÐ

(ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è⢕Øæ ·¤ô ¥‘ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂê‡æü ÂéçSÌ·¤æçÁÙ×ð¢ ÂëDU / ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è æéçÅUÂê‡æü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æÜð Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ ÙÌô ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô¥çÌçÚUQ¤ â×Ø çÎØæ ÁæØð»æÐ

(iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤è R¤× ⢕Øæ ©•æÚU-˜淤 ÂÚU ¥¢ç·¤Ì·¤Úð¢U ¥UõÚU ©•æÚU-˜淤 ·¤è R¤×¤â¢•Øæ §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚUÎð¢Ð

4. Âý Øð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©•æÚU çß·¤Ë (A), (B), (C) ÌÍæ (D) çÎØð »Øð ãñ¢Ð¥æ·¤ô âãè ©•æÚU ·ð¤ Îèƒæüßë•æ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ðçιæØæ »Øæ ãñЩÎæãÚU‡æ Ñ A B C D

ÁÕç·¤ (C) âãè ©•æÚU ãñÐ5. ÂýàÙô¢ ·ð¤ ©•æÚU ·ð¤ßÜU Âýà٠˜æ I ·ð¤ ¥‹ÎÚU çÎØð »Øð ©•æÚU-˜淤 ÂÚU ãè ¥¢ç·¤Ì

·¤ÚUÙð ãñ¢Ð ØçÎ ¥æ ©•æÚU ˜淤 ÂÚU çÎØð »Øð Îèƒæüßë•æ ·ð¤ ¥Üæßæ ç·¤âè ¥‹ØSÍæÙ ÂÚU ©•æÚU ç¿‹ãæ¢ç·¤Ì ·¤ÚUÌð ãñ, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ

6. ¥‹ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ŠØæÙÂêßü·¤ Âɸð¢UÐ7. ·¤“ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥ç‹Ì× ÂëDU ÂÚU ·¤Úð¢UÐ8. ØçÎ ¥æ ©•æÚU-ÂéçSÌ·¤æ ÂÚU ¥ÂÙæ Ùæ× Øæ °ðâæ ·¤ô§ü Öè çÙàææÙ çÁââð ¥æ·¤è

Âã¿æÙ ãô â·ð¤, ¤ç·¤âè Öè Öæ» ÂÚU ÎàææüÌð Øæ ¥¢ç·¤Ì ·¤ÚUÌð ãñ¢ Ìô ÂÚUèÿææ ·ð¤çÜØð ¥Øô‚Ø ƒæôçáÌ ·¤ÚU çÎØð ÁæØð¢»ðÐ

9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ©•æÚU-ÂéçSÌ·¤æ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU ÙÜð·¤ÚU ÁæØð¢Ð

10. ·ð¤ßÜ ÙèÜð / ·¤æÜð ÕæÜU Œßæ§ZÅU ÂñÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ

ÂýØô» ßçÁüÌ ãñÐ12. »ÜÌ ©•æÚU ·ð¤ çÜ° ¥¢·¤ Ùãè¢ ·¤æÅðU ÁæØð¢»ðÐ

Answer Sheet No. : ...................................................... (To be filled by the Candidate)

See Page No. 2 and 3 for Special Instructions / çßàæðá âê¿Ùæ¥æð´ ·ð¤ çÜ° ÂëcÆ â´•Øæ 2 ¥æñÚ 3 Îð¹ð´Ð

2D—1606

MUSIC

PAPER—II

Hindustani / Karnataki / Rabindra Sangeet / Percussion

(Vocal and Instrumental)

SPECIAL INSTRUCTIONS

Note : Candidates are required to answer all 25 the questions in PART - I,which are compulsory. They should select any one of the groupsPART-II, PART-III, PART-IV, PART-V and answer all the 25 questionsin that PART. Each question carries two (2) marks.

PART - ICommon to Hindustani / Karnataki / Rabindra Sangeet / Percussion

1. Who was the author of ‘Chaturdandiprakashika’ ?(A) Ramamatya (B) Vyankatmakhi(C) Pundarik Vitthal (D) Chatur Pandit

2. For which dance Samukta Panigrahi is famous ?(A) Manipuri (B) Oddissi(C) Kathak (D) Bharat Natyam

3. What is Samuad ?(A) To speak together (B) Consonant notes(C) Similar faces (D) Similar sound

4. Name the Hindustani Tala alike Karnataka Aditala ?(A) Kaharva (B) Tilwada (C) Teental (D) Jhumra

5. Who is the author of ‘Srimallakshya Sangeetam’ ?(A) Raja Nawab Ali (B) Bhattchande(C) V.D. Valuskar (D) Brihaspati

6. How many banies were there in Dhruvapada ?(A) Two (B) Three (C) Four (D) Five

7. Who is the author of the ‘Univeral History of Music’ ?(A) S.M. Tagore (B) Rabindra Nath Tagore(C) Kshetramohan Goswami (D) Krishna Dhan Banerjee

3 P.T.O.D—1606

â´»èÌÂýàÙ˜æ—II

çã‹ÎéSÌæÙè/·¤ÙæüÅ·¤ â´»èÌ/Úßè‹Îý â´»èÌ(»æØÙ, ßæÎÙ °ß´ â´»èÌ àææS˜æ) ÌÍæ ¥ßÙh ßæl

ÙôÅU Ñ ÂÚèÿææÍèü Öæ»-I ·ð¤ âÖè 25 ÂýàÙæð ·ð¤ ©•æÚ ÎðÐ Øã Öæ» ¥çÙßæØü ãñ´Ð ÂÚèÿææÍèü Öæ»-II,Öæ»-III, Öæ»-IV, ÌÍæ Öæ»-V ×ð´ âð ç·¤âè °·¤ Öæ» ·ð¤ âÖè 25 ÂýàÙæð ·ð¤ ©•æÚ ÎðÐÂýˆØð·¤ ÂýàÙ ·ð¤ Îæð (2) ¥´·¤ ãñ´Ð

PART - I

çã‹ÎéSÌæÙè / ·¤ÙæüÅ·¤ â´»èÌ / Úßè‹Îý â´»èÌ ÌÍæ ¥ßÙh ßæl ¿æÚæð´ ·ð¤ çÜØð

1. Ò¿ÌéÚÎç‡ÇÂý·¤æçàæ·¤æÓ ·ð¤ Üð¹·¤ ·¤æñÙ ãñ?

(A) Úæ×æ×æˆØ (B) ÃØ´·¤Å×¹è (C) ÂéÇÚè·¤ çß_Ü (D) ¿ÌéÚ Â´çÇÌ

2. â´Øé•Ìæ Âæç‡æ»ýãè ·¤æñÙ âð ÙëˆØ ·ð¤ çÜ° Âýçâh ãñ?

(A) ×ç‡æÂéÚè (B) ¥æðçÇâè (C) ·¤ˆÍ·¤ (D) ÖÚÌÙæÅK×

3. â´ßæÎ •Øæ ãñ?

(A) °·¤âæÍ ÕæðÜÙæ (B) âæ´»èçÌ·¤ SßÚ ÁæðçǸØæ¡

(C) â×æÙ ¿ðãÚð´ (D) â×æÙ ŠßçÙØæ¡

4. ·¤ÙæüÅ·¤ ¥æçÎ ÌæÜ ·ð¤ â×·¤ÿæ çã‹ÎéSÌæÙè ÌæÜ ·¤æ Ùæ× ÕÌæ°¡ Ñ

(A) ·¤ãÚßæ (B) çÌÜßæǸæ (C) ÌèÙÌæÜ (D) Ûæê×Úæ

5. ÒŸæè×ËÜÿØ â´»èÌ×÷Ó ·ð¤ Ú¿Ùæ·¤æÚ ·¤æñÙ ãñ´?

(A) ÚæÁæ ÙßæÕ ¥Üè (B) Öæ̹‡Çð´ (C) ßè.Çè. ßÜéS·¤Ú (D) ÕëãSÂçÌ

6. ÏýéßÂÎ ×ð´ ·é¤Ü ç·¤ÌÙè ßæç‡æØæ¡ Íè?

(A) Îæð (B) ÌèÙ (C) ¿æÚ (D) Âæ¡¿

7. ÒÒØêçÙßâüÜ çãSÅþè ¥æòȤ •Øêç$Á·¤ÓÓ ·ð¤ Üð¹·¤ ·¤æñÙ ãñ?

(A) °â.°×. Åñ»æðÚ (B) Úßè‹ÎýÙæÍ Åñ»æðÚ

(C) ÿæð æ×æðãÙ »æðSßæ×è (D) ·ë¤c‡æÏÙ ÕòÙÁèü

4D—1606

8. Sankeerna Jathi Ata tala takes ____________ counts.

(A) 20 (B) 22 (C) 14 (D) 27

9. Who is one of the Musical Trinitics ?

(A) Purandara Dasa (B) Shyama Sastri

(C) Swati Tirunal (D) Jayadeva

10. Name of the equivalent Karnatic raga of ‘Malkauns’ :

(A) Hindolam (B) Bhairavi

(C) Sudhasaveri (D) Sree Ranjini

11. Name of the Hindustani Komal Rishabh in Karnatic Music :

(A) Sudha Rishabham (B) Sadharana Rishabham

(C) Shadsruti Rishabham (D) Chatusruti Rishabham

12. Rabindranath Tagore received the Nobel Prize :

(A) 1886 (B) 1913 (C) 1924 (D) 1945

13. Which of the following songs was Mahatma Gandhi’s favourite ?

(A) Amar Sonar Bangla (B) Banglar Mati Banglar Jal

(C) Mana Mor Megher Sangi (D) Jadi Tor D. ak Shune Keu

14. Match the following and pick up the right choice :

(a) Tagore’s father (i) Abanindranath Tagore

(b) Tagore’s brother (ii) Jyotirindranath Tagore

(c) Tagore’s son (iii) Debendranath Tagore

(d) Tagore’s nephew (iv) Rathindranath Tagore

Code :

(a) (b) (c) (d)

(A) (ii) (i) (iii) (iv)

(B) (iii) (ii) (iv) (i)

(C) (iv) (iii) (ii) (i)

(D) (i) (iv) (ii) (iii)

15. Who mastered both Tabla and Pakhawaj ?

(A) Pagaldas (B) Prem Vallabh

(C) Purushottam Das (D) Preetam Pakhwaji

5 P.T.O.D—1606

8. ¥Å÷ ÌæÜ â´·¤è‡æü ÁæçÌ ×ð´ ____________ ×æ˜ææ°ð´ ãñ´Ð(A) 20 (B) 22 (C) 14 (D) 27

9. çÙ•Ùæ´ç·¤Ì ×ð ·¤æñÙ âæ´»èçÌ·¤ ç˜æ×êç•æ ×ð àææç×Ü ãñ?

(A) ÂéÚ‹ÎÚ Îæâ (B) àØæ×æ àææS˜æè (C) SßæçÌ çÌL¤ÙæÜ (D) ÁØÎðßæ

10. Úæ» ×æÜ·¤æð´â ·¤æ ·¤ÙæüÅ·¤ ÂØæüØ •Øæ ãñ?

(A) çã‡ÇæðÜ×÷ (B) ÖñÚßè (C) àæéh âæßðÚè (D) Ÿæè Ú´ÁÙè

11. çã‹ÎéSÌæÙè â´»èÌ ·ð¤ ·¤æð×Ü «¤áÖ ·¤æð ·¤ÙæüÅ·¤ â´»èÌ ×ð´ ç·¤â Ùæ× âð Âé·¤æÚÌð ãñ´?

(A) àæéh «¤áÖ×÷ (B) âæÏæÚ‡æ «¤áÖ×÷

(C) áÇ÷ŸæéçÌ «¤áÖ×÷ (D) ¿ÌéŸæéçÌ «¤áÖ×÷

12. ÚÕè´ÎýÙæÍ Åñ»æðÚ ·¤æð ÙæðÕÜ ÂéÚS·¤æÚ Âýæç# ãé§ü Ñ(A) 1886 (B) 1913 (C) 1924 (D) 1945

13. ×ãæˆ×æ »æ¡Ïè ·¤æ çÂýØ »èÌ çÙ•ÙçÜç¹Ì ×ð âð ·¤æñÙ-âæ Íæ?

(A) ¥æ×æÚ âæðÙæÚ Õæ´»Üæ (B) Õ´»ÜæÚ ×æÅè Õæ´»ÜæÚ ÁÜ

(C) ×Ù ×æðÚ ×ðƒæðÚ â´»è (D) ÁçÎ ÌæðÚ Çæ·¤ àæêÙð ·ð¤©

14. çÙ•ÙçÜç¹Ì ×ð âð âãè Øé‚× ·¤æ ¿ØÙ ·¤èçÁ° Ñ

(a) Åñ»æðÚ ·ð¤ çÂÌæ (i) ¥ÕÙè´ÎýÙæÍ Åñ»æðÚ

(b) Åñ»æðÚ ·ð¤ Öæ§ü (ii) ’ØæðçÌçÚ‹ÎýÙæÍ Åñ»æðÚ

(c) Åñ»æðÚ ·¤æ Âé˜æ (iii) ÎðÕð‹ÎýÙæÍ Åñ»æðÚ

(d) Åñ»æðÚ ·¤æ ÖÌèÁæ (iv) ÚÍè‹ÎýÙæÍ Åñ»æðÚ

·ê¤Å Ñ(a) (b) (c) (d)

(A) (ii) (i) (iii) (iv)(B) (iii) (ii) (iv) (i)(C) (iv) (iii) (ii) (i)(D) (i) (iv) (ii) (iii)

15. ÌÕÜæ ß Â¹æßÁ ÎæðÙæð´ ·¤æð ç·¤âÙð âæÏæ Íæ?

(A) Âæ»Ü Îæâ (B) Âýð× ßËÜÖ

(C) ÂéL¤áæð•æ× Îæâ (D) ÂýèÌ× Â¹æßÁè

6D—1606

16. Which Gayan-Style Pashto Taal belongs to :

(A) Dhrupad (B) Khayal

(C) Thumari (D) Bhajan

17. Match the following :

(a) Quada (i) Stuti

(b) Peshkara (ii) Farshbandi

(c) Tihai (iii) Rela

(d) Paran (iv) Chakradar

Code :

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (iv) (iii) (ii) (i)

(C) (iii) (iv) (i) (ii)

(D) (iii) (ii) (iv) (i)

18. Match the following :

(a) Bilaskhani Todi (i) Bilawal thata

(b) Patdeep (ii) Khamaj thata

(c) Hemant (iii) Kafi thata

(d) Durga (iv) Bhairavi thata

Code :

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (iii) (i) (iv) (ii)

(C) (i) (iii) (iv) (ii)

(D) (iv) (iii) (i) (ii)

19. Mark the correct group from the following :

(A) Dhruvapad, Thumri, Khyal, Prabandha

(B) Prabandha, Thumri, Dhruvapad, Khyal

(C) Khyal, Thumri, Prabandha, Dhruvapad

(D) Prabandha, Dhruvapad, Khyal, Thumri

7 P.T.O.D—1606

16. ÒÂàÌæð ÌæÜÓ ç·¤â »æØÙ-àæñÜè ·¤è ÌæÜ ãñ?

