paper : ii - university of mysore

Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. This paper consists of Hundred 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 :

(i) To have access to the Question Booklet, tear off the paper seal on the edge of the cover page. Do not accept a booklet without sticker seal or open booklet.

(ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given.

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

Example : A B C D

where (C) is the correct response.

5. Your responses to the questions are to be indicated in the OMR Sheet kept inside this Booklet. If you mark at any place other than in the circles in the OMR Sheet, it will not be evaluated.

6. Read the instructions given in OMR 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 OMR

Answer Sheet, except for the space allotted for the relevant entries, which may disclose your identity, you will render yourself liable to disqualification.

9. You have to return the OMR Answer Sheet to the invigilators at the end of the examination compulsorily and must nOT carry it with you outside the Examination Hall.

10. You can take away question booklet and carbon copy of OMR Answer Sheet after the examination.

11. Use only Blue/Black Ball point pen. 12. Use of any calculator, electronic gadgets or log table etc., is

prohibited. 13. There is no negative marks for incorrect answers. 14. In case of any discrepancy found in the Kannada translation of a

question booklet the question in English version shall be taken as final.

Paper : II

Subject : MUSIC

Subject Code : 40

Roll no.

OMR Sheet no. : ____________________

Name & Signature of Invigilator/s

Signature : _________________________________ name : _________________________________

Time : 2 Hours Maximum Marks : 200

number of Pages in this Booklet : 24 number of Questions in this Booklet : 100

K – 4020 1 ±Üâ.£.®æãà./P.T.O.

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(Figures as per admission card)

Total Number of Pages : 24

Paper II 2 K – 4020

ÓÜíXàñÜ

±æà±ÜÃ… – II

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1. ÃÜ¹àí¨ÜÅ ÓÜíXàñÜ ÃÜaÜ®æWÜÙÜÈÉ ÊÜááSÂÊÝX GÐÜár Ë»ÝWÜWÜÚÊæ ?

(A) GÃÜvÜá

(B) BÃÜá

(C) ®ÝÆáR

(D) ÊÜáãÃÜá

2. D PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ.

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ii. ÊÜáê Ü̈íWÜ ÊÝ Ü̈®Ü̈ ÜÈÉ ±ÜÅ¥ÜÊÜá ̧ ÝÄWæ ÓÜíXàñÜ PÜÇÝ¯˜ ±ÜÅÍÜÔ¤¿á®Üá° ±Üvæ̈ ÜÊÜÃÜá ±ÝÇÝ^p… ÊÜá~ I¿áÂÃ….

i ii (A) ÓÜÄ ÓÜÄ

(B) ñÜ±Üâ³ ñÜ±Üâ³

(C) ÓÜÄ ñÜ±Üâ³

(D) ñÜ±Üâ³ ÓÜÄ

3. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ®Üá° ±ÜÄÎàÈÔ.

a. XàñÜWæãà±ÝÆÊÜ®Üá° ŸÃæ¨ÜÊÜÃÜá g¿á¨æàÊÜ.

b. PÝÊÜÂ PèñÜáPÜ¨Ü ÇæàSPÜÃÜá pæãào. a b (A) ñÜ±Üâ³ ñÜ±Üâ³

(B) ÓÜÄ ñÜ±Üâ³

(C) ñÜ±Üâ³ ÓÜÄ

(D) ÓÜÄ ÓÜÄ

4. D PæÙÜX®ÜÊÜâWÜÙÜÈÉ ÊÜáê¨ÜíWÜ¨Ü ÍæÅàÐÜuñæ¿á®Üá° ¿ÞÊÜâ¨Üá ÓÝÃÜáñÜ¤¨æ ?

(A) ÓæãWÜÓÜáWÜ ÊÜáê¨ÜíWÜ ñÜÇÝÊÜáá

(B) ÓÜíXàñÜ WÝÂ®ÜÊÜáá

(C) ñÜíŸãÄ Ëáàq¨ÜÊÜ

(D) ÊæãàPÜÒÊÜáá WÜÆ¨Ü

5. ÓÜíXàñÜ ÓÝÃÝÊÜáêñÜÊÜ®Üá° ŸÃæ¨ÜÊÜÃÜá ¿ÞÃÜá ?

(A) Ë¨ÝÂÃÜ|Â

(B) ÎÅà¯ÊÝÓÜ PÜË

(C) ÍÝÄká

(D) ñÜáÆg

6. ÃÝWÝíWÜ&QÅ¿ÞíWÜ ÊÜáñÜá ¤ E±ÝíWÜWÜÙÜá ¿ÞÊÜâ¨ÜÃÜ Ë»ÝXàPÜÃÜ|ÊÝX¨æ ?

(A) AíWÜ& AíX Ë»ÝXàPÜÃÜ|

(B) g®ÜPÜ&g®ÜÂ Ë»ÝXàPÜÃÜ|

(C) ÃÝWÜ&ÃÝX~ Ë»ÝXàPÜÃÜ|

(D) ÃÝWÜ&ÊæàÆ Ë»ÝXàPÜÃÜ|

7. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ :

i. Ë¨ÝÂÃÜ|ÂÃÜá ÊæáàÆPÝ¥Üì ÊÜÂÊÜÓæ§¿á®Üá° ÓÜêÑrÔ¨ÜÃÜá.

ii. ÓÜí±Üä|ì ÊæáàÆPÝ¥Üì ÊÜÂÊÜÓæ §¿á®Üá° ÊæíPÜoÊÜáUO…ÃÜÊÜÃÜá ±ÜÄaÜÀáÔ¨ÜÃÜá.

i ii (A) ñÜ±Üâ³ ñÜ±Üâ³


(C) ÓÜÄ ÓÜÄ



K – 4020 3 Paper II

1. Rabindra Sangeeta compositions are mainly divided into

(A) Two (B) Six (C) Four (D) Three

2. Evaluate the following statements :

i. Pudukkottai style of Mridangam playing was started by Palani Murgiah Pillai.

ii. Palghat Mani Iyer was the first mridangist to be awarded the Sangita kalanidhi.

i ii (A) True True (B) False False (C) True False (D) False True

3. Examine the statements :

a. Jayadeva is the author of Geeta Gopala.

b. Tota is the author of kavya koutuka.

a b (A) False False (B) True False (C) False True (D) True True

MUSIC

Paper – II

Note : This paper contains hundred (100) objective type questions. Each question carries two (2) marks. All questions are compulsory.

4. One of the following hails the greatness of mridanga.

(A) Sogasuga Mridanga Talamu (B) Sangeetha Gyanamu (C) Tamburi Meetidava (D) Mokshamu Galada

5. Sangeetha Saramrutha was written by (A) Vidyaranya (B) Srinivasa kavi (C) Shahji (D) Tulaja

6. Raganga - kriyanga and Upanga are comes under the classification of

(A) Anga – Angi classification (B) Janaka – Janya classification (C) Raga – Ragini classification (D) Raga – Vela classification


i. Vidyaranya created the melakartha system.

ii. Venkatamakhin introduced the sampoorna melakartha system.

i ii (A) False False (B) True False (C) True True (D) False True



8. ÓÜãPÜÒ$¾ÊÝ¨Ü Æ¿áŸ¨Üœ Öæãí©Pæ¿ááÙÜÛ

æ̧ãàÇÝ¤®…WÜÚWæ ±ÜÅÔ Ü̈œÊÝ Ü̈ ZÃÝ®Ü ¿ÞÊÜâ̈ Üá ?

(A) hæç±ÜâÃ…

(B) BWÜÅ

(C) ±Üq¿ÞÆ

(D) WÝÌÈ¿áÃ…


i. ÊæáàÇÝ±Ü¨Ü œ£¿áá BÃæãàÖÜ| ÊÜáñ Üá ¤ AÊÜÃæãàÖÜ|WÜÙÜÈÉ ÓÜí±Üä|ì ÓÜÌÃÜWÜÙÜ®Üá° Ö æ ã í © Ã Ü á Ê Ü â ¨ Ü á Ê Ü Þ ñ Ü Å Ê Ü Æ É ¨ æ , A¨Üá I¨Üá A¥ÜÊÝ BÃÜá ÓÜ ÌÃÜWÜÙÜ®Üã°

Öæãí©ÃÜŸÖÜá¨Üá.

ii. AÓ Üí± Ü ä|ì Ê æ á àÇÝ± Ü¨ Ü œ £¿á® Ü á °

ÊæáàÇÝ±Ü¨Üœ£Ááí¨Üá ±ÜÄWÜ~ÓÜÇÝWÜáñÜ¤¨æ.

i ii

(A) ÓÜÄ ñÜ±Üâ³

(B) ñÜ±Üâ³ ñÜ±Üâ³

(C) ÓÜÄ ÓÜÄ


10. A¼®ÜÊÜ WÜá±Ü¤ÃÜ ±ÜÅPÝÃÜ ®ÝoÂ ÓÜíWÜÅÖÜ

(A) 14

(B) 15

(C) 11

(D) 13

11. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊÝ¨Ü¨Üª®Üá° WÜáÃÜá£Ô.

