PAPER-III

HINDUSTANI MUSIC
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J 16 1 6 (In words)

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Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 75
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J-16-16 1 P.T.O.
 HINDUSTANI MUSIC
Paper – III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each.
All questions are compulsory.
1. “Chatushchatushchatushchaiv Shadaj ................” Sloke indicates the division of
(1) Shruti – Swara (2) Shruti – Naad
(3) Swara – Taan (4) Swara – Raga

2. What is the most important step before doing the actual process of Research ?
(1) Preparing synopsis (2) Preparing Bibliography
(3) Finding primary sources (4) Conclusion

3. “NN PM GM RS” phrase is not used in which Raga ?

(1) Miyan Malhar (2) Bahar
(3) Darbari Kanhara (4) Kafi

4. In Bhupali making R, G, D komal makes it a Raga of which Aang ?

(1) Bhupali (2) Todi
(3) Bhairavi (4) Asawari

5. ‘Hirabai Barodkar’ belonged to which Gharana ?

(1) Agra (2) Gwalior
(3) Bhindi Bazar (4) Kirana

6. Which text was written by Lochan ?

(1) Swaramela Kalanidhi (2) Sangeet Makrand
(3) Raga Tarangini (4) Mankotuhal

7. ‘Gandhar’ and ‘Dhaiwat’ are avoided in the ascent of which of the following group ?
(1) Jogia – Desi (2) Des – Brindabani Sarang
(3) Gunkali – Bhupali (4) Megh – Sindhura

8. ‘Proportion and Balance’ are the principles of

(1) Aesthetics (2) Time – Theory
(3) Raga Classification (4) Sthaya
Paper-III 2 J-16-16
 ×Æü®¤ãüßÖÖ®Öß ÃÖÓÝÖߟÖ
¯ÖÏ¿®Ö¯Ö¡Ö – III
×®Ö¤ìü¿Ö : ‡ÃÖ ¯ÖÏ¿®Ö¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü (75) ²ÖÆãü-×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ¤üÖê (2) †ÓÛú Æïü … ÃÖ³Öß ¯ÖÏ¿®Ö †×®Ö¾ÖÖµÖÔ Æïü …
1. ““ÖŸÖãÀ“ÖŸÖãÀ“ÖŸÖãÀ“Öî¾Ö ÂÖ›Ëü•Ö .............................................. ” ¿»ÖÖêÛú ×ÛúÃÖÛúÖ ×¾Ö³ÖÖ•Ö®Ö ¤ü¿ÖÖÔŸÖÖ Æîü ?
(1) ÁÖã×ŸÖ – þָü (2) ÁÖã×ŸÖ – ®ÖÖ¤ü
(3) þָü – ŸÖÖ®Ö (4) þָü – ¸üÖÝÖ

2. ¿ÖÖê¬Ö Ûúß ¾ÖÖßÖ×¾ÖÛú ¯ÖÏ×ÛÎúµÖÖ ¿Öãºþ Ûú¸ü®Öê ÃÖê ¯ÖÆü»Öê ÛúÖî®Ö ÃÖÖ “Ö¸üÞÖ ÃÖ²ÖÃÖê ´ÖÆüŸ¾Ö¯ÖæÞÖÔ Æîü ?
(1) ºþ¯Ö¸êüÜÖÖ ŸÖîµÖÖ¸ü Ûú¸ü®ÖÖ (2) ÃÖÓ¤ü³ÖÔ ÝÖÏ®£Ö ÃÖæ×“Ö ²Ö®ÖÖ®ÖÖ
(3) ¯ÖÏÖ£Ö×´ÖÛú ÄÖÖêŸÖÖë ÛúÖê œæÑüœü®ÖÖ (4) ˆ¯ÖÃÖÓÆüÖ¸ü

3. “×®Ö×®Ö ¯Ö´Ö ÝÖ´Ö ¸êüÃÖ” þָü-ÃÖ´Öã¤üÖµÖ ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúÃÖ ¸üÖÝÖ ´Öë ®ÖÆüà ÆüÖêŸÖÖ Æîü ?
(1) ×´ÖµÖÖÑ ´Ö»ÆüÖ¸ü (2) ²ÖÆüÖ¸ü
(3) ¤ü¸ü²ÖÖ¸üß ÛúÖ®Æü›ÌüÖ (4) ÛúÖ±úß

4. ³Öæ¯ÖÖ»Öß ´Öë ‘¸êü, ÝÖ, ¬Ö’ ÛúÖê´Ö»Ö Ûú¸ü®Öê ÃÖê ×ÛúÃÖ †ÓÝÖ ÛúÖ ¸üÖÝÖ ²Ö®Ö •ÖÖŸÖÖ Æîü ?
(1) ³Öæ¯ÖÖ»Öß (2) ŸÖÖê›Ìüß
(3) ³Öî¸ü¾Öß (4) †ÖÃÖÖ¾Ö¸üß

5. “Æü߸üÖ²ÖÖ‡Ô ²Ö›ÌüÖî¤üÛú¸ü” ÛúÖ ÃÖÓ²ÖÓ¬Ö ×ÛúÃÖ ‘Ö¸üÖ®ÖÖ ÃÖê Æïü ?

(1) †ÖÝÖ¸üÖ (2) ݾÖÖ×»ÖµÖ¸ü
(3) ³ÖîÞ›üß ²ÖÖ•ÖÌÖ¸ü (4) ×Ûú¸üÖ®ÖÖ

6. »ÖÖê“Ö®Ö ®Öê ×ÛúÃÖ ÝÖÏ®£Ö ÛúÖê ×»ÖÜÖÖ ?

(1) þָü´Öê»ÖÛú»ÖÖ×®Ö×¬Ö (2) ÃÖÓÝÖßŸÖ ´ÖÛú¸Óü¤ü
(3) ¸üÖÝÖ ŸÖ¸Óü×ÝÖ®Öß (4) ´ÖÖ®ÖÛãúŸÖæÆü»Ö

7. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ÃÖ´ÖæÆü ´Öë ‘ÝÖ®¬ÖÖ¸ü’ †Öî¸ü ‘¬Öî¾ÖŸÖ’ ÛúÖ ¯ÖϵÖÖêÝÖ †Ö¸üÖêÆü ´Öë ®ÖÆüà ÆüÖêŸÖÖ ?
(1) •ÖÖê×ÝÖµÖÖ – ¤êüÃÖß (2) ¤êüÃÖ – ײ֮¦üÖ²Ö®Öß ÃÖÖ¸ÓüÝÖ
(3) ÝÖãÞÖÛú»Öß – ³Öæ¯ÖÖ»Öß (4) ´Öê‘Ö – ØÃÖ¬Öæ¸üÖ

8. ‘ÃÖ´ÖÖ®Öã¯ÖÖŸÖ ŸÖ£ÖÖ ÃÖ®ŸÖã»Ö®Ö’ ×ÛúÃÖÛêú ×ÃÖ¨üÖ®ŸÖ Æïü ?

(1) ÃÖÖï¤üµÖÔ¿ÖÖÃ¡Ö (2) ÃÖ´ÖµÖ - ×ÃÖ¨üÖ®ŸÖ
(3) ¸üÖÝÖ - ¾ÖÝÖáÛú¸üÞÖ (4) ãÖÖµÖ
J-16-16 3 Paper-III
9. Match the following and choose the correct code :
List – I List – II
a. Mattakokila Veena i. 9
b. Tritantri Veena ii. 1
c. Ghosha Veena iii. 21
d. Vipanchi Veena iv. 3
Codes :
a b c d
(1) i ii iii iv
(2) iv iii i ii
(3) iii iv ii i
(4) ii i iv iii

10. How many Rasas did Bharat mention in his text ?

(1) Three (2) Nine
(3) Ten (4) Eight

11. Pt. Chatur Lal was expert in playing which instrument ?

(1) Flute (2) Tabla
(3) Veena (4) Sitar

12. What is the correct order of presenting the following forms :

(1) Alapti, Rupkalaap, Ragalaap (2) Ragalaap, Alapti, Rupkalaap
(3) Rupkalaap, Alapti, Ragalaap (4) Ragalaap, Rupkalaap, Alapti

13. Which is the folk instrument ?

(1) Sarangi (2) Kamaycha
(3) Sarod (4) Rudra Veena

14. Which raga will be formed if Ni become Komal in Raga ‘Patdeep’ ?

(1) Bageshri (2) Kafi
(3) Bhimpalasi (4) Dhanashri

15. ‘Ragini’ Folk Song belongs to which state ?

