UGC NET 2015: December, Paper III, Percussion Instruments
Text of page 1
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D9 8 1 5 PAPER - III
Time : 2½ hours] PERCUSSION INSTRUMENTS [Maximum Marks : 150
Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 75
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D-9815 !D-9815-PAPER-III! 1 P.T.O.
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PERCUSSION INSTRUMENTS
PAPER - III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All
questions are compulsory.
1. Which one of the following tabla maestros of Banaras gharana is credited with creation and
propagation of Farad Gat ?
(1) Pt. Ram Sahay (2) Pt. Veeru Mishra
(3) Pt. Kishan Maharaj (4) Pt. Baiju Maharaj
2. Which of the following tabla maestros has got tabla training both from Ustad Nathu Khan
and Ustad Shammu Khan ?
(1) Ustad Habibuddin Khan (2) Ustad Nizamuddin Khan
(3) Ustad Ramzan Khan (4) Ustad Shamshuddin Khan
3. The name of the Tabla player who has composed music in films under the name of
A.R. Quareshi is :
(1) Iqbal Quareshi (2) Ustad Amanat Rashid
(3) Ustad Alla Rakha Khan (4) Ustad Ahmed Raza
4. Propounder of advanced types of Avanaddha instrument is :
(1) Swati (2) Kohal (3) Bharat (4) Dattil
5. The Sangeet Jeevi caste of Punjab is :
(1) Koli (2) Dhadhi (3) Kinnar (4) Gandharva
6. Ut. Amir Hussain was born on :
(1) 1899 (2) 1902 (3) 1914 (4) 1891
7. Pt. Swapan Chaudhry is the representative artist of which Gharana ?
(1) Lucknow (2) Banaras (3) Delhi (4) Ajarada
8. In which taal - theka khula boal is played on khali ?
(1) Rupak (2) Tewara (3) Sultaal (4) Dhamar
D-9815 !D-9815-PAPER-III! 2 Paper-III
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¥ßÙh ßæl
ÂýàÙÂæ - III
çÙÎðüàæ Ñ §â ÂýàÙ-Âæ ×ð´ ¿ãæÚU (75) Õãé-çß·¤ËÂUèØ ÂýàÙ ãñ´Ð ÂýØð·¤ ÂýàÙ ·ð¤ Îô (2) ¥¢·¤ ãñ´Ð âÖè ÂýàÙ ¥çÙßæØü
ãñ´Ð
1. ȤÚUÎ-»Ì ·ð¤ çÙ×æüæ °ß´ Âý¿æÚU ·¤æ oýðØ ÕÙæÚUâ æÚUæÙð ·ð¤ ç·¤â ÌÕÜæ-ßæη¤ ·¤æð ÁæÌæ ãñ?
(1) ´. ÚUæ× âãæØ (2) ´. ßèL¤ ç×ææ
(3) ´. ç·¤àæÙ ×ãæÚUæÁ (4) ´. ÕñÁê ×ãæÚUæÁ
2. ©. ÙÍê ¹æ¡ ß ©. àæ×ê ¹æ¡ §Ù ÎæðÙæð´ âð çàæÿææ ÂýæÌ ·¤ÚUÙð ßæÜð ÌÕÜæ-ßæη¤ ãñ Ñ
(1) ©. ãÕèÕéÎ÷ÎèÙ ¹æ¡ (2) ©. çÙÁæ×éÎ÷ÎèÙ ¹æ¡
(3) ©. ÚU×ÁæÙ ¹æ¡ (4) ©. àæ×àæéÎ÷ÎUèÙ ¹æ¡
3. °.¥æÚU. $·é¤ÚñUàæè ·ð¤ Ùæ× âð çȤË×æð´ ×ð´ â´»èÌ ÎðÙð ßæÜð ÌÕÜæßæη¤ ·¤æ Ùæ× ãñ Ñ
(1) §$·¤ÕæÜ $·é¤ÚñUàæè (2) ©SÌæÎ ¥×æÙÌ ÚUæçàæÎ
(3) ©SÌæÎ ¥ËÜæ ÚU¹æ ¹æ¡ (4) ©SÌæÎ ¥ã×Î ÚU$Áæ
4. ©ÙÌ ç·¤S× ·ð¤ ¥ßÙh ßælæð´ ·ð¤ ÂýßÌü·¤ ãñ Ñ
(1) SßæçÌ (2) ·¤æðãÜ (3) ÖÚUÌ (4) ÎçæÜ
5. ´ÁæÕ ·¤è â´»èÌ Áèßè ÁæçÌ Ñ
(1) ·¤æðÜè (2) ÉUæɸè (3) ç·¤ÙÚU (4) »æ´Ïßü
6. ©. ¥×èÚU ãéâñÙ ·¤æ Á× ßáü Øæ ãñ?
(1) 1899 (2) 1902 (3) 1914 (4) 1891
7. ´. SßÂÙ ¿æñÏÚUè ç·¤â æÚUæÙð ·ð¤ ÂýçÌçÙçÏ ·¤Üæ·¤æÚU ãñ?
(1) ܹ٪¤ (2) ÕÙæÚUâ (3) çÎËÜè (4) ¥ÁÚUæǸæ
8. ç·¤â ÌæÜ ·ð¤ ÆðU·ð¤ ×ð´ ¹æÜè ·ð¤ SÍæÙ ÂÚU ¹éÜæ ÕæðÜ ÕÁÌæ ãñ?
(1) M¤Â·¤ (2) ÌðßÚUæ (3) âêÜÌæÜ (4) Ï×æÚ
D-9815 !D-9815-PAPER-III! 3 Paper-III
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9. In staff notation, the vertical lines dividing musical compositions in taal khand are called :
(1) Essential key signature (2) Key signature
(3) Major (4) Bar line
10. Taal lage, sab saaje, ke so tathi tum maan.
Charam madhyo ja ki mukhar, vitat su kahe bakhan.
Which of the following treatises has depicted the above feature of vadya ?
(1) Sangeet Sudha (2) Ratnakar
(3) Sangeet Darpan (4) Sangeet Saar
11. In which of the following treatises Sam Pani, Av-Pani and Upari Pani have been mentioned
with reference to Graha ?
