UGC NET 2016: July, Paper III, Percussion Instruments
Text of page 1
PAPER-III
PERCUSSION INSTRUMENTS
Signature and Name of Invigilator
1. (Signature) __________________________ OMR Sheet No. : ...............................................
(Name) ____________________________ (To be filled by the Candidate)
2. (Signature) __________________________ Roll No.
(Name) ____________________________ (In figures as per admission card)
Roll No.________________________________
J 9 8 1 6 (In words)
Time : 2 1/2 hours] [Maximum Marks : 150
Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75
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questions. ¯ÖÖÑ“Ö ×´Ö®Ö™ü †Ö¯ÖÛúÖê ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛúß ×®Ö´®Ö×»Ö×ÜÖŸÖ
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other discrepancy should be got replaced immediately ‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ“Ö ×´Ö®Ö™ü פüμÖê •ÖÖμÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®Ö
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Sheet Number should be entered on this Test Booklet. 4. ¯ÖÏŸμÖêÛú ¯ÖÏ¿®Ö Ûêú ×»Ö‹ “ÖÖ¸ü ˆ¢Ö¸ü ×¾ÖÛú»¯Ö (1), (2), (3) ŸÖ£ÖÖ (4) פüμÖê ÝÖμÖê
4. Each item has four alternative responses marked (1), (2), (3) Æïü … †Ö¯ÖÛúÖê ÃÖÆüß ˆ¢Ö¸ü Ûêú ¾Öé¢Ö ÛúÖê ¯Öê®Ö ÃÖê ³Ö¸üÛú¸ü ÛúÖ»ÖÖ Ûú¸ü®ÖÖ Æîü •ÖîÃÖÖ
and (4). You have to darken the circle as indicated below on ×Ûú ®Öß“Öê פüÜÖÖμÖÖ ÝÖμÖÖ Æîü :
the correct response against each item. ˆ¤üÖÆü¸üÞÖ :
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where (3) is the correct response. 5. ¯ÖÏ¿®ÖÖë Ûêú ˆ¢Ö¸ü Ûêú¾Ö»Ö ¯ÖÏ¿®Ö ¯Öã×ßÖÛúÖ Ûêú †®¤ü¸ü פüμÖê ÝÖμÖê OMR ¯Ö¡ÖÛú ¯Ö¸ü
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identity, or use abusive language or employ any other unfair ˆ¢Ö¸ü ÛúÖê ×´Ö™üÖ®ÖÖ μÖÖ ÃÖ±êú¤ü ÃμÖÖÆüß ÃÖê ²Ö¤ü»Ö®ÖÖ ŸÖÖê ¯Ö¸üßõÖÖ Ûêú ×»ÖμÖê
means, such as change of response by scratching or using †μÖÖêÝμÖ ‘ÖÖê×ÂÖŸÖ ×ÛúμÖê •ÖÖ ÃÖÛúŸÖê Æïü …
white fluid, you will render yourself liable to disqualification. 9. †Ö¯ÖÛúÖê ¯Ö¸üßõÖÖ ÃÖ´ÖÖ¯ŸÖ ÆüÖê®Öê ¯Ö¸ü ´Öæ»Ö OMR ¯Ö¡ÖÛú ×®Ö¸üßõÖÛú ´ÖÆüÖê¤üμÖ ÛúÖê
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at the end of the examination compulsorily and must not ÃÖê ²ÖÖÆü¸ü ®Ö »ÖêÛú¸ü •ÖÖμÖë … ÆüÖ»ÖÖÓ×Ûú †Ö¯Ö ¯Ö¸üßõÖÖ ÃÖ´ÖÖׯŸÖ ¯Ö¸ü ´Öæ»Ö ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ
carry it with you outside the Examination Hall. You are,
however, allowed to carry original question booklet and ŸÖ£ÖÖ OMR ¯Ö¡ÖÛú Ûúß ›ãü¯»ÖßÛêú™ü ¯ÖÏ×ŸÖ †¯Ö®Öê ÃÖÖ£Ö »Öê •ÖÖ ÃÖÛúŸÖê Æïü …
duplicate copy of OMR Sheet on conclusion of examination. 10. Ûêú¾Ö»Ö C.B.S.E. «üÖ¸üÖ ¯ÖϤüÖ®Ö ×ÛúμÖê ÝÖμÖê ÛúÖ»Öê ²ÖÖ»Ö ¯¾ÖÖ‡Õ™ü ¯Öê®Ö ÛúÖ
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English version will be taken as final. 13. μÖפü †ÓÝÖÏê•Öß μÖÖ ØÆü¤üß ×¾Ö¾Ö¸üÞÖ ´Öë ÛúÖê‡Ô ×¾ÖÃÖÓÝÖ×ŸÖ ÆüÖê, ŸÖÖê †ÓÝÖÏê•Öß ×¾Ö¾Ö¸üÞÖ
†Ó×ŸÖ´Ö ´ÖÖ®ÖÖ •ÖÖ‹ÝÖÖ …
J-98-16 1 P.T.O.
Text of page 2
PERCUSSION INSTRUMENTS
Paper – III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All
questions are compulsory.
1. Inventor of the instrument ‘Pushkar’ is
(1) Narada (2) Swati
(3) Bharat (4) Matang
2. The disciple of Pt. Biru Mishra is
(1) Pt. Basudev Singh (2) Pt. Lachhu Maharaj
(3) Pt. Garud Prasad (4) Pt. Ishwar Lal Mishra
3. In which of the following Taalas consisting of 16 matras, there are three ‘Khalis’ ?
(1) Teen taal (2) Badi Sawari
(3) Jat taal (4) Punjabi
4. Nathdwara tradition of Pakhawaj started in
(1) 13th century (2) 14th century
(3) 15th century (4) 16th century
5. In how many fingers ring is worn in Tavil ?
(1) Index finger (2) Middle finger
(3) Ring finger (4) In all fingers
6. Arrange the rasas in correct order :
(1) Hasya, Karuna, Raudra, Shringar
(2) Shringar, Hasya, Karuna, Raudra
(3) Raudra, Hasya, Shringar, Karuna
(4) Karuna, Raudra, Hasya, Shringar
Paper-III 2 J-98-16
Text of page 3
†¾Ö®Ö¨ü ¾ÖÖª
¯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. ‘¯ÖãÂÛú¸’ü ¾ÖÖª Ûêú ×®Ö´ÖÖÔŸÖÖ Æïü
(1) ®ÖÖ¸ü¤ü (2) þÖÖŸÖß
(3) ³Ö¸üŸÖ (4) ´ÖŸÖÓÝÖ
2. ¯ÖÓ. ²Öß¹ý ×´ÖÁÖ •Öß Ûêú ׿Ö嵅 Æïü
(1) ¯ÖÓ. ²ÖÖÃÖã¤êü¾Ö ØÃÖÆü (2) ¯ÖÓ. »Ö“”æû ´ÖÆüÖ¸üÖ•Ö
(3) ¯ÖÓ. ÝÖ¹ý›Ìü ¯ÖÏÃÖÖ¤ü (4) ¯ÖÓ. ‡Ô¿¾Ö¸ü»ÖÖ»Ö ×´ÖÁÖ
3. 16 ´ÖÖ¡ÖÖ Ûêú ×ÛúÃÖ ŸÖÖ»Ö ´Öë 3 ‘ÜÖÖ»Öß’ Æîü ?
(1) ŸÖ߮֟ÖÖ»Ö (2) ²Ö›Ìüß ÃÖ¾ÖÖ¸üß
(3) •ÖŸÖŸÖÖ»Ö (4) ¯ÖÓ•ÖÖ²Öß
4. ¯ÖÜÖÖ¾Ö•Ö Ûúß ®ÖÖ£Ö«üÖ¸üÖ ¯Ö¸ü´¯Ö¸üÖ ÛúÖ †ÖÙ¾Ö³ÖÖ¾Ö Ûú²Ö Æãü†Ö £ÖÖ ?
(1) 13¾Öà ¿ÖŸÖÖ²¤üß (2) 14¾Öà ¿ÖŸÖÖ²¤üß
(3) 15¾Öà ¿ÖŸÖÖ²¤üß (4) 16¾Öà ¿ÖŸÖÖ²¤üß
5. ŸÖ×¾Ö»Ö ´Öë ×ÛúŸÖ®Öß †ÓÝÖã×»ÖµÖÖë ´Öë ”û»»ÖÖ »ÖÝÖŸÖÖ Æîü ?
(1) ŸÖ•ÖÔ®Öß (2) ´Ö¬µÖ´ÖÖ
(3) †®ÖÖ×´ÖÛúÖ (4) ÃÖ³Öß †ÓÝÖã×»ÖµÖÖë ´Öë
6. ¸üÃÖÖë ÛúÖ ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‡µÖê :
(1) ÆüÖõÖ, Ûú¹ýÞÖ, ¸üÖî¦ü, ÀÖéÓÝÖÖ¸ü
(2) ÀÖéÓÝÖÖ¸ü, ÆüÖõÖ, Ûú¹ýÞÖ, ¸üÖî¦
(3) ¸üÖî¦, ÆüÖõÖ, ÀÖéÓÝÖÖ¸ü, Ûú¹ýÞÖ
(4) Ûú¹ýÞÖ, ¸üÖî¦, ÆüÖõÖ, ÀÖéÓÝÖÖ¸ü
J-98-16 3 Paper-III
Text of page 4
7. The author of the treatise “Sangeet Chinta Mani” is
(1) Acharya Brihaspati (2) Sulochana Brihaspati
(3) Abul Fazal (4) Dr. Prem Lata Sharma
8. A theka of teen taal in one single Avartan of teen taal would be completed in which four
layakaris ?