(1) Haryana (2) Uttar Pradesh
(3) Gujarat (4) Manipur
Paper-III 4 J-16-16
9. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ ÛúßוֵÖê †Öî¸ü ÃÖÆüß Ûæú™ü “Öã×®Ö‹ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ´Ö¢ÖÛúÖê×Ûú»ÖÖ ¾ÖßÞÖÖ i. 9
b. ס֮֟¡Öß ¾ÖßÞÖÖ ii. 1
c. ‘ÖÖêÂÖÖ ¾ÖßÞÖÖ iii. 21
d. ×¾Ö¯ÖÓ“Öß ¾ÖßÞÖÖ iv. 3
Ûæú™ü :
a b c d
(1) i ii iii iv
(2) iv iii i ii
(3) iii iv ii i
(4) ii i iv iii

10. ³Ö¸üŸÖ ®Öê †¯Ö®Öê ÝÖÏ®£Ö ´Öë ×ÛúŸÖ®Öê ¸üÃÖÖë ÛúÖ ˆ»»ÖêÜÖ ×ÛúµÖÖ Æîü ?
(1) ŸÖß®Ö (2) ®ÖÖî
(3) ¤üÃÖ (4) †Öšü

11. ¯ÖÓ. “ÖŸÖã¸ü»ÖÖ»Ö ×ÛúÃÖ ¾ÖÖª ÛúÖê ²Ö•ÖÖ®Öê ´Öë ×®Ö¯ÖãÞÖ £Öê ?
(1) ²ÖÖÑÃÖã¸üß (2) ŸÖ²Ö»ÖÖ
(3) ¾ÖßÞÖÖ (4) ×ÃÖŸÖÖ¸ü

12. ×®Ö´®Ö×»Ö×ÜÖŸÖ ×¾Ö¬ÖÖ†Öë ÛúÖê ¯ÖÏßÖãŸÖ Ûú¸ü®Öê ÛúÖ ÃÖÆüß ÛÎú´Ö ŒµÖÖ Æîü ?
(1) †Ö»ÖׯŸÖ, ºþ¯ÖÛúÖ»ÖÖ¯Ö, ¸üÖÝÖÖ»ÖÖ¯Ö (2) ¸üÖÝÖÖ»ÖÖ¯Ö, †Ö»ÖׯŸÖ, ºþ¯ÖÛúÖ»ÖÖ¯Ö
(3) ºþ¯ÖÛúÖ»ÖÖ¯Ö, †Ö»ÖׯŸÖ, ¸üÖÝÖÖ»ÖÖ¯Ö (4) ¸üÖÝÖÖ»ÖÖ¯Ö, ºþ¯ÖÛúÖ»ÖÖ¯Ö, †Ö»ÖׯŸÖ

13. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ »ÖÖêÛú ¾ÖÖª Æîü ?

(1) ÃÖÖ¸ÓüÝÖß (2) ÛúÖ´ÖÖµÖ“ÖÖ
(3) ÃÖ¸üÖê¤ü (4) ¹ý¦ü ¾ÖßÞÖÖ

14. ¸üÖÝÖ ‘¯Ö™ü¤ü߯֒ ´Öë ‘×®Ö’ ÛúÖê ÛúÖê´Ö»Ö Ûú¸ü®Öê ÃÖê ÛúÖî®Ö ÃÖÖ ¸üÖÝÖ ²Ö®ÖêÝÖÖ ?
(1) ²ÖÖÝÖêÁÖß (2) ÛúÖ±úß
(3) ³Öß´Ö¯Ö»ÖÖÃÖß (4) ¬Ö®ÖÖÁÖß

15. ‘¸üÖ×ÝÖÞÖß’ »ÖÖêÛúÝÖßŸÖ ÛúÖ ÃÖÓ²ÖÓ¬Ö ×ÛúÃÖ ¯ÖϤêü¿Ö ÃÖê Æîü ?

(1) Æü׸üµÖÖÞÖÖ (2) ˆ¢Ö¸ü ¯ÖϤêü¿Ö
(3) ÝÖã•Ö¸üÖŸÖ (4) ´Ö×ÞÖ¯Öã¸ü
J-16-16 5 Paper-III
16. How many Angas of Prabandha has been discussed by Sarangdev ?
(1) 4 (2) 5
(3) 6 (4) 7

17. Match the following :

List – I List – II
a. Abhoga i. Ancient Tala-kriya
b. Arsabhi ii. Name of a Raga
c. Avap iii. Forth Stanza of a song
d. Anandi iv. Name of ancient Jati
Codes :
a b c d
(1) iii i iv ii
(2) iii ii iv i
(3) iii iv i ii
(4) ii iii iv i

18. ‘Prasanna’ is the name of

(1) Kaku (2) Alankar
(3) Ancient Tal (4) Ancient Raga

19. Raga ‘Sugharai’ belongs to which anga ?

(1) Sarang (2) Malhar
(3) Kanada (4) Bhairav

20. Choose the correct sequence :

(1) Dayavati, Roudri, Raktika, Ranjani
(2) Dayavati, Ranjani, Raktika, Roudri
(3) Ranjani, Raktika, Dayavati, Roudri
(4) Raktika, Ranjani, Roudri, Dayavati

21. Pt. Somnath used which Veena to show 22 shrutis ?

(1) Roudri Veena (2) Shruti Veena
(3) Achal Veena (4) Dhruva Veena

22. Who was the court singer of Mansingh Tomar ?

(1) Suratsen (2) Nayak Bakshu
(3) Gopal Nayak (4) Adarang
Paper-III 6 J-16-16
16. ÃÖÖ’ËûÝÖÔ¤êü¾Ö ®Öê ¯ÖϲÖÓ¬Ö Ûêú ×ÛúŸÖ®Öê †ÓÝÖÖë Ûúß “Ö“ÖÖÔ Ûúß Æîü ?
(1) 4 (2) 5
(3) 6 (4) 7

17. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ ÛúßוֵÖê :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. †Ö³ÖÖêÝÖ i. ¯ÖÏÖ“Öß®Ö ŸÖÖ»Ö-×ÛÎúµÖÖ
b. †ÖÂÖÔ×³Ö ii. ×ÛúÃÖß ¸üÖÝÖ ÛúÖ ®ÖÖ´Ö
c. †Ö¾ÖÖ¯Ö iii. ×ÛúÃÖß ÝÖßŸÖ ÛúÖ “ÖÖî£ÖÖ ¯ÖªÜÖÓ›ü
d. †Ö®ÖÓ¤üß iv. ¯ÖÏÖ“Öß®Ö •ÖÖ×ŸÖ ÛúÖ ®ÖÖ´Ö
Ûæú™ü :
a b c d
(1) iii i iv ii
(2) iii ii iv i
(3) iii iv i ii
(4) ii iii iv i

18. ‘¯ÖÏÃÖ®®Ö’ ×ÛúÃÖÛúÖ ®ÖÖ´Ö Æîü ?

(1) ÛúÖÛãú (2) †»ÖÓÛúÖ¸ü
(3) ¯ÖÏÖ“Öß®Ö ŸÖÖ»Ö (4) ¯ÖÏÖ“Öß®Ö ¸üÖÝÖ

19. ¸üÖÝÖ ‘ÃÖã‘Ö¸üÖ‡Ô’ ×ÛúÃÖ †ÓÝÖ ÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æîü ?