(1) Brihat deshi (2) Sangeet Samay Sar
(3) Natya Shastra (4) Ragarnav
12. Which instrument is played with Gaj ?
(1) Israj (2) Sarod (3) Vichitra Veena (4) Sur-Bahar
13. Kshudra Gantika is also called as :
(1) Ghoongru (2) Ghanta (3) Jhaanjh (4) Nal-Tarang
14. The Pakhawaj player who has been honoured Professor of Pakhawaj by Pt. Onkarnath Thakur
is :
(1) Raja Chhatrapati Singh (2) Raja Chakradhar Singh
(3) Swami Pagal Das (4) Pt. Sakha Ram
15. The Pakhawaj player who has been conferred with the Title of Vidya-Kala-Visharad ?
(1) Parwat Singh (2) Kodau Singh
(3) Babu Jodh Singh (4) Nana Panse
16. Who is the recipient of all four civilian award given by the Government of India ?
(1) Ut. Bismillaha Khan (2) Pt. Ravishankar
(3) Ut. Ali Akbar Khan (4) Pt. Jasraj
D-9815 !D-9815-PAPER-III! 4 Paper-III
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9. SÅUæȤ ÙæðÅðUàæÙ ×ð´ â´»èÌ ÚU¿Ùæ¥æð´ ·¤æð ÌæÜ ¹ÇUæð´ ×ð´ çßÖæçÁÌ ·¤ÚUÙð ßæÜè ¹Ç¸è ÚðU¹æ¥æð´ ·¤æð ·¤ãÌð ãñ Ñ
(1) °âðÙçâØÜ ·¤è çâ»Ùð¿ÚU (2) ·¤è çâ»Ùð¿ÚU
(3) ×ðÁÚU (4) ÕæÚU Üæ§Ù
10. ÒÒÌæÜ Ü»ð, âÕ âæÁñ, ·ð¤ âæð ÌÌãè Ìé× ×æÙÐ
¿ÚU× ×ɸØæð´ Áæ ç·¤ ×é¹ÚU, çßÌÌ âé ·¤ãð Õ¹æÙÐÐÓÓ
Øã ßæl Üÿææ 緤⠻ýÍ âð ãñ?
(1) â´»èÌ âéÏæ (2) ÚUÙæ·¤ÚU
(3) â´»èÌ ÎÂüæ (4) â´»èÌ âæÚU
11. 緤⠻ýÍ ×ð´ â× Âææè, ¥ß Âææè ß ©ÂÚUè Âææè ·¤æ ßæüÙ »ýã ·ð¤ âÎÖü ×ð´ ç×ÜÌæ ãñ?
(1) ÕëãÎ÷Îðàæè (2) â´»èÌ â×Ø âæÚU
(3) ÙæÅ÷UØ àææSæ (4) ÚUæ»ææüß
12. »Á âð ÕÁæØð ÁæÙð ßæÜæ ßæl ãñ Ñ
(1) §âÚUæÁ (2) âÚUæðÎ (3) çßç¿æ ßèææ (4) âéÚU-ÕãæÚU
13. ÿæéÎý æçÅU·¤æ ·¤æ ÎêâÚUæ Ùæ× ãñ Ñ
(1) æé¡æM¤ (2) æÅUæ (3) Ûææ¡Ûæ (4) ÙÜ Ì´ÚU»
14. ´. ¥æð´·¤æÚUÙæÍ ÆUæ·é¤ÚU mæÚUæÓÓ ÂýæðÈð¤âÚU ¥æòȤ ¹æßÁÓÓ âð â×æçÙÌ Â¹æßÁ-ßæη¤ ãñ Ñ
(1) ÚUæÁæ ÀUæÂçÌ çâ´ã (2) ÚUæÁæ ¿·ý¤ÏÚU çâ´ã
(3) Sßæ×è Âæ»Ü Îæâ (4) ´. â¹æ ÚUæ×
15. 緤⠹æßÁ-ßæη¤ ·¤æð ÒÒçßlæ-·¤Üæ-çßàææÚUÎÓÓ ·ð¤ ©ÂæçÏ âð çßÖêçáÌ ç·¤Øæ »Øæ?
(1) ÂßüÌ çâ´ã (2) ·¤æðΪ¤ çâ´ã
(3) ÕæÕê ÁæðÏ çâ´ã (4) ÙæÙæ ÂæÙâð
16. ÖæÚUÌ âÚU·¤æÚU mæÚUæ ÂýÎæ ¿æÚUæð´ Ùæ»çÚU·¤ â×æ٠緤⠷¤Üæ·¤æÚU ·¤æð ÂýæÌ ãñ´?
(1) ©. çÕâç×ËÜæã ¹æ¡ (2) ´. ÚUçßàæ´·¤ÚU
(3) ©. ¥Üè ¥·¤ÕÚU ¹æ¡ (4) ´. ÁâÚUæÁ
D-9815 !D-9815-PAPER-III! 5 Paper-III
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17. Father of Pt. Gama Maharaj is :
(1) Pt. Gohari Mishra (2) Pt. Bikku Mishra
(3) Pt. Kanthe Maharaj (4) Pt. Lachchhu Maharaj
18. In how many volumes Taal Dipika book has been published written by Mannooji
Mridangacharya ?
(1) 4 (2) 3 (3) 5 (4) 6
19. Pakhawaj player who is also recipient of Padmashree Award :
(1) Pt. Ramakant Pathak (2) Dr. Raj Khushi Ram
(3) Pt. Purushottam Das (4) Pt. Dal Chandra Sharma
20. Bharat-Bhawan is located at :
(1) Uttar Pradesh (2) Madhya Pradesh
(3) Andhra Pradesh (4) New Delhi
21. Khod (kaath) of mridangam is generally made of :
(1) Mango wood (2) Babool wood
(3) Jack-fruit wood (4) Bija wood
22. Assertion (A) : Delhi gharana is the primary gharana of Tabla.
Reason (R) : Because of Pandit Ram Sahai was a resident of Tabla gharana of Delhi.
Codes :
(1) (A) is correct and (R) is false
(2) (A) is false and (R) is true
(3) Both (A) and (R) are true
(4) Both (A) and (R) are false
23. How many clefs are popular in modern staff notation system ?
(1) Two (2) Three (3) Four (4) Five
D-9815 !D-9815-PAPER-III! 6 Paper-III
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17. ´. »æ×æ ×ãæÚUæÁ ·ð¤ çÂÌæ ãñ Ñ
(1) ´. »æñãÚUè ç×oý (2) ´. çÕ·ê¤ ç×oý
(3) ´. ·¤ÆðU ×ãæÚUæÁ (4) ´. ÜÀêU ×ãæÚUæÁ
18. ×ÙêÁè ×ëδ»æ¿æØü ·ë¤Ì - ÌæÜ Îèç·¤æ ÂéSÌ·¤ ç·¤ÌÙð Öæ»æð´ ×ð´ Âý·¤æçàæÌ ãñ?