(A) ÏýéÂÎ (B) •ØæÜ (C) Æé×Úè (D) ÖÁÙ

17. â×æÙÌæ SÍæçÂÌ ·¤èçÁØð Ñ

(a) ·¤æØÎæ (i) SÌéçÌ

(b) Âðàæ·¤æÚ (ii) $ȤàæüÕ‹Îè

(c) çÌãæ§ü (iii) ÚðÜæ

(d) ÂÚÙ (iv) ¿·ý¤ÎæÚ

·ê¤Å Ñ

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (iv) (iii) (ii) (i)

(C) (iii) (iv) (i) (ii)

(D) (iii) (ii) (iv) (i)

18. âé×ðçÜÌ ·¤èçÁØð Ñ

(a) çÕÜæâ¹Ùè ÌæðǸè (i) çÕÜæßÜ ÍæÅ

(b) ÂÅÎè (ii) ¹×æÁ ÍæÅ

(c) ãð×‹Ì (iii) ·¤æȤè ÍæÅ

(d) Îé»æü (iv) ÖñÚßè ÍæÅ

·ê¤Å Ñ

(a) (b) (c) (d)

(A) (iv) (iii) (ii) (i)

(B) (iii) (i) (iv) (ii)

(C) (i) (iii) (iv) (ii)

(D) (iv) (iii) (i) (ii)

19. çÙ•ÙçÜç¹Ì ×ð âð âãè ·ý¤× ·¤æð Âã¿æçÙØð Ñ

(A) ÏýéßÂÎ, Æé×Úè, •ØæÜ, ÂýÕ‹Ï

(B) ÂýÕ‹Ï, Æé×Úè, ÏýéßÂÎ, •ØæÜ

(C) •ØæÜ, Æé×Úè, ÂýÕ‹Ï, ÏýéßÂÎ

(D) ÂýÕ‹Ï, ÏýéßÂÎ, •ØæÜ, Æé×Úè

8D—1606

Paraphrasing or Linked Item :

Read the following passage and tick the correct answer in each group of A, B, C, D.

The syllabi in music education prescribed by every university for the various coursesin music include an indepth study of Western Music covering in different aspects. Thepurpose of this study is to make ourselves well conversant with the music tradition ofwest and to find out if there are some possible common areas which we can adopt inour music system. Both Indian and Western Music system have developed an intricatesystem based on strong disciplines and rules. Mainly we must study the evolution ofHarmony of west, its musical forms, Time-patterns, Time signature, Various musicalscales, intervals, evolution of instruments, orchestration, concept of Aesthetics in WesternMusic, their teaching methods and other important aspects. Our study of WesternMusic System will reveal that Indian Music is purely melodic whereas Western Musicis harmonic and based on Chords. In Indian Music, the intervals between differentnotes are unequally tempered, whereas in Western Music, they are equally tempered.An Indian Musician selects a scale/tonic to suit to his individual range of voice, but inWestern Music, there is a change of key within a composition. An Indian Musician canbe a performer, writer, composer, director whereas such sort of combination is not seenin Western Music. In Indian Music SA and PA are immutable and MA, GA, RE, DHA,NI can have only one flat or sharp modification, but in western system all the noteshave modifications. Indian Music is based on improvisation, but it is not applicable towestern music. Indian Music with its numerous thatas is rich in the field of melody,but the adoption of Harmony has reduced the choice of scales to only two, major andminor scale. In Indian Music, the system of embellishments, use of extra fine semitones,grace notes, the constant sound of drone, improvisation produce the characteristicquality, but there is a fixed notation in western music without such open minded music.In Indian Music the learning of music is a deep dedication at Guru’s feet, the longhours of physical practice, the technical knowledge, whereas in western music, themusic training is imparted in schools/academies and conservatories. In view of suchvaried aspects of both the systems, a synthesis of the two systems is not possible.

20. (A) The comparative study of Indian and Western Music Systems is not useful for amusic student at higher level.

(B) The comparative study of Indian and Western Music Systems makes us wellconversant of both the systems.

(C) The study of Western Music should not be included in University Syllabus.

(D) Indian Music and Western Music have similar scales.

21. (A) Western Music is based on melody and has no orchestration.

(B) Western Music has been developed on Chords leading to harmony.

(C) The harmony of Western Music is similar to Indian Melody.

(D) The Chords are used in Indian Melody.

9 P.T.O.D—1606

¥Ùé‘ÀðÎ ·¤æð Âɸ·¤Ú çÎØð »Øð ©•æÚæð ×ð âð âãè ©•æÚ ·¤æð ¿éçÙØðÐ

ֻܻ ÂýˆØð·¤ çßàßçßlæÜØ ·ð¤ â´»èÌ çßáØ ·ð¤ ÂæÆK·ý¤× ×ð´ Âæà¿æˆØ â´»èÌ ·ð¤ çßçÖóæ ÂãÜé¥æð´ ·¤æ»ãÙ M¤Â â𠥊ØØÙ ·¤ÚÙð ·ð¤ çÜØð Âæà¿æˆØ â´»èÌ ·ð¤ ÂæÆK·ý¤× ·¤æ â×æßðàæ ç·¤Øæ ÁæÌæ ãñÐ §â Âý·¤æÚ ·ð¤¥ŠØØÙ ·¤æ ×é•Ø ©gðàØ Øãè ãñ ç·¤ çßlæÍèü Âæà¿æˆØ â´»èÌ ·¤è ÂÚ•ÂÚæ âð ¥ß»Ì ãæð Áæßð ¥æñÚ Øã â×ÛæÙð·¤æ Öè Âý؈٠·¤Úð´ ç·¤ Âæà¿æˆØ â´»èÌ ·¤è ç·¤Ù ç·¤Ù çßàæðáÌæ¥æð´ ·¤æð ÖæÚÌèØ àææS˜æèØ â´»èÌ ×ð´ ¥ÂÙæØæ Áæâ·¤Ìæ ãñÐ ÖæÚÌèØ ¥æñÚ Âæà¿æˆØ ÎæðÙæð´ ãè â´»èÌ ÂhçÌØæ¡ Âê‡æü M¤Â âð çß·¤çâÌ ãñ´ ¥æñÚ ÎæðÙæð´ ãè ·¤æ çß·¤æââéÎëɸ çÙØ×æ𴠷𤠥æÏæÚ ÂÚ ãé¥æ ãñÐ ×é•Ø M¤Â âð ¥æßàØ·¤Ìæ §â ÕæÌ ·¤è ãñ ç·¤ ã× Âæà¿æˆØ â´»èÌ ·ð¤ ãæ×üÙèâ´»èÌ, ©Ù·ð¤ âæ´»èçÌ·¤ »æØÙ ß ßæÎÙ ·ð¤ Âý·¤æÚæð´ ·¤æ, ©Ù·¤è ÌæÜ ÂhÌè ¥ÍæüÌ Åæ§× çâ»Ùð¿Ú ·¤æ ¥ŠØØÙ·¤Úð´Ð âæÍ ãè ©Ù·ð¤ çßçÖóæ âæ´»èçÌ·¤ SßÚ âŒÌ·¤æð´, SßÚæ´ÌÚæð´, ßælæð´ ·ð¤ çß·¤æâ, ©Ù·ð¤ ßë´ÎßæÎÙ, ÌÍæ Âæà¿æˆØâ´»èÌ ·ð¤ âæñ‹ÎØü àææS˜æ ·¤è ¥ßÏæÚ‡ææ ·¤æ Öè Âê‡æü M¤Â â𠥊ØØÙ ·¤Úð´, âæÍ ãè ©Ù·¤è çàæÿæ‡æ ÂhçÌ °ß´ ¥‹Ø¥æßàØ·¤ ÕæÌæð´ ·¤è ÁæÙ·¤æÚè Âýæ# ·¤Úð´Ð §â Âý·¤æÚ ·ð¤ ¥ŠØØÙ âð Øã SÂC ãæð Áæßð»æ ç·¤ ÖæÚÌèØ â´»èÌ ØçÎÂê‡æüÌØÑ ×ðÜæÇè ÂýÏæÙ ãñ Ìæð Âæà¿æˆØ â´»èÌ ·¤æÇüâ ÂÚ ¥æÏæçÚÌ ãæ×üÙè ÂýÏæÙ â´»èÌ ãñÐ ÖæÚÌèØ â´»èÌ ×ð´ °·¤â#·¤ ·ð¤ âÖè SßÚæð´ ·¤æ ¥æÂâè ¥‹ÌÚæÜ â×æÙ Ùãè´ ãñ, ÁÕç·¤ Âæà¿æˆØ â´»èÌ ×ð´ âÖè SßÚ â×æÙ ¥‹ÌÚæÜ ÂÚçSÍÌ ãñÐ Øã Öè ã×ð´ ÂÌæ ãæð»æ ç·¤ ÖæÚÌèØ â´»èÌ™æ »æØÙ-ßæÎÙ ×ð´ °·¤ ¥æÏæÚ SßÚ ·¤æð ¿éÙ·¤Ú ¥ÂÙæ ·¤æØü·ý¤×ÂýSÌéÌ ·¤ÚÌæ ãñ, ÂÚ‹Ìé Âæà¿æˆØ â´»èÌ ×ð´ Ú¿Ùæ ·ð¤ ãÚ Öæ» ×ð´ ¥æÏæÚ SßÚ ·¤æ ÂçÚßÌüÙ ãæðÌæ ãñÐ ÖæÚÌèØ â´»è̙淤Üæ·¤æÚ ãæðÙð ·ð¤ âæÍ âæÍ Üð¹·¤, çÙÎðüàæ·¤, Ú¿Ùæ·¤æÚ ãæð â·¤Ìæ ãñ Üðç·¤Ù Âæà¿æˆØ â´»èÌ ×ð´ §Ù âÖè©•æÚßæçΈßæð ·¤æ çÙßæü㠥ܻ ¥Ü» M¤Â âð ãæðÌæ ãñÐ ÖæÚÌèØ â´»èÌ ×ð â ¥æñÚ Â ¥ÂçÚßçÌüÌ ãñ ¥æñÚ ×, », Úð,Ï, çÙ, ×ð´ SßÚæð´ ·¤æð ·¤æð×Ü ¥Íßæ Ìèßý ÕÙæØæ ÁæÌæ ãñ ç·¤‹Ìé Âæà¿æˆØ â´»èÌ â#·¤ ·ð¤ âÖè SßÚ ÂçÚßçÌüÌ ãæð·¤Ú·¤æð×Ü, Ìèßý M¤Â ×ð´ ÂýØæð» ãæðÌð ãñ´Ð ÖæÚÌèØ â´»èÌ ×ð´ ·¤ËÂÙæˆ×·¤ ÕÉ¸Ì ·¤æ çßSÌæÚ ãæðÌæ ãñ ç·¤‹Ìé Âæà¿æˆØâ´»èÌ ×ð´ Ùãè´Ð ÖæÚÌèØ â´»èÌ ×ð´ çßçßÏ ÍæÅæ𴠷𤠷¤æÚ‡æ â×ëhÌæ ãñ, ç·¤‹Ìé Âæà¿æˆØ â´»èÌ ×ð´ çßçßÏ ÍæÅ Ùãæð·¤Ú ·ð¤ßÜ ×ðÁÚ ¥æñÚ ×æØÙÚ S·ð¤Ü ·¤æ ÂýØæð» ãæðÌæ ãñ, ÖæÚÌèØ â´»èÌ ×𴠥ܴ·¤Ú‡ææð´, âêÿ× ŸæéçÌØæð´ ·ð¤ ÂýØæð» âð,»×·¤, ·¤‡æ ¥æçÎ ¥æñÚ ÌæÙÂéÚð âð çÙ·¤ÜÙð ßæÜè çÙÚ¿Ú ŠßçÙ âð â´»èÌ ·¤è ÂýSÌéçÌ ¥çmÌèØ ãæð ÁæÌè ãñ ÁÕç·¤Âæà¿æˆØ â´»èÌ ×ð´ Âêßü ×ð´ çÙßÏ SßÚçÜ砷𤠷¤æÚ‡æ §â Âý·¤æÚ ·¤è Ú´Á·¤Ìæ Ùãè´ çιæ§ü ÂǸÌèÐ §â·ð¤ ¥çÌçÚ•ÌÖæÚÌèØ â´»èÌ ×ð â´»èÌ âæÏÙæ °·¤ ÁçÅÜ ¥æñÚ Ü•Õè Âýç·ý¤Øæ ãñ Áæð »éL¤ ·ð¤ ¿Ú‡ææð ×ð ÕñÆ·¤Ú Âýæ# ·¤ÚÙð ·¤èÂÚ•ÂÚæ ÂÚ çß·¤çâÌ ãé§ü ãñÐ §â·ð¤ çßÂÚèÌ Âæà¿æˆØ â´»èÌ ×ð â´»èÌ çàæÿæ‡æ ×é•ØÌØÑ S·ê¤Ü, ¥·¤æÎç×Øæð ¥æñÚ·¤ÙÁÚßðÅÚè ÂhçÌ âð ÂýÎæÙ ·¤ÚÙð ·¤è ÂÚ•ÂÚæ ãñÐ ÎæðÙæð ãè â´»èÌ ÂhçÌØæð ×ð §ÌÙè çÖóæÌæ ãñ ç·¤ àææS˜æèØ â´»èÌ·ð¤ ÿæð˜æ ×ð´ Âæà¿æˆØ â´»èÌ ·¤è çßàæðáÌæ¥æð´ ·¤æð »ýã‡æ ·¤ÚÙæ â´Öß Ùãè´ ãñÐ

20. (A) ©“æ çàæÿæ‡æ ×ð´ çßlæÍèü ·ð¤ çÜØð ÖæÚÌèØ °ß´ Âæà¿æˆØ â´»èÌ ·ð¤ ÌéÜÙæˆ×·¤ ¥ŠØØÙ ·¤æ ·¤æð§ü ©ÂØæð»Ùãè´ ãñÐ

(B) ÖæÚÌèØ ¥æñÚ Âæà¿æˆØ â´»èÌ ·ð¤ ÌéÜÙæˆ×·¤ ¥ŠØØÙ âð ã× ÎæðÙæð´ ãè â´»èÌ ÂhçÌØæð´ âð ÖÜè Öæ¡çÌ¥ß»Ì ãæð ÁæÌð ãñÐ

(C) çßàßçßlæÜØæð´ ·ð¤ ÂæÆ÷Ø·ý¤× ×ð´ Âæà¿æˆØ â´»èÌ ·ð¤ ÂæÆ÷Ø·ý¤× ·¤æð ÁæðǸÙæ ©ç¿Ì Ùãè´ ãñÐ

(D) ÖæÚÌèØ ¥æñÚ Âæà¿æˆØ â´»èÌ ×ð´ SßÚ â#·¤æð´ ×ð´ Âê‡æü â×æÙÌæ ãñÐ

21. (A) Âæà¿æˆØ â´»èÌ ×ðÜæÇè ÂÚ ¥æÏæçÚÌ ãñ ¥æñÚ ©â×ð ßëÎßæÎÙ ·¤è ÂÚ•ÂÚæ Ùãè´ ãñÐ

(B) Âæà¿æˆØ â´»èÌ ·¤æ çß·¤æâ ·¤æÇüâ ÂÚ ¥æÏæçÚÌ ãæð·¤Ú ãæ×üÙè â´»èÌ ·ð¤ M¤Â ×ð´ ãé¥æÐ

(C) Âæà¿æˆØ â´»èÌ ·¤è ãæ×üÙè ÖæÚÌèØ â´»èÌ ·¤è ×ðÜæÇè ·ð¤ â×æÙ ãñÐ

(D) ÖæÚÌèØ â´»èÌ ×ð´ ·¤æÇüâ ·¤æ ÂýØæð» ãæðÌæ ãñÐ

10D—1606

22. (A) Western Music is based on the concept of Rasa as described by Bharat in IndianMusic.