(1) ÃÖÖ¸ÓüÝÖ (2) ´Ö»ÆüÖ¸ü
(3) ÛúÖ®Ö›ÌüÖ (4) ³Öî¸ü¾Ö

20. ÃÖÆüß ÛÎú´Ö ÛúÖê “Öã×®Ö‹ :

(1) ¤üµÖÖ¾ÖŸÖß, ¸üÖî¦üß, ¸ü׌ŸÖÛúÖ, ¸Óü•Ö®Öß (2) ¤üµÖÖ¾ÖŸÖß, ¸Óü•Ö®Öß, ¸ü׌ŸÖÛúÖ, ¸üÖî¦üß
(3) ¸Óü•Ö®Öß, ¸ü׌ŸÖÛúÖ, ¤üµÖÖ¾ÖŸÖß, ¸üÖî¦üß (4) ¸ü׌ŸÖÛúÖ, ¸Óü•Ö®Öß, ¸üÖî¦üß, ¤üµÖÖ¾ÖŸÖß

21. ¯ÖÓ×›üŸÖ ÃÖÖê´Ö®ÖÖ£Ö ®Öê 22 ÁÖãןֵÖÖë ÛúÖê ¤ü¿ÖÖÔ®Öê Ûêú ×»Ö‹ ×ÛúÃÖ ¾ÖßÞÖÖ ÛúÖ ˆ¯ÖµÖÖêÝÖ ×ÛúµÖÖ ?
(1) ¸üÖî¦üß ¾ÖßÞÖÖ (2) ÁÖã×ŸÖ ¾ÖßÞÖÖ
(3) †“Ö»Ö ¾ÖßÞÖÖ (4) ¬ÖÐã¾Ö ¾ÖßÞÖÖ

22. ´ÖÖ®ÖØÃÖÆü ŸÖÖê´Ö¸ü Ûêú ¤ü¸ü²ÖÖ¸üß ÝÖÖµÖÛú ÛúÖî®Ö £Öê ?

(1) ÃÖæ¸üŸÖÃÖê®Ö (2) ®ÖÖµÖÛú ²ÖŒ¿Öæ
(3) ÝÖÖê¯ÖÖ»Ö ®ÖÖµÖÛú (4) †¤üÖ¸ÓüÝÖ
J-16-16 7 Paper-III
23. Choose odd one of the following :
(1) Citation (2) Parenthetic Note
(3) Synopsis (4) Leading note

24. Match the following :

List – I List – II
a. Vritti i. Tala-Jati
b. Vrinda ii. Action of hand
c. Visarjitam iii. Assemblage
d. Vishamapadi iv. Tala-Marga
Codes :
a b c d
(1) iv iii ii i
(2) ii iii iv i
(3) iv i iii ii
(4) ii iv i iii

25. In which century Pt. Shubhankar wrote ‘Sangeet Damodar’ ?

(1) 14th century (2) 15th century
(3) 16th century (4) 18th century

26. ‘Swara’ consist of 4 shrutis is equal to

(1) 204 cents (2) 200 cents
(3) 182 cents (4) 150 cents

27. ‘Bharat Muni’ is the exponent of

(1) Rasavad (2) Sahasvad
(3) Dhwanivad (4) Vakroktivad

28. Amongst all the forms of art the most abstract form is
(1) Literature (2) Painting
(3) Music (4) Sculpture

29. On what factor the intensity of sound waves depend ?

(1) Frequency (2) Amplitude
(3) Period (4) Wave length
Paper-III 8 J-16-16
23. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×¾ÖÂÖ´Ö ÛúÖê “Öã×®Ö‹ :
(1) ÃÖÖ‡™êü¿Ö®Ö (2) ¯Öê¸êü®£Öê×™üÛú ®ÖÖê™ü
(3) ×ÃÖ®ÖÖêׯÃÖÃÖ (4) »ÖßØ›üÝÖ ®ÖÖê™ü

24. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ ÛúßוֵÖê :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ¾Öé×¢Ö i. ŸÖÖ»Ö-•ÖÖןÖ
b. ¾ÖéÓ¤ü ii. ÆüÖ£Ö ÛúÖ ÃÖÓÛêúŸÖ
c. ×¾ÖÃÖ¸üוִ֟ÖË iii. ÃÖÓµÖÖê•Ö®Ö
d. ×¾ÖÂÖ´Ö¯Ö¤üß iv. ŸÖÖ»Ö-´ÖÖÝÖÔ
Ûæú™ü :
a b c d
(1) iv iii ii i
(2) ii iii iv i
(3) iv i iii ii
(4) ii iv i iii

25. ¯ÖÓ×›üŸÖ ¿Öã³ÖÓÛú¸ü ®Öê ‘ÃÖÓÝÖßŸÖ ¤üÖ´ÖÖê¤ü¸ü’ Ûú²Ö ×»ÖÜÖÖ £ÖÖ ?

(1) 14¾Öà ¿ÖŸÖÖ²¤üß ´Öë (2) 15¾Öà ¿ÖŸÖÖ²¤üß ´Öë
(3) 16¾Öà ¿ÖŸÖÖ²¤üß ´Öë (4) 18¾Öà ¿ÖŸÖÖ²¤üß ´Öë

26. þָü ´Öë 4 ÁÖãןֵÖÖÑ ×ÛúÃÖÛêú ÃÖ´ÖÖ®Ö ÆüÖêŸÖß Æïü ?

(1) 204 ÃÖê®™ËüÃÖ (2) 200 ÃÖê®™ËüÃÖ
(3) 182 ÃÖê®™ËüÃÖ (4) 150 ÃÖê®™ËüÃÖ

27. ‘³Ö¸üŸÖ ´Öã×®Ö’ ×ÛúÃÖÛêú ¯ÖÏן֯ÖÖ¤üÛú Æïü ?

(1) ¸üÃÖ¾ÖÖ¤ü (2) ÃÖÆüÃÖ¾ÖÖ¤ü
(3) ¬¾Ö×®Ö¾ÖÖ¤ü (4) ¾ÖÛÎúÖê׌ŸÖ¾ÖÖ¤ü

28. Ûú»ÖÖ Ûêú ÃÖ³Öß ºþ¯ÖÖë ´Öë ÃÖê ÃÖ¾ÖÖÔ׬ÖÛú †´ÖæŸÖÔ ºþ¯Ö Æîü :
(1) ÃÖÖ×ÆüŸµÖ (2) ד֡ÖÛúÖ¸üß
(3) ÃÖÓÝÖßŸÖ (4) ´ÖæÙŸÖÛú»ÖÖ

29. ¬¾Ö×®Ö ŸÖ¸ÓüÝÖÖë Ûúß ŸÖß¾ÖΟÖÖ ×ÛúÃÖ ÛúÖ¸üÛú ¯Ö¸ü ×®Ö³ÖÔ¸ü Ûú¸üŸÖß Æïü ?
(1) ²ÖÖ¸ü´²ÖÖ׸üŸÖÖ (2) ×¾ÖßÖßÞÖÔŸÖÖ
(3) ÃÖ´ÖµÖÖ¾Ö×¬Ö (4) ¬¾Ö×®Ö ŸÖ¸ÓüÝÖ
J-16-16 9 Paper-III
 ⋅
30. RMPDS
This phrase does not belongs to
(1) Gunkali (2) Jogia
(3) Bhairavi (4) Komal Asawari

31. Which artist from the following belongs to Agra Gharana ?

(1) Moghubai Kurdikar (2) Suhasini Koratkar
(3) Sumati Mutatkar (4) Kishori Amonkar

32. Choose the correct sequence according to evolution and development of instrument :
(1) Surbahar, Sitar, Been (2) Been, Surbahar, Sitar
(3) Sitar, Been, Surbahar (4) Surbahar, Been, Sitar

33. Aman Ali Khan belongs to which Gharana ?

(1) Shyam Chourashi (2) Bhindi Bazar
(3) Khurja (4) Atrouli

34. Who is the son of Alladiya Khan ?

(1) Haidar Khan (2) Manji Khan
(3) Wazid Hussain (4) Azmat Ali

35. Which Murchhana belongs to Sadja-Grama ?

(1) Souviri (2) Shuddha-Madhya
(3) Aswakranta (4) Pouravi

36. ‘Sangit Chintamani’ was written by

(1) Lalmani Misra (2) B.C. Deva
(3) K.C.D. Brihaspati (4) O. Goswami

37. The following phrases belongs to which raga ?

M P D G R G S, R N_ D. P. D. N. S
.
(1) Kafi (2) Sindhura
(3) Barwa (4) Gara

38. Which pair of the following is not correctly matched ?

(1) Abdul Karim Khan – Suresh Babu Mane
(2) Vilayat Khan – Shahid Parvez
(3) Mehbub Khan – Ata Hussain Khan
(4) Rahim Sen – Amrit Sen
Paper-III 10 J-16-16
30. ¸êü ´Ö ¯Ö ¬Ö ÃÖÖÓ
µÖÆü þָüÖ¾Ö»Öß ×ÛúÃÖ ¸üÖÝÖ Ûúß ®ÖÆüà Æïü ?
(1) ÝÖãÞÖÛú»Öß (2) •ÖÖê×ÝÖµÖÖ
(3) ³Öî¸ü¾Öß (4) ÛúÖê´Ö»Ö †ÖÃÖÖ¾Ö¸üß

31. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ Ûú»ÖÖÛúÖ¸ü ÛúÖ, †ÖÝÖ¸üÖ ‘Ö¸üÖ®Öê ÃÖê ÃÖÓ²ÖÓ¬Ö Æîü ?
(1) ´ÖÖê‘Öã²ÖÖ‡Ô ÛãúÙ›üÛú¸ü (2) ÃÖãÆüÖ×ÃÖ®Öß ÛúÖê¸ü™üÛú¸ü
(3) ÃÖã´Ö×ŸÖ ´Öã™üÖ™üÛú¸ü (4) ×Ûú¿ÖÖê¸üß †´ÖÖê®ÖÛú¸ü

32. ¾ÖÖª µÖÓ¡ÖÖë Ûêú ˆ¤ËüÝÖ´Ö †Öî¸ü ×¾ÖÛúÖÃÖ Ûêú †®ÖãÃÖÖ¸ü ÃÖÆüß ÛÎú´Ö “Öã×®ÖµÖê :
(1) ÃÖã¸ü²ÖÆüÖ¸ü, ×ÃÖŸÖÖ¸ü, ²Öß®Ö (2) ²Öß®Ö, ÃÖã¸ü²ÖÆüÖ¸ü, ×ÃÖŸÖÖ¸ü
(3) ×ÃÖŸÖÖ¸ü, ²Öß®Ö, ÃÖã¸ü²ÖÆüÖ¸ü (4) ÃÖã¸ü²ÖÆüÖ¸ü, ²Öß®Ö, ×ÃÖŸÖÖ¸ü

33. †´ÖÖ®Ö †»Öß ÜÖÖ®Ö ×ÛúÃÖ ‘Ö¸üÖ®ÖÖ ÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æïü ?

(1) ¿µÖÖ´Ö “ÖÖî¸üÖ¿Öß (2) ׳ÖÞ›üß ²ÖÖ•ÖÖ¸ü
(3) ÜÖã•ÖÖÔ (4) †ŸÖ¸üÖê»Öß

34. †»»ÖÖפüµÖÖ ÜÖÖÑ Ûêú ¯Öã¡Ö ÛúÖî®Ö Æïü ?

(1) Æîü¤ü¸ü ÜÖÖÑ (2) ´ÖÓ•Öß ÜÖÖÑ
(3) ¾ÖÖוÖ̤ü ÆãüÃÖî®Ö (4) †•ÖÌ´ÖŸÖ †»Öß

35. ÛúÖî®Ö ÃÖÖ ´Öã“”Ôû®ÖÖ ÂÖ›Ëü•Ö ÝÖÏÖ´Ö ÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æîü ?

(1) ÃÖÖî×¾Ö¸üß (2) ¿Öã¨ü ´Ö¬µÖÖ
(3) †¿¾ÖÛÎúÖÓŸÖÖ (4) ¯ÖÖî¸ü¾Öß

36. ÃÖÓÝÖßŸÖ ×“Ö®ŸÖÖ´ÖÞÖß ÛúÖ »ÖêÜÖÛú ÛúÖî®Ö Æïü ?

(1) »ÖÖ»Ö´Ö×ÞÖ ×´ÖÁÖ (2) ²Öß.ÃÖß. ¤êü¾Ö
(3) Ûêú.ÃÖß.›üß. ²ÖéÆüïÖ×ŸÖ (4) †Öê. ÝÖÖêþÖÖ´Öß

37. ×®Ö´®Ö×»Ö×ÜÖŸÖ Ã¾Ö¸ü ÃÖ´Öã¤üÖµÖ ×ÛúÃÖ ¸üÖÝÖ Ûêú Æïü ?

´Ö ¯Ö ¬Ö _ÝÖ ¸êü _ÝÖ ÃÖÖ, ¸êü ×®Ö_. ¬Ö. ¯Ö. ¬Ö. ×®Ö. ÃÖÖ
(1) ÛúÖ±úß (2) ØÃÖ¬Öã¸üÖ
(3) ²Ö¸ü¾ÖÖ (4) ÝÖÖ¸üÖ

38. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ µÖãÝ´Ö ÃÖã´Öê×»ÖŸÖ ®ÖÆüà Æîü ?
(1) †²¤ãü»Ö Ûú¸üß´Ö ÜÖÖÑ – ÃÖã¸êü¿Ö ²ÖÖ²Öæ ´ÖÖ®Öê
(2) ×¾Ö»ÖÖµÖŸÖ ÜÖÖÑ – ¿ÖÖ×Æü¤ü ¯Ö¸ü¾Öê•ÖÌ
(3) ´ÖêÆü²Öæ²Ö ÜÖÖÑ – †ŸÖÖ ÆãüÃÖî®Ö ÜÖÖÑ
(4) ¸üÆüß´Ö ÃÖê®Ö – †´ÖéŸÖ ÃÖê®Ö

J-16-16 11 Paper-III
39. Correct Shruti-Swar division of Madhyam Grama is
(1) 4, 3, 2, 4, 4, 3, 2 (2) 4, 3, 4, 2, 4, 3, 2
(3) 4, 3, 3, 3, 4, 3, 2 (4) 4, 4, 3, 2, 4, 3, 2

40. The 1st recording of Instrumental Music was

(1) ‘Jaunpuri’ by Imdad Khan
(2) ‘Bhup Kalyan’ by Barkatullah Khan
(3) ‘Malkauns’ by Bundu Khan
(4) ‘Lalit’ by Dabir Khan

41. Which raga does not belongs to Todi Thata ?

(1) Mian-ki-Todi (2) Gujri Todi
(3) Bilaskhani Todi (4) Multani

42. RN
_ S, M G R S
.
This phrase is common for which group ?
(1) Bageshri and Darbari Kanada
(2) Bageshri and Jaunpuri
(3) Bageshri and Bhimpalasi
(4) Bageshri and Patdip

43. ‘Ardhamagadhi’ is related to

(1) Alap (2) Khayal
(3) Prabandha (4) Geeti

44. In which raga of the following, Gandhar is treated as Ati Komal ?

(1) Mian-ki-Malhar (2) Ramdasi Malhar
(3) Adana (4) Darbari Kanhada

45. Which raga is similar to Minor scale ?

(1) Asawari (2) Desh
(3) Kafi (4) Kalyan

46. The song is sung during the ‘Raas’

(1) Chhalikya (2) Jhumur
(3) Dharu (4) Haveli
Paper-III 12 J-16-16
39. ´Ö¬µÖ´Ö ÝÖÏÖ´Ö ÛúÖ ÃÖÆüß ÁÖã×ŸÖ Ã¾Ö¸ü ×¾Ö³ÖÖ•Ö®Ö ŒµÖÖ Æîü ?
(1) 4, 3, 2, 4, 4, 3, 2 (2) 4, 3, 4, 2, 4, 3, 2
(3) 4, 3, 3, 3, 4, 3, 2 (4) 4, 4, 3, 2, 4, 3, 2

40. ¾ÖÖª ÃÖÓÝÖßŸÖ Ûúß ¯ÖÆü»Öß ×¸üÛúÖÚ›üÝÖ Æãü‡Ô £Öß

(1) ‡´Ö¤üÖ¤ü ÜÖÖÑ «üÖ¸üÖ, ‘•ÖÖî®Ö¯Öã¸üß’ (2) ²Ö¸üÛúŸÖã»»ÖÖ ÜÖÖÑ «üÖ¸üÖ, ‘³Öæ¯Ö Ûú»µÖÖÞÖ’
(3) ²Ö㮤ãü ÜÖÖÑ «üÖ¸üÖ, ‘´ÖÖ»ÖÛúÖïÃÖ’ (4) ¤ü²Ö߸ü ÜÖÖÑ «üÖ¸üÖ, ‘»Ö×»ÖŸÖ’

41. ÛúÖî®Ö ÃÖÖ ¸üÖÝÖ ŸÖÖê›Ìüß £ÖÖ™ü ÛúÖ ®ÖÆüà Æîü ?