(A) ÐÜvÜj

(B) MáÐÜ»Ü

(C) WÝí«ÝÃÜ

(D) ¯ÍÜ¨Ü

12. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ : i. C£¤àb®Ü ©®ÜWÜÙÜÈÉ Qà æ̧ãàv…ì Ôí¥ÜÓæçgÃ…WÜÙÜ®Üá°

ËÓÜõñÜÊÝX ŸÙÜÓÜá£¤¨ÝªÃæ. ii. »ÝÃÜ£à¿á ÓÜíXàñÜÊÜ®Üá° ÓÜêÑrÓÜÆá C¨Üá

AñÜáÂñÜ¤ÊÜáÊÝ¨Ü ÊÜÞWÜìÊÝX¨æ.

i ii (A) ÓÜÄ ñÜ±Üâ³

(B) ÓÜÄ ÓÜÄ


(D) ñÜ±Üâ³ ñÜ±Üâ³

13. hÝQàÃ… ÖÜáÓæç®… D PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨ÜPæR ÓæàÄ¨ÜÊÜÃÜá ?

(A) ¨æÖÜÈ ZÃÝ®Ü

(B) Ÿ®ÝÃÜÓ… ZÃÝ®Ü

(C) ±ÜíhÝ¸… ZÃÝ®Ü

(D) Ag‚ÃÜvÜ ZÃÝ®Ü

14. »ÝÃÜ£à¿á Ó ÜíXàñ Ü¨ ÜÈÉ ÓÝí±ÜÅ¨ÝÀáP Ü ÓÜ¨Ü ªÄÊæá¿á (APèÔrP…) E±ÜPÜÃÜ|WÜÙÜ®Üá° ¯ÃÜíñÜÃÜÊÝX BÁáRÊÜÞwPæãÙÜÛÆá PÝÃÜ| H®Üá ?

(A) A®Ý¿ÞÓÜÊÝX ÍÜáÅ£ ÊÜÞvÜáÊÜâ¨Üá

(B) ×ñÜPÜÃÜ ®Ý¨Ü

(C) WÜÊÜáPÜ EñÝ³¨Ü®æ¿á ¯SÃÜñæ

(D) ±ÝÅbà®Ü ÓÜí±ÜÅ¨Ý¿á


i. ÍæçPÜÒ~PÜ A«ÝÂ±Ü®ÜÊÜâ ŸÖÜÙÜ ËÓÝ¤ÃÜÊÝ¨Ü A«ÜÂ¿á®Ü Ë»ÝWÜWÜÙÜá ÊÜáñÜá¤ ±ÝÅËà|ÂñæWÜÚí¨Ü PÜãwÃÜáñÜ¤¨æ.

ii. WÜáÃÜáWÜÙÜá ÊÜáñÜá¤ ÓÜíXàñÜ ÓÜíÓæ§WÜÙÜá PæàÊÜÆ ±ÜÅ¨ÜÍÜìPÜÃÜ®Üá° ÓÜêÑrÓÜáÊÜñÜ¤ Pæàí©ÅàPÜêñÜÃÝX¨ÝªÃæ.

i ii (A) ÓÜÄ ñÜ±Üâ³

(B) ÓÜÄ ÓÜÄ


(D) ñÜ±Üâ³ ñÜ±Üâ³



8. A Gharana famous for Boltans, with delicate Rhythmic interaction.

(A) Jaipur

(B) Agra

(C) Patiyala

(D) Gwaliyar


i. Melapadhati consists not only Sampurna Swaras in Arohana and Avarohana, it can also have five or six swaras.

ii. Asampurna melapadhati is also considered as a melapadhati.

i ii

(A) True False

(B) False False

(C) True True

(D) False True

10. natya Sangraha according to Abhinava Gupta

(A) 14

(B) 15

(C) 11

(D) 13

11. Choose the odd one.

(A) Shadja

(B) Rishabha

(C) Gandhara

(D) nishada


i. keyboard synthesisers are widely used now-a-days.

ii. This is the best way to create Indian music.

i ii (A) True False (B) True True (C) False True (D) False False

13. Zakir Hussain belongs to (A) Delhi Gharana (B) Banaras Gharana (C) Punjab Gharana (D) Azarada Gharana

14. The continuing preference for traditional acoustic instruments in Indian music is due to

(A) Ease of tuning (B) Pleasant tone (C) Accuracy in gamaka production (D) Age old tradition


i. Academic teaching has a wide variety of disciplines and specialisations.

ii. Gurus and musical institutions are oriented only on creating performers.

i ii (A) True False (B) True True (C) False True (D) False False



16. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ :

a. AÇÝÉ©¿Þ TÝ®… 1. ¶ÝÃÜáPÝ¸Ý¨… ZÃÝ®Ü

b. ¶ÜQàÃ… ŸPÏ… 2. hæç±ÜâÃ… ZÃÝ®Ü

c. PÜÆáÉTÝ®…, 3. ±ÜíhÝ¸…

¸æçÃÜáTÝ®… ZÃÝ®Ü

d. ÖÝi ËÇÝ¿áñ… 4. Ag‚ÃÜvÜ

TÝ®… ZÃÝ®Ü

(A) a – 4, b – 1, c – 3, d – 2

(B) a – 2, b – 3, c – 4, d – 1

(C) a – 3, b – 4, c – 1, d – 2

(D) a – 1, b – 4, c – 2, d – 3

17. ÃÜ¹àí¨ÜÅ ÓÜíXàñÜ¨Ü ±ÜÅÔ¨ÜœÊÝ¨Ü ÓÝí±ÜÅ¨ÝÀáPÜ

PÜÇÝË¨ÜÃÜá

(A) A±ÜOÝì æ̈àË ÊÜáñÜá¤ AËá¿Þ pÝWæãàÃ…

(B) ÎÅà¨æàË ÊÜáñÜá¤ Ô¨æœàÍÜÌÄ¨æàË

(C) XàñÝ¨æàË ÊÜáñÜá¤ ÔàñÝ¨æàË

(D) XÄhÝ¨æàË ÊÜáñÜá¤ ¯ÊÜáìÇÝ¨æàË

18. “APÝR P æàÙ ÜÊÝÌ” GíŸ ÊÜaÜ® Ü¨Ü ÊÜáãÆPÜ

±ÜÅÔ¨ÜœÃÝ¨Ü PÜÇÝË¨Ü/PÜÇÝË¨æ ¿ÞÃÜá ?

(A) WÜíWÜã¸ÝÀá ÖÝ®ÜWÜÇ…

(B) ÊÜáÈÉPÝgáì®… ÊÜá®ÜãÕÃ…

(C) ¸ÝÆ±Ü³ ÖÜáPæRàÄ

(D) PÜáÊÜÞÃÜ WÜí«ÜÊÜì

19. GÃÜvÜá Ë«Ü¨Ü ÓÜíXàñÜ bQñæÕ ¿ÞÊÜâÊÜâ ?

(A) ÖÝvÜáÊÜ bQñæÕ, ®ÜêñÜÂ bQñæÕ

(B) WÜÅÖÜ|ÎàÆ ÓÜíXàñÜ bQñæÕ, ÓÜQÅ¿á ÓÜíXàñÜ

bQñæÕ

(C) ÊÜáÃÜáPÜÚÓÜáÊÜ/ñÜvæñÜvæ¨Üá ŸÃÜáÊÜ ÊÜáñÜá¤

¯ÃÜíñÜÃÜ bQñæÕ

(D) ±ÜÅñæÂàPÜ ÊÜáñÜá¤ ÓÜÊÜáãÖÜ bQñæÕ


a. ±ÝÇÝ^p… ÊÜá~ 1. ±Üâ¨ÜáPæãRpær„ ÍÝÇæ

I¿áÂÃ…

b. ±ÜÙÜ¯ ÓÜáŸÅÊÜá|Â 2. ñÝíhæãàÃ…

²ÇæÉ„ Êæç¨ÜÂ®Ý¥Ü

I¿áÂÃ…ÃÜ ÎÐÜÂ

c. ñÝíhæãàÃ… 3. ñÝíhæãàÃ… ÍæçÈ

Êæç¨ÜÂ®Ý¥Ü I¿áÂÃ…

d. q. Pæ. ÊÜáã£ì 4. ±ÝÇÝ^p… ÊÜá~

I¿áÂÃ…ÃÜ WÜáÃÜá

(A) a – 3, b – 1, c – 4, d – 2

(B) a – 2, b – 3, c – 1, d – 4

(C) a – 1, b – 4, c – 2, d – 3

(D) a – 4, b – 3, c – 1, d – 2

21. “A¼®ÜÊÜ WÜá±Ü¤” ¿ÞÊæÃÜvÜ®Üá° ÊÜiìÔ¨ÝªÃæ ?

(A) ÊÜáívÜ±Ü ÊÜáñÜá¤ E±ÜaÝÃÜ

(B) ±ÜÅPÜê£ ÊÜáñÜá¤ E±ÜaÝÃÜ

(C) ±ÜÅPÜê£ ÊÜáñÜá¤ ÊÜáívÜ±Ü

(D) ÊÜáívÜ±Ü ÊÜáñÜá¤ Ô©œWÜÙÜá

22. Æ¿áÊÜ®Üá° ÖæàWæ ÊÝÂTÝÂ¯ÓÜÇÝX¨æ ?