(1) 4 (2) 3 (3) 5 (4) 6
19. ¹æßÁ-ßæη¤ çÁãð´ ÂÎ÷×oýè ÂéÚUS·¤æÚU ÂýæÌ ãñ Ñ
(1) ´. ÚU×æ·¤æÌ ÂæÆU·¤ (2) ÇUæò. ÚUæÁ ¹éàæè ÚUæ×
(3) ´. ÂéL¤áæðæ× Îæâ (4) ´. ÇUæÜ ¿Îý àæ×æü
20. ÖæÚUÌ-ÖßÙ ·¤ãæ¡ çSÍÌ ãñ?
(1) ©æÚU ÂýÎðàæ (2) ×Ø ÂýÎðàæ
(3) ¥æÏý ÂýÎðàæ (4) Ù§ü çÎËÜè
21. ×ëδ»× ·¤æ ¹æðǸ (·¤æÆU) ×éØÌÑ ãæðÌæ ãñ Ñ
(1) ¥æ× ·¤è Ü·¤Ç¸è ·¤æ (2) ÕÕêÜ ·¤è Ü·¤Ç¸è ·¤æ
(3) ·¤ÅUãÜ ·¤è Ü·¤Ç¸è ·¤æ (4) ÕèÁæ ·¤è Ü·¤Ç¸è ·¤æ
22. ¥çÖ·¤ÍÙ (A) : çÎËÜè æÚUæÙæ ÌÕÜæ ßæÎÙ ·¤æ ÂýæÚ´UçÖ·¤ æÚUæÙæ ãñÐ
·¤æÚUæ (R) : Øæð´ç·¤ ÂçÇUÌ ÚUæ× âãæØ çÎËÜè ·ð¤ ÌÕÜæ æÚUæÙæ ·ð¤ çÙßæâè ÍðÐ
·ê¤ÅU Ñ
(1) (A) âãè ãñ ÌÍæ (R) $»ÜÌ ãñÐ
(2) (A) $»ÜÌ ãñ ÌÍæ (R) âãè ãñÐ
(3) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ´Ð
(4) (A) ÌÍæ (R) ÎæðÙæð´ $»ÜÌ ãñ´Ð
23. ¥æÏéçÙ·¤ SÅUæȤ ÙæðÅðUàæÙ ×ð´ ç·¤ÌÙð ÜñȤ Âý¿çÜÌ ãñ´?
(1) Îæð (2) ÌèÙ (3) ¿æÚU (4) Âæ¡¿
D-9815 !D-9815-PAPER-III! 7 Paper-III
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24. Match the following :
(a) Rasa Kaumudi (i) Parshva Dev
(b) Brihat - Desi (ii) Shri Kantha
(c) Bharata - Bhashyam (iii) Matang
(d) Sangeet Samay Saar (iv) Nanya Dev
Codes :
(a) (b) (c) (d)
(1) (ii) (iii) (iv) (i)
(2) (i) (ii) (iii) (iv)
(3) (iv) (iii) (ii) (i)
(4) (ii) (iii) (i) (iv)
25. Hariballabh Sangeet Samaroh is held in :
(1) Amritsar (2) Jallundhar (3) Chandigarh (4) New Delhi
26. Biad is called :
(1) Paungun (2) Sawagun (3) Dedhgun (4) Paunedugun
27. Generally Thumri is not sung in :
(1) Dadra taal (2) Keharwa taal
(3) Deepchandi taal (4) Jat taal
28. In which among the following taals Bada Khayaal is not sung ?
(1) Teen Taal (2) Roopak
(3) Jhoomra (4) Chautaal
D-9815 !D-9815-PAPER-III! 8 Paper-III
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24. âé×ðçÜÌ ·¤èçÁ° Ñ
(a) ÚUâ ·¤æñ×éÎè (i) Âæàßü Îðß
(b) ÕëãÎ÷ Îðàæè (ii) æè ·¤ÆU
(c) ÖÚUÌ-ÖæcØ× (iii) ×Ì´»
(d) â´»èÌ â×Ø âæÚU (iv) ÙæØ Îðß
·ê¤ÅU Ñ
(a) (b) (c) (d)
(1) (ii) (iii) (iv) (i)
(2) (i) (ii) (iii) (iv)
(3) (iv) (iii) (ii) (i)
(4) (ii) (iii) (i) (iv)
25. ãçÚUßËÜÖ â´»èÌ â×æÚUæðã ·¤ãæ¡ ¥æØæðçÁÌ ãæðÌæ ãñ?
(1) ¥×ëÌâÚU (2) ÁæÜ´ÏÚU (3) ¿ÇUUè»É¸ (4) Ù§ü çÎËÜè
26. çÕ¥æǸ ·¤æð ·¤ãÌð ãñ Ñ
(1) ÂæñÙ»éÙ (2) âßæ»éÙ (3) ÇðUɸ»éÙ (4) ÂæñÙðÎé»éÙ
27. ÂýæØÑ ÆéU×ÚUè Ùãè´ »æØè ÁæÌè ãñ Ñ
(1) ÎæÎÚUæ ÌæÜ ×ð´ (2) ·¤ãÚUßæ ÌæÜ ×ð´
(3) Îè¿Îè ÌæÜ ×ð´ (4) ÁÌ ÌæÜ ×ð´
28. çÙÙ ×ð´ âð ç·¤â ÌæÜ ×ð´ ÕǸæ ØæÜ Ùãè´ »æØæ ÁæÌæ ãñ?
(1) ÌèÙ ÌæÜ (2) M¤Â·¤
(3) Ûæê×ÚUæ (4) ¿æñÌæÜ
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29. Match the following :
(a) Taal Dipika (i) Madhukar Ganesh Godbole
(b) Tabla Shashtra (ii) Ghanshyam Das Pakhawaji
(c) Mridang Tabla Vaadan (iii) Govind Rao Burhanpurkar
(d) Mridang-Sagar (iv) Mannu Ji Mridangacharya
Codes :
(a) (b) (c) (d)
(1) (iv) (i) (iii) (ii)
(2) (ii) (i) (iii) (iv)
(3) (i) (ii) (iii) (iv)
(4) (iv) (iii) (ii) (i)