(1) ×´ÖµÖÖÑ Ûúß ŸÖÖê›Ìüß (2) ÝÖã•Ö¸üß ŸÖÖê›Ìüß
(3) ײֻÖÖÃÖÜÖÖ®Öß ŸÖÖê›Ìüß (4) ´Öã»ÖŸÖÖ®Öß

42. ¸êü ×®Ö_. ÃÖÖ, ´Ö _ÝÖ ¸êü ÃÖÖ

µÖÆü þָü ÃÖ´Öã¤üÖµÖ ×ÛúÃÖ ÃÖ´ÖæÆü ´Öë ÃÖ´ÖÖ®Ö Æîü ?
(1) ²ÖÖÝÖêÁÖß ŸÖ£ÖÖ ¤ü¸ü²ÖÖ¸üß ÛúÖ®Ö›ÌüÖ (2) ²ÖÖÝÖêÁÖß ŸÖ£ÖÖ •ÖÖî®Ö¯Öã¸üß
(3) ²ÖÖÝÖêÁÖß ŸÖ£ÖÖ ³Öß´Ö¯Ö»ÖÖÃÖß (4) ²ÖÖÝÖêÁÖß ŸÖ£ÖÖ ¯Ö™ü¤ü߯Ö

43. ‘†¬ÖÔ´ÖÖÝÖ¬Öß’ ×ÛúÃÖÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æîü ?

(1) †Ö»ÖÖ¯Ö (2) ܵÖÖ»Ö
(3) ¯ÖϲÖÓ¬Ö (4) ÝÖßןÖ

44. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ¸üÖÝÖ ´Öë †×ŸÖ ÛúÖê´Ö»Ö ÝÖÖÓ¬ÖÖ¸ü ÛúÖ ¯ÖϵÖÖêÝÖ ÆüÖêŸÖÖ Æîü ?
(1) ×´ÖµÖÖÑ Ûúß ´Ö»ÆüÖ¸ü (2) ¸üÖ´Ö¤üÖÃÖß ´Ö»ÆüÖ¸ü
(3) †›ÌüÖ®ÖÖ (4) ¤ü¸ü²ÖÖ¸üß ÛúÖ®Ö›ÌüÖ

45. ÛúÖî®Ö ÃÖÖ ¸üÖÝÖ ´ÖÖ‡®Ö¸ü ÃÛêú»Ö Ûêú ÃÖ´ÖÖ®Ö Æîü ?

(1) †ÖÃÖÖ¾Ö¸üß (2) ¤êü¿Ö
(3) ÛúÖ±úß (4) Ûú»µÖÖÞÖ

46. ¸üÖÃÖ Ûêú ¤üÖî¸üÖ®Ö ×®Ö´®Ö ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ÝÖßŸÖ ÝÖÖµÖÖ •ÖÖŸÖÖ Æîü ?
(1) ”ûÖ×»ÖŒµÖ (2) —Öã´Öã¸ü
(3) ¬ÖÖºþ (4) Æü¾Öê»Öß
J-16-16 13 Paper-III
47. Choose the correct code :
Assertion (A) : Deshi Todi is a morning Raga.
Reason (R) : It belongs to Todi thata.
Codes :
(1) (A) is correct but (R) is incorrect.
(2) (A) is incorrect but (R) is correct.
(3) (A) and (R) both are correct.
(4) (A) and (R) both are incorrect.

48. Raga lalit is meant to perform at

(1) between 4 to 7 a.m.
(2) between 5 to 8 a.m.
(3) between 6 to 9 a.m.
(4) between 8 to 11 a.m.

49. Which of the following raga is not created by Pt. Ravishankar ?

(1) Parameswari
(2) Medhavi
(3) Rasia
(4) Tilak Shyam

50. Arrange chronologically, the following Bharatratna awardees :

(1) Ravishankar, Subhalakshmi, Lata Mangeshkar
(2) Lata Mangeshkar, Subhalakshmi, Ravishankar
(3) Subhalakshmi, Ravishankar, Lata Mangeshkar
(4) Subhalakshmi, Lata Mangeshkar, Ravishankar

51. Raga Bhatiyar is combination of

(1) Todi and Puriya
(2) Bhairav and Marwa
(3) Todi and Sohini
(4) Marwa and Bhairavi

52. A type of musical form having four variegated feature is

(1) Bhajan (2) Lavni
(3) Tusu (4) Chaturanga
Paper-III 14 J-16-16
47. ÃÖÆüß Ûæú™ü ÛúÖê “Öã×®Ö‹ :
†×³ÖÛú£Ö®Ö (A) : ¤êü¿Öß ŸÖÖê›Ìüß ¯ÖÏÖŸÖ: ÛúÖ ¸üÖÝÖ Æîü …
ÛúÖ¸üÞÖ (R) : ‡ÃÖÛúÖ ÃÖÓ²ÖÓ¬Ö ŸÖÖê›Ìüß šüÖ™ü ÃÖê Æîü …
Ûæú™ü :
(1) (A) ÃÖÆüß Æîü, ¯Ö¸ÓüŸÖã (R) ÝÖ»ÖŸÖ Æîü …
(2) (A) ÝÖ»ÖŸÖ Æîü, ¯Ö¸ÓüŸÖã (R) ÃÖÆüß Æîü …
(3) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(4) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …

48. ¸üÖÝÖ »Ö×»ÖŸÖ ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ÃÖ´ÖµÖ ÝÖÖµÖÖ •ÖÖŸÖÖ Æîü ?
(1) ¯ÖÏÖŸÖ: 4 ÃÖê 7 ²Ö•Öê Ûêú ²Öß“Ö
(2) ¯ÖÏÖŸÖ: 5 ÃÖê 8 ²Ö•Öê Ûêú ²Öß“Ö
(3) ¯ÖÏÖŸÖ: 6 ÃÖê 9 ²Ö•Öê Ûêú ²Öß“Ö
(4) ¯ÖÏÖŸÖ: 8 ÃÖê 11 ²Ö•Öê Ûêú ²Öß“Ö

49. ¯ÖÓ×›üŸÖ ¸ü×¾Ö¿ÖÓÛú¸ü ®Öê ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ¸üÖÝÖ ÛúÖ ÃÖé•Ö®Ö ®ÖÆüà ×ÛúµÖÖ ?
(1) ¯Ö¸ü´Ö꿾ָüß (2) ´Öê¬ÖÖ¾Öß
(3) ¸ü×ÃÖµÖÖ (4) ןֻÖÛú ¿µÖÖ´Ö

50. ×®Ö´®Ö×»Ö×ÜÖŸÖ ³ÖÖ¸üŸÖ ¸üŸ®Ö ¯Öã¸üÃÛúÖ¸ü ×¾Ö•ÖêŸÖÖ†Öë ÛúÖê †®ÖãÛÎú´ÖÖ®ÖãÃÖÖ¸ü ¾µÖ¾Ö×Ã£ÖŸÖ Ûúßו֋ :
(1) ¸ü×¾Ö¿ÖÓÛú¸ü, ¿Öã³Ö»Öõ´Öß, »ÖŸÖÖ ´ÖÓÝÖê¿Ûú¸ü
(2) »ÖŸÖÖ ´ÖÓÝÖê¿Ûú¸ü, ¿Öã³Ö»Öõ´Öß, ¸ü×¾Ö¿ÖÓÛú¸ü
(3) ¿Öã³Ö»Öõ´Öß, ¸ü×¾Ö¿ÖÓÛú¸ü, »ÖŸÖÖ ´ÖÓÝÖê¿Ûú¸ü
(4) ¿Öã³Ö»Öõ´Öß, »ÖŸÖÖ ´ÖÓÝÖê¿Ûú¸ü, ¸ü×¾Ö¿ÖÓÛú¸ü

51. ¸üÖÝÖ ³Ö×™üµÖÖ¸ü ×®Ö´®Ö ´Öë ÃÖê ×ÛúÃÖÛúÖ ×´ÖÁÖÞÖ Æîü ?