(A) GÃÜvÜá QÅÁáWÜÙÜ ®ÜvÜáË®Ü ËÃÝÊÜá

(B) WÜ~ñÜÍÝÓÜŒ¨Ü PÜÅÊÜáÃÜaÜ®æ

(C) ñÝÙÜ¨ÜÈÉ QÅÁáWÜÙÜ aÜÆ®æ

(D) ñÝÙÜ¨Ü »ÝWÜWÜÙÜá

23. Pæã|¡PæãàÇ… Gí¨ÜÃæ

(A) E±ÜPÜÃÜ|¨Ü ÓÜÊÜáÑr

(B) hÝ®Ü±Ü¨Ü ®ÜêñÜÂ

(C) Æ¿á¨ÜÈÉÃÜáÊÜ ÊÜ|ìWÜÙÜ «ÜÌ¯àPÜÃÜ|

(D) Jí¨Üá Ë«Ü¨Ü hÝ®Ü±Ü¨Ü Æ¿á



16. Match the following :

a. Alladiya khan 1. Farrukabad Gharana

b. Fhakeer Baksh 2. Jaipur Gharana

c. kallukhan, Bairu 3. Punjab

khan Gharana

d. Hajji Vilayat khan 4. Azarada Gharana

(A) a – 4, b – 1, c – 3, d – 2

(B) a – 2, b – 3, c – 4, d – 1

(C) a – 3, b – 4, c – 1, d – 2

(D) a – 1, b – 4, c – 2, d – 3

17. A famous traditional artiste of Rabindra Sangeeta is

(A) Aparnadevi and Amiya Tagore

(B) Shridevi and Siddeshwaridevi

(C) Geetadevi and Seetadevi

(D) Girijadevi and nirmaladevi

18. An Artiste become famous through a vachana “Akka kelavva”.

(A) Gangubai Hangal

(B) Mallikarjun Mansur

(C) Balappa Hukkeri

(D) kumar Gandharva

19. Two types of music therapy are

(A) Singing therapy, dance therapy

(B) Receptive music therapy, active music therapy

(C) Intermittent and continuous therapy

(D) Individual and group therapy


a. Palghat Mani 1. Pudukkottai

Iyer School

b. Palani 2. Disciple of

Subramania Tanjore

Pillai Vaidyanatha Iyer

c. Tanjore 3. Tanjore style

Vaidyanatha

Iyer

d. T.k. Murthy 4. Guru of Palghat

Mani Iyer

(A) a – 3, b – 1, c – 4, d – 2

(B) a – 2, b – 3, c – 1, d – 4

(C) a – 1, b – 4, c – 2, d – 3

(D) a – 4, b – 3, c – 1, d – 2

21. “Abinava Gupta” Omits these two

(A) Mandapa and Upachara

(B) Prakriti and Upachara

(C) Prakriti and Mandapa

(D) Mandapa and Siddhis

22. Laya is described as

(A) The rest between two kriyas

(B) Mathematical permutation

(C) Movement of kriyas in a tala

(D) Parts of a tala

23. konnakkol is

(A) An instrumental ensemble

(B) A folk dance

(C) Vocalisation of rhythmic syllables

(D) A type of folk rhythm



24. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° WÜáÃÜá£Ô :

i. iàÊæ¿á®Üá° ñÜíŸãÄ¿áÈÉ ŸÙÜÓÜÇÝWÜáñÜ¤̈ æ.

ii. C¨ÜÃ Ü ± ÜÄOÝÊÜáÊÝX iàÊÜÓ Ü ÌÃ ÜW ÜÙ Üá

ÖÜáqrPæãÙÜáÛñÜ¤Êæ.

i ii (A) ñÜ±Üâ³ ñÜ±Üâ³



(D) ÓÜÄ ÓÜÄ


(A) ±Ý¨ÜÊÜå…

(B) AÐÜr±Ü£

(C) g£ÓÜÌÃÜÊÜå…

(D) QàñÜì®ÜÊÜå…

26. aèPÜ PÜÇÝ ÊÜ|ìÊÜå… ¿ÞÊÜ ±Ü¨ÜPæR ±Ü¿Þì¿á

±Ü¨ÜÊÝX¨æ ?

(A) ñÝ®Ü ÊÜ|ìÊÜå…

(B) ËÆíŸ ÊÜ|ìÊÜå…

(C) ±Ý¨Ü ÊÜ|ìÊÜå…

(D) ¨ÝÃÜá ÊÜ|ìÊÜå…


(A) ÍÝÂÊÜÞ ÍÝÔŒ

(B) ÊÜááñÜá¤ÓÝÌËá ©àQÒñÜÃ…

(C) ñÝÂWÜÃÝg

(D) ÓÝÌ£ £ÃÜá®ÝÙ…

28. g¿á¨æàÊÜ ¿ÞÊÜ ÍÜñÜÊÜÞ®Ü¨ÜÊÜÃÝX¨ÜªÃÜá ?

(A) 12®æ¿á ÍÜñÜÊÜÞ®Ü

(B) 10®æ¿á ÍÜñÜÊÜÞ®Ü

(C) 9®æ¿á ÍÜñÜÊÜÞ®Ü

(D) 14®æ¿á ÍÜñÜÊÜÞ®Ü

29. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ñÜ±Ý³XÃÜáÊÜ hæãàw¿á®Üá°

WÜáÃÜá£Ô :

(A) ÃÜÓÜãÆ®… ¸ÝÀá – PÜ¥ÜP… ®ÜêñÜÂ

(B) ¶Ü¿Þh‚… TÝ®… – BWÜÅ

(C) AŸáªÇ… ÖÜÈàÊÜå… g‚¶ÜÃ… TÝ®… – ÔñÝÃ…

(D) ÍÜÃÜO… ÃÝ~ – ÓÜÃæãà¨…


a. »Üor ®Ý¿áPÜ 1. A®ÜáËá£ ÊÝ¨Ü

b. »Üor ÇæãÆÉo 2. A¼ÊÜÂQ¤ ÊÝ¨Ü

c. ÍÜíPÜáPÜ 3. »ÜáQ¤ ÊÝ¨Ü

d. A¼®ÜÊÜWÜá±Ü¤ 4. EñÜ³£¤ ÊÝ¨Ü

(A) a – 2, b – 3, c – 4, d – 1

(B) a – 3, b – 4, c – 1, d – 2

(C) a – 1, b – 2, c – 4, d – 3

(D) a – 4, b – 1, c – 3, d – 2

31. PÜÇÝ¼gn (ÊÜáÁáÓæãó) ±ÜÙÜ¯ ÎÅà GÊÜå….

ÓÜáŸÅÊÜá|Â ²ÇæÉ„ ¿ÞÊÜ ÊÜÐÜì Ü̈ÈÉ g¯Ô Ü̈ªÃÜá ?

(A) 1908

(B) 1903

(C) 1904

(D) 1907

32. WÜÅí¥ÜÓÜãb ÓÜãaÜÂíPÜ ¿ÞÊÜâ̈ ÜÄí Ü̈ PÜãwÃÜ̧ æàPÜá ?

(A) ÇæàSPÜ®Ü ÖæÓÜÃÜá, ±ÜÅPÜoOæ ËÊÜÃÜWÜÙÜá

(B) ÇæàSPÜ®Ü iàÊÜ®ÜaÜÄñæÅ

(C) ÓÜíÍæãà«Ü®Ý ±ÜíwñÜ®Ü iàÊÜ®ÜaÜÄñæÅ

(D) ±ÜÅPÝÍÜPÜ®Ü iàÊÜ®ÜaÜÄñæÅ




i. Jeeve is used in a tambura.

ii. This results in the creation of jiva swaras.

i ii

(A) False False

(B) True False

(C) False True

(D) True True

25. Choose the odd one out.

(A) Padam

(B) Ashtapati

(C) Jatiswaram

(D) keerthanam

26. Chauka kala varnam is another term for

(A) Tāna varnam

(B) Vilamba varnam

(C) Pada varnam

(D) Daru varnam

27. Choose the odd one out.

(A) Shyama Shastry

(B) Muthuswami Deekshithar

(C) Tyagaraja

(D) Swathi Tirunal

28. Jayadeva lived in

(A) 12th century

(B) 10th century

(C) 9th century

(D) 14th century

29. Find the incorrect pair.

(A) Rasoolan Bai – kathak dance

(B) Fayaz khan – Agra

(C) Abdul Halim Zafer khan – Sitar

(D) Sharan Rani – Sarod


a. Bhatta nayaka 1. Anumiti vaada

b. Bhatta Lollata 2. Abhivyakti

vaada

c. Shankuka 3. Bhukti vaada

d. Abhinavagupta 4. Utpatti vaada

(A) a – 2, b – 3, c – 4, d – 1

(B) a – 3, b – 4, c – 1, d – 2

(C) a – 1, b – 2, c – 4, d – 3

(D) a – 4, b – 1, c – 3, d – 2

31. The Birth year of Mridangam Maestro

Palani Sri M. Subramania Pillai was

(A) 1908

(B) 1903

(C) 1904

(D) 1907

32. Bibliographical index should consist of

(A) name of Author, Publication Details

(B) Biography of the Author

(C) Biography of the Research Scholar

(D) Biography of the Publisher




a. MARC 1. PÝ², Ä²Åíp…,

Ä±æäÅvÜãÂÓ…

b. µàv…¸ÝÂP… 2. ÓÝrqÔrPÜÇ… G®ÝÈÔÓ…

ÊæáPÝ¯ÓÜÊÜå…

c. ¹¹ÉÁãàÊæáqÅ 3. ÊæáÎ®… ÄàvæàŸÇ…

PÝÂoÇÝXíW…

d. Ä±æäÅWÝÅµ 4. SDI

(A) a – 2, b – 3, c – 4, d – 1

(B) a – 3, b – 4, c – 2, d – 1

(C) a – 2, b – 1, c – 4, d – 3

(D) a – 4, b – 3, c – 1, d – 2

34. ÍÜáÅ£ ÓÜ¨æãàÈPÜÃ… PÜoRÃ… ¿ÞÊÜ ZÃÝ®Ü¨Ü

ÓÜíXàñÜPÝÃÜÃÜá BX¨ÝªÃæ ?