(1) Chhahgun, Tigun, Athgun, Chowgun
(2) Barahgun, Chhahgun, Chowgun, Dugun
(3) Chhahgun, Barahgun, Chowgun, Tigun
(4) Dugun, Chowgun, Chhahgun, Athgun
9. Staff Notation System has developed from which of the following notation systems ?
(1) Chievh Notation System (2) Neumes Notation System
(3) Solfa Notation System (4) Independently
10. Which one of the following is not a pre-conceived creation ?
(1) Nauhakka (2) Paran
(3) Tukda (4) Peshkar
11. Read Assertion (A) and Reason (R) and select correct answer from the codes given below :
Assertion (A) : A competent tabla companion should know the styles of all Gharanas.
Reason (R) : Because he cannot be a good companion in the absence of this
knowledge.
Codes :
(1) (A) and (R) both are true.
(2) (A) is true but (R) is false.
(3) (A) and (R) both are false.
(4) (A) is false and (R) is true.
Paper-III 4 J-98-16
Text of page 5
7. “ÃÖÓÝÖßŸÖ ×“Ö®ŸÖÖ ´Ö×ÞÖ” Ûêú »ÖêÜÖÛú Æïü
(1) †Ö“ÖÖµÖÔ ²ÖéÆüïÖ×ŸÖ (2) ÃÖã»ÖÖê“Ö®ÖÖ ²ÖéÆüïÖןÖ
(3) †²Öã»Ö ±ú•Ö»Ö (4) ›üÖò. ¯ÖÏê´Ö»ÖŸÖÖ ¿Ö´ÖÖÔ
8. ŸÖ߮֟ÖÖ»Ö Ûêú ‹Ûú †Ö¾ÖŸÖÔ®Ö ´Öë ŸÖ߮֟ÖÖ»Ö ÛúÖ ¯ÖæÞÖÔ šêüÛúÖ ×Ûú®Ö “ÖÖ¸ü »ÖµÖÛúÖ׸üµÖÖë ´Öë ¯Öæ¸üÖ-¯Öæ¸üÖ †ÖµÖêÝÖÖ ?
(1) ”ûÆüÝÖã®Ö, ןÖÝÖã®Ö, †šüÝÖã®Ö, “ÖÖîÝÖã®Ö
(2) ²ÖÖ¸üÆüÝÖã®Ö, ”ûÆüÝÖã®Ö, “ÖÖîÝÖã®Ö, ¤ãüÝÖã®Ö
(3) ”ûÆüÝÖã®Ö, ²ÖÖ¸üÆüÝÖã®Ö, “ÖÖîÝÖã®Ö, ןÖÝÖã®Ö
(4) ¤ãüÝÖã®Ö, “ÖÖîÝÖã®Ö, ”ûÆüÝÖã®Ö, †šüÝÖã®Ö
9. ÙüÖ±ú þָü×»Ö×¯Ö ¯Ö¨ü×ŸÖ ×ÛúÃÖ Ã¾Ö¸ü×»Ö×¯Ö ¯Ö¨ü×ŸÖ ÃÖê ×¾ÖÛú×ÃÖŸÖ Æãü‡Ô Æîü ?
(1) “Öß¾Æü þָü×»Ö×¯Ö ¯Ö¨ü×ŸÖ (2) ®µÖæ´ÖÃÖ Ã¾Ö¸ü×»Ö×¯Ö ¯Ö¨üןÖ
(3) ÃÖÖê»±úÖ Ã¾Ö¸ü×»Ö×¯Ö ¯Ö¨ü×ŸÖ (4) þ֮֟¡Ö ºþ¯Ö ÃÖê
10. ¯Öæ¾ÖÔ ÃÖÓÛú×»¯ÖŸÖ ¸ü“Ö®ÖÖ ÛúÖî®Ö ÃÖß ®ÖÆüà Æîü ?
(1) ®ÖÖîÆüŒÛúÖ (2) ¯Ö¸ü®Ö
(3) ™ãüÛú›ÌüÖ (4) ¯Öê¿ÖÛúÖ¸ü
11. †×³ÖÛú£Ö®Ö (A) ŸÖ£ÖÖ ÛúÖ¸üÞÖ (R) ÛúÖê ¯ÖœÌëü †Öî¸ü ®Öß“Öê פü‹ Ûæú™üÖë Ûúß ÃÖÆüÖµÖŸÖÖ ÃÖê ÃÖÆüß ˆ¢Ö¸ü ¤ëü :
†×³ÖÛú£Ö®Ö (A) : ‹Ûú †“”êû ŸÖ²Ö»ÖÖ ÃÖÓÝÖŸÖÛúÖ¸ü ÛúÖê ÃÖ³Öß ‘Ö¸üÖ®Öê ÛúÖ ŸÖ²Ö»ÖÖ ´ÖÖ»Öæ´Ö ÆüÖê®ÖÖ “ÖÖ×ÆüµÖê …
ÛúÖ¸üÞÖ (R) : ŒµÖÖë×Ûú ‡ÃÖÛêú †³ÖÖ¾Ö ´Öë ¾ÖÆü †“”ûÖ ÃÖÓÝÖŸÖÛúÖ¸ü ®ÖÆüà ÆüÖê ÃÖÛúŸÖÖ Æîü …
ÛúÖê›Ìü :
(1) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(2) (A) ÃÖÆüß ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ Æîü …
(3) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
(4) (A) ÝÖ»ÖŸÖ ŸÖ£ÖÖ (R) ÃÖÆüß Æîü …
J-98-16 5 Paper-III
Text of page 6
12. Which instrument was played by Pt. Vinayak Rao Ghanghrekar ?
(1) Mridangam (2) Tabla
(3) Pakhawaj (4) Mridang
13. How many matras are there in Dhruva taal Sankeerna Jati ?
(1) 23 (2) 25
(3) 27 (4) 29
14. is the part of which one of the following taalas ?
(1) Sul taal (2) Tivra
(3) Shikhar (4) Chartaal
15. Which of the following artists is credited with numbered tipahiya in Kathak dance ?
(1) Pt. Gopikrishna (2) Vidushi Sitara Devi
(3) Pt. Birju Maharaj (4) Pt. Rajendra Gangani
16. Select the correct matches from the codes given below :
List – I List – II
a. Law of Octave i. Tempered Scale
b. Fixed Key ii. 240 : 480
c. Octave Interval iii. Vrindvadan Sangeet
d. Otetorion iv. Pythogorian scale
Codes :
a b c d
(1) iv ii iii i
(2) iv i ii iii
(3) ii i iv iii
(4) iii ii i iv
Paper-III 6 J-98-16
Text of page 7
12. ¯ÖÓ. ×¾Ö®ÖÖµÖÛú ¸üÖ¾Ö ‘ÖÖÓ‘ÖÐêÛú¸ü ŒµÖÖ ²Ö•ÖÖŸÖê £Öê ?
(1) ´Öé¤ÓüÝÖ´Ö (2) ŸÖ²Ö»ÖÖ
(3) ¯ÖÜÖÖ¾Ö•Ö (4) ´Öé¤ÓüÝÖ
13. ¬ÖÐã¾ÖŸÖÖ»Ö ÃÖÓÛúßÞÖÔ •ÖÖ×ŸÖ ´Öë Ûãú»Ö ×ÛúŸÖ®Öß ´ÖÖ¡ÖÖ‹Ñ Æïü ?
(1) 23 (2) 25
(3) 27 (4) 29
14. µÖÆü ×ÛúÃÖ ŸÖÖ»Ö ÛúÖ †Ó¿Ö Æîü ?
(1) ÃÖæ»ÖŸÖÖ»Ö (2) ŸÖß¾Ö¸üÖ
(3) ׿ÖÜÖ¸ü (4) “ÖÖ¸üŸÖÖ»Ö
15. ÛúŸ£ÖÛú ®ÖéŸµÖ ´Öë ×ÝÖ®ÖŸÖß Ûúß ×ŸÖ¯ÆüÖ‡ÔµÖÖë ÛúÖ ÁÖêµÖ ×ÛúÃÖ Ûú»ÖÖÛúÖ¸ü ÛúÖê •ÖÖŸÖÖ Æîü ?
(1) ¯ÖÓ. ÝÖÖê¯ÖßÛéúÂÞÖ (2) ×¾Ö¤ãüÂÖß ×ÃÖŸÖÖ¸üÖ ¤êü¾Öß
(3) ¯ÖÓ. ײָü•Öæ ´ÖÆüÖ¸üÖ•Ö (4) ¯ÖÓ. ¸üÖ•Öꮦü ÝÖÓÝÖÖ®Öß
16. ÃÖã´Öê×»ÖŸÖ ÛúßוֵÖê :
ÃÖæ“Öß – I ÃÖæ“Öß – II
a. »ÖÖ †Öò±ú †ÖŒ™êü¾Ö i. ™êü´¯Ö›Ôü ÃÛêú»Ö
b. ×±úŒÃÖ›Ëü Ûúß ii. 240 : 480
c. †ÖòŒ™êü¾Ö ‡Ó™ü¸ü¾Öê»Ö iii. ¾ÖéÓ¤ü¾ÖÖ¤ü®Ö ÃÖÓÝÖߟÖ
d. †Öê™êü™üÖê׸üµÖÖë iv. ¯ÖÖµÖ£ÖÖÝÖÖê׸üµÖ®Ö ÃÛêú»Ö
󜅐ݟ :
a b c d
(1) iv ii iii i
(2) iv i ii iii
(3) ii i iv iii
(4) iii ii i iv
J-98-16 7 Paper-III
Text of page 8
17. Which instrument is mostly used for Lehara in the solo tabla playing ?
(1) Violin (2) Israj
(3) Saarangi (4) Sitar
18. Which of the following artists has used the concept of South Indian Laya Taal in his
performance ?