30. Modern name of the ancient instrument Aawaj is :
(1) Dholak (2) Damama (3) Dhonsa (4) Hudakka
31. Form of presenting stories of Mahabharata in folk style is :
(1) Pandwani (2) Kojagari (3) Folklores (4) Jaagar
32. Kuaad is called :
(1) Chaugun (2) Savagun (3) Paunedugun (4) Pachgun
33. Sangeet Samaroh established by the Pakhawaj Player Pt. Amar Nath Mishra is :
(1) Sankat Mochan Samaroh (2) Shiv-Raatri Samaroh
(3) Ganga Mahotsav (4) Triveni Samaroh
34. How many vibhagas are there in Brahm taal ?
(1) 12 (2) 14 (3) 16 (4) 18
35. In which composition of Kathak dance other form is mixed ?
(1) Aamad (2) Ladi
(3) Parmelu (Primlu) (4) Paran
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29. âé×ðçÜÌ ·¤èçÁ° Ñ
(a) ÌæÜ Îèç·¤æ (i) ×Ïé·¤ÚU »æðàæ »æðÇUÕæðÜð
(b) ÌÕÜæ àææSæ (ii) æÙàØæ× Îæâ ¹æßÁè
(c) ×ëδ» ÌÕÜæ ßæÎÙ (iii) »æðçßÎ ÚUæß ÕéÚUãæÙÂéÚU·¤ÚU
(d) ×ëδ»-âæ»ÚU (iv) ×Ùê Áè ×ëδ»æ¿æØü
·ê¤ÅU Ñ
(a) (b) (c) (d)
(1) (iv) (i) (iii) (ii)
(2) (ii) (i) (iii) (iv)
(3) (i) (ii) (iii) (iv)
(4) (iv) (iii) (ii) (i)
30. Âýæ¿èÙ ßæl Ò¥æßÁÓ ·¤æ ¥ßæü¿èÙ Ùæ× ãñ Ñ
(1) ÉUæðÜ·¤ (2) Î×æ×æ (3) Ïæñ´âæ (4) ãéÇU·¤æ
31. ×ãæÖæÚUÌ ·¤è ·¤Íæ¥æð´ ·¤æð Üæð·¤ àæñÜè ×ð´ ÂýSÌéÌ ·¤ÚUÙð ·¤è çßÏæ Ñ
(1) ´ÇUßæÙè (2) ·¤æðÁæ»ÚUè (3) Üæð·¤ »æÍæØð´ (4) Áæ»ÚU
32. ·é¤¥æǸ ·¤æð ·¤ãÌð ãñ Ñ
(1) ¿æñ»éÙ (2) âßæ»éÙ (3) ÂæñÙðÎé»éÙ (4) Âæ¡¿»éÙ
33. ¹æßÁ ßæη¤ ´. ¥×ÚUÙæÍ ç×æ ·ð¤ mæÚUæ SÍæçÂÌ â´»èÌ â×æÚUæðã Ñ
(1) â´·¤ÅU ×æð¿Ù â×æÚUæðã (2) çàæß-ÚUæçæ â×æÚUæðã
(3) »´»æ ×ãæðâß (4) çæßðæè â×æÚUæðã
34. Õýræ ÌæÜ ×ð´ ·é¤Ü ç·¤ÌÙð çßÖæ» ãñ?
(1) 12 (2) 14 (3) 16 (4) 18
35. ·¤Í·¤ ÙëØ ·¤è ç·¤â ÚU¿Ùæ ×ð´ ¥Ø çßÏæ ·¤æ ×ðÜ ãæðÌæ ãñ?
(1) ¥æ×Î (2) ÜǸè
(3) ÂÚU×ðÜé (çÂý×Üê) (4) ÂÚUÙ÷
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36. According to Naatya Shashtra which Avanaddha Vadya was tuned with in a definite
note ?
(1) Dundubhi (2) Tripushkar
(3) Hudakka (4) Bhoomi Dundubhi
37. Composition of how many matras can be played in Roopak Taal, Dhamar taal and Jhaptaal
without any change ?
(1) 56 (2) 70 (3) 120 (4) 80
38. According to the Natya Shastra, Haritaki, Yavakriti and Gaopuchha are the figures of the
which of the following vadya ?
(1) Patah (2) Panav (3) Tripushkar (4) Mardal
39. Match the father-son duo :
(a) Pt. Shiv Kumar Sharma (i) Shri Abhay Rustam
(b) Pt. Bhajan Sopori (ii) Shri Rahul
(c) Pt. Vishwa Mohan Bhatt (iii) Shri Neeladri
(d) Pt. Kartik Kumar (iv) Shri Salil
Codes :
(a) (b) (c) (d)
(1) (i) (ii) (iii) (iv)
(2) (ii) (i) (iv) (iii)
(3) (ii) (i) (iii) (iv)
(4) (iv) (iii) (ii) (i)
40. Who strongly supported the efforts of making a separate category for Tarang Vadyas ?
(1) Dr. Subhadra Chaudhry (2) Dr. Aban E. Mistry
(3) Acharya Vrihaspati (4) Dr. Yog Maya Shukla
41. Assertion (A) : In ancient time only one system of music was prevalent.
Reason (R) : Therefore the root of North Indian and Karnatak Music is the same.
Codes :
(1) (A) is correct and (R) is wrong
(2) (A) is wrong and (R) is correct
(3) Both (A) and (R) are correct
(4) Both (A) and (R) are wrong
42. Sign for compound triple time :
(1) (2)
(3) (4)
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36. ÙæÅ÷UØàææSæ ·ð¤ ¥ÙéâæÚU 緤⠥ßÙh ßæl ·¤æð çÙçà¿Ì SßÚU ×ð´ ç×ÜæØæ ÁæÌæ Íæ?
(1) ÎéÎéçÖ (2) çæÂéc·¤ÚU
(3) ãéÇU·¤æ (4) Öêç× ÎéÎéçÖ
37. M¤Â·¤ ÌæÜ, Ï×æÚU ÌæÜ °ß´ ÛæÂÌæÜ ×ð´ â×æÙ M¤Â âð ÕÁæ§ü ÁæÙð ßæÜè ÚU¿Ùæ ç·¤ÌÙð ×ææð ·¤è ãæð»è?
(1) 56 (2) 70 (3) 120 (4) 80
38. ÙæÅ÷UØàææSæ ·ð¤ ¥ÙéâæÚU ãÚUèÌ·¤è, Øßæ·ë¤çÌ ß »æñÂéÀUæ ç·¤â ßæl ·¤è ¥æ·ë¤çÌØæ¡ ãñ?