(A) QÃÝOÝ ZÃÝ®Ü

(B) hæç±ÜâÃ… ZÃÝ®Ü

(C) BWÜÅ ZÃÝ®Ü

(D) ñÝ®æÕà®… ZÃÝ®Ü

35. ÓÜíTæÂWÜÙÜ®Üá° ËË«Ü Ë«Ý®ÜWÜÙÜ®Ý°X ÓÜÄ¿Þ¨Ü PÜÅÊÜá¨ÜÈÉ Ë»ÝXÓÜáÊÜ ±ÜÅQÅÁá¿á®Üá° H®æí¨Üá

PÜÃæ¿ááñÝ¤Ãæ ?

(A) PÝí¹®æàÍÜ®…

(B) ±æäÅ¸Ý¹Èq

(C) ±ÜÊÜááÂìpæàÍÜ®…

(D) BÈjà¸ÝÅ

36. ÓÜíXàñÜÊæí Ü̈Ãæ XàñÜÊÜå…, ÊÝ Ü̈ÂÊÜå… ÊÜáñÜá¤ ®ÜêñÜÂÊÜå…

Gí¨Üá ÊÝÂTÝÂ®Ü ¯àw¨ÜÊÜÃÜá ¿ÞÃÜá ?

(A) ±ÝÍÜÌì¨æàÊÜ

(B) vÝ. GÊÜå…. ¸ÝÆÊÜááÃÜÚà PÜêÐÜ¡

(C) »ÜÃÜñÜ

(D) ÊÜÞñÜíWÜ

37. PÝÆ Ô¨ÝœíñÜÊÜ®Üá° _________ »ÝWÜWÜÙÝX

Ë»ÝXÓÜÇÝX¨æ.

(A) BÃÜá

(B) HÙÜá

(C) ®ÝÆáR

(D) Gíoá

38. ñÜvÜËÆÉ¨æ ÃÝWÜÊÜ®Üá° WÜáÃÜá£ÓÜáÊÜ Ë«Ý®ÜÊÜ®Üá°

H®æí¨Üá PÜÃæ¿ááñÝ¤Ãæ ?

(A) ¥Ýp…

(B) BÃæãàÖÜ

(C) ±ÜPÜRvÜ

(D) ÓÜÌÃÜ

39. PÜ®ÝìoPÜ ÓÜíXàñÜ¨ÜÈÉ CÃÜáÊÜ £àÊÜÅ ÓÜÌÃÜWÜÙÜ ÓÜíTæÂ

GÐÜár ?

(A) 7

(B) 12

(C) 5

(D) 9

40. ÊæáçÓÜãÃÜá ÓÜ¨ÝÎÊÜ ÃÝ¿áÃÜá ¿ÞÃÜ

BÓÝ§®Ü¨ÜÈÉ¨ÜªÃÜá ?

(A) ÊÜááÊÜá¾w PÜêÐÜ¡ÃÝg Jvæ¿áÃ…

(B) ®ÝÆÌw PÜêÐÜ¡ÃÝg Jvæ¿áÃ…

(C) ÃÝg Jvæ¿áÃ…

(D) g¿áaÝÊÜáÃÝhæàí¨ÜÅ Jvæ¿áÃ…

41. ©à±Ü¤, PÜÃÜá|, ÊÜáê Ü̈á, ÊÜá«ÜÂ ÊÜáñÜá¤ _________ ÍÜáÅ£¿á I¨Üá hÝ£WÜÙÝXÊæ.

(A) B¿áñÜ

(B) Ãè¨ÜÅ

(C) ÍÝíñÜ

(D) ÖÝÓÜÂ




a. MARC 1. Copy, reprint,

reproduce

b. Feedback 2. Statistical

Mechanism analysis

c. Bibliometry 3. Machine readable

cataloguing

d. Reprography 4. SDI

(A) a – 2, b – 3, c – 4, d – 1

(B) a – 3, b – 4, c – 2, d – 1

(C) a – 2, b – 1, c – 4, d – 3

(D) a – 4, b – 3, c – 1, d – 2

34. Shruti Sadolikar katkar is the musician of

(A) kirana Gharana

(B) Jaipur Gharana

(C) Agra Gharana

(D) Tansen Gharana

35. Process of splitting numbers into different ways in proper order is called

(A) Combination

(B) Probability

(C) Permutation

(D) Algebra

36. The definition of music as Geetam, Vadyam and nrutyam was given by

(A) Parshvadeva

(B) Dr. M. Balamurali krishna

(C) Bharata

(D) Matanga

37. Time theory is divided into _________ parts.

(A) six

(B) seven

(C) four

(D) eight

38. The way to identify a Raga immediately is called

(A) Thaat

(B) Aroha

(C) Pakkada

(D) Swara

39. The number of thivra swaras in karnatic music are

(A) 7

(B) 12

(C) 5

(D) 9

40. Mysore Sadashiva Rao was in the court of

(A) Mummadi krishnaraja Wodeyar

(B) nalwadi krishnaraja Wodeyar

(C) Raja Wodeyar

(D) Jayachamarajendra Wodeyar

41. The 5 Jaatis of sruthis are Dipta, Karuna, Mrudu, Madhya and

(A) Ayata

(B) Roudra

(C) Shanta

(D) Hasya



42. ÊÜÓÜíñÜ MáñÜáË®ÜÈÉ ÓÝÊÜÞ®ÜÂÊÝX ÖÝvÜáÊÜ ÃÝWÜ

¿ÞÊÜâ¨Üá ?

(A) ®Üí¨Ü

(B) ŸÓÜíñ…

(C) ÖÜËáàÃ…

(D) Pæà¨ÝÃ…

43. ÓÜí±Üä|ì – LyÜÊÜ ÃÝWÜPæR Jí¨Üá E¨ÝÖÜÃÜOæ

(A) ¹ÆÖÜÄ

(B) Pæà¨ÝÃÜWèÙÜ

(C) WÜÃÜávÜ«ÜÌ¯

(D) PÜÇÝÂ| ÊÜÓÜíñÜ

44. ÓÜíXàñÜ̈ ÜÈÉ CÇæQóP… E±ÜPÜÃÜ| ÖÝWÜã CÇæPÝó̄ P…

E±ÜPÜÃÜ|WÜÙÜ®Üá° ŸÙÜÓÜÆá ÊÜááSÂ PÝÃÜ|

¿ÞÊÜâ¨Üá ?

(A) hÝWÜ£PÜÊÝX Ë¨ÜáÂñ… ÍÜQ¤¿á Æ»ÜÂñæ

(B) D E±ÜPÜÃÜ|WÜÙÜ®Üá° ŸÙÜÓÜáÊÜâ¨Üá

¶ÝÂÍÜ®æàŸÇ… ÖÝWÜã B«Üá¯PÜÊÝX¨æ

(C) WÜá|ÊÜáor¨Ü APèÔrP… E±ÜPÜÃÜ|WÜÙÜá

ÓÜáÆ»ÜÊÝX Æ¼ÓÜáÊÜâ©ÆÉ

(D) ÓÜáÆ»Ü©í¨Ü Bí²ÉµPæàÍÜ®…, «ÜÌ¯ÊÜáá¨ÜÅ|

ÊÜáñÜá¤ wipæçÓæàÍÜ®…WÜÙÜÈÉ ŸÙÜPæ

45. ÍÜíPÜÃÝ»ÜÃÜ|¨ÜÈÉ WÜêÖÜ»æà¨Ü¨Ü ŸÙÜPæ¿áá 5 ŸêÖÜñ… ÃÝWÜWÜÙÜ®Üá° ¯àvÜáñÜ¤¨æ

(A) QàÃ ÜÊÝ~, PÝíñ ÜÊ Ü á~, P Ü® ÜPÝíX,

WÜ|ÊÜáã£ì, MáÐÜ»Ü²Å¿á

(B) SÃÜÖÜÃÜ²Å¿á, ÖÜ®ÜáÊÜá ñæãàw, PÜÇÝÂ~,

ÖÜÄPÝí»æãài, ®Üo»æçÃÜË

(C) QàÃÜÊÝ~, SÃÜÖÜÃ Ü²Å¿á, P æãàÓÜÆ,

ÃÜñÝ°íX, PÝ²

(D) ÖÜ®ÜáÊÜá ñæãàw, ÊæãàÖÜ®Ü, ¹ÆÖÜÄ,

PÝÊÜáÊÜ˜ì¯, ÊÜÞ¿ÞÊÜÞÙÜÊÜ WèÙÜ

46. ¹Ô¾ÇÝÉ TÝ®… ¿ÞÊÜ aÜÆ®ÜbñÜÅ¨Ý¨ÜÂíñÜ ÍÜÖÜ®Ý¿å… ®ÜáwÔ¨ÜªÃÜá ?

(A) ÃÜká®ÜPÜ ÃÜká®ÜPÜ ±Ý¿áÇ… ¸Ýhæ

(B) ®ÜÊÜÃÜíW…

(C) WÜãíh… E£à ÍÜ¸Ý¯à

(D) ¸æçgá ¸ÝÊÝÅ


1. ÊÝ¿å…È®…®Üá° Jí¨Üá PÜwxÀáí¨Ü ¸ÝÄÓÜŸÖÜá¨Üá.