(1) Pt. Swapan Choudhary (2) Pt. Suresh Talwalkar
(3) Pt. Anindo Chatterjee (4) Pt. Nayan Ghosh
19. Which one of the following is Chowguna (four times) of Paungun ?
(1) Dugun (2) Tigun
(3) Chowgun (4) Chhahgun
20. The instrument Metronome produces which of the following taalas ?
(1) Taal (2) Laya
(3) Lahra (4) Avartan
21. Author of the book ‘Madal-ul-Mausiki’ is
(1) Abul Fazal (2) Hamid Mohammad Karam Imam
(3) Mohammad Jayasi (4) Rajab Ali
22. Gajparan was composed by which scholar ?
(1) Nanapanse (2) Kudau Singh
(3) Jodh Singh (4) Parvat Singh
23. Read Assertion (A) and Reason (R) and select correct answer from the code given below :
Assertion (A) : Taal disciplines the music and gives it a proper shape.
Reason (R) : But there could be indeed a music without that discipline.
Codes :
(1) (A) and (R) both are false. (2) (A) and (R) both are true.
(3) (A) is false but (R) is true. (4) (A) is true but (R) is false.
Paper-III 8 J-98-16
Text of page 9
17. þ֟ÖÓ¡Ö ŸÖ²Ö»ÖÖ-¾ÖÖ¤ü®Ö ´Öë »ÖÆü¸üÖ ÆêüŸÖã ÃÖ¾ÖÖÔ׬ÖÛú ×ÛúÃÖ ¾ÖÖª ÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(1) ¾ÖÖµÖ×»Ö®Ö (2) ‡ÃÖ¸üÖ•Ö
(3) ÃÖÖ¸ÓüÝÖß (4) ×ÃÖŸÖÖ¸ü
18. ¤ü×õÖÞÖ ³ÖÖ¸üŸÖßµÖ »ÖµÖ-ŸÖÖ»Ö ÃÖÓÛú»¯Ö®ÖÖ ÛúÖê †¯Ö®Öê ¾ÖÖ¤ü®Ö ´Öë ¯ÖÏßÖãŸÖ Ûú¸ü®Öê ¾ÖÖ»Öê Ûú»ÖÖÛúÖ¸ü Æîü
(1) ¯ÖÓ. Ã¾Ö¯Ö®Ö “ÖÖî¬Ö¸üß (2) ¯ÖÓ. ÃÖã¸êü¿Ö ŸÖ»Ö¾Ö»ÖÛú¸ü
(3) ¯ÖÓ. †Öخ֤üÖê “Ö™ü•Öá (4) ¯ÖÓ. ®ÖµÖ®Ö ‘ÖÖêÂÖ
19. ¯ÖÖî®Ö ÝÖã®Ö ÛúÖ “ÖÖîÝÖã®ÖÖ ÆüÖêÝÖÖ
(1) ¤ãüÝÖã®Ö (2) ןÖÝÖã®Ö
(3) “ÖÖîÝÖã®Ö (4) ”ûÆüÝÖã®Ö
20. ´Öê™ÒüÖê®ÖÖê´Ö µÖ®¡Ö ¯ÖϤüÙ¿ÖŸÖ Ûú¸üŸÖÖ Æîü
(1) ŸÖÖ»Ö (2) »ÖµÖ
(3) »ÖÆü¸üÖ (4) †Ö¾ÖŸÖÔ®Ö
21. ‘´Ö¤ü»Ö-ˆ»Ö-´ÖÖî׿ÖÛúß’ Ûêú »ÖêÜÖÛú Æïü
(1) †²Öã»Ö ±ú•Ö»Ö (2) ÆüÛúß´Ö ´ÖÖêÆü´´Ö¤ü Ûú¸ü´Ö ‡´ÖÖ´Ö
(3) ´ÖÖêÆü´´Ö¤ü •ÖÖµÖÃÖß (4) ¸ü•Ö²Ö †»Öß
22. ÝÖ•Ö¯Ö¸ü®Ö Ûúß ¸ü“Ö®ÖÖ ×ÛúÃÖ ×¾Ö«üÖ®Ö «üÖ¸üÖ Ûúß ÝÖ‡Ô Æîü ?
(1) ®ÖÖ®ÖÖ¯ÖÖ®ÖÃÖê (2) Ûãú¤ü‰ú ØÃÖÆü
(3) •ÖÖê¬Ö ØÃÖÆü (4) ¯Ö¾ÖÔŸÖ ØÃÖÆü
23. †×³ÖÛú£Ö®Ö (A) ŸÖ£ÖÖ ÛúÖ¸üÞÖ (R) ÛúÖê ¯ÖœÌëü †Öî¸ü ®Öß“Öê פü‹ Ûæú™üÖë Ûúß ÃÖÆüÖµÖŸÖÖ ÃÖê ÃÖÆüß ˆ¢Ö¸ü ¤ëü :
†×³ÖÛú£Ö®Ö (A) : ŸÖÖ»Ö, ÃÖÓÝÖßŸÖ ÛúÖê †®Öã¿ÖÖÃÖ®Ö ¯ÖϤüÖ®Ö Ûú¸ü ÃÖãÝÖœÌü ²Ö®ÖÖŸÖß Æîü …
ÛúÖ¸üÞÖ (R) : †®Öã¿ÖÖÃÖ®Ö Ûêú †³ÖÖ¾Ö ´Öë ³Öß ÃÖÓÝÖßŸÖ ÆüÖê ÃÖÛúŸÖÖ Æîü …
ÛúÖê›Ìü :
(1) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ
(2) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÃÖÆüß
(3) (A) ÝÖ»ÖŸÖ ŸÖ£ÖÖ (R) ÃÖÆüß
(4) (A) ÃÖÆüß ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ
J-98-16 9 Paper-III
Text of page 10
24. In ancient treatise, how many hand strokes (Hast Prahar) are recommended for playing
Mridanga ?
(1) 4 (2) 5
(3) 6 (4) 7
25. Which part of the Tripushkar Vadya is played by keeping it on the lap ?
(1) Aankik (2) Urdhwak
(3) Ghaunsa (4) Muraj
26. Who is the disciple of Mian Hussain Baksh of Punjab ?
(1) Haddu Khan
(2) Mian Kadir Baksh
(3) Taj Khan Deredar
(4) Mian Fakir Baksh
27. Which layakari will be produced by changing laya of Quayeda of Basant taal and playing
that into ek taal ?
3 4
(1) 4 (2) 3
2 3
(3) 3 (4) 2
7
28. The 8 timings in Western music is treated as which of the following taalas in North Indian
Music ?
(1) Dadra
(2) Rupak
(3) Jhaptaal
(4) Teen taal
Paper-III 10 J-98-16
Text of page 11
24. ¯ÖÏÖ“Öß®Ö ÝÖÏÓ£ÖÖë ´Öë ´Öé¤ÓüÝÖ ¾ÖÖ¤ü®Ö Ûêú ×»Ö‹ ×ÛúŸÖ®Öê ‘ÆüÃŸÖ ¯ÖÏÆüÖ¸ü’ ²ÖŸÖÖµÖê Æïü ?
(1) 4 (2) 5
(3) 6 (4) 7
25. ס֯ÖãÂÛú¸ü ¾ÖÖª Ûêú ×ÛúÃÖ ³ÖÖÝÖ ÛúÖê †ÓÛú (ÝÖÖê¤ü) ´Öë ¸üÜÖÛú¸ü ²Ö•ÖÖµÖÖ •ÖÖŸÖÖ Æîü ?
(1) †ÖÓ×ÛúÛú (2) ˆ¬¾ÖÔÛú
(3) ‘ÖÖïÃÖÖ (4) ´Öã¸ü•Ö
26. ¯ÖÓ•ÖÖ²Ö Ûêú ×´ÖµÖÖÑ ÆãüÃÖî®Ö ²ÖŒ¿Ö Ûêú ׿Ö嵅 Æîü ?
(1) Æü¤Ëü¤æü ÜÖÖÑ
(2) ×´ÖµÖÖÑ ÛúÖפü¸ü ²ÖŒ¿Ö
(3) ŸÖÖ•Ö ÜÖÖÑ ›êü¸êü¤üÖ¸ü
(4) ×´ÖµÖÖÑ ±úÛú߸ü ²ÖŒ¿Ö
27. ²ÖÃÖÓŸÖŸÖÖ»Ö Ûêú ÛúÖµÖ¤êü ÛúÖê »ÖµÖ ¯Ö׸ü¾ÖÙŸÖŸÖ Ûú¸ü ‹ÛúŸÖÖ»Ö ´Öë ²Ö•ÖÖ®Öê ¯Ö¸ü ÛúÖî®Ö ÃÖß »ÖµÖÛúÖ¸üß ÆüÖêÝÖß ?
3 4
(1) 4 (2) 3
2 3
(3) 3 (4) 2
7
28. ¯ÖÖ¿“ÖÖŸµÖ ÃÖÓÝÖßŸÖ ´Öë 8 ™üևشÖÝÃÖ ÛúÖê ˆ¢Ö¸ü ³ÖÖ¸üŸÖßµÖ ÃÖÓÝÖßŸÖ ´Öë ×ÛúÃÖ ŸÖÖ»Ö Ûêú †®ÖãÃÖÖ¸ü ´ÖÖ®ÖÖ •ÖÖµÖêÝÖÖ ?
(1) ¤üÖ¤ü¸üÖ
(2) ºþ¯ÖÛú
(3) —Ö¯ÖŸÖÖ»Ö
(4) ŸÖ߮֟ÖÖ»Ö
J-98-16 11 Paper-III
Text of page 12
29. Which one of the following is a correct chronological order of given Sangeet Natak
Academy Award winners ?