(1) ÂÅUã (2) Âæß (3) çæÂéc·¤Ú (4) ×ÎüÜ
39. çÂÌæ-Âéæ ·¤è ÁæðÇ¸è ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ
(a) ´. çàæß ·é¤×æÚU àæ×æü (i) æè ¥ÖØ L¤USÌ×÷
(b) ´. ÖÁÙ âæðÂæðÚUè (ii) æè ÚUæãéÜ
(c) ´. çßàß ×æðãÙ ÖÅ÷UÅU (iii) æè ÙèÜæçÎý
(d) ´. ·¤æçÌü·¤ ·é¤×æÚU (iv) æè âçÜÜ
·ê¤ÅU Ñ
(a) (b) (c) (d)
(1) (i) (ii) (iii) (iv)
(2) (ii) (i) (iv) (iii)
(3) (ii) (i) (iii) (iv)
(4) (iv) (iii) (ii) (i)
40. ÌÚ´U» ßælæð´ ·¤è ¥Ü» æðæè ÕÙæÙð ·ð¤ ÂýØæâ ·¤æð ÂýÕÜ â×ÍüÙ çÎØæ Ñ
(1) ÇUæò. âéÖÎýæ ¿æñÏÚUè (2) ÇUæò. ¥æÕæÙ÷ §ü. ç×Sæè
(3) ¥æ¿æØü ßëãSÂçÌ (4) ÇUæò. Øæð» ×æØæ àæéÜæ
41. ¥çÖ·¤ÍÙ (A) : Âýæ¿èÙ ·¤æÜ ×ð´ ÂêÚðU Îðàæ ×ð´ °·¤ ãè â´»èÌ ÂhçÌ ·¤æ Âý¿ÜÙ ÍæÐ
·¤æÚUæ (R) : ¥Ì°ß ©æÚU ÖæÚUÌèØ â´»èÌ ¥æñÚU ·¤ÙæüÅU·¤ â´»èÌ ·¤æ ×êÜ °·¤ ãè ãñ´Ð
·ê¤ÅU Ñ
(1) (A) âãè ¥æñÚU (R) $»ÜÌ ãñÐ
(2) (A) $»ÜÌ ¥æñÚU (R) âãè ãñÐ
(3) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ã´ñÐ
(4) (A) ¥æñÚU (R) ÎæðÙæð´ $»ÜÌ ãñ´Ð
42. ·¤Â檤ÇU çÅþUÂÜ ÅUæ§ü× ·¤æ ç¿ã Ñ
(1) (2)
(3) (4)
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43. Composition of 36 matras can be played in maximum how many taalas without
modification (change) ?
(1) One (2) Two (3) Three (4) Four
44. Farmaishi chakkardar of Farodast taal can be played in which other taal without
modification ?
(1) Ek - Taal (2) Jhaptaal (3) Teentaal (4) Panchamsawari
45. Kallinath called Bhaandik for :
(1) Avanaddha Vadya Players (2) Bhands
(3) Destroyers (4) Ghatam Players
46. Western instrument which looks like a Damroo is called :
(1) Frame drum (2) Waisted drum
(3) Kettle drum (4) Barrel drum
47. Number of Varnas in one palla of bedam Tihai in Shikar Taal are :
(1) 17 (2) 18 (3) 22 (4) 23
48. Name the book in which Dash Pranas of taal was mentioned first :
(1) Sangeet Samay Saar (2) Sangeet Ratnakar
(3) Sangeet Sudhakar (4) Sangeet Makrand
49. Match the following :
(a) Tavil (i) Gulam Zafar
(b) Dholak (ii) Meenakshi Sundaram Pillai
(c) Mridangam (iii) Ut. Dilawar Khan
(d) Nakkara (iv) Pal Ghaat Raghu
Codes :
(a) (b) (c) (d)
(1) (i) (ii) (iii) (iv)
(2) (i) (ii) (iv) (iii)
(3) (ii) (i) (iv) (iii)
(4) (ii) (i) (iii) (iv)
50. Writer of Madan-Ul-Mausiki is :
(1) Abul Fazal (2) Fakir Mohammad Karam Imam
(3) Dr. Arun Kumar Sen (4) Amir Khusro
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43. 36 ×æææ ·¤è ÚU¿Ùæ ·¤æð çÕÙæ ÂçÚUßçÌüÌ ç·¤Øð ¥çÏ·¤Ì×÷ ç·¤ÌÙð ÌæÜæð´ ×ð´ ÕÁæØæ Áæ â·¤Ìæ ãñ?
(1) °·¤ (2) Îæð (3) ÌèÙ (4) ¿æÚU
44. ȤÚUæðÎSÌ ÌæÜ ·¤è ȤÚ×æ§üàæè ¿·¤ÚUÎæÚU çÕÙæ ÂçÚUßçÌüÌ ç·¤Øð ¥æñÚU ç·¤â ÌæÜ ×ð´ ÕÁæ§ü Áæ â·¤Ìè ãñ?
(1) °·¤ÌæÜ (2) ÛæÂÌæÜ (3) ÌèÙÌæÜ (4) ´¿×âßæÚUè
45. ÒÒÖæçÇU·¤ÓÓ ·¤çËÜÙæÍ mæÚUæ ·¤ãæ »Øæ ãñ Ñ
(1) ¥ßÙh ßæl ßæη¤æð´ ·¤æð (2) ÖæÇUæð´ ·¤æð
(3) ÖÇUæ ȤæðǸ ·¤ÚUÙð ßæÜæð´ ·¤æð (4) æÅ÷U× ßæη¤æð´ ·¤æð
46. ÇU×M¤ ·ð¤ â×æÙ çιÙð ßæÜð Âæà¿æØ ßæl ·¤æ Ùæ× ãñ Ñ
(1) Èýð¤× ÇþU× (2) ßðSÅðUÇU ÇþU×
(3) ·ð¤ÅUÜ ÇþU× (4) ÕñÚUÜ ÇþU×
47. çàæ¹ÚU ÌæÜ ×ð´ ÕðÎ× çÌãæ§ü ·¤æ °·¤ ÂËÜæ ç·¤ÌÙð ßææðZ ·¤æ ÕÙð»æ?
(1) 17 (2) 18 (3) 22 (4) 23
48. ÌæÜ ·ð¤ Îâ Âýææ ·¤æ âßüÂýÍ× ç·¤â »ýÍ ×ð´ ©ËÜð¹ ãñ?
(1) â´»èÌ â×Ø âæÚU (2) â´»èÌ ÚUÙæ·¤ÚU
(3) â´»èÌ âéÏæ·¤ÚU (4) â´»èÌ ×·¤ÚUÎ
49. çÙÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ
(a) ÌçßÜ (i) »éÜæ× $ÁæȤÚU
(b) ÉUæðÜ·¤ (ii) ×èÙæÿæè âéÎÚU×÷ çÂËܧü
(c) ×ëδ»× (iii) ©. çÎÜæßÚU ¹æ¡
(d) Ù·¤æÚUæ (iv) ÂæÜ ææÅU ÚUæé
·ê¤ÅU Ñ
(a) (b) (c) (d)
(1) (i) (ii) (iii) (iv)
(2) (i) (ii) (iv) (iii)
(3) (ii) (i) (iv) (iii)
(4) (ii) (i) (iii) (iv)
50. ×æÎÙ-©Ü-×æñçâ·¤è ·ð¤ Üð¹·¤ ãñ Ñ
(1) ¥ÕéÜ $ȤÁÜ (2) Ȥ·¤èÚU ×éã×Î ·¤ÚU× §×æ×
(3) ÇUæò. ¥L¤æ ·é¤×æÚU âðÙ (4) ¥×èÚU ¹éâÚUæð
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51. Biad of Basant taal will start from which matra in one Aavartan ?