(B) The concept of Aesthetics in Western Music is parallel to Rasa in Indian Musicbut has different philosophy.

(C) Indian Music is not spiritual in its concept.

(D) The philosophy of Western Music is purely metaphysical.

23. (A) In Indian Music the various swaras of a scale have modifications.

(B) In Western Music only SA and PA have modifications.

(C) In Western Music all the swaras of scale have flat and sharp modifications.

(D) In Indian Music SA and PA are flat swaras.

24. (A) In Indian Music, the training is only imparted in institutions and not at GurusFeet.

(B) In Western Music the Guru-Shishya Parampara is popular.

(C) In Indian Music, the training is imparted at Gurus feet for long hours of physicalpractice as well as the institutions also impart music training.

(D) In Western Music the conservative system is not followed.

25. Assertion and Reasoning :

Assertion (A) : The use of Kaku in music plays a vital role in creating feeling andRasa in a presentation through swar and such affect is full of emotionsaccording to the meaning of the poetry.

Reasoning (R) : Kaku has the quality of expressing feeling and emotions.

(A) Both (A) and (R) is false

(B) (A) is true but (R) is false

(C) (A) is false but (R) is true

(D) Both (A) and (R) is true

11 P.T.O.D—1606

22. (A) Âæà¿æˆØ â´»èÌ ÖÚÌ mæÚæ ÂýçÌÂæçÎÌ Úâ ·¤è ¥ßÏæÚ‡ææ ÂÚ ¥æÏæçÚÌ ãñÐ

(B) Âæà¿æˆØ â´»èÌ ×ð´ âæñ‹ÎØüàææS˜æ ÖæÚÌèØ Úâ ÂçÚ·¤ËÂÙæ ·ð¤ â×æÙ ãñ ÂÚ âæñ‹ÎØüàææS˜æ ·¤æ ÎàæüÙ Úâ âð çÖóæãñÐ

(C) ÖæÚÌèØ â´»èÌ ×ð´ ÎæàæüçÙ·¤ ÎëçC·¤æð‡æ ·¤æ ¥Öæß ãñÐ

(D) Âæà¿æˆØ â´»èÌ ·¤æ ÎàæüÙ ¥æŠØæçˆ×·¤ ÎëçC·¤æð‡æ ÂÚ ¥æÏæçÚÌ ãñÐ

23. (A) ÖæÚÌèØ â´»èÌ ×ð´ â#·¤ ·ð¤ âÖè SßÚ ÂçÚßçÌüÌ ãæðÌð ãñ´Ð

(B) Âæà¿æˆØ â´»èÌ ×ð´ ·ð¤ßÜ â ¥æñÚ Â ÂçÚßçÌüÌ ãæðÌð ãñ´Ð

(C) Âæà¿æˆØ â´»èÌ ×ð´ â´»èÌ ·ð¤ âÖè SßÚ •ÜðÅ ¥æñÚ àææÂü ãæð·¤Ú ÂçÚßçÌüÌ ãæðÌð ãñ´Ð

(D) ÖæÚÌèØ â´»èÌ ×ð´ â ¥æñÚ Â ·¤æð×Ü SßÚ ãñÐ

24. (A) ÖæÚÌèØ â´»èÌ ×ð çàæÿæ‡æ ·ð¤ßÜ â´SÍæ¥æð ×ð ÂýÎæÙ ç·¤Øæ ÁæÌæ ãñ, »éL¤-çàæcØ ÂÚ•ÂÚæ âð Ùãè´Ð

(B) ÖæÚÌèØ â´»èÌ ×ð´ »éL¤ ·ð¤ âæçÙŠØ ×ð´ ƒæ´Åæð ÕñÆ·¤Ú çàæÿæ‡æ Âýæ# ç·¤Øæ ÁæÌæ ãñ, âæÍ ãè â´SÍæ¥æð´ ×ð´ Öè â´»èÌçàæÿæ‡æ Âýæ# ·¤ÚÙð ·¤è ÂÚ´•ÂÚæ ãñÐ

(C) Âæà¿æˆØ ×ð »éL¤-çàæcØ ÂÚ•ÂÚæ ·¤æ Âý¿ÜÙ ãñÐ

(D) Âæà¿æˆØ â´»èÌ ×ð´ ·¤ÙÁÚßðÅÚè ÂhçÌ âð â´»èÌ çàæÿæ‡æ Ùãè´ çÎØæ ÁæÌæÐ

25. SÍæÂÙæ °ß´ Ì·ü¤ Ñ

SÍæÂÙæ (A) : »æØÙ ßæÎÙ ×ð´ ÚâæÙéÖêçÌ ·ð¤ çÜØð SßÚæð´ ·¤æð Öæßé·¤ ÕÙæÙð ×ð´ ·¤æ·é¤ ÂýØæð» °·¤ âÕÜâãæØ·¤ Ìˆß ãñ ¥æñÚ Øð ãè Öæßé·¤ SßÚ ÂêÚð Úæ» ·¤æð ÖæßÂê‡æü ÕÙæ·¤Ú ÚâæÙéÖêçÌ ·¤è ¥æðÚ¥æ»ð ÕɸæÌð ãñ´Ð

Ì·ü¤ (R) : ·¤æ·é¤ mæÚæ ¥æßæÁ ×ð´ âæ´»èçÌ·¤ Öæß çιæÙð ·¤è ÿæ×Ìæ ãæðÌè ãñÐ

(A) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

(B) (A) âãè ãñ ÂÚ (R) »ÜÌ ãñÐ

(C) (A) »ÜÌ ãñ ÂÚ (R) âãè ãñÐ

(D) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð

12D—1606

PART - IIHindustani Music (Vocal / Instrument)

26. Who is the author of ‘Sangeet Raj’ ?(A) Rana Khumba (B) Kallinath(C) Singha Bhupal (D) Nanya Dev

27. How many Jaties have been described by Bharat ?(A) Twelve (B) Eighteen (C) Ten (D) Fifteen

28. Which is the most suitable combination that represents Raga Bhairavi ?(A) Ma G-a, Sa R-e Sa (B) Sa G-a Ma, Pa(C) Ma Dh-a N-i, Sa (D) N-i Sa. R-e

. Sa.

29. Vocal form specialised by Ram Chatur Mallik :(A) Khyal (B) Dhruvapad (C) Thumari (D) Tappa

30. Which combination suitably represents Raga Chayanat ?(A) Sa Re, Ga Ma Pa (B) Pa Re, Re Ga, Ga, Ma(C) Ma, N-i, Dha, Pa (D) Ma Ga, Ma Re, Sa

31. Whose pseudonym was ‘Har-Rang’ ?(A) Bade Gulam Ali Khan (B) Vilayat Hussain Khan(C) Bade Muhammad Khan Kothiwal (D) Alladiya Khan

32. Re Sa belongs to which Raga ?(A) Bhupali (B) Yaman(C) Shudha Kalyan (D) Deshkar

33. It is used in string instruments :(A) Alapti (B) Jati (C) Mukhchalan (D) Zamzama

34. Kirana Gharana has this special element :(A) Swar Based (B) Laya Based(C) Swar and Laya Based (D) Ati Vilambit Laya Based

35. Who is the author of ‘Sangeet Chintamani’ ?(A) K.C.D. Brihaspati (B) Omkar Nath Thakur(C) Premlatha Sharma (D) Thakur Jaidev Singh

13 P.T.O.D—1606

¹‡Ç - II

çã‹ÎéSÌæÙè â´»èÌ (»æØÙ / ßæÎÙ)

26. Òâ´»èÌ ÚæÁÓ ·ð¤ Üð¹·¤ ·¤æñÙ ãñ?

(A) Úæ‡ææ ·é¤•Öæ (B) ·¤çËÜÙæÍ (C) çâ´ã ÖêÂæÜ (D) Ùæ‹ØÎðß

27. ÖÚÌ ·ð¤ mæÚæ ç·¤ÌÙè ÁæçÌØæð´ ·¤æ ߇æüÙ ç·¤Øæ »Øæ ãñ?

(A) ÕæÚã (B) ¥næÚã (C) Îâ (D) ‹Îýã

28. Úæ» ÖñÚßè ç·¤â SßÚ-â×êã âð âÕâð SÂC Âý·¤Å ãæð»è?

(A) × », âæ Úð âæ (B) âæ » ×, Â (C) × Ï çÙ, âæ´ (D) çÙ âæ´ Úð´ âæ´

29. Úæ׿ÌéÚ ×çÜ·¤ »æØÙ ·¤è ç·¤â çßÏæ ×ð´ çÙÂé‡æ Íð?

(A) •ØæÜ (B) ÏýéßÂÎ (C) Æé×Úè (D) ÅŒÂæ

30. Úæ» ÀæØæÙÅ ç·¤â SßÚ-â×êã âð âÕâð SÂC Âý·¤Å ãæð»æ?

(A) âæ Úð, » × Â (B) Â Úð, Úð », », × (C) ×, çÙ, Ï, Â (D) × », × Úð, âæ

31. ÒãÚ-Ú´»Ó ç·¤Ù·¤æ ©ÂÙæ× Íæ?

(A) ÕÇð »éÜæ× ¥Üè ¹æ¡ (B) çßÜæØÌ ãéâñÙ ¹æ¡

(C) ÕÇð ×éã•×Î ¹æ¡ ·¤æðÆèßæÜ (D) ¥ËÜæçÎØæ ¹æ¡

32. Úð âæ ç·¤â Úæ» ·ð¤ SßÚ-â×êã ãñ?(A) ÖêÂæÜè (B) Ø×Ù (C) àæéh·¤ËØæ‡æ (D) Îðàæ·¤æÚ

33. Ì´˜æ ßælæð´ ×𴠧ⷤæ ÂýØæð» ãæðÌæ ãñ Ñ

(A) ¥Üæç# (B) ÁæçÌ (C) ×鹿ÜÙ (D) $Á×$Á×æ

34. ç·¤ÚæÙæ ƒæÚæÙð ·¤è »æØ·¤è ·¤è çßàæðáÌæ ãñ Ñ

(A) SßÚ ÂýÏæÙ (B) ÜØ ÂýÏæÙ

(C) SßÚ ¥æñÚ ÜØ ÂýÏæÙ (D) ¥çÌ çßÜç•ÕÌ ÜØ ÂýÏæÙ

35. Òâ´»èÌ ç¿‹ÌæׇæèÓ ·ð¤ Üð¹·¤ ·¤æñÙ ãñ´?

(A) ·ð¤.âè.Çè. ÕëãSÂçÌ (B) ¥æð´·¤æÚ ÙæÍ Ææ·é¤Ú

(C) Âýð×ÜÌæ àæ×æü (D) Ææ·é¤Ú ÁØÎðß çâ´ã

14D—1606

36. To which Gharana Alladiya Khan belonged ?

(A) Agra (B) Gwalior (C) Jaipur (D) Patiala

37. Which Sitar maestro popularised the Dhun ‘Rasia’ ?

(A) Ravi Shankar (B) Villayat Khan

(C) Halim Jafar Khan (D) Nikhil Banerjee

38. Which Khyal Gharana Aman Ali Khan belonged ?

(A) Jaipur (B) Bhindi Bazar (C) Gwalior (D) Patiala

39. belongs to which Tala ?

(A) Matt Tala (B) Gaj Jhampa (C) Teevra (D) Chautal

40. What was the number of frets in Mushtaq Ali Khan’s Sitar ?

(A) Nineteen (B) Twenty (C) Twenty Two (D) Seventeen

41. Pancham is not used in this Raga :

(A) Bhairavi (B) Vibhas (C) Todi (D) Pooriya

42. Which Raga is not a variety of Kanhada ?

(A) Suha (B) Kaunshi

(C) Shahana (D) Bageshri

43. Match the following :

(a) Baul (i) Tamil Nadu

(b) Gidda (ii) Rajasthan

(c) Jhoomar (iii) Bengal

(d) Kavadi Attam (iv) Punjab

(a) (b) (c) (d)

(A) (iii) (iv) (ii) (i)

(B) (iv) (iii) (ii) (i)

(C) (iii) (i) (ii) (iv)

(D) (iii) (iv) (i) (ii)

15 P.T.O.D—1606

36. ¥„æçÎØæ ¹æ¡ ç·¤â ƒæÚæÙð âð â•Õç‹ÏÌ Íð?

(A) ¥æ»Úæ (B) ‚ßæçÜØÚ (C) ÁØÂéÚ (D) ÂçÅØæÜæ

37. ÒÚçâØæÓ ÏéÙ ç·¤â çâÌæÚ Ùßæ$Á mæÚæ Üæð·¤çÂýØ ·¤è »§ü?

(A) Úçß àæ´·¤Ú (B) çßÜæØÌ ¹æ¡

(C) ãÜè× ÁæÈ¤Ú ¹æ¡ (D) çÙç¹Ü ÕÙÁèü

38. ¥×æÙ ¥Üè ¹æ¡, •ØæÜ ·ð¤ 緤⠃æÚæÙð âð â•Õç‹ÏÌ Íð?

(A) ÁØÂéÚ (B) Öð‹Çè Õæ$ÁæÚ (C) ‚ßæçÜØÚ (D) ÂçÅØæÜæ

39. ç·¤â ÌæÜ ·ð¤ ÕæðÜ ãñ´?

(A) וæÌæÜ (B) »Á Ûæ•Âæ (C) Ìèßýæ (D) ¿æñÌæÜ

40. ×éàÌæ·¤ ¥Üè ¹æ¡ ·¤è çâÌæÚ ×ð´ ç·¤ÌÙð ÂÎðü Íð?

(A) ©óæèâ (B) Õèâ (C) Õæ§üâ (D) â˜æã

41. §â Úæ» ×ð´ ´¿× ßçÁüÌ ãñ´ Ñ

(A) ÖñÚßè (B) çßÖæâ (C) ÌæðǸè (D) ÂêçÚØæ

42. ·¤æñÙ âæ Âý·¤æÚ ·¤æãǸæ Ùãè´ ãñ?