(1) Pt. Suresh Talwalkar, Pt. Anindo Chatterjee, Ut. Zakir Hussain, Pt. Kumar Bose
(2) Ut. Zakir Hussain, Pt. Anindo Chatterjee, Pt. Suresh Talwalkar, Pt. Kumar Bose
(3) Pt. Kumar Bose, Pt. Anindo Chatterjee, Pt. Suresh Talwalkar, Ut. Zakir Hussain
(4) Ut. Zakir Hussain, Pt. Suresh Talwalkar, Pt. Anindo Chatterjee, Pt. Kumar Bose
30. The author of ‘Taal Martanda’ is
(1) Pt. Ram Narayan (2) Girish Chandra Srivastav
(3) Pt. Vijay Shankar Mishra (4) Pt. Satya Narayan Vashishtha
31. Which of the following instruments is a odd one ?
(1) Damama (2) Hudukka
(3) Dhaunsa (4) Bheri
32. Which eminent tabla maestro of Calcutta passed away in 2016 ?
(1) Pt. Gyan Prakash Ghosh (2) Pt. Shankar Ghosh
(3) Pt. Karamat Khan (4) Pt. Kanhai Dutt
33. The verse Totak Vritta belongs to which category ?
(1) Tishra (2) Khanda
(3) Chatashra (4) Mishra
34. In which chapter of the Natyashastra the classification of Vadya has been mentioned ?
(1) 28 (2) 29
(3) 30 (4) 31
Paper-III 12 J-98-16
Text of page 13
29. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÃÖÓÝÖßŸÖ ®ÖÖ™üÛú †ÛúÖ¤ü´Öß ¯Öã¸üÃÛúÖ¸ü ¯ÖÏÖ¯ŸÖ Ûú»ÖÖÛúÖ¸üÖë ÛúÖê ÛÎú´Ö²Ö¨ü Ûúßו֋ (ÛúÖ»ÖÛÎú´Ö Ûêú †®ÖãÃÖÖ¸ü) :
(1) ¯ÖÓ. ÃÖã¸êü¿Ö ŸÖ»Ö¾Ö»ÖÛú¸ü, ¯ÖÓ. †Öخ֤üÖê “Ö™ü•Öá, ˆ. •ÖÖ×Ûú¸ü ÆãüÃÖî®Ö, ¯ÖÓ. Ûãú´ÖÖ¸ü ²ÖÖêÃÖ
(2) ˆ. •ÖÖ×Ûú¸ü ÆãüÃÖî®Ö, ¯ÖÓ. †Öخ֤üÖê “Ö™ü•Öá, ¯ÖÓ. ÃÖã¸êü¿Ö ŸÖ»Ö¾Ö»ÖÛú¸, ¯ÖÓ. Ûãú´ÖÖ¸ü ²ÖÖêÃÖ
(3) ¯ÖÓ. Ûãú´ÖÖ¸ü ²ÖÖêÃÖ, ¯ÖÓ. †Öخ֤üÖê “Ö™ü•Öá, ¯ÖÓ. ÃÖã¸êü¿Ö ŸÖ»Ö¾Ö»ÖÛú¸, ˆ. •ÖÖ×Ûú¸ü ÆãüÃÖî®Ö
(4) ˆ. •ÖÖ×Ûú¸ü ÆãüÃÖî®Ö, ¯ÖÓ. ÃÖã¸êü¿Ö ŸÖ»Ö¾Ö»ÖÛú¸, ¯ÖÓ. †Öخ֤üÖê “Ö™ü•Öá, ¯ÖÓ. Ûãú´ÖÖ¸ü ²ÖÖêÃÖ
30. ŸÖÖ»Ö ´ÖÖŸÖÔÞ›ü Ûêú »ÖêÜÖÛú Æïü
(1) ¯ÖÓ. ¸üÖ´Ö®ÖÖ¸üÖµÖÞÖ (2) ×ÝÖ¸üß¿Ö “Ö®¦ü ÁÖß¾ÖÖß־Ö
(3) ¯ÖÓ. ×¾Ö•ÖµÖ ¿ÖÓÛú¸ü ×´ÖÁÖ (4) ¯ÖÓ. ÃÖŸµÖ®ÖÖ¸üÖµÖÞÖ ¾Ö׿Öšü
31. ‡®Ö´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ¾ÖÖª ¯Öé£ÖÛú Æîü ?
(1) ¤ü´ÖÖ´ÖÖ (2) Æãü›ãüŒÛúÖ
(3) ¬ÖÖïÃÖÖ (4) ³Öê¸üß
32. Ûú»ÖÛú¢ÖÖ Ûêú ¯ÖÏ×ÃÖ¨ü ŸÖ²Ö»ÖÖ-¾ÖÖ¤üÛú Ûúß 2016 ´Öë ´Ö韵Öã Æãü‡Ô
(1) ¯ÖÓ. –ÖÖ®Ö ¯ÖÏÛúÖ¿Ö ‘ÖÖêÂÖ (2) ¯ÖÓ. ¿ÖÓÛú¸ü ‘ÖÖêÂÖ
(3) ¯ÖÓ. Ûú¸üÖ´ÖŸÖ ÜÖÖÑ (4) ¯ÖÓ. Ûú®ÆüÖ‡Ô ¤ü¢Ö
33. ŸÖÖê™üÛú ¾Öé¢Ö ×ÛúÃÖ •ÖÖ×ŸÖ ÛúÖ ”Óû¤ü Æîü ?
(1) ןÖÁÖ (2) ÜÖÞ›ü
(3) “ÖŸÖÃ¡Ö (4) ×´ÖÁÖ
34. ®ÖÖ™ËüµÖ¿ÖÖÃ¡Ö Ûêú ×ÛúÃÖ †¬µÖÖµÖ ´Öë ¾ÖÖª ¾ÖÝÖáÛú¸üÞÖ ÛúÖ ¾ÖÞÖÔ®Ö Æîü ?
(1) 28 (2) 29
(3) 30 (4) 31
J-98-16 13 Paper-III
Text of page 14
35. Select the correct matches from the codes given below :
List – I List – II
a. Gat Quayeda i. Mukta Vistar
b. Peshkar ii. Palte
c. Gat iii. Nauhakka
d. Tihai iv. Tridhari
Codes :
a b c d
(1) ii i iv iii
(2) i iii iv ii
(3) iii i iv ii
(4) iv iii ii i
36. What is used for tuning with Mridangam ?
(1) Hammer (2) Brass
(3) A piece of Iron (4) A piece of wood or stone
37. The practice of applying mud on the open face of Mridanga was called
(1) Mukhlepan (2) Vilepan
(3) Trilepan (4) Sammilan
38. From which tabla maestro of Banaras Gharana Prof. Lalji Srivastav received training ?
(1) Pt. Kanthe Maharaj (2) Prof. Shyam Lal Mishra
(3) Pt. Ganesh Mishra (4) Pt. Bikoo Maharaj
39. The second dha which comes on sam in Kamali Chakkardar comes in which category of
dha ?
(1) 13 (2) 14
(3) 15 (4) 16
Paper-III 14 J-98-16
Text of page 15
35. ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ÝÖŸÖ ÛúÖµÖ¤üÖ i. ´ÖãŒŸÖ ×¾ÖßÖÖ¸ü
b. ¯Öê¿ÖÛúÖ¸ü ii. ¯Ö»™êü
c. ÝÖŸÖ iii. ®ÖÖîÆüŒÛúÖ
d. ןÖÆüÖ‡Ô iv. ס֬ÖÖ¸üß
󜅐ݟ :
a b c d
(1) ii i iv iii
(2) i iii iv ii
(3) iii i iv ii
(4) iv iii ii i
36. ´Öé¤ÓüÝÖ´ÖË ÛúÖê þָü ´Öë ×´Ö»ÖÖ®Öê Ûêú ×»Ö‹ ×ÛúÃÖÛúÖ ¯ÖϵÖÖêÝÖ ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?
(1) Æü£ÖÖî›Ìüß (2) ¯ÖߟֻÖ
(3) »ÖÖêÆêü ÛúÖ ™ãüÛú›ÌüÖ (4) ¯ÖŸ£Ö¸ü †£Ö¾ÖÖ »ÖÛú›Ìüß ÛúÖ ™ãüÛú›ÌüÖ
37. ´Öé¤ÓüÝÖ Ûêú ÜÖã»Öê ´ÖãÜÖÖë ¯Ö¸ü ×´Ö¼üß »ÖÝÖÖ®Öê Ûúß ×ÛÎúµÖÖ ÛúÖê ÛúÆüŸÖê £Öê
(1) ´ÖãÜÖ»Öê¯Ö®Ö (2) ×¾Ö»Öê¯Ö®Ö
(3) סֻÖê¯Ö®Ö (4) ÃÖ×´´Ö»Ö®Ö
38. ¯ÖÏÖê. »ÖÖ»Ö•Öß ÁÖß¾ÖÖÃŸÖ¾Ö ®Öê ²Ö®ÖÖ¸üÃÖ ‘Ö¸üÖ®Öê Ûêú ×ÛúÃÖ ŸÖ²Ö»ÖÖ-¾ÖÖ¤üÛú ÃÖê ׿ÖõÖÖ ¯ÖÏÖ¯ŸÖ Ûúß Æîü ?
(1) ¯ÖÓ. ÛúÞšêü ´ÖÆüÖ¸üÖ•Ö (2) ¯ÖÏÖê. ¿µÖÖ´Ö»ÖÖ»Ö ×´ÖÁÖ
(3) ¯ÖÓ. ÝÖÞÖê¿Ö ×´ÖÁÖ (4) ¯ÖÓ. ײ֌Ûæú ´ÖÆüÖ¸üÖ•Ö
39. Ûú´ÖÖ»Öß “ÖŒÛú¸ü¤üÖ¸ü ´Öë ¤æüÃÖ¸üÖ ¬ÖÖ •ÖÖê ÃÖ´Ö ¯Ö¸ü †ÖŸÖÖ Æîü ¾ÖÖê ¬ÖÖ Ûúß ÁÖêÞÖß ´Öë ÛúÖî®Ö ÃÖÖ Æîü ?