6 7 1 1
(1) 3 (2) 3 (3) 5 (4) 6
7 2 7 7
52. How many matras are there in a aavartan of kuad in shikhar taal ?
3 3 3 3
(1) 13 (2) 14 (3) 12 (4) 15
5 5 5 5
53. Disciple of Ustad Hussain Ali Khan of Farukhabad Gharana is :
(1) Ut. Hussain Baksh (2) Ut. Alladiya Khan
(3) Dr. Salari Miyan (4) Dr. Munir Khan
54. In treatise Vishranti after the taal kriya is called :
(1) Laya (2) Taal (3) Taali (4) Khaali
55. Number of matras in Nav Panch Taal composed by Rabindra Nath Thakur are :
(1) 45 (2) 14 (3) 9 (4) 18
56. Number of matras in Khand Jaati Dhruv taal are :
(1) 15 (2) 17 (3) 16 (4) 18
57. The king who conferred the title of Mridangraj to Pakhawaji Kripa Rai was :
(1) Akbar (2) Bahadur Shaha Zafar
(3) Nasir Shah (4) Aurangzeb
58. Disciple of Pt. Bhairon Prasad is :
(1) Pt. Panchu Maharaj (2) Pt. Bundi Mishra
(3) Pt. Rangnath Mishra (4) Pt. Ganesh Prasad Mishra
59. In Persian language Urdhvamukhi Avanaddha Vadyas are called as :
(1) Tabla (2) Tabl (3) Aatodya (4) Atbal
60. According to Risalaye Tabla Nawaji published in 1902 the inventor of Tabla is :
(1) Hazrat Amir Khusro (2) Pt. Bhawani Das
(3) Ut. Sudhar Khan Dadi (4) Is not mentioned
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51. ÕâÌ ÌæÜ ·¤è çÕ¥æǸ °·¤ ¥æßÌüÙ ×ð´ ç·¤â ×æææ âð ÂýæÚUÖ ãæð»è?
6 7 1 1
(1) 3 (2) 3 (3) 5 (4) 6
7 2 7 7
52. çàæ¹ÚU ÌæÜ ·¤æ ·é¤¥æǸ °·¤ ¥æßÌüÙ ×ð´ ç·¤ÌÙè ×æææ¥æð´ ×ð´ ¥æØð»è?
3 3 3 3
(1) 13 (2) 14 (3) 12 (4) 15
5 5 5 5
53. ȤLü¤¹æÕæÎ æÚUæÙð ·ð¤ ©SÌæÎ ãéâñÙ ¥Üè ¹æ¡ ·ð¤ çàæcØ ãñ Ñ
(1) ©. ãéâñÙ Õàæ (2) ©. ¥ËÜæçÎØæ ¹æ¡
(3) ÇUæò. âÜæÚUè ç×Øæ¡ (4) ÇUæò. ×éÙèÚU ¹æ¡
54. »ýÍæð ×ð´ ÌæÜ ç·ý¤Øæ ·ð¤ ÕæÎ ãæðÙð ßæÜð çßææçÌ ·¤æð ·¤ãæ »Øæ ãñ Ñ
(1) ÜØ (2) ÌæÜ (3) ÌæÜè (4) ¹æÜè
55. ÚUçßÎý ÙæÍ ÆUæ·é¤ÚU mæÚUæ çÙç×üÌ Ùß Â´¿ ÌæÜ ·¤è ×æææ°´ ãñ Ñ
(1) 45 (2) 14 (3) 9 (4) 18
56. ¹ÇU ÁæçÌ Ïýéß ÌæÜ ·¤è ·é¤Ü ×æææØð´ Ñ
(1) 15 (2) 17 (3) 16 (4) 18
57. ¹æßÁè ·ë¤Âæ ÚUæØ ·¤æð ç·¤â ÚUæÁæ Ùð ÒÒ×ëδ»ÚUæÁÓÓ ·¤è ©ÂæçÏ ÂýÎæÙ ·¤è?
(1) ¥·¤ÕÚU (2) ÕãæÎéÚU àææã ÁȤÚU
(3) ÙæçâÚU àææã (4) ¥æñÚ´U»ÁðÕ
58. ´. ÖñÚUæð ÂýâæÎ ·ð¤ çàæcØ ãñ Ñ
(1) ´. Âæ¡¿ê ×ãæÚUæÁ (2) ´. ÕéÎè ç×æ
(3) ´. Ú´U»ÙæÍ ç×æý (4) ´. »æðàæ ÂýâæÎ ç×æ
59. ȤæÚUâè Öæáæ ×ð´ ©ßü×é¹è ¥ßÙhæð ßælæð´ ·¤è â´ææ ãñ Ñ
(1) ÌÕÜæ (2) ÌÜ (3) ¥æÌæðl (4) ¥ÌÕÜ
60. 1902 ×ð´ Âý·¤æçàæÌ ÒÒçÚUâæÜØð ÌÕÜæ ÙßæÁèÓÓ ·ð¤ ¥ÙéâæÚU ÌÕÜæ ·ð¤ ¥æçßc·¤æÚU·¤ ãñ Ñ
(1) ãÁÚUÌ ¥×èÚU ¹éâÚUæð (2) ´. ÖßæÙè Îæâ
(3) ©. âéÏæÚU ¹æ¡ ɸæɸè (4) ©ËÜð¹ Ùãè´ ãñ
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61. Number of Akshar Kalas of Drut Viram as mentioned in Shashtras :
(1) 2 (2) 4 (3) 3 (4) 5
62. According to Rag Darpan accompanist Pakhawaj player of Miya Tansen was :
(1) Pt. Kripa Pakhawaji (2) Ut. Feroz Dhadhi
(3) Pt. Ghasi Ram (4) Pt. Kodau Singh
63. Number of Matras and Vibhagas in Ekadashi Taal are :
(1) 11 Matras - 2 Vibhagas (2) 11 Matras - 3 Vibhagas
(3) 11 Matras - 4 Vibhagas (4) 14 Matras - 5 Vibhagas
64. Main Avanaddha Vadya used in Oddissi dance is :
(1) Timila (2) Tavil (3) Maddalam (4) Tabla
65. Nayan Jyoti Ghosh was honoured with which award ?
(1) Padma-Shree (2) Sangeet Natak Academy
(3) Yash Bharti (4) Maharashtra Samman
66. Famous propounder of religion who was also a Pakhawaj player :
(1) Swami Vivekanand (2) Swami Praganananda
(3) Swami Dayanand (4) Swami Shraddhananda
67. Assertion (A) : Tritaal has sixteen matras just as the moon has sixteen phases (Kala).
Reason (R) : Tritaal has been named as Rakendu taal in the treatise Taaltoynidhi.