2. Jí¨Üá ÊÝ¿å…È®…®ÜÈÉÃÜáÊÜ ÓÜÄWæWÜÙÜ ÓÜíTæÂ ®ÝÆáR™.

(A) 1 ñÜ±Üâ³ ÊÜáñÜá¤ 2 ÓÜÄ

(B) 1 ñÜ±Üâ³ ÊÜáñÜá¤ 2 ñÜ±Üâ³

(C) 1 ÓÜÄ ÊÜáñÜá¤ 2 ñÜ±Üâ³

(D) 1 ÓÜÄ ÊÜáñÜá¤ 2 ÓÜÄ

48. SívÜ hÝ£ «ÜáÅÊÜ ñÝÙÜ __________ WÜÙÜ®Üá° Öæãí©ÃÜáñÜ¤¨æ.

(A) 18 QÅÁáWÜÙÜá

(B) 17 QÅÁáWÜÙÜá

(C) 25 QÅÁáWÜÙÜá

(D) 20 QÅÁáWÜÙÜá

49. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ÓÜÊÜáÊÜÆÉ¨Üª®Üá° WÜáÃÜá£Ô.

(A) ÊÜ|ìÊÜå…

(B) PÜê£

(C) £ÇÝÉ®Ü

(D) BÇÝ±Ü®Ü

50. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : a. ÊÜá¨ÜªÆÊÜå… 1. »ÜÃÜñÜ®ÝoÂÊÜå…

b. CvÜPÜR 2. PÜ¥ÜPÜRÚ

c. ÊÜáê¨ÜíWÜÊÜå… 3. ÓÜ£÷à¿á

d. TæãàÇ… 4. Êæãà×¯¿áorÊÜå…

(A) a – 1, b – 2, c – 4, d – 3 (B) a – 2, b – 1, c – 3, d – 4 (C) a – 3, b – 2, c – 4, d – 1 (D) a – 2, b – 4, c – 1, d – 3



42. A raga usually sung/played during spring season

(A) nand (B) Basant (C) Hameer (D) kedar

43. An example of a sampoorna – audava raga is

(A) Bilahari (B) kedaragowla (C) Garudadhwani (D) kalyana Vasantha

44. The main reason for the usage of electric and electronic equipment in music is

(A) Universal availability of electricity (B) It is fashionable and modern to use

these equipments (C) Quality acoustic instruments are not

easily available (D) Ease of amplification, use in

recording and digitisation

45. Grahabedha is applied on Shankarabharana, it yields 5 other major ragas

(A) keeravani, kanthamani, kanakangi, Ganamurthi, Rishabha Priya

(B) kharaharapriya, Hanuma Todi, kalyani, Harikambhoji, nata Bhairavi

(C) keeravani, kharaharapriya, kosala, Ratnangi, kaapi

(D) Hanuma Todi, Mohana, Bilahari, kamavardhini, Mayamalava Gowla

46. Bismilla khan played Shahanai during the entire film

(A) Jhanaka Jhanaka Payal Baje (B) navarang (C) Gunj Uthi Shabani (D) Baiju Bavra

47. Evaluate the following statements. 1. Violin can be played with a stick. 2. The number of strings on a violin is

always 4. (A) 1 is false and 2 is true (B) 1 is false and 2 is false (C) 1 is true and 2 is false (D) 1 is true and 2 is true

48. khanda Jati Dhruva Taala consists of (A) 18 kriyas (B) 17 kriyas (C) 25 kriyas (D) 20 kriyas

49. Choose the odd one out. (A) Varnam (B) kriti (C) Tillana (D) Alapana

50. Match the following : a. Maddalam 1. Bharatanatyam b. Idakka 2. kathakali c. Mridangam 3. Sattriya d. khol 4. Mohiniyattam (A) a – 1, b – 2, c – 4, d – 3 (B) a – 2, b – 1, c – 3, d – 4 (C) a – 3, b – 2, c – 4, d – 1 (D) a – 2, b – 4, c – 1, d – 3



51. Jí¨Üá ÓÜÌÃ Ü¨Ü ÊæáàÈ®Ü AÆ³ ËÃÝÊÜáÊÜ®Üá ° __________ Gí¨Üá PÜÃæ¿ááñÝ¤Ãæ.

(A) ±ÜíaÜÊÜá

(B) ËÊÝ©

(C) A±Ü®ÝÂÓÜ

(D) £Ãæãà»ÝÊÜ

52. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ÓÜÊÜáÊÜÆÉ¨Üª®Üá° WÜáÃÜá£Ô.

(A) 7 ñÝÙÜWÜÙÜá

(B) 35 ñÝÙÜWÜÙÜá

(C) 175 ñÝÙÜWÜÙÜá

(D) 108 ñÝÙÜWÜÙÜá

53. ÊÜáê¨ÜíWÜ¨Ü GÃÜvÜã Ÿ©WÜÚWæ GÐÜár ±Ü¨ÜÃÜWÜÙÜÈÉ aÜÊÜáìÊÜ®Üá° PÜqrÃÜáñÝ¤Ãæ ?

(A) GvÜ -3, ŸÆ -3 (B) GvÜ -1, ŸÆ -2 (C) GvÜ -2, ŸÆ -4 (D) GvÜ -2, ŸÆ -3

54. ËÊÝ© ÃÝWÜÊÜ®Üá° BÁáR ÊÜÞw :

(A) ÐÜ|á¾S²Å¿á

(B) PæãàQÆ²Å¿á

(C) SÃÜÖÜÃÜ²Å¿á

(D) »ÝÊÜ²Å¿á

55. ±Ü¨Ü¾»ÜãÐÜ|©í¨Ü AÆíPÜêñÜÃÝ¨Ü PÜ®ÝìoPÜ¨ÜÊÜÃÜá

(A) ÓæÊÜá¾íWÜáw ÎÅà¯ÊÝÓ… I¿áÂÃ…

(B) BÃ….Pæ. ÎÅàPÝíñÜ®…

(C) GÊÜå…. ¸ÝÆÊÜááÃÜÚàPÜêÐÜ¡

(D) ®ævÜá®ÜáÄ PÜêÐÜ¡ÊÜáã£ì


(A) «ÜáÅÊÜ ñÝÙÜ

(B) ÊÜáñÜÂ ñÝÙÜ

(C) HPÜ ñÝÙÜ

(D) aÜaÜñÜá³o ñÝÙÜ

57. ÃÜÔPÜ²Å¿á¨Ü PÜo±Ü¿Þw ÓÜíTæÂ

(A) 27

(B) 74

(C) 72

(D) 47

58. ×í¨ÜãÓÝ§¯¿áÈÉÃÜáÊÜ ÃÜã±ÜPÜñÝÙÜ¨Ü Jí¨Üá

BÊÜñÜì®Ü¨ÜÈÉ GÐÜár G~PæWÜÚÃÜáñÜ¤Êæ ?

(A) 6

(B) 7

(C) 3

(D) 9

59. wíwÊÜáÊÜâ ±ÜÅÓÜá¤ñÜ ©®Ü¨ÜÈÉ _________ BX¨æ.

(A) ÊÜáê¨ÜíWÜ

(B) WæàñÜá

(C) væãàÈR

(D) ñÜËÇ…

60. ÍÜá¨Üœ ÊÜáñÜá¤ £àÊÜÅ ÊÜá«ÜÂÊÜáWÜÙÜ®Üá° _________

ÃÝWÜ¨ÜÈÉ ŸÙÜÓÜÇÝWÜáñÜ¤¨æ.

(A) ±ÜäËì

(B) ¿áÊÜá®…

(C) ÓæãÖÜ¯

(D) ÊÜÞÊÜì

61. £à®… ñÝÙÜÊÜâ PÜ®ÝìoP… ÊÜÂÊÜÓæ§¿á _________ Wæ

ÓÜÊÜÞ®ÜÊÝX¨æ.

(A) B©ñÝÙÜ (2 PÝÇæç)

(B) ËáÍÜÅ aÝ±Üâ ñÝÙÜ

(C) SívÜ £Å±Üâo ñÝÙÜ

(D) ÃÜã±ÜPÜ ñÝÙÜ



51. Short halt on a note is called (A) Panchama (B) Vivadi (C) Apanyasa (D) Tirobhava

52. Choose the odd one out. (A) 7 talas (B) 35 talas (C) 175 talas (D) 108 talas

53. How many layers of skin are tied on either side of the Mridanga ?

(A) Left-3, Right-3 (B) Left-1, Right-2 (C) Left-2, Right-4 (D) Left-2, Right-3

54. Choose the Vivadi raga. (A) Shanmukhapriya (B) kokilapriya (C) kharaharapriya (D) Bhavapriya

55. _________ is a Padmabhushana awardee from karnataka.

(A) Semmangudi Srinivasa Iyer (B) R.k. Srikanthan (C) M. Balamuralikrishna (D) nedunuri krishnamurthy

56. Pick the odd one out. (A) Dhruva tala (B) Matya tala (C) Eka tala (D) Chachatputa tala

57. katapayadi Sankhya of Rasikapriya

(A) 27

(B) 74

(C) 72

(D) 47

58. Rupak tala in Hindustani has how many

counts per cycle ?

(A) 6

(B) 7

(C) 3

(D) 9

59. Dindima is our present day

(A) Mridanga

(B) Gethu

(C) Dholki

(D) Tavil

60. Shuddha and Teevra madhyama is used

in the raga

(A) Poorvi

(B) Yaman

(C) Sohani

(D) Marwa

61. Teen taal is equivalent to the following

taala in karnatak system.