(1) ŸÖÖê›Ìüß ‹¾ÖÓ ¯Öæ׸üµÖÖ (2) ³Öî¸ü¾Ö ‹¾ÖÓ ´ÖÖ¸ü¾ÖÖ
(3) ŸÖÖê›Ìüß ‹¾ÖÓ ÃÖÖê×Æü®Öß (4) ´ÖÖ¸ü¾ÖÖ ‹¾ÖÓ ³Öî¸ü¾Öß

52. “ÖÖ¸ü ×¾Ö×¾Ö¬Ö »ÖõÖÞÖÖë ÃÖê µÖãŒŸÖ ÃÖÖÓÝÖßןÖÛú ×¾Ö¬ÖÖ Æîü

(1) ³Ö•Ö®Ö (2) »ÖÖ¾ÖÞÖß
(3) ŸÖãÃÖã (4) “ÖŸÖã¸ÓüÝÖ
J-16-16 15 Paper-III
53. Raga Jai-Jai Wanti belongs to which category ?
(1) Chhyalag Raga
(2) Sandhiprakas Raga
(3) Paramel Praveshak Raga
(4) Shuddha Raga

54. Match the following :

List – I List – II
|
a. Shuddha Kalyan i. Ma Pa Ga Ma Re Sa
|
b. Chhayanat ii. Ma Pa Re Ga
|
c. Shyamkalyan iii. Pa Ma Pa Re sa
Ga
|
d. Hamir iv. Ma Pa Ga Ma Dha
Codes :
a b c d
(1) i iv iii ii
(2) ii iii iv i
(3) iv i ii iii
(4) iii ii i iv

55. Select the correct group which depict Thumri Singers.

(1) Tarapada Chakrabarty, Kishan Maharaj, Bahadur Khan
(2) Zamiruddin Khan, Girija Shankar Chakrabarty, Bhaiya Saheb
(3) Bahadur Khan, Tanras Khan, Nimaichand Badal
(4) Lachhmiprasad Mishra, Biswanath Rao, Basav Khan

56. Out of the following which one is specifically used in folk music :
(1) Khole (2) Harp
(3) Pepa (4) Mouth organ

57. The following phrases indicates the Raga in which Thumri can be sung :
(1) Re Pa Ga Ma Dha Pa Ga Ma Re Sa
(2) Sa Ga Re Ga Sa Re Ni
⋅ Sa, Ga Ma Pa Ga Re Sa
| |
(3) Ni
⋅ Re Ga Ma Ma Ma, Ma Ga Re Sa
|
(4) Ni
⋅ Sa Ga Ma Pa, Pa Ma Ga Re Sa
Paper-III 16 J-16-16
53. ¸üÖÝÖ •ÖµÖ-•ÖµÖ¾Ö®ŸÖß ×ÛúÃÖ ÁÖêÞÖß ÛúÖ ¸üÖÝÖ Æîü ?
(1) ”ûÖµÖÖ»ÖÖÝÖ ¸üÖÝÖ (2) ÃÖÓ׬֯ÖÏÛúÖ¿Ö ¸üÖÝÖ
(3) ¯Ö¸ü´Öê»Ö ¯ÖϾÖê¿ÖÛú ¸üÖÝÖ (4) ¿Öã¨ü ¸üÖÝÖ

54. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖ ×´Ö»ÖÖ®Ö Ûú¸ëü :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ¿Öã¨ü Ûú»µÖÖÞÖ i. ´Ö… ¯Ö ÝÖ ´Ö ¸êü ÃÖ
b. ”ûÖµÖÖ®Ö™ü ii. ´Ö… ¯Ö ¸êü ÝÖ
c. ¿µÖÖ´ÖÛú»µÖÖÞÖ iii. ¯Ö ´Ö… ¯Ö ¸êü ÃÖ
ÝÖ
d. Æü´Ö߸ü …
iv. ´Ö ¯Ö ÝÖ ´Ö ¬Ö
Ûæú™ü :
a b c d
(1) i iv iii ii
(2) ii iii iv i
(3) iv i ii iii
(4) iii ii i iv

55. šãü´Ö¸üß ÝÖÖµÖÛúÖë Ûêú ÃÖÆüß ÃÖ´ÖæÆü Ûúß ¯ÖÆü“ÖÖ®Ö Ûúßו֋ :

(1) ŸÖÖ¸ü¯Ö›ÌüÖ “ÖÛÎú¾ÖŸÖá, ×Ûú¿Ö®Ö ´ÖÆüÖ¸üÖ•Ö, ²ÖÆüÖ¤ãü¸ü ÜÖÌÖ®Ö
(2) •ÖÌ´Öß¹ý§üß®Ö ÜÖÖ®Ö, ×ÝÖ׸ü•ÖÖ ¿ÖÓÛú¸ü “ÖÛÎú¾ÖŸÖá, ³ÖîµÖÖ ÃÖÖÆêü²Ö
(3) ²ÖÆüÖ¤ãü¸ü ÜÖÌÖ®Ö, ŸÖÖ®Ö¸üÃÖ ÜÖÌÖ®Ö, ×®Ö´ÖÖ‡Ô“ÖÓ¤ü ²Ö›ÌüÖ»Ö
(4) »Öõ´Ö߯ÖÏÃÖÖ¤ü ×´ÖÁÖ, ×¾Ö¿¾Ö®ÖÖ£Ö ¸üÖ¾Ö, ²ÖÖÃÖ¾Ö ÜÖÌÖ®Ö

56. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖÛúÖ ‡ÃŸÖê´ÖÖ»Ö »ÖÖêÛú ÃÖÓÝÖßŸÖ ´Öë ×¾Ö¿ÖêÂÖ ºþ¯Ö ÃÖê ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(1) ÜÖÖê»Ö (2) ÆüÖ¯ÖÔ
(3) ¯Öê¯ÖÖ (4) ´ÖÖˆ£Ö †ÖòÝÖÔ®Ö

57. ×®Ö´®Ö×»Ö×ÜÖŸÖ Ã¾Ö¸üÖ¾Ö×»ÖµÖÖë ´Öë ¤üÙ¿ÖŸÖ ×ÛúÃÖ ¸üÖÝÖ ´Öë šãü´Ö¸üß ÝÖÖµÖ®Ö ×ÛúµÖÖ •ÖÖ ÃÖÛúŸÖÖ Æîü ?
(1) ¸êü ¯Ö ÝÖ ´Ö ¬Ö ¯Ö ÝÖ ´Ö ¸êü ÃÖÖ
(2) ÃÖÖ _ÝÖ ¸êü _ÝÖ ÃÖÖ ¸êü ×®Ö. ÃÖÖ, ÝÖ ´Ö ¯Ö _ÝÖ ¸êü ÃÖÖ
… …
(3) ×®Ö. _¸êü ÝÖ ´Ö ´Ö ´Ö, ´Ö _ÝÖ _¸êü ÃÖÖ
…
(4) ×®Ö. ÃÖÖ _ÝÖ ´Ö ¯Ö, ¯Ö ´Ö _ÝÖ _¸êü ÃÖÖ
J-16-16 17 Paper-III
58. Find out the ‘Shadja-Pancham Bhava’ from the following :
(1) Sa – Ma
(2) Re – Dha
(3) Ga – Dha
(4) Ma – Ni

59. Identify the Kuad Laya from the following :

(1) 6 matras in 4 matras
(2) 4 matras in 5 matras
(3) 5 matras in 4 matras
(4) 3 matras in 4 matras

60. Arrange the following in the chronological order :

(1) Gandharva Geet, Desi Sangit, Gramgeya Gaan
(2) Gramgeya Gaan, Gandharva Geet, Desi Sangit
(3) Desi Sangit, Gandharva Geet, Gramgeya Gaan
(4) Desi Sangit, Gramgeya Gaan, Gandharva Geet