(A) âêãæ (B) ·¤æñ´âè (C) àæãæÙæ (D) Õæ»ðŸæè

43. âé×ðçÜÌ ·¤èçÁØð Ñ

(a) Õæ©Ü (i) Ìæç×Ü ÙæÇê

(b) ç»gæ (ii) ÚæÁSÍæÙ

(c) Ûæê×Ú (iii) Õ´»æÜ

(d) ·¤ßæÇè ¥^× (iv) ´ÁæÕ

·ê¤Å Ñ

(a) (b) (c) (d)

(A) (iii) (iv) (ii) (i)

(B) (iv) (iii) (ii) (i)

(C) (iii) (i) (ii) (iv)

(D) (iii) (iv) (i) (ii)

16D—1606

44. Mark the correct group from the following :

(A) Upanga, Bhashanga, Kriyanga, Raganga

(B) Raganga, Bhashanga, Kriyanga, Upanga

(C) Bhashanga, Raganga, Kriyanga, Upanga

(D) Kriyanga, Raganga, Bhashanga, Upanga

Paraphrasing or Linked Items :

Read the passage below and tick the correct answer in each group of A, B, C, D :

Feelings and sentiments are important in creating Rasa in music, specially inclassical music. A musician is capable of touching the heart and sentiments of thelistener by selecting right type of music. All fine arts are related to feelings, sentimentsand Rasas. Whatever feelings and rasa is obtained in music is related to Raga, Tala,Swar, Laya, Geet, Composition, Style, instruments and meaning of the poetry ofcomposition. This minute expression of emotions is only possible in music and musichas all the means of creating Bhava-Rasa, if we like to avail. Other mediums cannotcreate such emotions which a swar can awaken the indepth of emotions. Swar goesdeep into the rasa. Emotions are directly related with heart and rasas are associatedwith emotions. Rasa creation is only possible by emotions. Rasas and Bhavas arerelated to each other. Bhava and Rasa are akin to each other and related to heart. Theartistic side of music is related to intellect. All those musicians who combine an equalbalance of intellect and heart can better present their music and provide Rasa andpleasure to listeners. When intellect and heart are combined, the realisation of Godwith Supernatural feelings is attained. Only the technicalities of music can not makeus realise the supernatural powers. The emotions which are just feelings in day todaylife become full of pleasure in music, these emotions are permanent. Rasa is Bhav andpoetry plays an important role in such Rasa Nishpatti. Other Bhavas remain as Sanchariand Vybhichari Bhavas and only provide temporary pleasure. They cannot help inachieving that mood where Tamogun and Rajogun are suppressed and only Satvikfeelings remain permanent. This Satvik pleasure is like achieving God.

45. (A) Feelings and emotions play important role in creating Rasa in Music.

(B) Rasa is not related to feelings.

(C) Ragas are not helpful in creating Rasa.

(D) Fine arts are not related to Rasas

46. (A) Compositions are the best mediums in expression of Rasas.

(B) Raga and Swara have no place in Rasa of Music.

(C) Music has no elements to create and awaken feelings.

(D) Rasa and Bhava are not related to each other.

17 P.T.O.D—1606

44. çÙ•ÙçÜç¹Ì ×ð âð âãè ·ý¤× ·¤è Âã¿æÙ ·¤èçÁØðÐ

(A) ©Âæ´», Öæáæ´», ç·ý¤Øæ´», Úæ»æ´»

(B) Úæ»æ´», Öæáæ´», ç·ý¤Øæ´», ©Âæ´»

(C) Öæáæ´», Úæ»æ´», ç·ý¤Øæ´», ©Âæ´»

(D) ç·ý¤Øæ´», Úæ»æ´», Öæáæ´», ©Âæ´»

¥Ùé‘ÀðÎ ·¤æð Âɸ·¤Ú çÎØð »Øð ©•æÚæð ×ð âð âãè ©•æÚ ·¤æð ¿éçÙØðÐ

â´»èÌ mæÚæ Úâ çÙcÂç•æ ×ð Öæß ·¤æ çßàæðá ×ãˆß ãñ, ¥æñÚ ©â×ð Öè àææS˜æèØ »æØÙ ·¤æ çßàæðá SÍæÙ ãñÐâ´»èÌ™æ ÂçÚçSÍçÌØæ𴠷𤠥Ùé·ê¤Ü Úæ» ¿éÙ·¤Ú ŸææðÌæ¥æð´ ·¤æð çÖóæ çÖóæ Öæßæð´ ·ð¤ âæ»Ú ×ð´ ÇéÕæð ÎðÌæ ãñÐ âÖè ÜçÜÌ·¤ÜæØð Öæßæð ¥æñÚ Úâæð ÂÚ ¥æÏæçÚÌ ãñÐ â´»èÌ ·ð¤ â•Õ‹Ï ×ð Áæð Öè â´»èÌ mæÚæ Öæßæð ·¤è Âýæç# ãæðÌè ãñ ßã Úæ»,ÌæÜ, SßÚ, »èÌ, àæñÜè, ÜØ, ßæl ¥æñÚ ·¤çßÌæ ·ð¤ ¥Íü âð çÙÏæüçÚÌ ãæðÌè ãñÐ Öæßæð´ ·¤è âêÿ×Ì× ¥çÖÃØç•Ìâ´»èÌ mæÚæ ãè â´Öß ãñ, â´»èÌ ·ð¤ Âæâ Öæß Úâ çÙcÂç•æ ·ð¤ âÖè âæÏÙ ãñ, ØçÎ ã× ©Ù·¤æ ©ç¿Ì ©ÂØæð» ·¤ÚÙæ¿æãð´Ð SßÚ Áñâæ âêÿ× ©ÂæÎæÙ Öæßæð´ ·¤è »ãÚæ§ü ·¤æð Áñâæ ÃØ•Ì ·¤ÚÌæ ãñ, ¥‹Ø ©ÂæÎæÙæð´ ·ð¤ çÜØð â´Öß Ùãè´ ãñÐØã Úâ ·¤è »ãÚæ§ü ×ð ÁæÌæ ãñÐ Öæß ·¤æ âèÏæ â•Õ‹Ï NÎØ âð ãñ ¥æñÚ Úâ ·¤æ â•Õ´Ï Öè Öæß âð ãñ Áæð Úâ ·¤æÖæß ·¤Úð ß Öæß ãñ, Öæßæð âð ãè Úâ ·¤è çÙcÂç•æ ×æÙè »§ü ãñÐ Öæß ·¤æ â´Õ´Ï NÎØ Âÿæ âð ãñÐ Úâ ·ð¤ mæÚæ Öæß ·¤èÌèßýÌæ ¥çÏ·¤ ×æÙè »§ü ãñÐ Öæß ·¤æ â•Õ‹Ï NÎØ Âÿæ âð ãñ ¥æñÚ ·¤ÜæÂÿæ ·¤æ â•Õ‹Ï Õéçh Ìˆß âð ãñÐ ÎæðÙæð·¤æ â׋ßØ çÁÙ ·¤Üæ·¤æÚæð´ ·ð¤ â´»èÌ ×ð´ ãñ, ©Ù·¤è â´»èÌ ¥çÖÃØç•Ì ŸææðÌæ¥æð´ ·¤æð Úâ °ß´ ¥æÙ‹Î ÂýÎæÙ ·¤ÚÌèãñÐ ÁÕ Õéçh ¥æñÚ NÎØ ×ð´ âé‹ÎÚ â׋ßØ ãæð ÁæØð ÌÕ çÎÃØ â´âæÚ, âæÏæÚ‡æè·¤Ú‡æ, ÂÚ×æÙ‹Î ÂÚ×æˆ×æ ·¤è¥ÙéÖêçÌ ãæðÌè ã´ñÐ â´»èÌ ·ð¤ ×æ˜æ ¿×ˆ·¤æÚ Âÿæ âð ¥¹´ÇæÙ´Î ·¤è çSÍçÌ Ùãè´ ¥æ â·¤ÌèÐ âæÏæÚ‡æ ÁèßÙ ×ð´ Öæß×æ˜æ Öæß ÕÙ ·¤Ú Úã ÁæÌð ãñ, ÂÚ‹Ìé ·¤Üæ ×ð´ ©â·¤æ M¤Â Úâæˆ×·¤ ãæð ÁæÌæ ãñÐ Øãè Öæß SÍæØè Öæß ãñ àæðá Öæßâ´¿æÚè Øæ ÃØçÖ¿æÚè ãæðÌð ã´ñ Áæð ÿæç‡æ·¤ ¥æÙ‹Î Îð â·¤Ìð ã´ñ ÂÚ Úâ ·¤è ©â Îàææ ·¤æð Ùãè´ Âã¡é¿æ â·¤Ìð Áãæ¡ Ì×æð»é‡æ¥æñÚ ÚÁæð»é‡æ ÎÕ·¤Ú ·ð¤ßÜ âæçˆß·¤ »é‡æ Úã ÁæÌæ ãñÐ Øã ¥æÙ‹Î Õýræ ·ð¤ â×æÙ ãñÐ

45. (A) â´»èÌ mæÚæ Úâ çÙcÂç•æ ×ð Öæß ¥æñÚ â´ßðÎÙæ¥æð ·¤æ ÕãéÌ ×ãˆß ãñÐ

(B) Úâ ·¤æ Öæßæð Âç•æ âð ·¤æð§ü â•Õ‹Ï Ùãè´ ãñÐ

(C) Úæ»æð mæÚæ Úâ çÙcÂç•æ ×ð ·¤æð§ü âãæØÌæ Ùãè´ ç×ÜÌèÐ

(D) ÜçÜÌ ·¤Üæ¥æð ·¤æ Úâæð âð ·¤æð§ü â•Õ‹Ï Ùãè´ ãñÐ

46. (A) Úâæð ·¤è çÙcÂç•æ ×ð ÕçÎàææð ·¤è ×ãˆßÂê‡æü Öêç×·¤æ ãñÐ

(B) â´»èÌ mæÚæ Úâ ×ð´ Úæ» ¥æñÚ SßÚæð´ ·¤æ ·¤æð§ü SÍæÙ Ùãè´ ãñÐ

(C) â´»èÌ ×ð´ ×ÙæðÖæßæð´ ·¤æð ÃØ•Ì ·¤ÚÙð ·¤æ âæ׉Øü Ùãè´ ãñÐ

(D) Úâ ¥æñÚ Öæß ·¤æ ·¤æð§ü â•Õ‹Ï Ùãè´ ãñÐ

18D—1606

47. (A) The technical side of music is associated with the intellect of human being.

(B) The emotional side of music is not related to the heart.

(C) Intellect and emotions cannot be combined.

(D) Intellect of a man cannot render rasa of music.

48. (A) Sthayi Bhava is the basis of Rasa-Nishpatti.

(B) Sanchari Bhava can create permanent pleasure.

(C) Vybhichari Bhavas are related to Rasa and feelings.

(D) Sanchari and Vybhichari Bhava give permanent pleasure.

49. (A) The combination of intellect and heart in presentation of music is the ultimateway to God realisation.

(B) The temporary pleasure is described by Sthayi Bhavas.

(C) Different swaras are not able to create rasas in music.

(D) Music is not a fine art and is not based on swara-laya.

50. Assertion and Reasoning :

Assertion (A) : In Indian music the presentation of one single note with the help ofvarious swara combinations and gamakas creates different shadesand feelings, but such an expression is not possible in equally temperedscale of western music.

Reasoning (R) : In harmony, the tonic is not fixed but changes in every key of thecomposition.

(A) Both (A) and (R) are true

(B) (A) is false but (R) is true

(C) (A) is true but (R) is false

(D) Both (A) and (R) are wrong

19 P.T.O.D—1606

47. (A) â´»èÌ ·ð¤ Ì·¤Ùè·¤è Âÿæ ·¤æ â•Õ‹Ï ×ÙécØ ·ð¤ ÕéçhÌˆß âð ãñÐ

(B) â´»èÌ ·¤æ ÖæßÙæˆ×·¤ Âÿæ NÎØ âð â•Õç‹ÏÌ Ùãè´ ãñÐ

(C) Õéçh Ìˆß ¥æñÚ ·¤ÜæÌˆß ·¤æ â׋ßØ Ùãè´ ãæð â·¤ÌæÐ

(D) ×ÙécØ ·¤è Õéçh âð â´»èÌ ×ð´ Úâ Ùãè´ ÂñÎæ ãæð â·¤ÌæÐ

48. (A) Úâ çÙcÂç•æ ·¤æ ¥æÏæÚ SÍæØè Öæß ãè ãñÐ

(B) â´¿æÚè Öæß âð SÍæØè ¥æÙ‹Î ©ˆÂóæ ãæð â·¤Ìæ ãñÐ

(C) ÃØçÖ¿æÚè Öæßæð ·¤æ â•Õ‹Ï Úâ ¥æñÚ ÖæßÙæ¥æð âð ãñÐ

(D) â´¿æÚè ¥æñÚ ÃØçÖ¿æÚè Öæßæð´ âð SÍæØè ¥æÙ‹Î ·¤è Âýæç# ãæðÌè ãñÐ

49. (A) â´»èÌ ·ð¤ ÂýÎàæüÙ ×ð´ ØçÎ Õéçh Ìˆß ¥æñÚ ·¤Üæ Ìˆß ·¤æ â׋ßØ ãæð Ìæð Õýræ ·¤è Âýæç# ãæð â·¤Ìè ãñÐ

(B) SÍæØè Öæßæð´ ·ð¤ mæÚæ ÿæç‡æ·¤ ¥æÙ‹Î ·¤è Âýæç# ãæðÌè ãñÐ

(C) çÖóæ-çÖóæ SßÚæð´ mæÚæ â´»èÌ ×ð´ Úâ Âýæç# Ùãè´ ãæð â·¤ÌèÐ

(D) â´»èÌ ÜçÜÌ ·¤Üæ Ùãè´ ãñ ¥æñÚ Ù ãè SßÚ-ÜØ ÂÚ ¥æÏæçÚÌ ãñÐ

50. SÍæÂÙæ (A) : ÖæÚÌèØ â´»èÌ ×ð´ SßÚ â´»çÌ °ß´ »×·¤æð´ ·ð¤ ÂýØæð» âð °·¤ ãè SßÚ ·¤æ »æØÙ ßæÎÙ çÖóæ çÖóæ ÀæØæ©ÂçSÍÌ ·¤Ú ÎðÌæ ãñÐ °ðâè SßÚæßçÜ ·¤æ ßæÎÙ Âæà¿æˆØ â´»èÌ ·ð¤ Åð•ÂÇü ßælæð ·ð¤ mæÚæ â´ÖßÙãè´ ãñÐ

Ì·ü¤ (R) : ãæ×üÙè ×ð´ ¥æÏæÚ SßÚ (ÅæçÙ·¤) çSÍÚ Ùãè´ ãñ ßÚÙ Ú¿Ùæ ·¤è ÂýˆØð·¤ Üæ§Ù ×ð´ ÂçÚßçÌüÌ ãæðÌæ ÚãÌæãñÐ

(A) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñÐ

(B) (A) »ÜÌ ãñ ÂÚ (R) âãè ãñÐ

(C) (A) âãè ãñ ÂÚ (R) »ÜÌ ãñÐ

(D) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñÐ

20D—1606

PART - IIIKarnatic Music - Vocal Instrumental, Percussion

26. How many Vivadi Melas are there in the 72 Mela Kartha scheme ?(A) 36 (B) 40 (C) 24 (D) 44

27. Anya Swara of Bhairavi raga :(A) Sudha dhaivatam (B) Kaisiki Nishadam(C) Chatusruti dhaivatam (D) Chatusruti rishabham

28. Mudra used by ‘Kshetrajna’ :(A) Rajagopala (B) Muvvagopala(C) Venugopala (D) Muttukumara

29. Raga name of ‘Agni-go’ :(A) Dheera Sankarabharanam (B) Mayamalavagavla(C) Hanumathodi (D) Mechakalyani

30. Tisra gati of Misra jathi triputa tala takes ____________ counts.(A) 33 (B) 24 (C) 09 (D) 11

31. Who is ‘karnatic sangita pitamaha’ ?(A) Tyagaraja (B) Swati Tirunal(C) Purandara Dasa (D) Dikshitar

32. Who composed ‘Navavarana Kritis’ ?(A) Tyagaraja (B) Dikshitar(C) Shyama Sastri (D) Swati Tirunal

33. Name the raga for ‘sa ra gu ma pa dha nu’ :(A) Mecha Kalyani (B) Suryakantam(C) Mayamalavagavla (D) Chakravakam

34. Tiruvottiyur Pancharatna is composed by :(A) Dikshitar (B) Tyagaraja(C) Swati Tirunal (D) None of the above

35. Author of ‘Ragavibodha’ :(A) Somanatha (B) Venkitamakhi(C) Ramamatya (D) Bharata

36. Birth place of Dikshitar :(A) Thiruvayyar (B) Thiruvaroor(C) Thirupuram (D) None of the above

21 P.T.O.D—1606

¹‡Ç - III

·¤ÙæüÅ·¤ â´»èÌ (»æØÙ, ßæÎÙ)

26. 72 ×ðÜ·¤Ìæü ÂhçÌ ×ð´ ç·¤ÌÙð çßßæÎè ×ðÜæ ãñ´?(A) 36 (B) 40 (C) 24 (D) 44

27. ÖñÚßè Úæ» ·¤æ ¥‹Ø SßÚ Ñ

(A) àæéh ÏñßÌ×÷ (B) ·ñ¤çàæ·¤è çÙáæÎ×

(C) ¿ÌéŸæéçÌ ÏñßÌ×÷ (D) ¿ÌéŸæéçÌ çÚáÖ×

28. ÿæð˜ææ´ÁÙæ ·¤è ×éÎýæ Ñ

(A) ÚæÁ»æðÂæÜ (B) ×éÃßæ»æðÂæÜ (C) ßð‡æé»æðÂæÜ (D) ×éˆÌé·é¤×æÚ

29. Ò¥ç‚Ù-»æðÓ ·¤æ Úæ» Ùæ× Ñ

(A) ÏèÚ àæ´·¤Ú ÖÚÙ× (B) ×æØæ×æÜßæ »ßÜæ (C) ãÙé×æÌæðǸè (D) ×ð¿·¤ËØæ‡æè

30. çןæ ÁæçÌ ç˜æÂéÅ ÌæÜ ·¤è ÌèâÚè »çÌ ×ð´ __________ â´•Øæ ãæðÌè ãñÐ(A) 33 (B) 24 (C) 09 (D) 11

31. Ò·¤ÙæüÅ·¤ â´»èÌ ·¤æ çÂÌæ×ãæ ·¤æñÙ ãñ?