(A) Aditala (2 kaLai)

(B) Misra Chaapu Tala

(C) khanda Triputa Tala

(D) Rupaka Tala



62. ÊÜáê¨ÜíWÜ, ñÜŸÆ, T æãàÇ… ÊÜááíñÝ¨Ü

ÊÝ¨æãÂà±ÜPÜÃÜ|WÜÙÜÈÉ ËÎÐÜrÊÝX ŸÙÜPæ¿ÞWÜáÊÜ “PÜ±Üâ³ ±Üqr”¿áá H®Ü®Üá° EÇæÉàUÓÜáñÜ¤¨æ ?

(A) ÊÜáãdÜì®Ü

(B) ±ÜâÐÜRÃÜ

(C) ÊÜÞgì®Ü

(D) ÓÝÆWÜ ÓÜãvÜ


(A) ¸æãÅàÊÜ±ÜÃÝÊÜá

(B) ŸíoáÄà£

(C) £Ú¿áÇæàÃÜá

(D) ÊÜá®ÜÓÜá ¯Æ³

64. ÓÜáÙÝ© Gí¨ÜÃæ

(A) ±Üâ®ÜÃÝÊÜ£ìÓÜáÊÜ

(B) ÓÝí±ÜÅ¨ÝÀáPÜ

(C) B«Üá¯PÜ

(D) ñÝÙÜ

65. ____________ E±ÜPÜÃÜ|ÊÜ®Üá° ±ÜÄÊÜ£ìÔ

SíiÃÜÊ Ü®Ý °XÔ¨Ü Ö æW Ü YÚP æ ± Ü â¨ ÜáP æã Rp æ r $ ç

ÊÜá®Üá³íw¿á ²ÇæÉ$ç AÊÜÃÜ¨ÝªX¨æ.

(A) ÊæãàÔìíW…

(B) yæãàÆP…

(C) væ±…

(D) ñÜŸÆ

66. ÓÜíXàñ… ¸æãà«… ŸÃæ¨ÜÊÜÃÜá ¿ÞÃÜá ?

(A) ÍÜÃÜaÜí¨ÜÅ ±ÜÃÜíg±æ

(B) Ë. BÃ…. ±ÜoÊÜ«Üì®…

(C) AÖæãàŸÇ…

(D) ®ÝÃÜ¨…

67. »ÝñÜVívæ ÓÜÌÃÜ È² ÊÜÂÊÜÓæ§¿áÈÉ PæãàÊÜáÆ ÓÜÌÃÜ¨Ü

bÖæ° ¿ÞÊÜâ¨Üá ?

(A) –

(B) .

(C) |

(D) X


(A) XpÝÃ…

(B) PÝÉÄ®æp…

(C) ©ÆáÅŸ

(D) ÊÜÞÂívæãÈ®…

69. PÜ®ÝìoPÜ ñÝÙÜÊÝ Ü̈Â HPÜÊÜÂQ¤¿áÈÉ ŸÙÜPæ¿ÞWÜáÊÜ

‘±ÜÃÜ®…’±Ü¨ÜÊÜâ H®Ü®Üá° ÓÜãbÓÜáñÜ¤¨æ ?

(A) ÊæãàÃÜ ÊÜááíbñÜÊÝ Ü̈ ÃæãàÈíW… Ë®ÝÂÓÜWÜÙÜá

(B) PÜê£¿áÈÉ ®ÜáwÓÜÆ³vÜáÊÜ Aí£ÊÜá ®Ý¨ÜWÜÙÜá

(C) £àÊÜÅ pæí±æä

(D) ÊæãoPÝ¨Ü ÊÜááPÝ¤¿á

70. ÃÜkáÈÉ A¥ÜÊÝ ÃÜkáÆÉÄ¿á®Üá° Cí Ü̈á _________ Gí¨Üá PÜÃæ¿ááñÝ¤Ãæ.

(A) Ôí¸ÝÇ…WÜÙÜá

(B) SíiàÃÜ

(C) WæãoárÊÝ¨ÜÂ

(D) ÊæãàÔìíW…

71. ñæÊÜá¾íWÜá ¿ÞÊÜ ÃÝgÂ¨Ü hÝ®Ü±Ü¨Ü ÓÜíXàñÜ¨Ü

ÃÜã±ÜÊÝX¨æ ?

(A) Bí«ÜÅ ±ÜÅ¨æàÍÜ

(B) ñÜËáÙÜá ®ÝvÜá

(C) PÜ®ÝìoPÜ

(D) ÊÜáÖÝÃÝÐÜó



62. The characteristic “Black Patch” used in instruments like Mridanga, Tabla, khol etc. are referred to as

(A) Moorchana

(B) Pushkara

(C) Maarjana

(D) Saalaga Sooda


(A) Brovaparama

(B) Banturithi

(C) Teliyaleru

(D) Manasu nilpa

64. Suladi means

(A) Repetitive

(B) Traditional

(C) Modern

(D) Tala

65. Pudukkottai Manpundia Pillai is credited to have modified _______ instrument and made it into khanjira.

(A) Morsing

(B) Dholak

(C) Dep

(D) Tabla

66. Sangeet Bodh was authored by

(A) Sharachandra Paranjape

(B) V. R. Patawardhan

(C) Ahobal

(D) narad

67. Under Bhatkhande swara lipi system

symbol for komala swara is

(A) –

(B) .

(C) |

(D) X


(A) Guitar

(B) Clarinet

(C) Dilruba

(D) Mandolin

69. ‘Paran’ is a term used in karnatak

percussion solo to refer to

(A) Rolling patterns before mora

(B) Ending strokes played for a kriti

(C) Fast tempo

(D) Short ending

70. Jhalli or Jhallari is now known as

(A) Cymbals

(B) khanjira

(C) Gottuvadya

(D) Morsing

71. Temmangu is a folk musical form in the

state of

(A) Andhra Pradesh

(B) Tamil nadu

(C) karnataka

(D) Maharashtra



72. ¸ÝÆíñÝÅ±Üâ ÃÜg¯àPÝíñÜ ÃÝÊ… ¿ÞÊÜâ¨Ü®Üá°

ÓÜíPÜÆ®Ü ÊÜÞw¨ÝªÃæ ?

(A) gÊÜÚWÜÙÜá

(B) PÜ®ÜPÜ¨ÝÓÜÃÜ QàñÜì®æWÜÙÜá

(C) PæÒàñÜÅ¿áÂ ±Ü¨ÜWÜÙÜá

(D) ÓÝÃÜíWÜ±Ý~ ±Ü¨ÜWÜÙÜá

73. ¨ÝÃæãài HÃÜÊÜá¾ ¿ÞÊÜâ¨ÜPæR ±ÜÅÔ¨Üœ ?

(A) ÇÝÊÜ~

(B) ŸáÃÜÅPÜ¥Ý

(C) PæãàÃÜÊÝ~

(D) ÖÝÆQR

74. »ÝÃÜ£à¿á ÓÜíXàñ… PÝ C£ÖÝÓ… ÇæàSPÜ ¿ÞÃÜá ?

(A) BaÝ¿áì ŸêÖÜÓÜ³£

(B) BÃ…. Ô. ÊæáÖÝ¤

(C) ±ÜÅ©à±… PÜáÊÜÞÃ… ©àQÒñ…

(D) sÝPÜãÃ… hæç¨æàÊ… Ôí[…


a. ŸíoáÄà£ PæãàÆá 1. ÓÜÊÜá

b. ÊæãàPÜÒÊÜáá WÜÆ¨Ü 2. A£àñÜ

c. ÓÜÃæãàg ¨ÜÙÜ ®æà£Å 3. A®ÜWÜñÜ

d. aævæ Ÿá©œ ÊÜá®ÜáÃÜ 4. ÊÜá«ÝÂ©

(A) a – 3, b – 4, c – 1, d – 2

(B) a – 2, b – 3, c – 4, d – 1

(C) a – 4, b – 2, c – 1, d – 3

(D) a – 3, b – 1, c – 4, d – 2

76. MáÑ ÓÝÌ£¿áÊÜÃÜ ÊÜÞWÜì¨ÜÍÜì®Ü¨Ü®ÜáÓÝÃÜ ‘±ÜâÐÜRÃÜ’ ÊÜ®Üá° ÃÜã±ÜâWæãÚÔ¨Ü ¨æàÊÜÇæãàPÜ¨Ü

ÊÝÓÜá¤ÎÈ³ ¿ÞÃÜá ?

(A) ËÍÝÌËáñÜÅ

(B) PæãàÖÜÆ

(C) ËÍÜÌPÜÊÜáì

(D) »ÜÃÜñÜ

77. ÊÜáU ÖÜê¨Ü¿áÊÜå…, D »ÝÐÜÂÊÜ®Üá° ¿ÞÃÜ PÜê£¿á

ÊæáàÇæ ŸÃæ¿áÇÝX¨æ ?

(A) ÊæíPÜo ÊÜáU

(B) ÎÅàPÝíñÜ ÊÜáU

(C) WæãàËí¨Ü ÊÜáU

(D) ÓÜÃÜÔg ÊÜáU

78. ¨ÜáÅ±Ü¨Ü, C¨ÜÃÜ Aí£ÊÜá »ÝWÜÊÜ®Üá° H®æí¨Üá

PÜÃæ¿ááñÝ¤Ãæ ?

(A) ÓÝ§Àá

(B) dÜpÝÌíW…

(C) A»æãàW…

(D) AíñÜÃÜ

79. ÆWÝ®… WÝí«ÝÃ…®Üá° BËÐÜRÄÔ Ü̈ÊÜÃÜá ¿ÞÃÜá ?