61. If the ‘Re’ of ‘Kalyan-Thata’ is lowered by one semitone, it will turn into
(1) Khamaj Thata (2) Bilawal Thata
(3) Kafi Thata (4) Marva Thata

62. Match the following :

List – I List – II
a. Rampur Sahaswan Gharana i. Kesar Bai
b. Maihar Band ii. Latafat Hussain
c. Agra Gharana iii. Ghulam Mustafa Khan
d. Jaipur Gharana iv. Alauddin Khan
Codes :
a b c d
(1) ii iii i iv
(2) iii iv ii i
(3) iv ii iii i
(4) i iii iv ii
Paper-III 18 J-16-16
58. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ‘ÂÖ›Ëü•Ö ¯ÖÓ“Ö´Ö ³ÖÖ¾Ö’ Æîü ?
(1) ÃÖÖ – ´ÖÖ (2) ¸êü – ¬ÖÖ
(3) ÝÖÖ _ – ¬ÖÖ_ (4) ´ÖÖ – ×®Ö_

59. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Ûãú†Ö›ü »ÖµÖ Ûúß ¯ÖÆü“ÖÖ®Ö Ûúßו֋ :

(1) 6 ´ÖÖ¡ÖÖ‹Ñ 4 ´ÖÖ¡ÖÖ†Öë ´Öë
(2) 4 ´ÖÖ¡ÖÖ‹Ñ 5 ´ÖÖ¡ÖÖ†Öë ´Öë
(3) 5 ´ÖÖ¡ÖÖ‹Ñ 4 ´ÖÖ¡ÖÖ†Öë ´Öë
(4) 3 ´ÖÖ¡ÖÖ‹Ñ 4 ´ÖÖ¡ÖÖ†Öë ´Öë

60. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÛúÖ»ÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü ÛÎú´Ö²Ö¨ü Ûúßו֋ :

(1) ÝÖÓ¬Ö¾ÖÔ ÝÖߟÖ, ¤êüÃÖß ÃÖÓÝÖߟÖ, ÝÖÏÖ´ÖÝÖêµÖÖ ÝÖÖ®Ö
(2) ÝÖÏÖ´ÖÝÖêµÖÖ ÝÖÖ®Ö, ÝÖÓ¬Ö¾ÖÔ ÝÖߟÖ, ¤êüÃÖß ÃÖÓÝÖߟÖ
(3) ¤êüÃÖß ÃÖÓÝÖߟÖ, ÝÖÓ¬Ö¾ÖÔ ÝÖߟÖ, ÝÖÏÖ´ÖÝÖêµÖÖ ÝÖÖ®Ö
(4) ¤êüÃÖß ÃÖÓÝÖߟÖ, ÝÖÏÖ´ÖÝÖêµÖÖ ÝÖÖ®Ö, ÝÖÓ¬Ö¾ÖÔ ÝÖߟÖ

61. µÖפü Ûú»µÖÖÞÖ-£ÖÖ™ü Ûêú ‘¸êü’ ÛúÖê, ‹Ûú ÃÖê´Öß™üÖê®Ö ®Öß“ÖÖ Ûú¸ü פüµÖÖ •ÖÖµÖ, ŸÖÖê ¾ÖÆü ×ÛúÃÖ £ÖÖ™ü ´Öë ¯Ö׸ü¾ÖÙŸÖŸÖ ÆüÖêÝÖÖ ?
(1) ÜÖ´ÖÖ•Ö £ÖÖ™ü (2) ײֻÖÖ¾Ö»Ö £ÖÖ™ü
(3) ÛúÖ±úß £ÖÖ™ü (4) ´ÖÖ¸ü¾ÖÖ £ÖÖ™ü

62. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÛúÖê ÃÖã´Öê×»ÖŸÖ ÛúßוֵÖê :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ¸üÖ´Ö¯Öã¸ü ÃÖÆüÃÖ¾ÖÖ®Ö ‘Ö¸üÖ®ÖÖ i. ÛêúÃÖ¸ü ²ÖÖ‡Ô
b. ´ÖîÆü¸ü ²Öï›ü ii. »ÖŸÖÖ±úŸÖ ÆãüÃÖî®Ö
c. †ÖÝÖ¸üÖ ‘Ö¸üÖ®ÖÖ iii. ÝÖã»ÖÖ´Ö ´ÖãßֱúÖ ÜÖÖ®Ö
d. •ÖµÖ¯Öã¸ü ‘Ö¸üÖ®ÖÖ iv. †»ÖÖˆ§üß®Ö ÜÖÖ®Ö
Ûæú™ü :
a b c d
(1) ii iii i iv
(2) iii iv ii i
(3) iv ii iii i
(4) i iii iv ii
J-16-16 19 Paper-III
63. Which of the following ragas is consisting of only three notes ?
(1) Hindol (2) Malshri
(3) Maligaura (4) Saazgiri

64. Which one of the following pairs is not correctly matched :

(1) Geer .......... Geet (2) Gatha .......... Geet
(3) Gaytra .......... Geet (4) Yam .......... Geet

65. ‘Narashansi’ comes under which singing form ?

(1) Classical
(2) Semi-classical
(3) Folk
(4) Ravindra Sangeet

66. ‘Prem-piya’ is the pen-name of which musician ?

(1) Faiyaz Khan
(2) Vajid Ali Shah
(3) Nisar Hussain Khan
(4) Vilayat Khan

67. Which artist is known for ‘Meru-Khand Gayki’ ?

(1) Girija Devi (2) Ameer Khan
(3) Hari Prasad (4) Jasraj

68. Which is the fifth swara of the following scale :

I. Krushta
II. Pratham
III. Dvitiya
IV. Tritiya
V. _______
VI. Mandra
VII. Atiswarya
(1) Chaturtha
(2) Swarit
(3) Uddatta
(4) Archik
Paper-III 20 J-16-16
63. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ ¸üÖÝÖ ´Öë, Ûêú¾Ö»Ö ŸÖß®Ö Ã¾Ö¸üÖë ÛúÖ ¯ÖϵÖÖêÝÖ ÆüÖêŸÖÖ Æîü ?
(1) ØÆü›üÖê»Ö (2) ´ÖÖ»ÖÁÖß
(3) ´ÖÖ»ÖßÝÖÖî¸üÖ (4) ÃÖÖ•ÖÌ×ÝÖ¸üß

64. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë, ÛúÖî®Ö ÃÖß •ÖÖê›Ìüß ÃÖÆüß ®ÖÆüà Æîü ?

(1) ÝÖ߸ü …… ÝÖßŸÖ (2) ÝÖÖ£ÖÖ …… ÝÖߟÖ
(3) ÝÖÖµÖ¡Ö …… ÝÖßŸÖ (4) µÖ´Ö …… ÝÖߟÖ

65. ‘®ÖÖ¸üÖ¿ÖÓÃÖß’, ×ÛúÃÖ ÝÖÖµÖ®Ö ¿Öî»Öß Ûêú †®ŸÖÝÖÔŸÖ †ÖŸÖÖ Æîü ?

(1) ¿ÖÖáÖßµÖ (2) ˆ¯Ö¿ÖÖáÖßµÖ
(3) »ÖÖêÛú (4) ¸ü×¾Ö®¦ü ÃÖÓÝÖߟÖ

66. ×ÛúÃÖ ÃÖÓÝÖßŸÖ–Ö ÛúÖ ˆ¯Ö®ÖÖ´Ö, ‘¯ÖÏê´Ö ׯֵÖÖ’ £ÖÖ ?

(1) ±îúµÖÖ•ÖÌ ÜÖÖ®Ö (2) ¾ÖÖו֤ü †»Öß ¿ÖÖÆü
(3) ×®ÖÃÖÖ¸ü ÆãüÃÖî®Ö ÜÖÖ®Ö (4) ×¾Ö»ÖÖµÖŸÖ ÜÖÖ®Ö

67. ´Öê¹ý ÜÖÞ›ü ÝÖÖµÖÛúß Ûêú ×»ÖµÖê ÛúÖî®Ö ÃÖê Ûú»ÖÖÛúÖ¸ü ¯ÖÏ×ÃÖ¨ü Æîü ?
(1) ×ÝÖ׸ü•ÖÖ ¤êü¾Öß (2) †´Ö߸ü ÜÖÖ®Ö
(3) Æü¸üß ¯ÖÏÃÖÖ¤ü (4) •ÖÃÖ¸üÖ•Ö

68. ×®Ö´®Ö×»Ö×ÜÖŸÖ Ã¾Ö¸ü-ÃÖ¯ŸÖÛú ÛúÖ ¯ÖÖÑ“Ö¾ÖÖ Ã¾Ö¸ü ÛúÖî®Ö ÃÖÖ Æîü ?