(1) 13 (2) 14
(3) 15 (4) 16
J-98-16 15 Paper-III
Text of page 16
40. How many ‘Ya’ Ganas are there in Bhujang Prayat Vritta ?
(1) 6 (2) 5
(3) 3 (4) 4
41. Which of the following was called Naubat in the Mughal period ?
(1) Aatodya (2) Kutap
(3) Bhand (4) Avanaddha Vadya
42. ‘Gat’ is used in
(1) Kathak (2) Tabla
(3) Swar Vadya (4) All of the above
43. Arrange the ganas in the correct order :
(1) Yagan, Tagan, Magan, Ragan
(2) Magan, Yagan, Tagan, Ragan
(3) Yagan, Magan, Tagan, Ragan
(4) Yagan, Tagan, Ragan, Magan
44. The gattas of tabla are usually
1 1
(1) 1 inch long and 2 inch thick (2) 3 inches long and 2 inch thick
1 1
(3) 4 inches long and 22 inches thick (4) 5 inches long and 32 inches thick
45. Read Assertion (A) and Reason (R) and select correct answer from the code given below :
Assertion (A) : Different Gharanas of tabla are like different flowers which together
resemble a bouquet.
Reason (R) : Varieties of compositions enhance the beauty.
Codes :
(1) (A) is true but (R) is false. (2) (A) is false but (R) is true.
(3) (A) and (R) both are true. (4) (A) and (R) both are false.
Paper-III 16 J-98-16
Text of page 17
40. ³Öã•ÖÓÝÖ ¯ÖϵÖÖŸÖ ¾Öé¢Ö ´Öë ×ÛúŸÖ®Öê ‘µÖ’ ÝÖÞÖ ÆüÖêŸÖê Æïü ?
(1) 6 (2) 5
(3) 3 (4) 4
41. ´ÖãÝÖ»ÖÛúÖ»Ö ´Öë ×ÛúÃÖÛúÖê ®ÖÖî²ÖŸÖ Ûúß ÃÖÓ–ÖÖ ¯ÖϤüÖ®Ö Ûúß ÝÖµÖß £Öß ?
(1) †ÖŸÖÖêª (2) ÛãúŸÖ¯Ö
(3) ³ÖÖÞ›ü (4) †¾Ö®Ö¨ü ¾ÖÖª
42. ‘ÝÖŸÖ’ ÛúÖ ¯ÖϵÖÖêÝÖ ÛúÆüÖÑ ÆüÖêŸÖÖ Æîü ?
(1) ÛúŸ£ÖÛú (2) ŸÖ²Ö»ÖÖ
(3) þָü¾ÖÖª (4) ˆ¯ÖµÖãÔŒŸÖ ÃÖ³Öß
43. ÝÖÞÖÖë ÛúÖ ÃÖÆüß ÛÎú´Ö ²ÖŸÖÖ‡µÖê :
(1) µÖÝÖÞÖ, ŸÖÝÖÞÖ, ´ÖÝÖÞÖ, ¸üÝÖÞÖ
(2) ´ÖÝÖÞÖ, µÖÝÖÞÖ, ŸÖÝÖÞÖ, ¸üÝÖÞÖ
(3) µÖÝÖÞÖ, ´ÖÝÖÞÖ, ŸÖÝÖÞÖ, ¸üÝÖÞÖ
(4) µÖÝÖÞÖ, ŸÖÝÖÞÖ, ¸üÝÖÞÖ, ´ÖÝÖÞÖ
44. ŸÖ²Ö»Öê Ûêú ÝÖ¼êü ¯ÖÏÖµÖ: ÆüÖêŸÖê Æïü
1 1
(1) 1 ‡Ó“Ö »Ö´²ÖÖ ¾Ö 2 ‡Ó“Ö ´ÖÖê™üÖ (2) 3 ‡Ó“Ö »Ö´²ÖÖ ¾Ö 2 ‡Ó“Ö ´ÖÖê™üÖ
1 1
(3) 4 ‡Ó“Ö »Ö´²ÖÖ ¾Ö 22 ‡Ó“Ö ´ÖÖê™üÖ (4) 5 ‡Ó“Ö »Ö´²ÖÖ ¾Ö 32 ‡Ó“Ö ´ÖÖê™üÖ
45. †×³ÖÛú£Ö®Ö (A) ŸÖ£ÖÖ ÛúÖ¸üÞÖ (R) ÛúÖê ¯ÖœÌëü †Öî¸ü ®Öß“Öê פü‹ Ûæú™üÖë Ûúß ÃÖÆüÖµÖŸÖÖ ÃÖê ÃÖÆüß ˆ¢Ö¸ü ¤ëü :
†×³ÖÛú£Ö®Ö (A) : ŸÖ²Ö»Öê Ûêú ×¾Ö׳֮®Ö ‘Ö¸üÖ®Öê ×¾Ö׳֮®Ö ¯ÖÏÛúÖ¸ü Ûêú ¯Öã¯ÖÖë Ûêú ÃÖ´ÖÖ®Ö Æîü •ÖÖê ÃÖÖ£Ö ´Öë ‹Ûú ¯Öã¯ÖÝÖã“”û ÃÖê
¯ÖÏŸÖßŸÖ ÆüÖêŸÖê Æïü …
ÛúÖ¸üÞÖ (R) : ÃÖÓµÖÖê•Ö®Ö Ûúß ×¾Ö×¾Ö¬ÖŸÖÖ ³Öß ÃÖÖüµÖÔ ¾Öéרü Ûú¸üŸÖß Æîü …
ÛúÖê›Ìü :
(1) (A) ÃÖÆüß †Öî¸ü (R) ÝÖ»ÖŸÖ Æîü …
(2) (A) ÝÖ»ÖŸÖ †Öî¸ü (R) ÃÖÆüß Æîü …
(3) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÃÖÆüß Æïü …
(4) (A) †Öî¸ü (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ Æïü …
J-98-16 17 Paper-III
Text of page 18
46. Which of the following is not a disciple of Ustad Munne Khan ?
(1) Ustad Abid Hussain
(2) Ustad Wahid Khan
(3) Nadir Hussain Khan
(4) Ustad Wazid Hussain Khan
47. Chitra and Vibhavari verses are sung in the taalas of how many matras ?
(1) 5 (2) 6
(3) 7 (4) 8
48. Select the correct matches from the codes given below :
Music Festivals Places
a. Sankat Mochan Samaroh i. Varanasi
b. Kalidas Samaroh ii. Jalandhar
c. Harivallabh Samaroh iii. Ujjain
d. Sawai Gandharva Samaroh iv. Mathura
v. Pune
Codes :
a b c d
(1) i ii v iv
(2) iii ii i iv
(3) v iii ii iv
(4) i iii ii v
49. Which chapter of Sangeet Makrand describes the Das prana of Taalas ?
(1) Taladhyaya (2) Sangeetadhyaya
(3) Vadyadhyaya (4) Nrityadhyaya
Paper-III 18 J-98-16
Text of page 19
46. ˆ. ´Öã®®Öê ÜÖÖÑ Ûêú ׿Ö嵅 ®ÖÆüà Æîü
(1) ˆ. †Öײ֤ü ÆãüÃÖî®Ö
(2) ˆ. ¾ÖÖ×Æü¤ü ÜÖÖÑ
(3) ®ÖÖפü¸ü ÆãüÃÖî®Ö ÜÖÖÑ
(4) ˆ. ¾ÖÖו֤ü ÆãüÃÖî®Ö ÜÖÖÑ
47. ד֡ÖÖ ‹¾ÖÓ ×¾Ö³ÖÖ¾Ö¸üß ”Óû¤ü ×ÛúŸÖ®Öß ´ÖÖ¡ÖÖ†Öë Ûúß ŸÖÖ»Ö ´Öë ÝÖÖµÖê •ÖÖŸÖê Æïü ?
(1) 5 (2) 6
(3) 7 (4) 8
48. ÃÖã´Öê×»ÖŸÖ ÛúßוֵÖê :
ÃÖÓÝÖßŸÖ ÃÖ´ÖÖ¸üÖêÆü ãÖÖ®Ö
a. ÃÖÓÛú™ü ´ÖÖê“Ö®Ö ÃÖ´ÖÖ¸üÖêÆü i. ¾ÖÖ¸üÖÞÖÃÖß
b. ÛúÖ×»Ö¤üÖÃÖ ÃÖ´ÖÖ¸üÖêÆü ii. •ÖÖ»ÖÓ¬Ö¸ü
c. Æü׸ü¾Ö»»Ö³Ö ÃÖ´ÖÖ¸üÖêÆü iii. ˆ••Öî®Ö
d. ÃÖ¾ÖÖ‡Ô ÝÖÓ¬Ö¾ÖÔ ÃÖ´ÖÖ¸üÖêÆü iv. ´Ö£Öã¸üÖ
v. ¯ÖãÞÖê
󜅐ݟ :
a b c d
(1) i ii v iv
(2) iii ii i iv
(3) v iii ii iv
(4) i iii ii v
49. ŸÖÖ»Ö Ûêú ¤üÃÖ ¯ÖÏÖÞÖ ÛúÖ ˆ»»ÖêÜÖ ÃÖÓÝÖßŸÖ ´ÖÛú¸ü®¤ü Ûêú ×ÛúÃÖ †¬µÖÖµÖ ´Öë ×´Ö»ÖŸÖÖ Æîü ?