(A) ÊÜáÈÉPÝgáì®Ü ÊÜá®ÜãÕÃ…

(B) PÜáÊÜÞÃÜ WÜí«ÜÊÜì

(C) ÃÝÊÜÞÍÜÅ¿á ÃÜkÞ

(D) ±Üíwñ… gÓ…ÃÝh…

80. ±ÝÅbà®Ü ñÜËáÙ… ±Ü®…&±ÜÇæç ÊÜÂÊÜÓæ§¿áá

(A) ÃÝWÜ ÊÜÂÊÜÓæ§

(B) ñÝÙÜ ÊÜÂÊÜÓæ§

(C) XàñÜ ÊÜÂÊÜÓæ§

(D) ÊÝ¨ÜÂ ÊÜÂÊÜÓæ§



72. Balantrapu Rajanikantha Rao has

compiled

(A) Javalis

(B) kanakadasa keerthanas

(C) kshetrayya Padams

(D) Sarangapani Padams

73. Daroji Eramma is famous for

(A) Lawani

(B) Burrakatha

(C) korawani

(D) Halakki

74. Author of Bharatiya Sangeet ka Itihas

(A) Acharya Brahaspati

(B) R. C. Mehta

(C) Pradeep kumar Dixit

(D) Thakur Jaidev Singh


a. Bantureeti kolu 1. Sama

b. Mokshamu 2. Ateeta

Galada

c. Saroja Dala 3. Anagata

netri

d. Chede Buddhi 4. Madhyadi

Manura

(A) a – 3, b – 4, c – 1, d – 2

(B) a – 2, b – 3, c – 4, d – 1

(C) a – 4, b – 2, c – 1, d – 3

(D) a – 3, b – 1, c – 4, d – 2

76. He was the celestial architect who

designed the ‘Pushkara’ as per the

instructions of Sage Svati.

(A) Viswamitra

(B) kohala

(C) Vishwakarma

(D) Bharata

77. Makhi Hrudayam, a commentary was

written on the text of

(A) Venkata Makhi

(B) Srikantha Makhi

(C) Govinda Makhi

(D) Sarasija Makhi

78. Terminal part of Drupad is known as

(A) Sthayi

(B) Chatwang

(C) Abhog

(D) Antara

79. Lagan Gandhar invented by

(A) Mallikarjun Mansur

(B) kumar Gandharva

(C) Ramashraya Jha

(D) Pt. Jas Raj

80. Ancient Tamil Pan-palai system is

(A) Raga system

(B) Tala system

(C) Geetha system

(D) Vadya system



81. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ®Üá° WÜÊÜá¯Ô : ÊÝPÜÂ (A) : Êæãà×¯¿áorÊÜå… ®ÜêñÜÂÍæçÈ¿áá

Êæãàw ÊÜÞvÜáÊÜÊÜÙÜ ®ÜêñÜÂÊÝX¨Üáª C¨ÜÃÜ ÊÜáãÆ PæàÃÜÙÜ.

ÊÝPÜÂ (R) : ÊÜáÖÝÃÝg ÓÝÌ£ £ÃÜá®ÝÙ…ÃÜÊÜÃÜá ÐæãàÐÜP Ü Ê Üáñ Üá ¤ Ó ÜíÁãàgPÜÃÝX ¯àw¨Ü PæãvÜáWæWÜÚí¨ÝX D ÍæçÈ¿áá ±ÜÅÔ©œ¿á®Üá° ±Üvæ©¨æ.

(A) ÊÝPÜÂ A ÊÜáñÜá¤ R ÓÜÄ¿ÞX¨æ ÊÜáñÜá¤ R ÊÝPÜÂÊÜâ A ÊÝPÜÂ¨Ü ËÊÜÃÜOæ¿ÞX¨æ

(B) ÊÝPÜÂ A ÊÜáñÜá¤ R ÓÜÄ¿ÞX æ̈ B Ü̈Ãæ ÊÝPÜÂ A

PÜáÄñÜá ÊÝPÜÂ R ¯àw¨Ü ËÊÜÃÜOæ ñÜ±Üâ³

(C) ÊÝPÜÂ A ÓÜÄ ÊÜáñÜá¤ ÊÝPÜÂ R ñÜ±Üâ³

(D) ÊÝPÜÂ A ñÜ±Üâ³ B¨ÜÃæ ÊÝPÜÂ R ÓÜÄ

82. Xàñæ¿á GÃÜvÜá ÊæçË«ÜÂñæWÜÙÜá ¿ÞÊÜâ¨Üá ?

(A) »ÜWÜÊÜ©Yàñæ ÊÜáñÜá¤ AÐÜrÊÜPÜÅ Xàñæ

(B) ÓÜíaÝÄ Xàñæ ÊÜáñÜá¤ ÆPÜÒ| Xàñæ

(C) »ÝÊÜ Xàñæ ÊÜáñÜá¤ hÝ®Ü±Ü¨Ü Xàñæ

(D) ®ÝÃÜ¨Ü Xàñæ ÊÜáñÜá¤ »ÝÃÜñÜ Xàñæ

83. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : a. ÃækãàÊÜáÅ ñÝÙÜ 1. 16 ÊÜÞñÝÅWÜÙÜá

b. TæàÊÜár ñÝÙÜ 2. 15 ÊÜÞñÝÅWÜÙÜá

c. gp… ñÝÙÜ 3. 12 ÊÜÞñÝÅWÜÙÜá

d. ÓÝÊÜÄ ñÝÙÜ 4. 14 ÊÜÞñÝÅWÜÙÜá

(A) a – 1, b – 4, c – 2, d – 3 (B) a – 2, b – 1, c – 3, d – 4 (C) a – 4, b – 3, c – 1, d – 2 (D) a – 3, b – 2, c – 4, d – 1

84. ÓÜíaÝÃÜ¨ÜÈÉ ±ÝÅÃÜí¼PÜ ÓÜÌÃÜ ÊÜáñÜá¤ Pæã®æ¿á ÓÜ ÌÃÜWÜÙÜá Jí¨æà BX¨ÜªÃæ A¨Ü®Üá° H®æí¨Üá PÜÃæ¿ááñÝ¤Ãæ ?

(A) AíÓÜ ÓÜÌÃÜ

(B) ÓÝ§Àá ÓÜÌÃÜ

(C) ®ÝÂÓÜ ÓÜÌÃÜ

(D) WÜÅÖÜ ÓÜÌÃÜ

85. PÜ®ÝìoPÜ ÓÜíXàñÜ¨ÜÈÉ __________ aÝ±Üâ ñÝÙÜWÜÚÊæ.

(A) 4 (B) 7 (C) 3 (D) 16

86. ¸ÝÙÜ±Ü³ ÖÜáPæRàÄ GÈÉ¿á ±ÜÅÔ¨ÜœÊÝ¨Ü hÝ®Ü±Ü¨Ü ÖÝvÜáWÝÃÜÃÝX¨ÝªÃæ ?

(A) ŸíWÝÆ

(B) PÜ®ÝìoPÜ

(C) ñÜËáÙÜá®ÝvÜá (D) Bí«ÜÅ

87. ÍÝÂÊÜÞ ÍÝÔ÷¿áÊÜÃÜ ÓÜÌÃÜ hÝ£WÜÙÜá ¿ÞÊÜ ÃÝWÜWÜÙÜÈÉÊæ ?

(A) »æçÃÜË, ñæãàw, ¿á¨ÜáPÜáÆ PÝí»æãài

(B) »æçÃÜË, PÝí»æãài, ñæãàw

(C) ñæãàw, ÍÜíPÜÃÝ»ÜÃÜ|, ®Ýo

(D) PÜÇÝÂ~, B®Üí¨Ü»æçÃÜË, ÓèÃÝÐÜó

88. ÓÜíXàñÜÊÜâ ¿ÞÊÜ ÆÈñÜ PÜÇæWÜÙÜ ÓÜËá¾ÍÜÅ|ÊÝX æ̈ ?

(A) WÝ¿á®Ü, ÊÝ¨ÜÂ, ®ÝoÂ

(B) ®ÝoÂ, bñÜÅPÜÇæ, ÎÆ³PÜÇæ

(C) ÊÜÞÎì¿áÇ… Bp…Õì, ®ÝoÂ, WÝ¿á®Ü

(D) WÝ¿á®Ü, ÊÝ¨ÜÂ, Êæà¨Ü

89. ÊÜáê¨ÜíWÜ¨Ü ²ñÝÊÜáÖÜ ¿ÞÃÜá ?

(A) ¨ÝÓ… ÓÝÌËáWÜÇ…

(B) ®ÝÃÝ¿á|ÓÝÌËá A±Ü³

(C) AÙÜWÜ®Üí¹¿á ²ÇæÉ$ç

(D) ±ÝÇÝ^p… ÊÜá~ I¿áÂÃ…

90. ®æÃÜÊÜÇ… ¿ÞÊÜâ¨ÜÃÜ ËÓÜ¤ÃÜOæ¿ÞX¨æ ?

(A) ÓÜÌÃÜ Ë®ÝÂÓÜ

(B) ÓÝ×ñÜÂ Ë®ÝÂÓÜ

(C) Æ¿á Ë®ÝÂÓÜ

(D) AÆíPÝÃÜ Ë®ÝÂÓÜ



81. Consider the following statements : Statement (A) : Mohiniyattam is the

dance of the enchantress and originates from kerala.