(A) ˆØæ»ÚæÁ (B) SßæçÌ çÌL¤ÙÜ (C) ÂéÚ‹ÎÚæ Îæâ (D) çÎÿæèÌÚ

32. ÙßæßÚ‡ææ ·ë¤çÌ ·¤è Ú¿Ùæ ç·¤âÙð ·¤è?

(A) ˆØæ»ÚæÁ (B) çÎçÿæÌÚ (C) àØæ× àææS˜æè (D) SßæçÌ çÌL¤ÙæÜ

33. Òâæ Úæ »ê ×æ Âæ Ïæ ÙéÓ Úæ» ·¤æ Ùæ× ÕÌ槰 Ñ

(A) ×ð¿ ·¤ËØæ‡æè (B) âêØü ·¤æ´Ì×÷ (C) ×Øæ×Üßæ »ßÜæ (D) ¿·ý¤ßæ·¤×

34. çÌL¤ßæðçÅ÷ÅØêÚ Â´¿ÚˆÙ ·¤è Ú¿Ùæ ç·¤âÙð ·¤è?

(A) ÎèçÿæÌÚ (B) ˆØæ»ÚæÁ

(C) SßæçÌ çÌL¤ÙæÜ (D) §Ù×ð´ âð ·¤æð§ü Ùãè´

35. Úæ»çßÕæðÏ ·¤æ Ú¿çØÌæ ·¤æñÙ ãñ?

(A) âæð×ÙæÍ (B) ßð´ç·¤Å×¹è (C) Úæ×æ×ˆØ (D) ÖÚÌ

36. çÎÿæèÌÚ ·¤æ Á‹× SÍæÙ Ñ

(A) çÌL¤ßæÄØæÚ (B) çÌL¤ßæM¤Ú

(C) çÌL¤ÂéÚ×÷ (D) §Ù×ð´ âð ·¤æð§ü Ùãè´

22D—1606

37. Arunachalakavirayar composed :

(A) Ramanatakam (B) Krishna leela tharangini

(C) Janaki parinayam (D) Padam

38. ‘Tandava Diparadhana’ is performed in the temples of :

(A) Tirunelveli (B) Trichi (C) Chennai (D) Madurai

39. A popular artist who is proficient in both vocal and percussion :

(A) T.N. Krishnan (B) B. Rajam Iyer

(C) T.V. Gopalakrishnan (D) Karaikudi Mani

40. Match the following. Use the code given below :

(a) Geetam (i) Manodharma Sangita

(b) Samgraha Alapana (ii) Abhyasa Gana

(c) Kakapadam (iii) Netra

(d) Dhenuka (iv) Shadanga

Code :

(a) (b) (c) (d)

(A) (ii) (i) (iv) (iii)

(B) (i) (ii) (iii) (iv)

(C) (iv) (iii) (i) (ii)

(D) (iii) (ii) (iv) (i)

41. Match the following. Use the code given below :

(a) Arabhi (i) Tamil

(b) String Instrument (ii) Dikshitar

(c) Samashti Charanam (iii) Audava Sampurnam

(d) Tevaram (iv) Yazh

Code :

(a) (b) (c) (d)

(A) (ii) (iii) (i) (iv)

(B) (iii) (iv) (ii) (i)

(C) (iv) (ii) (iii) (i)

(D) (iv) (i) (iii) (ii)

23 P.T.O.D—1606

37. ¥M¤‡ææ¿Ü ·¤çßÚæØÚ ·¤è Ú¿Ùæ Ñ

(A) Úæ×æÙæÅ·¤×÷ (B) ·ë¤c‡ææÜèÜæ ÌÚ´ç»Ùè

(C) ÁæÙ·¤è ÂçÚÙØ× (D) ÂÎ÷×

38. ÒÌæ´Çß ÎèÂæÚæÏÙæÓ ç·¤Ù ×´çÎÚæð´ ×ð´ ãæðÌè ãñ?

(A) çÌL¤ÙÜßðÜè (B) ç˜æ¿è (C) ¿ñóæ§ü (D) ×ÎéÚñ

39. Âýçâh ·¤Üæ·¤æÚ Áæð »æØÙ ÌÍæ ¥ßÙl ßæl ×ð´ çÙÂé‡æ ãñ Ñ

(A) Åè.°Ù. ·ë¤c‡æÙ (B) Õè. ÚæÁ×÷ ¥ÄØÚ

(C) Åè.ßè. »æðÂæÜ·ë¤c‡æÙ÷ (D) ·¤Ú槷é¤Çè ×ç‡æ

40. çΰ »° Øé‚×æð ·¤æð ç×Ü槰Р©•æÚ ·ð¤ çÜ° âãè ·¤æðÇ ·¤æ ÂýØæð» ·¤èçÁ° Ñ

(a) »èÌ× (i) ×ÙæðÏ×ü â´»èÌæ

(b) â×»ýã ¥æÜæÂÙæ (ii) ¥ÖØâæ »‡æ

(c) ·¤æ·¤ÂæÎ÷× (iii) Ùð æ

(d) ÏðÙé·¤æ (iv) áÇæ´»

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (ii) (i) (iv) (iii)

(B) (i) (ii) (iii) (iv)

(C) (iv) (iii) (i) (ii)

(D) (iii) (ii) (iv) (i)

41. âãè Øé‚×æð ·¤æð ç×Ü槰Р©•æÚ ·ð¤ çÜ° Ùè¿ð çΰ »° ·¤æðÇ ·¤æ ÂýØæð» ·¤èçÁ° Ñ

(a) ¥æÚÖè (i) Ìç×Ü

(b) Ì´˜æè ßæl (ii) çÎçÿæÌÚ

(c) â×çC ¿Ú‡æ×÷ (iii) ¥æñÇß â´Âê‡æü×÷

(d) ÌðßæÚ× (iv) Øæ$Á

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (ii) (iii) (i) (iv)

(B) (iii) (iv) (ii) (i)

(C) (iv) (ii) (iii) (i)

(D) (iv) (i) (iii) (ii)

24D—1606

42. Match the following. Use the code given below :

(a) Harikamboji (i) Tyagaraja

(b) Sadhim Chane (ii) Brahmotsavam

(c) Musical stone pillar (iii) Purvanga mela

(d) Sarva Vadyam (iv) Madurai

Code :

(a) (b) (c) (d)

(A) (iii) (i) (iv) (ii)

(B) (i) (ii) (iii) (iv)

(C) (ii) (i) (iii) (iv)

(D) (iv) (ii) (iii) (i)

43. Match the following. Use the code given below :

(a) Adhama ragas (i) Mono drama

(b) Panniya Thiram (ii) Ramamatya

(c) Nandanar Charitram (iii) Shadava raga

(d) Kalakshepam (iv) Gopalakrishna Bharati

Code :

(a) (b) (c) (d)

(A) (i) (ii) (iv) (iii)

(B) (ii) (iii) (iv) (i)

(C) (ii) (iv) (i) (iii)

(D) (iv) (iii) (ii) (i)

44. Assertion (A) : The tanpura player need not have an accurate sruti gnanam whileplaying in a concert.

Reasoning (R) : Because it is only a physical activity.

(A) (A) true (R) false

(B) Both (A) and (R) false

(C) Both (A) and (R) true

(D) (A) false (R) true

25 P.T.O.D—1606

42. §Ù×ð âãè Øé‚× ·¤æð ç×Ü槰Р©•æÚ ·ð¤ çÜ° Ùè¿ð çΰ ·¤æðÇ ·¤æ ÂýØæð» ·¤èçÁ° Ñ

(a) ãÚè·¤æ•ÕæðÁè (i) ˆØæ»ÚæÁ

(b) âæçÏ× ÀÙð (ii) Õýrææðˆâß×÷

(c) SßÚæð Âæη¤ ÂýSÌÚ SÌ•Ö (iii) ÂêßæZ» ×ðÜ

(d) âßüßæl× (iv) ×ÎéÚñ

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (iii) (i) (iv) (ii)

(B) (i) (ii) (iii) (iv)

(C) (ii) (i) (iii) (iv)

(D) (iv) (ii) (iii) (i)

43. §Ù×ð âð âãè Øé‚× ·¤æ ¿ØÙ ·¤èçÁ°Ð âãè ©•æÚ ·ð¤ çÜ° Ùè¿ð çΰ »° ·¤æðÇ ·¤æ ÂýØæð» ·¤èçÁ° Ñ

(a) ¥Ï× Úæ» (i) ×æðÙæð Çþæ×æ

(b) Â燇æØ çÌÚ× (ii) Úæ×æ׈Ø

(c) Ù´ÎÙæÚ ¿çÚ˜æ× (iii) áæÇßæ Úæ»

(d) ·¤æÜÑÿæðÂ×÷ (iv) »æðÂæÜ·ë¤c‡ææ ÖæÚÌè

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (i) (ii) (iv) (iii)

(B) (ii) (iii) (iv) (i)

(C) (ii) (iv) (i) (iii)

(D) (iv) (iii) (ii) (i)

44. ·¤ÍÙ (A) : ç·¤âè â»èÌ »æðDè-¥æØæðÁÙ ×ð ÌæÙÂêÚæ ßæη¤ ·¤æð ŸæéçÌ ™ææÙ× ·¤æ âãè ™ææÙ ãæðÙæ ¥æßàØ·¤ Ùãè ãñÐ

Ì·ü¤ (R) : •Øæð´ç·¤ Øã °·¤ ÖæñçÌ·¤ ç·ý¤Øæ ãñÐ

(A) (A) âãè ãñ (R) »ÜÌ ãñÐ

(B) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) âãè ãñ´Ð

(D) (A) »ÜÌ ãñ (R) âãè ãñÐ

26D—1606

45. Assertion (A) : Compositions in Khamas raga of Swati Tirunal take only the Kaisikinishadam.

Reasoning (R) : Because Khamas is an upanga raga.

(A) Both (A) and (R) true

(B) (A) true (R) false

(C) Both (A) and (R) false

(D) (A) false (R) true

46. Assertion (A) : Karnatic music and Hindustani music have influenced each other andto mutual advantage.

Reasoning (R) : Because there were many courts in South India wherein exponents ofHindustani music held the posts of ‘Samstana Vidwans’.

(A) (A) true (R) false

(B) (A) false (R) true

(C) Both (A) and (R) true

(D) Both (A) and (R) false

47. Assertion (A) : Kedaragavla and Narayana gavla are upanga Janya ragas of the 28thmela, still they differ from each other.

Reasoning (R) : Because Narayana gavla takes ubhayavakra arohana and avarohanaand Kedaragavla takes a krama audava sampurna arohana andavarohana.

(A) (A) false (R) true

(B) (R) false (A) true

(C) Both (A) and (R) false

(D) Both (A) and (R) true

27 P.T.O.D—1606

45. ·¤ÍÙ (A) : SßæçÌ çÌL¤ÙæÜ ·ð¤ ¹×æâ Úæ» ×ð´ Ú¿Ùæ¥æð´ ·ð¤ßÜ ·¤æçàæ·¤è çÙàææÎ× ·¤æ ÂýØæð» ç·¤Øæ ãñÐ

Ì·ü¤ (R) : •Øæðç·¤ ¹×æâ °·¤ ©Âæ´» Úæ» ãñÐ

(A) ÎæðÙæð´ (A) ¥æñÚ (R) âãè ãñ´Ð

(B) (A) âãè ãñ (R) »ÜÌ ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñ´Ð

(D) (A) »ÜÌ ¥æñÚ (R) âãè ãñÐ

46. ·¤ÍÙ (A) : ·¤ÙæüÅ·¤ â´»èÌ ¥æñÚ çã´ÎéSÌæÙè â´»èÌ °·¤ ÎêâÚð âð ÂýÖæçßÌ ãñÐ ÎæðÙæð´ §ââð ÜæÖæç‹ßÌ ãé° ãñÐ

Ì·ü¤ (R) : •Øæð´ç·¤ Îçÿæ‡æ ÖæÚÌ ×ð´ °ðâð ÕãéÌ âð ÎÚÕæÚ Íð Áãæ¡ ç·¤ çã´ÎéSÌæÙè â´»èÌ™æ Òâ´SÌæÙ çßmæÙÓ ·ð¤ ÂÎæð´ÂÚ ·¤æØüÚÌ ÍðÐ

(A) (A) âãè ãñ (R) »ÜÌ ãñÐ

(B) (A) »ÜÌ ãñ (R) âãè ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) âãè ãñ´Ð

(D) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñ´Ð

47. ·¤ÍÙ (A) : ·ð¤ÎæÚ»ßÜæ ¥æñÚ ÙæÚæ؇ææ »ßÜæ 28 ×ðÜ ·ð¤ ©Âæ´» Á‹Ø Úæ» ãñ´, Ølç ÎæðÙæð´ °·¤ ÎêâÚð âð çÖóæ ãñ´Ð

Ì·ü¤ (R) : •Øæð´ç·¤ ÙæÚæ؇ææ »ßÜæ ×ð´ ©ÖØß·ý¤ ¥æÚæðãÙæ ¥æñÚ ¥ßæÚæðãÙæ ·¤æ ÂýØæð» ãæðÌæ ãñ ÌÍæ ·ð¤ÎæÚ»ßÜæ ×ð´·ý¤× ¥æñÇßæ â´Âê‡æü ¥æÚæðãÙæ ¥æñÚ ¥ßæÚæðãÙæ ·¤æ ÂýØæð» ãæðÌæ ãñÐ