(1) ŸÖÖ»ÖÖ¬µÖÖµÖ (2) ÃÖÓÝÖߟÖÖ¬µÖÖµÖ
(3) ¾ÖÖªÖ¬µÖÖµÖ (4) ®Ö韵ÖÖ¬µÖÖµÖ
J-98-16 19 Paper-III
Text of page 20
50. Author of the book ‘Musalman Evam Bhartiya Sangeet’ is
(1) Acharya Brihaspati (2) Sulochana Brihaspati
(3) Abul Fazal (4) Dr. Lal Mani Mishra
51. The author of “Bharatiya Sangeet mein Taal aur Roopvidhan” is
(1) Dr. Prem Lata Sharma
(2) Dr. Vimala Musalgaokar
(3) Dr. Subhadra Choudhary
(4) Dr. Yogmaya Shukla
52. When and where was the renowned Pakhawaj Maestro Pt. Ramashish Pathak born ?
(1) 1930 – Gaya (2) 1940 – Darbhanga
(3) 1936 – Darbhanga (4) 1935 – Lucknow
53. One palla of Farmaishi Chakkardar will be of how many matras in Shikhartaal ?
(1) 29 matra (2) 27 matra
(3) 30 matra (4) 28 matra
54. In one single Avarthan of any taal, there would be two complete Layakaris of the same
taal
(1) Tigun-Chhahgun
(2) Dugun-Athgun
(3) Sawadogun-Naugun
(4) Pachgun-Chowgun
55. What is the name of sign for half matra (½) in Western staff notation ?
(1) Minim (2) Semi Breve
(3) Square (4) Crochet
Paper-III 20 J-98-16
Text of page 21
50. ‘´ÖãÃÖ»Ö´ÖÖ®Ö ‹¾ÖÓ ³ÖÖ¸üŸÖßµÖ ÃÖÓÝÖߟ֒ Ûêú »ÖêÜÖÛú Æïü
(1) †Ö“ÖÖµÖÔ ²ÖéÆüïÖ×ŸÖ (2) ÃÖã»ÖÖê“Ö®ÖÖ ²ÖéÆüïÖןÖ
(3) †²Öã»Ö ±ú•Ö»Ö (4) ›üÖò. »ÖÖ»Ö ´Ö×ÞÖ ×´ÖÁÖÖ
51. ‘³ÖÖ¸üŸÖßµÖ ÃÖÓÝÖßŸÖ ´Öë ŸÖÖ»Ö †Öî¸ü ºþ¯Ö×¾Ö¬ÖÖ®Ö’ Ûêú »ÖêÜÖÛú Æïü
(1) ›üÖò. ¯ÖÏê´Ö»ÖŸÖÖ ¿Ö´ÖÖÔ
(2) ›üÖò. ×¾Ö´Ö»ÖÖ ´ÖãÃÖ»ÖÝÖÖ¾ÖÛú¸ü
(3) ›üÖò. ÃÖã³Ö¦üÖ “ÖÖî¬Ö¸üß
(4) ›üÖò. µÖÖêÝÖ´ÖÖµÖÖ ¿Ö㌻ÖÖ
52. ¯ÖÏ×ÃÖ¨ü ¯ÖÜÖÖ¾Ö•Ö ¾ÖÖ¤üÛú ¯ÖÓ. ¸üÖ´ÖÖ¿ÖßÂÖ ¯ÖÖšüÛú ÛúÖ •Ö®´Ö Ûú²Ö †Öî¸ü ÛúÆüÖÑ Æãü†Ö £ÖÖ ?
(1) 1930 – ÝÖµÖÖ (2) 1940 – ¤ü¸ü³ÖÓÝÖÖ
(3) 1936 – ¤ü¸ü³ÖÓÝÖÖ (4) 1935 – »ÖÜÖ®Ö‰ú
53. ׿ÖÜÖ¸üŸÖÖ»Ö Ûúß ±ú¸ü´ÖÖ‡ÔÃÖß “ÖŒÛú¸ü¤üÖ¸ü ÛúÖ ‹Ûú ¯Ö»»ÖÖ ×ÛúŸÖ®Öß ´ÖÖ¡ÖÖ ÛúÖ ÆüÖêÝÖÖ ?
(1) 29 ´ÖÖ¡ÖÖ (2) 27 ´ÖÖ¡ÖÖ
(3) 30 ´ÖÖ¡ÖÖ (4) 28 ´ÖÖ¡ÖÖ
54. ×ÛúÃÖß ³Öß ŸÖÖ»Ö Ûêú ‹Ûú †Ö¾ÖŸÖÔ®Ö ´Öë ˆÃÖß ŸÖÖ»Ö Ûúß ¤üÖê ¯Öæ¸üß-¯Öæ¸üß »ÖµÖÛúÖ¸üß †ÖµÖêÝÖß
(1) ןÖÝÖã®Ö-”û:ÝÖã®Ö
(2) ¤ãüÝÖã®Ö-†šüÝÖã®Ö
(3) ÃÖ¾ÖÖ ¤üÖêÝÖã®Ö-®ÖÖîÝÖã®Ö
(4) ¯Ö“ÖÝÖã®Ö-“ÖÖîÝÖã®Ö
55. ¾ÖêÙü®ÖÔ Ã™üÖ±ú ®ÖÖê™êü¿Ö®Ö ´Öë †Ö¬Öß ´ÖÖ¡ÖÖ (½) Ûêú דÖÅ®Ö ÛúÖ ®ÖÖ´Ö ŒµÖÖ Æîü ?
(1) ×´Ö×®Ö´Ö (2) ÃÖê´Öß ²ÖÎß¾Ö
(3) ÃŒ¾ÖêµÖ¸ü (4) ÛÎúÖê“Öê™ü
J-98-16 21 Paper-III
Text of page 22
56. Match the following, select correct answer from the code given below :
5 i. Teen taal in ek taal
a. 4
7 ii. Ek taal in teen taal
b. 4
3 iii. Ada chauta in Kaharava
c. 4
3 iv. Pancham sawari in ek taal
d. 2
v. Pancham sawari in Jhaptaal
Codes :
a b c d
(1) iv iii ii v
(2) iv v ii iii
(3) iii ii v i
(4) v iii iv ii
57. Who had started institutionalised training in music ?
(1) Pt. Vishnu Narayan Bhatkhande
(2) Ut. Maulabakhsh
(3) Pt. Vishnu Digambar Paluskar
(4) Ut. Hassu Haddu Khan
58. Kartall in Arabi is known as
(1) Kasa
(2) Kansa
(3) Khanjira
(4) Ganjira
Paper-III 22 J-98-16
Text of page 23
56. »ÖµÖÛúÖ׸üµÖÖë ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
5 i. ‹ÛúŸÖÖ»Ö ´Öë ŸÖ߮֟ÖÖ»Ö
a. 4
7 ii. ŸÖ߮֟ÖÖ»Ö ´Öë ‹ÛúŸÖÖ»Ö
b. 4
3 iii. ÛúÆü¸ü¾ÖÖ ´Öë †Ö›üÖ“ÖÖîŸÖÖ
c. 4
3 iv. ‹ÛúŸÖÖ»Ö ´Öë ¯ÖÓ“Ö´Ö ÃÖ¾ÖÖ¸üß
d. 2
v. —Ö¯ÖŸÖÖ»Ö ´Öë ¯ÖÓ“Ö´Ö ÃÖ¾ÖÖ¸üß
󜅐ݟ :
a b c d
(1) iv iii ii v
(2) iv v ii iii
(3) iii ii v i
(4) v iii iv ii
57. ÃÖÓÝÖßŸÖ ´Öë ÃÖÓãÖÖÝÖŸÖ ×¿ÖõÖÞÖ Ûêú †Ö¸ü´³ÖÛúŸÖÖÔ ÛúÖî®Ö £Öê ?
(1) ¯ÖÓ. ×¾ÖÂÞÖã®ÖÖ¸üÖµÖÞÖ ³ÖÖŸÖÜÖÓ›êü
(2) ˆ. ´ÖÖî»ÖÖ²ÖŒ¿Ö
(3) ¯ÖÓ. ×¾ÖÂÞÖã פüÝÖÓ²Ö¸ü ¯Ö»ÖãÃÛú¸ü
(4) ˆ. ÆüÃÃÖã Æü¤Ëü¤æü ÜÖÖÑ
58. Ûú¸üŸÖÖ»Ö ÛúÖê †¸ü²Ö ´Öë ŒµÖÖ ÛúÆüŸÖê Æïü ?
(1) ÛúÃÖÖ
(2) ÛúÖÓÃÖÖ
(3) ÜÖ®•Ö߸üÖ
(4) ÝÖÓ•Ö߸üÖ
J-98-16 23 Paper-III
Text of page 24
59. Which of the following artists played most of all on taals of Visham matras ?
(1) Ustad Afaq Hussain Khan (2) Ustad Karamat Khan
(3) Ustad Alla Rakha Khan (4) Ustad Latif Ahmad Khan
60. Which of the following is different ?
(1) Rudra (2) Jaya
(3) Garuda (4) Pratap Shikhar
61. Arrange the taals in their ascending order of matras :
(1) Vishnu – Matta – Jay Mangal – Yati Shikhar
(2) Yati Shikhar – Vishnu – Matta – Jay Mangal
(3) Matta – Jay Mangal – Yati Shikhar – Vishnu
(4) Jay Mangal – Matta – Vishnu – Yati Shikhar
62. What is the form of South Indian Taal Math ?
(1) 101 (2) 001
(3) 110 (4) 010
63. Read Assertion (A) and Reason (R) and select correct answer from the code given below :
Assertion (A) : Maximum improvisation of Peshkar is possible in expandable
compositions of Tabla.
Reason (R) : This shows the creative potential of the artist.
Codes :
(1) (A) and (R) both are false.
(2) (A) and (R) both are true.
(3) (A) is false but (R) is true.
(4) (A) is true but (R) is false.