I. ÛÎãú™ü
II. ¯ÖÏ£Ö´Ö
III. ׫üŸÖßµÖ
IV. ŸÖéŸÖßµÖ
V. _______
VI. ´ÖÓ¦ü
VII. †×ŸÖþÖÖµÖÔ
(1) “ÖŸÖã£ÖÔ
(2) þÖ׸üŸÖ
(3) ˆ¤üÖ¢Ö
(4) †ÖÙ“ÖÛú
J-16-16 21 Paper-III
69. Choose the correct code :
Assertion (A) : A choir composition aims to present different sounds in a synchronised
manner.
Reason (R) : Choir singing generates the feeling of responsibility, co-operation, self
control and attentiveness.
Codes :
(1) Both (A) and (R) are true and (R) is the correct explanation.
(2) Both (A) and (R) are true but (R) is not the correct explanation.
(3) (A) is true but (R) is false.
(4) (A) is false but (R) is true.

70. ‘Abhinav-Bharti’ is a detail annotation on which ‘Grantha’ ?

(1) Lakshya Sangeetam (2) Abhinav Geetanjali
(3) Natya Shastra (4) Sangeet Ratnakar

71. Who was the first to introduce ‘Mela Padhati’ ?

(1) Shriniwas (2) Vidyaranya
(3) Narad (4) Ahobal

72. According to the present ‘Time-theory’ of Hindustani Music, the ragas are divided into
how many sections on the basis of ‘swaras’ ?
(1) 3 (2) 6
(3) 4 (4) 2

73. Which musicologist has firstly mentioned the term ‘Komal’ and ‘Teevra’ for ‘Swaras’ ?
(1) Bhatkhande (2) Bharat
(3) Lochan (4) Abhinav Gupta

74. Ancient ‘Shudha-Swara-saptak’ is equivalent to which modern’ Hindustani-swara-saptak’ ?

(1) Bilawal (2) Kafi
(3) Kalyan (4) Asawari

75. ‘Bharat Ratna’ Award was conferred on Bhimsen Joshi in the year
(1) 2006 (2) 2010
(3) 2012 (4) 2008
____________
Paper-III 22 J-16-16
69. ÃÖÆüß Ûæú™ü ÛúÖ “Öã®ÖÖ¾Ö Ûú¸ëü :
†×³ÖÛú£Ö®Ö (A) : ÃÖ´ÖæÆü-ÝÖßŸÖ ¸ü“Ö®ÖÖ ÛúÖ ˆ§êü¿µÖ Æîü, ×¾Ö׳֮®Ö †Ö¾ÖÖ•ÖÌÖë ÛúÖê ¾µÖ¾Ö×Ã£ÖŸÖ ºþ¯Ö ´Öë ¯ÖÏßÖãŸÖ Ûú¸ü®ÖÖ …
ŸÖÛÔú (R) : ÃÖ´ÖæÆü ÝÖßŸÖ ˆ¢Ö¸ü¤üÖ×µÖŸ¾Ö, ÃÖÆüµÖÖêÝÖ, †ÖŸ´Ö×®ÖµÖÓ¡ÖÞÖ ŸÖ£ÖÖ •ÖÖÝÖºþÛúŸÖÖ Ûúß ³ÖÖ¾Ö®ÖÖ ÛúÖê ˆ¤Ëü³ÖæŸÖ Ûú¸üŸÖê
Æïü …
Ûæú™ü :
(1) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü †Öî¸ü ŸÖÛÔú (R) ÃÖÆüß Æîü …
(2) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü ¯Ö¸ü®ŸÖã ŸÖÛÔú (R) ÃÖÆüß ®ÖÆüà Æîü …
(3) (A) ÃÖÆüß Æîü, ¯Ö¸ÓüŸÖã (R) ÃÖÆüß ®ÖÆüà Æîü …
(4) (A) ÃÖÆüß ®ÖÆüà Æîü, ¯Ö¸ü®ŸÖã (R) ÃÖÆüß Æîü …

70. ‘†×³Ö®Ö¾Ö-³ÖÖ¸üŸÖß’ ×ÛúÃÖ ÝÖÏÓ£Ö ¯Ö¸ü ×»ÖÜÖß ÝÖ‡Ô ×¾ÖßÖéŸÖ ™üßÛúÖ Æîü ?
(1) »ÖõµÖ ÃÖÓÝÖߟִÖË (2) †×³Ö®Ö¾Ö ÝÖߟÖÖÓ•Ö»Öß
(3) ®ÖÖ™ËüµÖ ¿ÖÖÃ¡Ö (4) ÃÖÓÝÖßŸÖ ¸üŸ®ÖÖÛú¸ü

71. ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö, ×ÛúÃÖ ×¾Ö«üÖ®Ö ®Öê ‘´Öê»Ö-¯Ö¨üן֒ ÛúÖ ˆ»»ÖêÜÖ ×ÛúµÖÖ Æîü ?
(1) ÁÖß×®Ö¾ÖÖÃÖ (2) ×¾ÖªÖ¸üÞµÖ
(3) ®ÖÖ¸ü¤ü (4) †ÆüÖê²Ö»Ö

72. ØÆü¤ãüßÖÖ®Öß ÃÖÓÝÖßŸÖ Ûêú, †Ö¬Öã×®ÖÛú ‘ÃÖ´ÖµÖ-×ÃÖ¨üÖ®ŸÖ’ ´Öë, ÝÖÖµÖ®Ö ÆêüŸÖã, þָüÖë Ûêú †Ö¬ÖÖ¸ü ¯Ö¸ü ¸üÖÝÖÖë ÛúÖê ×ÛúŸÖ®Öê †®Öã³ÖÖÝÖÖë ´Öë
×¾Ö³ÖÖ×•ÖŸÖ ×ÛúµÖÖ ÝÖµÖÖ Æîü ?
(1) 3 (2) 6
(3) 4 (4) 2

73. ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö, ×ÛúÃÖ ÃÖÓÝÖßŸÖ–Ö ®Öê, þָüÖë Ûêú ×»ÖµÖê ‘ÛúÖê´Ö»Ö’ †Öî¸ü ‘ŸÖß¾ÖÎ’ ÃÖÓ–ÖÖ ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ Æîü ?
(1) ³ÖÖŸÖÜÖÞ›êü (2) ³Ö¸üŸÖ
(3) »ÖÖê“Ö®Ö (4) †×³Ö®Ö¾Ö ÝÖ㯟Ö

74. ¯ÖÏÖ“Öß®Ö ‘¿Öã¨ü-þָü-ÃÖ¯ŸÖÛú’, ØÆü¤ãüßÖÖ®Öß ÃÖÓÝÖßŸÖ Ûêú ×ÛúÃÖ †Ö¬Öã×®ÖÛú þָü-ÃÖ¯ŸÖÛú ÃÖê ÃÖÖ´µÖ ¸üÜÖŸÖÖ Æîü ?
(1) ײֻÖÖ¾Ö»Ö (2) ÛúÖ±úß
(3) Ûú»µÖÖÞÖ (4) †ÖÃÖÖ¾Ö¸üß

75. ³Öß´ÖÃÖê®Ö •ÖÖê¿Öß ÛúÖê ‘³ÖÖ¸üŸÖ ¸üŸ®Ö’ †¾ÖÖ›Ôü, ×ÛúÃÖ ¾ÖÂÖÔ ´Öë פüµÖÖ ÝÖµÖÖ ?
(1) 2006 (2) 2010
(3) 2012 (4) 2008
_____________
J-16-16 23 Paper-III
 Space For Rough Work

Paper-III 24 J-16-16