(A) (A) »ÜÌ ãñ (R) âãè ãñÐ

(B) (R) »ÜÌ ãñ (A) âãè ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñ´Ð

(D) ÎæðÙæð´ (A) ¥æñÚ (R) âãè ãñ´Ð

28D—1606

48. Arrange the following in order of the 72 melakarta scheme. Use the code givenbelow :

(i) Shanmugapriya

(ii) Shyamalangi

(iii) Simhendra madyamam

(iv) Haimavati

Code :

(A) (ii), (i), (iii), (iv)

(B) (i), (ii), (iii), (iv)

(C) (ii), (iv), (iii), (i)

(D) (iv), (iii), (i), (ii)

49. Arrange the following in correct order. Use the code given below :

(i) Disi

(ii) Rudra

(iii) Vasu

(iv) Brahma

Code :

(A) (i), (iii), (ii), (iv)

(B) (iii), (iv), (i), (ii)

(C) (iii), (i), (ii), (iv)

(D) (ii), (iii), (i), (iv)

50. Arrange the following in correct order. Use the code given below :

(i) Layam

(ii) Kala

(iii) Yati

(iv) Prastharam

Code :

(A) (ii), (i), (iii), (iv)

(B) (i), (ii), (iv), (iii)

(C) (i), (iii), (ii), (iv)

(D) (iv), (ii), (iii), (i)

29 P.T.O.D—1606

48. 72 ×ðÜ·¤Ìæü ÂhçÌ ·ð¤ ¥æÏæÚ ÂÚ çÙ•ÙçÜç¹Ì ·¤æ ·ý¤× çÙÏæüÚ‡æ ·¤èçÁ° ©•æÚ ·ð¤ çÜ° Ùè¿ð çΰ »° ·¤æðÇ ·¤æÂýØæð» ·¤èçÁ° Ñ

(i) áæ´×é»æçÂýØ

(ii) àØæ×æÜæ´»è

(iii) çâ•ãð‹Îý׊Ø××÷

(iv) ãñ×ßÌè

·¤æðÇ Ñ

(A) (ii), (i), (iii), (iv)

(B) (i), (ii), (iii), (iv)

(C) (ii), (iv), (iii), (i)

(D) (iv), (iii), (i), (ii)

49. çÙ•ÙçÜç¹Ì ·¤æð âãè ·ý¤× ×ð çÜç¹°Ð ©•æÚ ·ð¤ çÜ° Ùè¿ð çΰ ·¤æðÇ ·¤æ ÂýØæð» ·¤èçÁ° Ñ

(i) çÎçàæ

(ii) L¤Îý

(iii) ßâé

(iv) Õýrææ

·¤æðÇ Ñ

(A) (i), (iii), (ii), (iv)

(B) (iii), (iv), (i), (ii)

(C) (iii), (i), (ii), (iv)

(D) (ii), (iii), (i), (iv)

50. §Ù·¤æð âãè ·ý¤× ×ð çÜç¹°Ð ©•æÚ ·ð¤ çÜ° Ùè¿ð çΰ ·¤æðÇ ·¤æ ÂýØæð» ·¤èçÁ° Ñ

(i) ÜØ×

(ii) ·¤æÜ

(iii) ØçÌ

(iv) ÂýSÌæÚ×

·¤æðÇ Ñ

(A) (ii), (i), (iii), (iv)

(B) (i), (ii), (iv), (iii)

(C) (i), (iii), (ii), (iv)

(D) (iv), (ii), (iii), (i)

30D—1606

PART - IVRABINDRA SANGEET

26. The theme song of Gitabitan, placed as a preface to the book, is :(A) Akash bhara surya-tara (B) Kannahasir dol-dolano(C) Tomar surer dhara (D) Prathama juger udaya-digangane

27. The song ‘Gahanakusuma kunja majhe’ belongs to the book :(A) Gitanjali (B) Bhanusingher Padavali(C) Valmiki - Pratibha (D) Mayar Kehla (lyrical drama)

28. Tagore set this song apart to be sung on his death :(A) Shesh nahi je (B) Samukhe shanti parabar(C) Amare tumi ashesh karechha (D) Tumi ebar amay laho he nath

29. The song is tuned on the ‘gat’ patterns of a sitar :(A) Amar praner pare (B) Janaganamana(C) Ami Chanchala he (D) Mor bhabanare ki haoay

30. Tagore wrote most of his Swadeshi songs on the occasion of :(A) Banga-Bhanga Movement (B) Jalianwalabagh Protest(C) Non-cooperation Movement (D) Bharat-Chhoro Movement

31. The source of the tune of ‘E parabasi rabe ke hay’ is the song :(A) kari kari kamaria (B) Jago, mohana pritama(C) E miyan wejanewale (D) ab chhodo braj ki bansari

32. The song ‘Amar praner manush achhe prane’ has a tune from :(A) Baul songs (B) Kirtan(C) Dhrupad (D) Scottish Ballad

33. Tagore composed his song ‘Sarba Kharbatare dahe taba krodhadaho’ on hearing thenews of :(A) Hanging of Ksudiram(B) Gandhiji’s imprisonment(C) Jatin Das’s death after 62 days of fasting(D) The Beginning of the Second World War

34. What are the Tagore songs that have adopted tunes from North Indian classical musicusually called ?(A) Baithaki Gan (B) Bhanga gan(C) Bangla Kheyal (D) Uchchanga sangit

31 P.T.O.D—1606

¹‡Ç - IV

ÚÕè‹Îý â´»èÌ

26. »èÌçÕÌæÙ ·¤è Öæß â´»èÌ, ÂéSÌ·¤ ·ð¤ Âýæ•·¤ÍÙ ·ð¤ M¤Â ×ð´, ãñ Ñ(A) ¥æ·¤æàæ ÖÚæ âêØü-ÌæÚæ (B) ·¤æóææãæçâÚ ÎæðÜ-ÎæðÜæÙæð(C) Ìæð×æÚ âéÚðÚ ÏæÚæ (D) ÂýÍ× Áé»ðÚ ©Î÷Ø-çλ´»Ùð

27. Ò»ãÙæ·é¤âé×·é´¤Á ×æÛæðÓ »èÌ ÂéSÌ·¤ ×ð´ ãñ Ñ(A) »èÌæ´ÁçÜ (B) ÖæÙéçâ´ãðÚ ÂÎæßÜè(C) ßæË×èç·¤-ÂýçÌÖæ (D) ×æØæÚ ¹ðÜæ (»èçÌ ÙæÅK)

28. Åñ»æðÚ Ùð ¥ÂÙè ×ëˆØé ¥ßâÚ ·ð¤ çÜ° °ð »èÌ ·¤è Ú¿Ùæ ·¤è Ñ(A) àæðá Ùæçã Áð (B) â×é¹ð àææ´çÌ ÂæÚæßæÚ(C) ¥æ×æÚð Ìéç× ¥àæðá ·¤ÚðÀ (D) Ìéç× °ðÕæÚ ¥æ×æØ Üãæð ãð ÙæÍ

29. §â »èÌ ·¤è ÏéÙ çâÌæÚ ·¤è Ò»ÌÓ ÂÚ ãñ Ñ(A) ¥×æÚ Âýæ‡æðÚ ÂÚð (B) ÁÙ»‡æ×Ù(C) ¥æç× ¿´¿Ü ãð (D) ×æðÚ ÖæÕÙæÚð ·¤è ãæ¥æðØæØ

30. Åñ»æðÚ Ùð ¥ÂÙð ¥çÏ·¤ÌÚ SßÎðàæè »èÌ ¥ßâÚ ÂÚ çܹð Ñ(A) Õ´»-Ö´» ¥æ´ÎæðÜÙ (B) ÁçÜØæ´ßæÜæÕæ» âˆØæ»ýã(C) ¥âãØæð» ¥æ´ÎæðÜÙ (D) ÖæÚÌ-ÀæðǸæð ¥æ´ÎæðÜÙ

31. Ò° ÂÚæÕæâè ÚÕð ·ð¤ ãñÓ ÏéÙ ·¤è dæðÌ »æÙð ·¤è ãñ Ñ(A) ·¤æÚè ·¤æÚè ·¤æ×çÚØæ (B) Áæ»æð, ×æðãÙ ÂýèÌ×(C) ° ç×Øæ¡ ßðÁæÙðßæÜð (D) ¥Õ ÀæðǸæð ÕëÁ ·¤è Õæ´âÚè

32. Ò¥æ×æÚ Âýæ‡æðÚ ×æÙéá ¥æÀð Âýæ‡æðÓ â´»èÌ ·¤è ÏéÙ ãñ Ñ(A) Õæ©Ü »èÌ (B) ·¤èÌüÙ (C) ÏýéßÂÎ (D) S·¤æòÅ ÕñÜòÇ

33. Åñ»æðÚ Ùð Òâßü ¹ßüÌæÚð Îãð ÌÕ ·ý¤æðÏÎæãÓ »èÌ ·¤è Ú¿Ùæ Øã â×æ¿æÚ âéÙ·¤Ú ·¤è Ñ(A) ÿæéÎèÚæ× ·¤è Ȥæ¡âè(B) »æ¡Ïè Áè ·ð¤ ÁðÜ ÁæÙð ÂÚ(C) 62 çÎÙ ·ð¤ ©Âßæ⠷𤠩ÂÚæ´Ì ÁçÌÙ Îæâ ·¤è ×ëˆØé(D) çmÌèØ ×ãæØéÎ÷Ï ·¤æ ÂýæÚ•Ö

34. Åñ»æðÚ ·ð¤ çÁÙ »èÌæð´ ×ð´ çã´ÎéSÌæÙè àææS˜æèØ â´»èÌ âð çÜØæ »Øæ ãñ ©Ù·¤æð •Øæ ·¤ãæ ÁæÌæ ãñ?(A) ÕñÆç·¤ »æÙ (B) Öæ´»æ »æÙ (C) Õ´»Üæ ¹ðØæÜ (D) ©“ææ´» â´»èÌ

32D—1606

35. What is the ‘tal’ of ‘E parabase rabe ke hai’ ?

(A) sur-phakta (B) madhya man

(C) jhamp tal (D) tin tal

36. The song ‘Sangshaya timira majhe’ is based on the raga :

(A) Sindhu (B) Singhendra-Madhyam

(C) Kanada (D) Raj Vijay

37. ‘Ei udashi haoar pathe pathe’ is a song that belongs to the category of :

(A) Prem (B) Prakriti (C) Puja (D) Swadesh

38. Relationship of words and tune is discussed by Tagore mostly in his correspondancewith :

(A) Dhurjati Prasad Mukherjee (B) Santideb Ghosh

(C) Dilip Kumar Ray (D) Pulin Bihari Sen

39. Tagore set tune to this peom of Sukumar Ray :

(A) Shunte pelam posta giye (B) Rode ranga inter panja

(C) Gan dharechhen grismakale (D) Khai khai karo keno

40. Assertion (A) : Tagore is also a master of North Indian classical music.

Reasoning (R) : Because of his mastery of the ragas as well as of his innovations.

(A) (A) is true, but (R) is false

(B) (A) is false, but (R) is true

(C) Both (A) and (R) are false

(D) Both (A) and (R) are true

41. Assertion (A) : All Tagore songs should be sung with Tabla accompaniment.

Reasoning (R) : Because Tabla suits every mood expressed in his songs.

(A) (A) is false, but (R) is true

(B) (A) is true, but (R) is false

(C) Both (A) and (R) are true

(D) Both (A) and (R) are false

33 P.T.O.D—1606

35. Ò° ÂÚÕæâð ÚÕð ·ð¤ ãñÓ ·¤è ÌæÜ •Øæ ãñ?

(A) âéÚ-Ȥæ•Ìæ (B) ×ŠØ ×æÙ (C) Ûæ´Â ÌæÜ (D) ÌèÙ ÌæÜ

36. Òâ´àæØ çÌç×Ú ×æÛæðÓ »èÌ Úæ» ÂÚ ¥æÏæçÚÌ ãñ Ñ

(A) çâ´Ïé (B) çâ´ãð‹Îý ׊Ø× (C) ·¤óæǸ (D) ÚæÁ çßÁØ

37. Ұ𧠩Îæâè ãæ¥æðØæÚ ÂÍð ÂÍðÓ »èÌ ·¤è ·¤æðçÅ ãñ Ñ

(A) Âýð× (B) Âý·ë¤çÌ (C) ÂêÁæ (D) SßÎðàæ

38. Åñ»æðÚ â´»èÌ ·ð¤ ÕæðÜ ¥æñÚ ÏéÙ ·ð¤ çßáØ ×ð´ ç·¤â â×Øé»è٠緤⠥æÜæð¿·¤ ·ð¤ âæÍ ¿¿æü ·¤ÚÌð Íð?

(A) ÏéÁüçÅ ÂýâæÎ ×é¹Áèü (B) àææ´çÌÎðß ƒææðá

(C) çÎÜè ·é¤×æÚ ÚæØ (D) ÂéçÜÙ çÕãæÚè âðÙ

39. Åñ»æðÚ Ùð â·é¤×æÚ ÚæØ ·¤è ·¤çßÌæ ·¤è ÏéÙ ÕÙæ§ü Ñ

(A) àæéÙÌð ÂðÜæ× ÂæðSÌæ ç»Øð (B) ÚæðÎð Úæ´»æ §ÅðÚ Âæ´Áæ

(C) »æÙ ÏÚðÀðÙ »ýèc×·¤æÜð (D) ¹æ§ü ¹æ§ü ·¤Úæð ·ð¤Ùæð

40. ·¤ÍÙ (A) : Åñ»æðÚ ©•æÚ ÖæÚÌèØ â´»èÌ ·ð¤ Öè ¥æçÏ·¤æçÚ·¤ çßmæÙ ÍðÐ

Ì·ü¤ (R) : •Øæð´ç·¤ Úæ»æð´ ÌÍæ ÙßÂýßÌüÙæð´ ÂÚ ©Ù·¤æð ¥çÏ·¤æÚ ÍæÐ

(A) (A) âãè ãñ, ÂÚ‹Ìé (R) »ÜÌ ãñÐ

(B) (A) »ÜÌ ãñ, ÂÚ‹Ìé (R) âãè ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñ´Ð

(D) ÎæðÙæð´ (A) ¥æñÚ (R) âãè ãñ´Ð

41. ·¤ÍÙ (A) : Åñ»æðÚ ·ð¤ âÖè »èÌ ÌÕÜð ·ð¤ âæÍ »æ° ÁæÙð ¿æçã°Ð

Ì·ü¤ (R) : •Øæð´ç·¤ ÌÕÜæ ©Ù·ð¤ »èÌæð´ ×ð´ ¥çÖÃØ•Ì Öæßæð´ ·¤æð ÁæðǸÌæ ãñÐ

(A) (A) »ÜÌ ãñ, ÂÚ‹Ìé (R) âãè ãñÐ

(B) (A) âãè ãñ, ÂÚ‹Ìé (R) »ÜÌ ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) âãè ãñ´Ð

(D) ÎæðÙæð´ (A) ¥æñÚ (R) »ÜÌ ãñ´Ð

34D—1606

42. Assertion (A) : Tagore used songs in most of his plays.

Reasoning (R) : Because he thought songs were more expressive than mere words.