Paper-III 24 J-98-16
Text of page 25
59. ×¾ÖÂÖ´Ö ´ÖÖ¡ÖÖ†Öë Ûúß ŸÖÖ»ÖÖë ´Öë ÃÖ¾ÖÖÔ׬ÖÛú ¾ÖÖ¤ü®Ö Ûú¸ü®Öê ¾ÖÖ»Öê Ûú»ÖÖÛúÖ¸ü Æïü
(1) ˆ. †±úÖÛú ÆãüÃÖî®Ö ÜÖÖÑ (2) ˆ. Ûú¸üÖ´ÖŸÖ ÜÖÖÑ
(3) ˆ. †»»ÖÖ ¸üÜÜÖÖ ÜÖÖÑ (4) ˆ. »Öןֱú †Æü´Ö¤ü ÜÖÖÑ
60. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ¯Öé£ÖÛú Æïü :
(1) ¹ý¦ü (2) •ÖµÖ
(3) ÝÖ¹ý›Ìü (4) ¯ÖÏŸÖÖ¯Ö ×¿ÖÜÖ¸ü
61. ´ÖÖ¡ÖÖ†Öë Ûêú ²ÖœÌüŸÖê ÛÎú´Ö †®ÖãÃÖÖ¸ü ŸÖÖ»ÖÖë ÛúÖê ÛÎú´Ö²Ö¨ü “Öã×®ÖµÖê :
(1) ×¾ÖÂÞÖã – ´Ö¢Ö – •ÖµÖ ´ÖÓÝÖ»Ö – µÖ×ŸÖ ×¿ÖÜÖ¸ü
(2) µÖ×ŸÖ ×¿ÖÜÖ¸ü – ×¾ÖÂÞÖã – ´Ö¢Ö – •ÖµÖ ´ÖÓÝÖ»Ö
(3) ´Ö¢Ö – •ÖµÖ ´ÖÓÝÖ»Ö – µÖ×ŸÖ ×¿ÖÜÖ¸ü – ×¾ÖÂÞÖã
(4) •ÖµÖ ´ÖÓÝÖ»Ö – ´Ö¢Ö – ×¾ÖÂÞÖã – µÖ×ŸÖ ×¿ÖÜÖ¸ü
62. ¤ü×õÖÞÖ ³ÖÖ¸üŸÖßµÖ ŸÖÖ»Ö ´Öšü ÛúÖ Ã¾Öºþ¯Ö ŒµÖÖ Æîü ?
(1) 101 (2) 001
(3) 110 (4) 010
63. †×³ÖÛú£Ö®Ö (A) ŸÖ£ÖÖ ÛúÖ¸üÞÖ (R) ÛúÖê ¯ÖœÌëü †Öî¸ü ®Öß“Öê פü‹ Ûæú™üÖë Ûúß ÃÖÆüÖµÖŸÖÖ ÃÖê ÃÖÆüß ˆ¢Ö¸ü ¤ëü :
†×³ÖÛú£Ö®Ö (A) : ŸÖ²Ö»Öê Ûúß ×¾ÖßÖÖ¸ü¿Öᯙ ²ÖÓפü¿ÖÖë ´Öë ¯Öê¿ÖÛúÖ¸ü ÛúÖ ÃÖ¾ÖÖÔ׬ÖÛú ×¾ÖßÖÖ¸ü ÃÖÓ³Ö¾Ö Æîü …
ÛúÖ¸üÞÖ (R) : ‡ÃÖÃÖê Ûú»ÖÖÛúÖ¸ü Ûúß ÃÖé•Ö®ÖÖŸ´ÖÛú õÖ´ÖŸÖÖ ¯ÖϤüÙ¿ÖŸÖ ÆüÖêŸÖß Æîü …
ÛúÖê›Ìü :
(1) (A) ŸÖ£ÖÖ (R) ¤üÖê®ÖÖë ÝÖ»ÖŸÖ
(2) (A) ŸÖ£ÖÖü (R) ¤üÖê®ÖÖë ÃÖÆüß
(3) (A) ÝÖ»ÖŸÖ ŸÖ£ÖÖ (R) ÃÖÆüß
(4) (A) ÃÖÆüß ŸÖ£ÖÖü (R) ÝÖ»ÖŸÖ
J-98-16 25 Paper-III
Text of page 26
64. The Laykari in playing Ek taal in Pancham Sawari Taal from sam to sam is
5 4
(1) 4 (2) 5
5 4
(3) 3 (4) 3
65. Select the correct matches of father-daughter from the codes given below :
Father Daughter
a. Ut. Allauddin Khan i. Meeta
b. Mani Lal Nag ii. Savani
c. Pt. Ram Narayan iii. Aruna Kale
d. Pt. Suresh Talwalkar iv. Annapoorna Devi
Codes :
a b c d
(1) i ii iii iv
(2) iv iii ii i
(3) iv i ii iii
(4) iv i iii ii
66. In which taalas there is no “Khali” on ninth matra ?
(1) Fardost (2) Jattaal
(3) Tilwada (4) Tappa
67. The Laykari in playing Ek taal in Basant taal from sam to sam is
4 3
(1) 3 (2) 4
2 3
(3) 3 (4) 2
Paper-III 26 J-98-16
Text of page 27
64. ¯ÖÓ“Ö´Ö ÃÖ¾ÖÖ¸üß ŸÖÖ»Ö ´Öë ‹ÛúŸÖÖ»Ö ÛúÖê ÃÖ´Ö ÃÖê ÃÖ´Ö ŸÖÛú ²Ö•ÖÖ®Öê ¯Ö¸ü »ÖµÖÛúÖ¸üß ÆüÖêÝÖß
5 4
(1) 4 (2) 5
5 4
(3) 3 (4) 3
65. ×®Ö´®Ö×»Ö×ÜÖŸÖ ×¯ÖŸÖÖ-¯Öã¡Öß Ûúß •ÖÖê›Ìüß ÛúÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
a. ˆ. †»ÖÖˆ¤Ëü¤üß®Ö ÜÖÖÑ i. ´ÖߟÖÖ
b. ´Ö×ÞÖ »ÖÖ»Ö ®ÖÖÝÖ ii. ÃÖÖ¾Ö®Öß
c. ¯ÖÓ. ¸üÖ´Ö ®ÖÖ¸üÖµÖÞÖ iii. †¹ýÞÖÖ ÛúÖ»Öê
d. ¯ÖÓ. ÃÖã¸êü¿Ö ŸÖ»Ö¾Ö»ÖÛú¸ü iv. †®®Ö¯ÖæÞÖÖÔ ¤êü¾Öß
󜅐ݟ :
a b c d
(1) i ii iii iv
(2) iv iii ii i
(3) iv i ii iii
(4) iv i iii ii
66. ×ÛúÃÖ ŸÖÖ»Ö ´Öë ®ÖÖî¾Öà ´ÖÖ¡ÖÖ ¯Ö¸ü ÜÖÖ»Öß ®ÖÆüà ÆüÖêŸÖß Æîü ?
(1) ±ú¸ü¤üÖêÃŸÖ (2) •ÖŸÖŸÖÖ»Ö
(3) ןֻ־ÖÖ›ÌüÖ (4) ™ü¯¯ÖÖ
67. ²ÖÃÖ®ŸÖ ŸÖÖ»Ö ´Öë ‹ÛúŸÖÖ»Ö ÃÖ´Ö ÃÖê ÃÖ´Ö ŸÖÛú ²Ö•ÖÖ®Öê ¯Ö¸ü »ÖµÖÛúÖ¸üß ÆüÖêÝÖß
4 3
(1) 3 (2) 4
2 3
(3) 3 (4) 2
J-98-16 27 Paper-III
Text of page 28
68. The magazine “Chhayanat” is published from
(1) Uttar Pradesh (2) Madhya Pradesh
(3) Bihar (4) New Delhi
69. According to Bharat Muni Haritaki, Yuvakriti and Gopuchha are the forms of the musical
instrument
(1) Patah (2) Tripushkar
(3) Panav (4) Mardal
70. In single avartan a dugun of Ganesh taal will start from
1 1
(1) 102 (2) 103
1 2
(3) 104 (4) 103
Read the following passage carefully and answer Questions 71 to 75 on the basis of your
understanding of the text :
Laya in music which is generally called Gati, is in practice since a time immemorial. The human
life, the sun and the moon and everything in this universe is moving in a laya (rhythm); where
there is no laya, there is Pralaya (total annihilation). Percussion instruments as the base of laya
are found in different shapes and forms in different periods – from Bhoomi Dundubhi to tabla
since vedic ages. Swara is indeed the core of music, but it is never complete without laya; for
manifestation of laya, percussion instruments are a must. A music without laya and taal is wild
and unpleasant and has no beauty.
It is difficult to measure taal, but one can experience the same by arranging the Avartan
(periodicity) of taalas into layas. At present the laya, apart from music, is also being applied in
the field of technology, therapy and literature. The musical compositions in different layas have
remarkable impact on plants and vegetation and in the treatment of humane ailments.
Music would have not come into existence, had there been no layas, hence laya is considered
central to the music. That is why the maestros have put so much emphasis on Riyaz, which is
practicing of layas. The beauty of a music is manifested through it’s layas. It is said that a boat
has no life and direction without its sailor, a music too has no beauty and purpose without it’s
layas. Thus laya is the essence and heart of the music.
Paper-III 28 J-98-16
Text of page 29
68. “”ûÖµÖÖ®Ö™ü” ¯ÖסÖÛúÖ ÛúÖ ¯ÖÏÛúÖ¿Ö®Ö ÆüÖêŸÖÖ Æîü
(1) ˆ¢Ö¸ü ¯ÖϤêü¿Ö (2) ´Ö¬µÖ ¯ÖϤêü¿Ö
(3) ײÖÆüÖ¸ü (4) ®Ö‡Ô פü»»Öß
69. ³Ö¸üŸÖ´Öã×®Ö Ûêú †®ÖãÃÖÖ¸ü Æü¸üߟÖÛúß, µÖã¾ÖÖÛéú×ŸÖ ¾Ö ÝÖÖê¯Öã“”ûÖ ×ÛúÃÖ ÃÖÓÝÖßŸÖ ¾ÖÖª Ûúß †ÖÛéúןֵÖÖÑ Æïü ?