Codes :
(1) (A) is true and (R) is false
(2) (A) is false and (R) is true
(3) Both (A) and (R) are correct
(4) Both (A) and (R) are false
68. The word Tabl is mentioned in Sangeet Samay-Saar :
(1) True (2) False (3) doubtful (4) Can not be said
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61. àææSææð´ ×ð´ ÎýéÌçßÚUæ× ·ð¤ ¥ÿæÚU ·¤æÜæð´ ·¤è â´Øæ ç·¤ÌÙè ãñ?
(1) 2 (2) 4 (3) 3 (4) 5
62. ÚUæ» ÎÂüæ ·ð¤ ¥ÙéâæÚU ç×Øæ¡ ÌæÙâðÙ ·ð¤ â´»çÌ·¤æÚU ¹æßÁ-ßæη¤ Íð Ñ
(1) ´. ·ë¤Âæ ¹æßÁè (2) ©. çȤÚUæðÁ ɸæÉUè
(3) ´. ææâè ÚUæ× (4) ´. ·¤æðΪ¤ çâ´ã
63. °·¤æÎàæè ÌæÜ ·¤è ×æææ°ð´ °ß´ çßÖæ» Ñ
(1) 11 ×æææ - 2 çßÖæ» (2) 11 ×æææ - 3 çßÖæ»
(3) 11 ×æææ - 4 çßÖæ» (4) 14 ×æææ - 5 çßÖæ»
64. ¥æðçÇUâè ÙëØ ×ð´ ÂýØéÌ ãæðÙð ßæÜæ Âý×é¹ ¥ßÙh ßæl ãñ Ñ
(1) çÌç×Üæ (2) ÌçßÜ (3) ×Î÷ÎÜ×÷ (4) ÌÕÜæ
65. ÙØÙ ØæðçÌ ææðá ·¤æð ç·¤â ÂéÚUS·¤æÚU âð â×æçÙÌ ç·¤Øæ »Øæ ãñ?
(1) ÂÎ÷×æè (2) â´»èÌ ÙæÅU·¤ ¥·¤æÎ×è
(3) Øàæ ÖæÚUÌè (4) ×ãæÚUæcÅþU â×æÙ
66. Âýçâh Ï×ü Âý¿æÚU·¤ Áæð °·¤ ¹æßÁ-ßæη¤ Öè Íð Ñ
(1) Sßæ×è çßßð·¤æÙÎ (2) Sßæ×è Âý»ÙæÙÎ
(3) Sßæ×è ÎØæÙÎ (4) Sßæ×è æhæÙÎ
67. ¥çÖ·¤ÍÙ (A) : ¿Îý×æ ·¤è âæðÜã ·¤Üæ¥æð´ ·¤è ÌÚUã çæÌæÜ ×ð´ Öè âæðÜã ×æææØð´ ãæðÌè ãñ´Ð
·¤æÚUæ (R) : ÌæÜÌæðØçÙçÏ »ý´Í ×ð´ çæÌæÜ ·¤æð ÒÚUæ·ð¤ÎéÓ Ùæ× çÎØæ ãñÐ
·ê¤ÅU Ñ
(1) (A) âãè ãñ ¥æñÚU (R) $»ÜÌ ãñÐ
(2) (A) $»ÜÌ ãñ ¥æñÚU (R) âãè ãñÐ
(3) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð
(4) (A) ¥æñÚU (R) ÎæðÙæð´ $»ÜÌ ãñ´Ð
68. â´»èÌ â×Ø âæÚU ×ð´ ÌÜ àæÎ ·¤æ ©ËÜð¹ ç×ÜÌæ ãñ Ñ
(1) âãè (2) »ÜÌ (3) âÎðã (4) ·¤ãæ Ùãè´ Áæ â·¤Ìæ
D-9815 !D-9815-PAPER-III! 19 Paper-III
Text of page 20
Read the passage below and tick the correct answers :
It is mentioned in the text NATYASHASTRA by Bharat muni that about hundred
avanaddha vadyas (membranophones) were in existence in his period. This suggests that
avanaddha vadyas of different shapes and sizes were used in music in that period. Hence these
instruments can be classified in different categories on the basis of their shape, structural difference,
production of sound and different usage such as single headed, double headed, single headed
pair, Damroo-shaped, Mridang shaped etc.
Those instruments which were tuned with the help on Lepan (Pasting of mud) in intended
note (Particular note) were named Ang vadyas and those which were not having this quality
were named (called) Pratyang Vadyas. Some of the avanaddha instruments which were mentioned
in Natya-shastra are - Mridang, Panav, Dardur Patah etc. Muraj is another name for mridang
according to Bharat. Sharangdev has named mridanga even as mardal, apart from being called
Muraj.
Many of other treatises, after the Natyashastra, have also mentioned avanaddha
vadyas. Dundubhi was popularly known as nagada as mentioned in Radha Govind Sangeet Saar
(by Sawai Pratap Singh) whereas ancient patah was popularly known as dholak according to
Sangeet Parijat.