(A) (A) is false, but (R) is true

(B) (A) is true, but (R) is false

(C) Both (A) and (R) are true

(D) Both (A) and (R) are false

43. Match the following and select the correct combination from below :

(a) Tal (i) Part of a song

(b) That (ii) Singing technique

(c) Tan (iii) Time Division

(d) Tuk (iv) Ragas and Raginis

Code :

(a) (b) (c) (d)

(A) (ii) (iii) (i) (iv)

(B) (iii) (iv) (ii) (i)

(C) (iv) (i) (iii) (ii)

(D) (i) (ii) (iv) (iii)

44. Match the following and select the correct combination from the ‘code’ below :

(a) Mari O Kahar bachha (i) Chitrangada

(b) Tai ami dinu bar (ii) Shyama

(c) Bhalobese jadi sukh nahi (iii) Valmiki - Pratibha

(d) Amar jibanapatra uchchalia (iv) Mayar Khela (lyrical drama)

Code :

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (ii) (iii) (iv) (i)

(C) (iii) (iv) (i) (ii)

(D) (iii) (i) (iv) (ii)

35 P.T.O.D—1606

42. ·¤ÍÙ (A) : Åñ»æðÚ Ùð ¥ÂÙð ¥çÏ·¤æ´àæ ÙæÅ·¤æð´ ×ð´ »èÌæð´ ·¤æ ÂýØæð» ç·¤Øæ ãñÐ

Ì·ü¤ (R) : •Øæðç·¤ ßð ×æÙÌð Íð ç·¤ àæ•Îæð ·¤è ¥Âðÿææ »èÌ ¥çÖÃØç•Ì ×ð ¥çÏ·¤ âÿæ× ãæðÌð ãñÐ

(A) (A) »ÜÌ ãñ ÂÚ‹Ìé (R) âãè ãñÐ

(B) (A) âãè ãñ, ÂÚ‹Ìé (R) »ÜÌ ãñÐ

(C) ÎæðÙæð´ (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð

(D) ÎæðÙæð´ (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

43. §Ù·¤æð ç×Ü槰 ¥æñÚ Ùè¿ð çΰ »° âãè Øé‚× ·¤æ ¿ØÙ ·¤èçÁ° Ñ

(a) ÌæÜ (i) »èÌ ·¤æ ¥´àæ

(b) ÍæÅ (ii) »æÙð ·¤è Ì·¤Ùè·¤

(c) ÌæÙ (iii) â×ØæßçÏ

(d) Ìé·¤ (iv) Úæ» ¥æñÚ Úæç»Ùè

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (ii) (iii) (i) (iv)

(B) (iii) (iv) (ii) (i)

(C) (iv) (i) (iii) (ii)

(D) (i) (ii) (iv) (iii)

44. âãè Øé‚× ·¤æð ç×Ü槰 ¥æñÚ âãè ©•æÚ ·ð¤ çÜ° çΰ »° ·¤æðÇ ·¤æ ¿ØÙ ·¤èçÁ° Ñ

(a) ×çÚ ¥æð ·¤æãæÚ ÕæÀæ (i) 翘ææ´»Îæ

(b) Ìæ§ü ¥æç× çÎÙé ÕÚ (ii) àØæ×æ

(c) ÖæÜæðÕðâð ÁçÎ âé¹ Ùãè´ (iii) ßæçË×èç·¤ ÂýçÌÖæ

(d) ¥×æÚ ÁèÕÙæÂæ˜æ ©‘ÀçÜØæ (iv) ×æØæÚ ¹ðÜæ (»èçÌ-ÙæÅK)

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (ii) (iii) (iv) (i)

(C) (iii) (iv) (i) (ii)

(D) (iii) (i) (iv) (ii)

36D—1606

45. Match the following and select the correct combination from the ‘code’ below :

(a) Tomar preme dhanya karo (i) Swadeshi

(b) Kar banshi nishibhore (ii) Prem

(c) Ekasutre bandhiachhi (iii) Puja

(d) Ei udasi haoar pathe pathe (iv) Prakriti

Code :

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (ii) (iii) (iv) (i)

(C) (iii) (iv) (i) (ii)

(D) (iv) (i) (ii) (iii)

46. Match the following and select the correct combination from the ‘code’ below :

(a) Gitanjali (i) 1919

(b) School at Santiniketan (ii) 1881

(c) Jalianwalabagh killings (iii) 1910

(d) Valmiki - Pratibha (iv) 1900

Code :

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (iii) (iv) (i) (ii)

(C) (ii) (iii) (iv) (i)

(D) (iv) (i) (ii) (iii)

47. Place in order and select the correct combination from the ‘code’ below :

(i) Rabindranath Tagore

(ii) Sailajaranjan Majumdar

(iii) Jadu Bhatta

(iv) Salil Chowdhury

Code :

(A) (i), (ii), (iii), (iv)

(B) (iv), (iii), (ii), (i)

(C) (iii), (ii), (i), (iv)

(D) (iii), (i), (ii), (iv)

37 P.T.O.D—1606

45. çΰ »° Øé‚×æð ·¤æð ç×Ü槰 ¥æñÚ âãè ©•æÚ ·¤æ ¿ØÙ çΰ »° ·¤æðÇ âð ·¤èçÁ° Ñ

(a) Ìæð×æÚ Âýð×ð Ï‹Ø ·¤Úæð (i) SßÎðàæ

(b) ·¤æÚ Õæ´àæè çÙçàæÖæðÚð (ii) Âýð×

(c) °·¤âê˜æð Õæ´çÏØæçÀ (iii) ÂêÁæ

(d) °§ü ©Îæâè ãæßæÚ ÂÍð-ÂÍð (iv) Âý·ë¤çÌ

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (ii) (iii) (iv) (i)

(C) (iii) (iv) (i) (ii)

(D) (iv) (i) (ii) (iii)

46. âãè Øé‚× ·¤æð ç×Ü槰 ¥æñÚ âãè ©•æÚ ·¤æ ¿ØÙ Ùè¿ð çΰ »° ·¤æðÇ âð ·¤èçÁ° Ñ

(a) »èÌæ´ÁçÜ (i) 1919

(b) àææ´çÌçÙ·ð¤ÌÙ ·ð¤ S·ê¤Ü (ii) 1881

(c) ÁçÜØæ¡ßæÜæÕæ» ãˆØæ·¤æ‡Ç (iii) 1910

(d) ßæË×èç·¤ ÂýçÌÖæ (iv) 1900

·¤æðÇ Ñ

(a) (b) (c) (d)

(A) (i) (ii) (iii) (iv)

(B) (iii) (iv) (i) (ii)

(C) (ii) (iii) (iv) (i)

(D) (iv) (i) (ii) (iii)

47. âãè ·ý¤× ×ð´ çÜç¹°Ð âãè Øé‚× ·¤æ ¿ØÙ Ùè¿ð çΰ ·¤æðÇ âð ·¤èçÁ° Ñ

(i) ÚÕè‹ÎýÙæÍ Åñ»æðÚ

(ii) àæñÜÁæÚ´ÁÙ ×Áê×ÎæÚ

(iii) ÁÎé ÖÅ÷Å

(iv) âçÜÜ ¿æñÏéÚè

·¤æðÇ Ñ

(A) (i), (ii), (iii), (iv)

(B) (iv), (iii), (ii), (i)

(C) (iii), (ii), (i), (iv)

(D) (iii), (i), (ii), (iv)

38D—1606

48. Place the following in order and select the correct combination from the ‘code’ below :

(i) Shyama

(ii) Gitanjali

(iii) Mayar Khela (lyrical drama)

(iv) Valmiki - Pratibha

Code :

(A) (i), (ii), (iii), (iv)

(B) (i), (iii), (iv), (ii)

(C) (iv), (iii), (ii), (i)

(D) (iii), (iv), (i), (ii)

49. Place the following in order and select the correct combination from the ‘code’ below :

(i) Tagore

(ii) Ramprasad

(iii) Vidyapati

(iv) Jayadeva

Code :

(A) (ii), (i), (iii), (iv)

(B) (iii), (ii), (i), (iv)

(C) (iv), (ii), (i), (iii)

(D) (iv), (iii), (ii), (i)

50. Place the following in order and select the correct combination from the ‘code’ below :

(i) Prem

(ii) Swadesh

(iii) Puja

(iv) Prakriti

Code :

(A) (iii), (ii), (i), (iv)

(B) (i), (iii), (ii), (iv)

(C) (ii), (iii), (i), (iv)

(D) (iv), (ii), (i), (iii)

39 P.T.O.D—1606

48. §Ù·¤æð âãè ·ý¤× ×ð´ çÜç¹° ¥æñÚ âãè Øé‚× ·¤æ çΰ »° ·¤æðÇ âð ¿ØÙ ·¤èçÁ° Ñ

(i) àØæ×æ

(ii) »èÌæ´ÁçÜ

(iii) ×æØÚ ¹ðÜæ (»èçÌ-ÙæÅK)

(iv) ßæË×èç·¤ ÂýçÌÖæ

·¤æðÇ Ñ

(A) (i), (ii), (iii), (iv)

(B) (i), (iii), (iv), (ii)

(C) (iv), (iii), (ii), (i)

(D) (iii), (iv), (i), (ii)

49. §Ù·¤æð âãè ·ý¤× ×ð´ çÜç¹° ¥æñÚ âãè Øé‚× ·¤æ ¿ØÙ çΰ »° ·¤æðÇ âð ·¤èçÁ° Ñ

(i) Åñ»æðÚ

(ii) Úæ×ÂýâæÎ

(iii) çßlæÂçÌ

(iv) ÁØÎðß

·¤æðÇ Ñ

(A) (ii), (i), (iii), (iv)

(B) (iii), (ii), (i), (iv)

(C) (iv), (ii), (i), (iii)

(D) (iv), (iii), (ii), (i)

50. §Ù·¤æð âãè ·ý¤× ×ð´ çÜç¹° ¥æñÚ âãè Øé‚× ·¤æ ¿ØÙ çΰ »° ·¤æðÇ ×ð´ âð ·¤èçÁ° Ñ

(i) Âýð×

(ii) SßÎðàæ

(iii) ÂêÁæ

(iv) Âý·ë¤çÌ

·¤æðÇ Ñ

(A) (iii), (ii), (i), (iv)

(B) (i), (iii), (ii), (iv)

(C) (ii), (iii), (i), (iv)

(D) (iv), (ii), (i), (iii)

40D—1606

PART - V

PERCUSSION

26. Veeru Mishra was a player of :

(A) Tabla (B) Pakhawaj (C) Mridangam (D) Ghatam

27. Name of the writer of ‘Taal-Kosh’ :

(A) Harish Chandra Srivastava (B) Satish Chandra Srivastava

(C) Girish Chandra Srivastava (D) Lal Ji Srivastava

28. Which style of singing ‘Khemta-Taal’ belongs to ?

(A) Dhrupad (B) Khyal (C) Thumari (D) Bhajan

29. In which Gharana Adi-Laya-Bolas are used in great number ?

(A) Delhi (B) Poorab (C) Panjab (D) Ajarada

30. How many Matras are there Ashtamangal Taal ?

(A) 7 (B) 9 (C) 11 (D) 13

31. The founder of Delhi Gharana of Tabla :

(A) Modu Khan (B) Bakshu Khan

(C) Siddhartha Khan (D) Ishhak Khan

32. Which Hindustani Taal resembles to Ata Taal (Chatushra Jaati) of KarnatakMusic ?

(A) Jhap Taal (B) Sool Taal (C) Chau Taal (D) Tivra

33. 9/4 Layakari belongs to :

(A) Aad (B) Kuaad (C) Biyad (D) None of these

34. Ustaad Allarakha belonged to :

(A) Delhi Baaj (B) Poorab Baaj

(C) Panjab Baaj (D) Ajarada Baaj

35. Dha Tin Na Da Bol originally belongs to :

(A) Tabla (B) Pakhawaj (C) Nakkara (D) Dholak

41 P.T.O.D—1606

¹‡Ç - V

¥ßÙh ßæl

26. ÒßèM¤ çןæÓ ç·¤â ßæl ·ð¤ ßæη¤ Íð?

(A) ÌÕÜæ (B) ¹æßÁ (C) ×ëδ»×÷ (D) ƒæÅ×÷

27. ÒÌæÜ ·¤æðáÓ »ý‹Í ·ð¤ Üð¹·¤ ·¤æ Ùæ× •Øæ ãñ?

(A) ãçÚà¿‹Îý ŸæèßæSÌß (B) âÌèàæ¿‹Îý ŸæèßæSÌß

(C) ç»Úèá ¿‹Îý ŸæèßæSÌß (D) ÜæÜ Áè ŸæèßæSÌß

28. Ò¹ð×Åæ-ÌæÜÓ ç·¤â »æØÙ-àæñÜè ·¤è ÌæÜ ãñ?

(A) ÏýéÂÎ (B) •ØæÜ (C) Æé×Úè (D) ÖÁÙ

29. ¥æǸè ÜØ ·ð¤ ÕæðÜ ç·¤â ƒæÚæÙð ×ð´ ¥çÏ·¤ ÕÁÌð ãñ?

(A) çÎËÜè (B) ÂêÚÕ (C) ´ÁæÕ (D) ¥ÁÚæǸæ

30. Ò¥C×´»Ü-ÌæÜÓ ×ð´ ç·¤ÌÙè ×æ˜ææ°ð´ ãæðÌè ãñ?

(A) 7 (B) 9 (C) 11 (D) 13

31. ÌÕÜð ·ð¤ çÎËÜè ƒæÚæÙð ·ð¤ Âýß•æü·¤ Ñ

(A) ×æðÎê ¹æ´ (B) Õ•àæê ¹æ´ (C) çâhæÍü ¹æ´ (D) §àæãæ·¤ ¹æ´

32. ·¤ÙæüÅ·¤ â´»èÌ ¥Æ÷Ø ÌæÜ ¿ÌS˜æ ÁæçÌ çã‹ÎéSÌæÙè â´»èÌ ·¤è ç·¤â ÌæÜ âð ç×ÜÌè ãñ?

(A) ÛæÂÌæÜ (B) âêÜÌæÜ (C) ¿æñÌæÜ (D) Ìèßýæ

33. 9/4 ·¤æñÙâè ÜØ·¤æÚè ãñ?

(A) ¥æǸ (B) ·é¤¥æǸ

(C) çÕØæǸ (D) §Ù×ð´ âð ·¤æð§ü Ùãè´

34. ©SÌæÎ ¥ËÜæÚ•¹æ ç·¤â ÕæÁ ·ð¤ çßàæðá Íð?

(A) çÎËÜè (B) ÂêÚÕ (C) ´ÁæÕ (D) ¥ÁÚæǸæ

35. ÏæçÌ´ÙæǸæ ×êÜÌÑ ç·¤â ßæl âð â•Õç‹ÏÌ ãñ?