Statement (R) : Maharaja Swathi Thirunal’s contribution as patron and composer has popularised the style.

(A) Both A and R are true and R is the explanation of A

(B) Both A and R are true but R is not the correct explanation of A

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

82. Geetha has two varieties (A) Bhagavad Geetha, Astavakra Geetha (B) Sanchari Geetha, Lakshana Geetha (C) Bhava Geetha, Janapada Geetha (D) narada Geetha, Bharata Geetha

83. Match the following : a. Jhomra tala 1. 16 matras b. Khemta tala 2. 15 matras c. Jat tala 3. 12 matras d. Sawari tala 4. 14 matras (A) a – 1, b – 4, c – 2, d – 3 (B) a – 2, b – 1, c – 3, d – 4 (C) a – 4, b – 3, c – 1, d – 2 (D) a – 3, b – 2, c – 4, d – 1

84. In a sanchara, if the starting and ending swaras are the same, it is known as

(A) Amsa swara (B) Sthayi swara (C) nyasa swara (D) Graha swara

85. karnatak music has ________ chaapu talas.

(A) 4 (B) 7 (C) 3 (D) 16

86. Balappa Hukkeri is a famous folk singer of (A) Bengal (B) karnataka (C) Tamil nadu (D) Andhra

87. Swarajathis of Shyama Shastry are in these ragas.

(A) Bhairavi, Todi, Yadukula kambhoji

(B) Bhairavi, kambhoji, Todi (C) Todi, Shankarabharana, nata (D) kalyani, Anandabhairavi,

Sourastra

88. Music is the combination of these Fine Arts

(A) Vocal, Instrumental, Dance (B) Dance, Painting, Sculpture (C) Martial Arts, Dance, Vocal (D) Vocal, Instrumental, Veda

89. The father of Mridangam is (A) Das Swamigal (B) narayanaswamy Appa (C) Azaganambia Pillai (D) Palghat Mani Iyer

90. neraval is an elaboration of (A) Swara Vinyasa (B) Sahitya Vinyasa (C) Laya Vinyasa (D) Alankara Vinyasa




a. ÐÜvÜj 1. PÝPÜÈ ¯ÐÜ¨Ü

b. ÓÝ«ÝÃÜ| 2. aÜñÜáÍÜáÅ£ ¨æçÊÜñÜ

WÝí«ÝÃÜ

c. AíñÜÃÜ 3. ÍÜá¨Üœ ÊÜÞ«ÜÂÊÜá

WÝí«ÝÃÜ

d. ±ÜÅ£ ÊÜÞ«ÜÂÊÜá 4. ÍÜá¨Üœ ¨æçÊÜñÜ

(A) a – 4, b – 2, c – 3, d – 1

(B) a – 1, b – 3, c – 4, d – 2

(C) a – 3, b – 4, c – 2, d – 1

(D) a – 4, b – 3, c – 1, d – 2

92. ±ÜÅŸí«Ü¨Ü AíWÜWÜÙÜá ¿ÞÊÜâÊÜâ ?

(A) ÊæáÆ±ÝPÜ, E¨ÜY†ÖÜ, «ÜáÅÊÜ, A»æãàWÜ

(B) QÅ¿á, PÜÆ, ÊÜÞWÜì, AíWÜ, ±ÜÅñÜÂíWÜ

(C) ±ÜÆÉË, A®Üá±ÜÆÉË, aÜÃÜ|

(D) bñæ¤àÍÜÌÃÜ, GoárWÜvæàÍÜÌÃÜ

93. P æÙ ÜX® Ü h æãàw¿áÈÉ AÓ ÜÊ ÜáÊÝ¨Ü¨ Ü ª® Üá °

WÜáÃÜá£Ô.

(A) BË»ÝìÊÜ & £Ãæãà»ÝÊÜ

(B) AÆ³ñÜÌ & ŸÖÜáñÜÌ

(C) ÊÝ© & ÓÜíÊÝ©

(D) AÊÜÃæãàÖÜ & ±ÜPÜRvÜ

94. Jí¨Üá ÃÝWÜ¨ÜÈÉÃÜáÊÜ HPÜ ±ÜÅPÝÃÜ¨Ü ÓÜÌÃÜÊÜ®Üá°

H®æí¨Üá PÜÃæ¿ááñÝ¤Ãæ ?

(A) AaÜÆ ÓÜÌÃÜ

(B) PæãàÊÜáÆ ÓÜÌÃÜ

(C) ÍÜá¨Üœ ÓÜÌÃÜ

(D) £àÊÜÅ ÓÜÌÃÜ

95. XàñÜ WÝ¿á®Ü̈ ÜÈÉ ÆPÜÒ| Ü̈ ÊÜáãÆÊÜÂQ¤ ¿ÞÃÜá ?

(A) ñÝ®æÕà®…

(B) ±Üíwñ… Ë. G®…. »ÝñÜVívæ

(C) vÝ. ±ÜÆáÓÜRÃ…

(D) ÊÜÞñÜíWÜ

96. ÓÜÌÃÜ Gí¨ÜÃæ (A) HÙÜá ñÝÙÜWÜÙÜ Æ¿á

(B) ÓÜíXàñÜ¨Ü ÓÜÌÃÜ

(C) WÝ¿á®Ü ÍæçÈ

(D) ÊÜá®ÜÔÕ®Ü PÜÆ³®æ

97. ®ÜÊÜÓÜí˜ ñÝÙÜWÜÙÜá

(A) ÖÜÄP Ü¥ æ ± Ü Å¨ ÜÍ Üì® Ü¨ Ü Ê æàÙ æ 9 ¸ÝÄ ®ÜáwÓÜÆ³vÜáÊÜí¥Ü¨Üáª

(B) ®ÜÊÜÃÝ£Å PÝÆ Ü̈ÈÉ ®ÜáwÓÜÆ³vÜáÊÜ 9 ñÝÙÜWÜÙÜ ÓÜÊÜáãÖÜ

(C) ¿áPÜÒWÝ®Ü¨ÜÈÉ ŸÙÜPæ¿ÞWÜáÊÜ ñÝÙÜWÜÙÜ ÓÜÊÜáãÖÜ

(D) ±ÜÅ£Áãí¨Üá ©QRWÝX ¨æàÊÜÓÝ§®ÜWÜÙÜÈÉ E±ÜÁãàXÓÜÆ³vÜáÊÜ ñÝÙÜWÜÙÜ ÓÜÊÜáãÖÜ

98. ÓÜíXàñÜ ÓÜí±ÜÅ¨Ý¿á ±ÜÅ¨ÜÎì¯¿á®Üá° ¿ÞÊÜ CÓÜË¿áÈÉ ±ÜÅPÜqÓÜÇÝXñÜá¤ ?

(A) 1908 (B) 1904 (C) 1909 (D) 1910

99. ÃÝWÜ¨ÜÈÉÃÜáÊÜ ÊÜááSÂ ÓÜ ÌÃÜÊÜ®Üá° H®æí¨Üá PÜÃæ¿ááñÝ¤Ãæ ?

(A) ÓÜíÊÝ© (B) AíÍÜ

(C) A®ÜáÊÝ© (D) ËÊÝ©

100. ¨ÜáÅ±Ü¨Ü¨ÜÈÉ WæãŸ¨Ýì¯ ÍæçÈ¿áá ¿ÞÊÜâ¨Ü®Üá° A®ÜáÓÜÄÓÜáñÜ¤¨æ ?

(A) ¸æçh…° (B) ÃÝÊÜÞªÓ…

(C) ñÝ®æÕà®… (D) ¸ÝSá



91. Match the following : a. Shadja 1. kakali nishada b. Sadharana 2. Chatushruti Gandhara Daivata c. Antara 3. Shuddha Gandhara Madhyama d. Prati 4. Shuddha

Madhyama Daivata (A) a – 4, b – 2, c – 3, d – 1 (B) a – 1, b – 3, c – 4, d – 2 (C) a – 3, b – 4, c – 2, d – 1 (D) a – 4, b – 3, c – 1, d – 2

92. The angas of the Prabandha are (A) Melapaka, Udgraha, Dhruva,

Abhoga (B) kriya, kala, Marga, Anga,

Pratyanga (C) Pallavi, Anupallavi, Charana (D) Chitteswara, Ettugadeswara

93. Odd pair in the following list is (A) Avirbhava – Tirobhava (B) Alpatwa – Bahutwa (C) Vaadi – Samvadi (D) Avaroha – Pakkada

94. A steady note in a raga is called (A) Achala swara (B) komala swara (C) Shuddha swara (D) Teevra swara

95. Originator of lakshana of geet singing is (A) Tansen (B) Pt. V.n. Bhatkhande (C) Dr. Paluskar (D) Matanga

96. Swara is a (A) Rhythm of seven beats (B) Musical note (C) Style of singing (D) Mind’s imagery

97. navasandhi talas are (A) Played 9 times during a Harikatha

performance (B) Set of 9 talas played during

navratri (C) Set of talas used in Yakshagana (D) Set of talas used in temples for each

of the directions

98. Sangeetha Sampradaya Pradarshini was published in the year

(A) 1908 (B) 1904 (C) 1909 (D) 1910

99. Main swara in the raga is called (A) Samvadi (B) Amsha (C) Anuvadi (D) Vivadi

100. In Drupad, Gobardaani variety follows (A) Baijn (B) Ramdas (C) Tansen (D) Bakhu



bñÜá¤ ŸÃÜÖÜPÝRX ÓÜ§ÙÜ

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