69. The number of Avanaddha Vadyas used in Indian music during the Bharat period is :
(1) More than hundred (2) Less than hundred
(3) Hundred (4) None of these
70. Another name for Patah is :
(1) Dhol (2) Dholak (3) Dindimi (4) Dundubhi
71. Those instruments which can be tuned in a definite note are called :
(1) Ang (2) Abhang (3) Pratyang (4) Chaturang
72. Mridang, Panav and Dardur are :
(1) Tat Vadya (2) Avanaddha Vadya
(3) Ghan Vadya (4) Sushir Vadya
73. In ancient time lepan was done with :
(1) Iron ore (2) Mud
(3) Gun powder (4) Paste of leaves (chatney)
D-9815 !D-9815-PAPER-III! 20 Paper-III
Text of page 21
¥ÙéÀðUÎ ·¤æð Âɸ·¤ÚU çÎØð »Øð ÂýàÙæð´ ·ð¤ âãè ©æÚU ¿éçÙØð Ñ
ÖÚUÌ ×éçÙ ·ë¤Ì ÙæÅ÷UØàææSæ ·ð¤ ¥ÙéâæÚU Ì·¤æÜèÙ â´»èÌ ×ð´ ֻܻ âæñ ¥ßÙh ßæl Âý¿çÜÌ ãæðÙð ·¤æ ©ËÜð¹ ãñÐ §ââð
Øã SÂcÅU ãæðÌæ ãñ ç·¤ çßçÖÙ ¥æ·¤æÚU Âý·¤æÚU ·ð¤ ¥ßÙh ßæl ©â ·¤æÜ ×ð´ Âý¿çÜÌ ÍðÐ ©Ù ßælæ𴠷𤠥淤æÚU, ÕÙæßÅU ·¤è
çÖÙÌæ, ÙæÎæðÂçæ ÌÍæ çßçÖÙ ©ÂØæðç»Ìæ ·ð¤ ¥æÏæÚU ÂÚU ©ã𴠥ܻ-¥Ü» ß»æðZ ×ð´ ß»èü·ë¤Ì ç·¤Øæ Áæ â·¤Ìæ ãñ
ØÍæ - °·¤×é¹è, çm×é¹è, °·¤×é¹è ÁæðǸè, ÇU×M¤ ¥æ·ë¤çÌ, ×ëδ»æ·ë¤çÌ, ¥æçÎÐ
çÁÙ ßælæð´ ·¤æð ×ëçæ·¤æ ÜðÂÙ ·ð¤ ×æØ× âð §çÀUÌ SßÚU ×ð´ ç×ÜæØæ ÁæÙæ â´Öß Íæ ©ãð´ ¥´» ßæl ·¤ãæ »Øæ ÁÕç·¤
ÂýØ´» ßæl ßð Íð, çÁãð´ §çÀUÌ SßÚUæð´ ×ð´ ç×ÜæØæ ÁæÙæ âÖß Ùãè´ ÍæÐ ÙæÅ÷UØàææSæ ×ð´ çÁÙ ¥ßÙh ßælæð´ ·¤æ ©ËÜð¹ ç×ÜÌæ
ãñ ©Ù×ð´ âð ·é¤ÀU ßæl çÙÙæÙéâæÚU ãñ´ - ×ëδ», Âæß, ÎÎüéÚU, ÂÅUã ¥æçÎÐ ÖÚUÌ Ùð ×ëδ» ·¤æð ×éÚUÁ Öè ·¤ãæ ãñÐ àææXüÎðß Ùð Ìæð ×ëδ»
·¤æð ×éÚUÁ ·ð¤ ¥çÌçÚUÌ ×ÎüÜ Öè ·¤ãæ ãñÐ
ÙæÅKàææSæ ·ð¤ ¥çÌçÚUÌ ¥Ø ¥Ùð·¤ »ý´Íæð´ ×ð´ ¥ßÙh ßælæð´ ·¤æ ©ËÜð¹ ç×ÜÌæ ãñÐ ÚUæÏæ »æðçßÏ â´»èÌ âæÚU (âßæ§ü
ÂýÌæ çâ´ã ·ë¤Ì) ×ð´ Âýæ¿èÙ ÎéçÎÖè ßæl ·¤æð Ù»æÇ¸æ ·¤ãÌð ãñ´ °ðâæ ©ËÜð¹ ãñ, ÁÕç·¤ â´»èÌ ÂæçÚUÁæÌ ×ð´ Âêßü·¤æÜèÙ ÂÅUã ·¤æð
Üæð·¤ ×ð´ ɸæðÜ·¤ ·¤ãÌð ãñ´ - °ðâæ ©ËÜð¹ ãñÐ
69. ÖÚUÌ ·¤æÜ ×ð´ ÖæÚUÌèØ â´»èÌ ×ð´ ÂýØéÌ ¥ßÙh ßælæð´ ·¤è â´Øæ Ñ
(1) âæñ âð ¥çÏ·¤ (2) âæñ âð ·¤×
(3) °·¤âæñ (4) ©ÂØüéÌ ×ð´ âð ·¤æð§ü Ùãè´
70. ÂÅUã ·¤æ °·¤ ¥Ø Ùæ× Ñ
(1) ɸæðÜ (2) ɸæðÜ·¤ (3) çÇUçÇU×è (4) ÎéÎéÖè
71. çÁÙ ßælæð´ ·¤æð §çÀUÌ SßÚUæð´ ×ð´ ç×ÜæÙæ â´Öß ãñ - ·¤ãÜæÌð ãñ´ Ñ
(1) ¥´» ßæl (2) ¥Ö´» ßæl (3) ÂýØ´» ßæl (4) ¿ÌéÚ´U» ßæl
72. ×ëδ», Âæß ¥æñÚU ÎÎéüÚU ãñ´ Ñ
(1) ÌÌ ßæl (2) ¥ßÙh ßæl
(3) æÙ ßæl (4) âéçáÚU ßæl
73. Âýæ¿èÙ ·¤æÜ ×ð´ ÒÜðÂÙÓ ç·¤Øæ ÁæÌæ Íæ Ñ
(1) Üæñã¿êæü âð (2) ç×^è âð
(3) »Ù Â檤ÇUÚU âð (4) ÂçæØæð´ ·¤è ¿ÅUÙè âð
D-9815 !D-9815-PAPER-III! 21 Paper-III
Text of page 22
74. The other name for Dundubhi is :
(1) Nagada (2) Panav (3) Damaroo (4) Patah
75. The author of Radha Govind Sangeet Saar is :
(1) Bharat Muni (2) Sharang Dev
(3) Sawai Pratap Singh Dev (4) Sawai Madho Singh
-o0o-
D-9815 !D-9815-PAPER-III! 22 Paper-III
Text of page 23
74. ÎéÎéÖè ·¤æð ·¤ãÌð ãñ Ñ
(1) Ù»æÇUæ Öè (2) Âæß Öè (3) ÇU×M¤ Öè (4) ÂÅUã Öè
75. ÚUæÏæ »æðçß´Î â´»èÌ âæÚU ·ð¤ Üð¹·¤ Ñ
(1) ÖÚUÌ ×éçÙ (2) àææÚ´U» Îðß
(3) âßæ§ü ÂýÌæ çâ´ã Îðß (4) âßæ§ü ×æÏæð çâ´ã
-o0o-
D-9815 !D-9815-PAPER-III! 23 Paper-III
Text of page 24
Space For Rough Work D-9815 !D-9815-PAPER-III! 24 Paper-III
Official key not published for this paper.
Page 1 of 24
Source: University Grants Commission. Question paper published by University Grants Commission.