(A) ÌÕÜæ (B) ¹æßÁ (C) Ù•·¤æÚæ (D) ÉæðÜ·¤

42D—1606

36. Match the following :(a) Quada (i) Farshbandi(b) Peshkara (ii) Palate(c) Paran (iii) Chakra Dar(d) Tihai (iv) StutiCode :

(a) (b) (c) (d)(A) (i) (ii) (iii) (iv)(B) (ii) (i) (iv) (iii)(C) (iv) (i) (ii) (iii)(D) (ii) (iii) (iv) (i)

37. Match the following :(a) Jahangir Khan (i) Allahabad(b) Lalji Srivastava (ii) Indore(c) Karama Tulla (iii) Lucknow(d) Munne Khan (iv) CalcuttaCode :

(a) (b) (c) (d)(A) (ii) (i) (iv) (iii)(B) (i) (ii) (iv) (iii)(C) (iii) (iv) (i) (ii)(D) (ii) (i) (iii) (iv)

38. Which Taal Vadya is played in Haweli Sangeet ?(A) Tabla (B) Pakhawaj (C) Mridangam (D) Ghatam

39. Which Taal Vadya is related to Nana Pan Se ?(A) Tabla (B) Pakhawaj (C) Mridangam (D) Ghatam

40. Establish near and dear relations. Use the given codes :(a) Alla Rakkha Khan (i) Sabir Khan(b) Lalji Gokhale (ii) Kumar Lal(c) Gudai Maharaj (iii) Ahmad Jan Thirakna(d) Karamatulla Khan (iv) Zaquir HussenCode :

(a) (b) (c) (d)(A) (iii) (iv) (i) (ii)(B) (ii) (i) (iii) (iv)(C) (iv) (iii) (ii) (i)(D) (iv) (i) (ii) (iii)

43 P.T.O.D—1606

36. çÙ•Ù ·¤æð âé×ðçÜÌ ·¤èçÁØð Ñ(a) ·¤æØÎæ (i) ȤàæüÕ‹Îè(b) Âðàæ·¤æÚ (ii) ÂÜÅð(c) ÂÚÙ (iii) ¿·ý¤ÎæÚ(d) çÌãæ§ü (iv) SÌéçÌ·¤æðÇ Ñ

(a) (b) (c) (d)(A) (i) (ii) (iii) (iv)(B) (ii) (i) (iv) (iii)(C) (iv) (i) (ii) (iii)(D) (ii) (iii) (iv) (i)

37. çÙ•Ù ·¤æð âé×ðçÜÌ ·¤èçÁØð Ñ(a) Áãæ¡»èÚ ¹æ¡ (i) §ÜæãæÕæÎ(b) ÜæÜÁè ŸæèßæSÌß (ii) §‹ÎæñÚ(c) ·¤Úæ× ÌéËÜæ (iii) ܹ٪¤(d) ×éóæð ¹æ´ (iv) ·¤Ü·¤•ææ·¤æðÇ Ñ

(a) (b) (c) (d)(A) (ii) (i) (iv) (iii)(B) (i) (ii) (iv) (iii)(C) (iii) (iv) (i) (ii)(D) (ii) (i) (iii) (iv)

38. ÒãßðÜè â´»èÌÓ ×ð´ ·¤æñÙâæ ÌæÜ ßæl ÕÁæØæ ÁæÌæ ãñ?(A) ÌÕÜæ (B) ¹æßÁ (C) ×ëδ»×÷ (D) ƒæÅ×÷

39. ÒÙæÙæ ÂæÙâðÓ ·¤æ â•Õ‹Ï ç·¤â ÌæÜ ßæl âð Íæ?(A) ÌÕÜæ (B) ¹æßÁ (C) ×ëδ»×÷ (D) ƒæÅ×÷

40. 緤ⷤæ ç·¤ââð ƒæçÙD â•Õ‹Ï ãñ? çÙçÎüC â´·ð¤Ìæð ·¤æ ÂýØæð» ·¤èçÁØðÐ(a) ¥ËÜæ Ú•¹æ ¹æ´ (i) âçÕÚ ¹æ´(b) ÜæÜÁè »æð¹Üð (ii) ·é¤×æÚ ÜæÜ(c) »éΧü ×ãæÚæÁ (iii) ¥ã×Î ÁæÙ çÍڷ餥æ(d) ·¤Úæ×ÌéËÜæ ¹æ´ (iv) $Áæç·¤Ú ãéâñÙ·¤æðÇ Ñ

(a) (b) (c) (d)(A) (iii) (iv) (i) (ii)(B) (ii) (i) (iii) (iv)(C) (iv) (iii) (ii) (i)(D) (iv) (i) (ii) (iii)

44D—1606

41. Match the player and his style :(a) Hazi Vilayat Ali Khan (i) Panjab Baaj(b) Alla Rakkha Khan (ii) Farukhabad Baaj(c) Kishan Maharaj (iii) Lucknow Baaj(d) Munne Khan (iv) Banaras BaajCode :

(a) (b) (c) (d)(A) (i) (ii) (iii) (iv)(B) (ii) (i) (iv) (iii)(C) (iii) (ii) (i) (iv)(D) (iv) (iii) (ii) (i)

42. Match the following :(a) Siddhar Khan (i) Pakhawaj(b) Nana Panse (ii) Tabla(c) Dilavar Khan (iii) Dholak(d) Bafati Miyan (iv) NakkaraCode :

(a) (b) (c) (d)(A) (iii) (iv) (ii) (i)(B) (i) (ii) (iii) (iv)(C) (ii) (iii) (iv) (i)(D) (ii) (i) (iv) (iii)

43. Match the Tabla player with his specialisation :(a) Anaukhe Lal (i) Accompaniment(b) Alla Rakkha (ii) Na, Dhin, Dhin, Na(c) Ahmad Jan Thirakua (iii) Gat(d) Habibuddin (iv) Uni-TalenCode :

(a) (b) (c) (d)(A) (ii) (iv) (iii) (i)(B) (i) (iii) (ii) (iv)(C) (i) (ii) (iii) (iv)(D) (iv) (i) (ii) (iii)

44. Arrange in chronological order :(A) Tabla, Pakhawaj, Dundubi, Pushkar(B) Pakhawaj, Tabla, Pushkar, Dundubi(C) Dundubi, Pushkar, Pakhawaj, Tabla(D) Pushkar, Dundubi, Tabla, Pakhawaj

45 P.T.O.D—1606

41. ·¤æñÙ ç·¤â ÕæÁ ·¤æ çßàæðá™æ ãñ? çÙçÎüC â´·ð¤Ìæð´ ·¤æ ÂýØæð» ·¤èçÁØðÐ(a) ãæÁè çßÜæØÌ ¥Üè ¹æ´ (i) ´ÁæÕ ÕæÁ(b) ¥ËÜæ Ú•¹æ ¹æ´ (ii) ȤL¤¹æÕæÎ ÕæÁ(c) ç·¤àæÙ ×ãæÚæÁ (iii) ܹ٪¤ ÕæÁ(d) ×éóæð ¹æ´ (iv) ÕÙæÚâ ÕæÁ·¤æðÇ Ñ

(a) (b) (c) (d)(A) (i) (ii) (iii) (iv)(B) (ii) (i) (iv) (iii)(C) (iii) (ii) (i) (iv)(D) (iv) (iii) (ii) (i)

42. ©ÂØé•Ì ÁæðçǸØæ¡ ÕÙæ§üØð Ñ(a) çâhæÚ ¹æ´ (i) ¹æßÁ(b) ÙæÙæ ÂæÙâð (ii) ÌÕÜæ(c) çÎÜæßÚ ¹æ´ (iii) ÉæðÜ·¤(d) ÕȤæÌè ç×Øæ¡ (iv) Ù•·¤æÚæ·¤æðÇ Ñ

(a) (b) (c) (d)(A) (iii) (iv) (ii) (i)(B) (i) (ii) (iii) (iv)(C) (ii) (iii) (iv) (i)(D) (ii) (i) (iv) (iii)

43. ç·¤âÙð ç·¤â×ð´ ×ãæÚÍ ãæ¡çâÜ ·¤è Ñ(a) ¥Ùæð¹ð ÜæÜ (i) â´»Ì(b) ¥ËÜæ Ú•¹æ (ii) Ùæ çÏ´ çÏ´ Ùæ(c) ¥ã×Î ÁæÙ çÍڷ餥æ (iii) »Ì(d) ãÕèÕégèÙ (iv) ª¤Ùè ÌæÜð´·¤æðÇ Ñ

(a) (b) (c) (d)(A) (ii) (iv) (iii) (i)(B) (i) (iii) (ii) (iv)(C) (i) (ii) (iii) (iv)(D) (iv) (i) (ii) (iii)

44. ·¤æÜ ·ý¤×æÙéâæÚ çÜç¹Øð Ñ(A) ÌÕÜæ, ¹æßÁ, Îé‹ÎéÖè, Âéc·¤Ú(B) ¹æßÁ, ÌÕÜæ, Âéc·¤Ú, Îé‹ÎéÖè(C) Îé‹ÎéÖè, Âéc·¤Ú, ¹æßÁ, ÌÕÜæ(D) Âéc·¤Ú, Îé‹ÎéÖè, ÌÕÜæ, ¹æßÁ

46D—1606

45. Arrange chronogically :(A) Biru Mishra, Ram Sahay, Gudai Mahraj, Kumar Lal(B) Gudai Mahraj, Biru Mishra, Ram Sahay, Kumar Lal(C) Kumar Lal, Gudai Maharaj, Biru Mishra, Ram Sahay(D) Ram Sahay, Biru Mishra, Gudai Maharaj, Kumar Lal

46. Which order is correct for Karnatak Taalas - Ektall, Rupak, Triput, Matya Taal ?(A) 1, 10, 100, 101 (B) 10, 1, 101, 100(C) 101, 100, 1, 10 (D) 100, 101, 10, 1

47. Assertion (A) : ‘RELA’ is also a kind of QUADA which can be played in DRUT-LAYA. Hence easy BOLAs are taken in it. Later on ‘RAU’ is madewith some of its BOLAS.

Reason (R) : It is difficult to play complicated BOLAs in DRUT-LAYA and thepossibility of making ‘RAU’ is also marred.

Code :(A) (A) right, (R) wrong (B) (A) wrong, (R) right(C) (A) and (R) both right (D) (A) and (R) both wrong

48. Assertion (A) : TAAL gives discipline to a music-composition. It makes thecomposition well-formed.

Reason (R) : In the absence of discipline there is possibility of being ugly.Code :(A) (A) right, (R) wrong (B) (A) wrong, (R) right(C) (A) and (R) both right (D) (A) and (R) both wrong

49. Assertion (A) : Generally PAKHAWAJ is played in Temples. The reason of this is itsgravity.

Reason (R) : Without gravity spiritual pursuit is not possible.Code :(A) (A) right, (R) wrong (B) (A) wrong, (R) right(C) (A) and (R) both wrong (D) (A) and (R) both right

50. Assertion (A) : BOLAS of different styles (BAAJ) are like flowers of different kind. Abouquet prepared with flowers of different kind looks far better.

Reason (R) : ‘Variation’ is also a means to make a thing beautiful.Code :(A) (A) right, (R) wrong (B) (A) wrong, (R) right(C) (A) and (R) both right (D) (A) and (R) both wrong

- o O o -

47 P.T.O.D—1606

45. ·¤æÜ-·ý¤× ¥ÙéâæÚ çÜç¹Øð Ñ

(A) ÕèM¤ çןæ, Úæ×âãæØ, »éΧü ×ãæÚæÁ, ·é¤×æÚÜæÜ

(B) »éΧü ×ãæÚæÁ, ÕèM¤ çןæ, Úæ×âãæØ, ·é¤×æÚÜæÜ

(C) ·é¤×æÚÜæÜ, »éΧü ×ãæÚæÁ, ÕèM¤ çןæ, Úæ×âãæØ

(D) Úæ×âãæØ, ÕèM¤ çןæ, »éΧü×ãæÚæÁ, ·é¤×æÚÜæÜ

46. ·¤ÙæüÅ·¤ ÌæÜ-°·¤ÌæÜ, M¤Â·¤, ç˜æÂéÅ ß ×ÆKÌæÜ ·ð¤ SßM¤Âæð´ ·¤æ ·¤æñÙ âæ ·ý¤× Æè·¤ ãñ?(A) 1, 10, 100, 101 (B) 10, 1, 101, 100(C) 101, 100, 1, 10 (D) 100, 101, 10, 1

47. SÍæÂÙæ (A) : ÚðÜæ °·¤ Âý·¤æÚ ·¤æ ·¤æØÎæ ãè ãñ Áæð ÎýéÌ ÜØ ×ð´ ÕÁæØæ Áæ â·ð¤Ð §âè çÜØð §â×ð´ âÚÜ ÕæðÜæð´ ·¤æ¿ØÙ ç·¤Øæ ÁæÌæ ãñÐ ¥æ»ð ¿Ü·¤Ú §â ·ð¤ ·é¤À ÕæðÜæð´ ·ð¤ ×æŠØ× âð ÒÚæñÓ ÕÙ ÁæÌè ãñÐ

Ì·ü¤ (R) : ç•ÜC ÕæðÜæð´ ·¤æ ÎýéÌ ÜØ ×ð´ ÕÁæÙæ ·¤çÆÙ ãæðÌæ ãñÐ ¥æñÚ ÒÚæñÓ ÕÙÙð ·¤è â´ÖæßÙæ Öè â×æÎæ ãæðÁæÌè ãñÐ

·ê¤ÅÑ

(A) (A) âãè ãñ, (R) »ÜÌ ãñÐ (B) (A) »ÜÌ ãñ, (R) âãè ãñÐ

(C) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð (D) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

48. SÍæÂÙæ (A) : ÌæÜ â´»èÌ Ú¿Ùæ ¥ÙéàææâÙ ÂýÎæÙ ·¤ÚÌè ãñÐ ©â·ð¤ âé»É¸ ÕÙæÌè ãñÐ

Ì·ü¤ (R) : ¥ÙéàææâÙ ·ð¤ ¥Öæß ×ð´ çß·ë¤çÌ ¥æÙð ·¤æ ¥‹Îðàææ ÚãÌæ ãñÐ

·ê¤ÅÑ

(A) (A) âãè ãñ, (R) »ÜÌ ãñÐ (B) (A) »ÜÌ ãñ, (R) âãè ãñÐ

(C) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð (D) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

49. SÍæÂÙæ (A) : ×ç‹ÎÚæð ×ð ÂýæØÑ Â¹æßÁ ÕÁæ§ü ÁæÌè ãñÐ §â·¤æ ·¤æÚ‡æ §â·¤æ »æ•ÖèØü ãñÐ

Ì·ü¤ (R) : »æ•ÖèØü ·ð¤ ¥Öæß ×ð ¥æŠØæˆ× ·¤è âæÏÙæ ¥â´Öß ãñÐ

·ê¤ÅÑ

(A) (A) âãè ãñ, (R) »ÜÌ ãñÐ (B) (A) »ÜÌ ãñ, (R) âãè ãñÐ

(C) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (D) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð

50. SÍæÂÙæ (A) : çßçÖóæ ÕæÁæð´ ·ð¤ ÕæðÜ çßçÖóæ ÂécÂæð´ ·ð¤ â×æÙ ãñ´Ð çßçÖóæ Âý·¤æÚ ·ð¤ ÂécÂæð´ âð âÁæ ãé¥æ ÂécÂ-»é‘À¥çÏ·¤ âé‹ÎÚ Ü»Ìæ ãñÐ

Ì·ü¤ (R) : çßçÖóæÌæ Öè âæñ‹ÎØü-ßëçh ·¤æ °·¤ âæÏÙ ãñÐ

·ê¤ÅÑ

(A) (A) âãè ãñ, (R) »ÜÌ ãñÐ (B) (A) »ÜÌ ãñ, (R) âãè ãñÐ

(C) (A) ¥æñÚ (R) ÎæðÙæð´ âãè ãñ´Ð (D) (A) ¥æñÚ (R) ÎæðÙæð´ »ÜÌ ãñ´Ð

- o O o -

48D—1606

Space For Rough Work