(1) ¯Ö™üÆü (2) ס֯ÖãÂÛú¸ü
(3) ¯ÖÞÖ¾Ö (4) ´Ö¤Ôü»Ö
70. ÝÖÞÖê¿Ö ŸÖÖ»Ö ÛúÖ ¤ãüÝÖã®Ö ‹Ûú †Ö¾ÖŸÖÔ®Ö ´Öë ÛúÆüÖÑ ÃÖê ¯ÖÏÖ¸ü´³Ö ÆüÖêÝÖÖ ?
1 1
(1) 102 (2) 103
1 2
(3) 104 (4) 103
†®Öã“”êû¤ü ÛúÖê ¯ÖœÌüÛú¸ü פüµÖê ÝÖµÖê ¯ÖÏ¿®ÖÖë (71 ÃÖê 75) Ûêú ˆ¢Ö¸ü “Öã×®ÖµÖê :
ÃÖÓÝÖßŸÖ ´Öë »ÖµÖ ×•ÖÃÖê ÃÖÖ´ÖÖ®µÖ ³ÖÖÂÖÖ ´Öë ÝÖ×ŸÖ ÛúÆüÖ ÝÖµÖÖ Æîü ¾ÖÖê †Öפü ¾Ö †®Ö®ŸÖ ÛúÖ»Ö ÃÖê “Ö»ÖÖ †Ö ¸üÆüÖ Æîü … ´ÖÖ®Ö¾Ö •Öß¾Ö®Ö †®ŸÖ׸üõÖ ‹¾ÖÓ
ÃÖæµÖÔ-“Ö®¦ü ÃÖ³Öß ‹Ûú »ÖµÖ ´Öë “Ö»Ö ¸üÆêü Æïü †®µÖ£ÖÖ »ÖµÖ ÃÖê †»ÖÝÖ ÆüÖêŸÖê Æïü, ¯ÖÏ»ÖµÖ ÆüÖê •ÖÖµÖêÝÖÖ … »ÖµÖ ÛúÖ †Ö¬ÖÖ¸ü †¾Ö®Ö¨ü ¾ÖÖª ¾ÖîפüÛú ÛúÖ»Ö
ÃÖê †®Ö¾Ö¸üŸÖ “Ö»ÖÖ †Ö ¸üÆüÖ Æîü - ³Öæ×´Ö-¤ãü®¤ãü×³Ö ÃÖê »ÖêÛú¸ü ŸÖ²Ö»ÖÖ ŸÖÛú †®ÖêÛúÖ®ÖêÛú ÛúÖ»ÖÖë ´Öë »ÖµÖ ¾ÖÖª Ûêú ºþ¯Ö ´Öë †¾Ö®Ö¨ü ¾ÖÖªÖë ÛúÖ
ˆ»»ÖêÜÖ ×´Ö»ÖŸÖÖ Æîü … þָü-ÃÖÓÝÖßŸÖ ÛúÖ †Ö¬ÖÖ¸ü †¾Ö¿µÖ Æîü, ×Ûú®ŸÖã ײ֮ÖÖ »ÖµÖ Ûêú ¾ÖÆü ¯ÖæÞÖÔ ®ÖÆüà Æîü, »ÖµÖ ÛúÖê ¯ÖϤüÙ¿ÖŸÖ Ûú¸ü®Öê Ûêú ×»ÖµÖê †¾Ö®Ö¨ü
¾ÖÖªÖë ÛúÖ ÆüÖê®ÖÖ †Ö¾Ö¿µÖÛú Æîü … »ÖµÖ-ŸÖÖ»Ö ¸ü×ÆüŸÖ ÃÖÓÝÖßŸÖ ¯Öæ¸üß ŸÖ¸üÆü ÃÖê †Ö¸üÞµÖÛú ÃÖÓÝÖßŸÖ Æîü - »ÖµÖ ×¾Ö×Æü®Ö ÃÖÓÝÖßŸÖ Ûú»ÖÖ ÛúÖ ÃÖÖï¤üµÖÔ ®ÖÆüà
ÆüÖêŸÖÖ …
¾ÖîÃÖê ŸÖÖê ŸÖÖ»Ö ÛúÖê ®ÖÖ¯Ö®ÖÖ ´Öã׿Ûú»Ö Æîü, ×Ûú®ŸÖã ŸÖÖ»Ö Ûêú †Ö¾ÖŸÖÔ®Ö ´Öë »ÖµÖ ÛúÖê ²ÖÖѬÖÛú¸ü Æü´Ö †®Öã³Öæ×ŸÖ Ûú¸ü ÃÖÛúŸÖê Æïü … ¾ÖŸÖÔ´ÖÖ®Ö ´Öë »ÖµÖ ÛúÖ
¯ÖϵÖÖêÝÖ ÃÖÓÝÖßŸÖ ×¾ÖªÖ ¿ÖÖÜÖÖ Ûêú †×ŸÖ׸üŒŸÖ דÖ×ÛúŸÃÖÖ, ŸÖÛú®ÖßÛúß ×¾ÖªÖ ¾Ö ÃÖÖ×ÆüŸµÖ †Öפü ´Öë ³Öß ÆüÖêŸÖÖ Æîü … ×¾Ö׳֮®Ö »ÖµÖ²Ö¨ü ÃÖÓÝÖßŸÖ Ûêú
´ÖÖ¬µÖ´Ö ÃÖê ¸üÖêÝÖÖë ¯Ö¸ü ×®ÖµÖÓ¡ÖÞÖ ×ÛúµÖÖ •ÖÖ ÃÖÛúŸÖÖ Æîü ÃÖÖ£Ö Æüß ¾Ö®ÖïÖ×ŸÖ ¯Ö¸ü ³Öß ˆÃÖÛêú ¯ÖϳÖÖ¾Ö ¤êüÜÖ®Öê ÛúÖê ×´Ö»ÖŸÖÖ Æîü …
µÖפü »ÖµÖ ŸÖŸ¾Ö ®Ö ÆüÖêŸÖÖ ŸÖÖê ÃÖÓÝÖßŸÖ Ûúß ÛúÖê‡Ô †¾ÖãÖÖ ®ÖÆüà ÆüÖêŸÖß, ‡ÃÖ×»ÖµÖê ×¾Ö«üÖ®ÖÖë ®Öê »ÖµÖ ÛúÖê ÃÖÓÝÖßŸÖ ÛúÖ †Ö¬ÖÖ¸ü ²ÖŸÖÖµÖÖ Æîü … ÃÖÖ£Ö Æüß »ÖµÖ
Ûêú ÃÖÖ£Ö ×¸üµÖÖ•Ö Ûú¸ü®Öê ¯Ö¸ü ²Ö»Ö פüµÖÖ Æîü … ÃÖÓÝÖßŸÖ Ûúß ÃÖÖüµÖÔŸÖÖ »ÖµÖ Ûêú ´ÖÖ¬µÖ´Ö ÃÖê ´ÖÖ®Öß ÝÖµÖß Æîü … ÛúÆüŸÖê Æîü ×Ûú וÖÃÖ ŸÖ¸üÆü ®ÖÖ×¾ÖÛú Ûêú
ײ֮ÖÖ ®ÖÖ¾Ö Ûúß ÛúÖê‡Ô ¤ü¿ÖÖ-פü¿ÖÖ ®ÖÆüà ÆüÖêŸÖß Æîü šüßÛú ˆÃÖß ŸÖ¸üÆü »ÖµÖ Ûêú ²ÖÝÖî¸ü ÃÖÓÝÖßŸÖ Ûúß ÃÖÆüß ×¤ü¿ÖÖ ÛúÖ –ÖÖ®Ö †ÃÖ´³Ö¾Ö Æîü … †ŸÖ: ÃÖÓÝÖߟÖ
ÛúÖ ´Öæ»Ö ŸÖ¢¾Ö ¾Ö ¯ÖÏÖÞÖ “»ÖµÖ” Æîü …
J-98-16 29 Paper-III
Text of page 30
71. What is essential for manifestation of laya ?
(1) Swara
(2) Percussion instrument
(3) Raag
(4) All of the above
72. A music composed in proper laya has therepeutical impact on
(1) Ragas
(2) On ailing people
(3) On literature
(4) On everything
73. The base of a music is
(1) Laya
(2) Swara
(3) Avartan
(4) Music
74. The beauty in a music is through
(1) Swara
(2) Raga
(3) Laya
(4) Bandish
75. Maestros have put emphasis on Riyaz with whom ?
(1) Lagan
(2) with Guru
(3) Laya
(4) Gayan
____________
Paper-III 30 J-98-16
Text of page 31
71. »ÖµÖ ÛúÖê ¯ÖϤüÙ¿ÖŸÖ Ûú¸ü®Öê ÆêüŸÖã ×ÛúÃÖÛúÖ ÆüÖê®ÖÖ †Ö¾Ö¿µÖÛú Æîü ?
(1) þָü
(2) †¾Ö®Ö¨ü ¾ÖÖª
(3) ¸üÖÝÖ
(4) ˆ¯Ö¸üÖêŒŸÖ ÃÖ³Öß
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73. ÃÖÓÝÖßŸÖ ÛúÖ †Ö¬ÖÖ¸ü Æîü
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74. ÃÖÓÝÖßŸÖ ´Öë ÃÖÖüµÖÔŸÖÖ ÛúÖ ´ÖÖ¬µÖ´Ö Æîü
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75. ×¾Ö«üÖ®ÖÖë ®Öê ×ÛúÃÖÛêú ÃÖÖ£Ö ×¸üµÖÖ•Ö ¯Ö¸ü ²Ö»Ö פüµÖÖ Æîü ?
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____________
J-98-16 31 Paper-III
Text of page 32
Space For Rough Work Paper-III 32 J-98-16
Official key not published for this paper.
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Source: University Grants Commission. Question paper published by University Grants Commission.