UGC NET 2017: November, Paper III, Percussion Instruments
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Signature and Name of Invigilator
1. (Signature) OMR Sheet No. : ..........................................................
(To be filled by the Candidate)
(Name)
Roll No.
2. (Signature)
(In figures as per admission card)
(Name) Roll No.
(In words)
N0 9 8 1 7 PAPER - III
Time : 2½ hours] PERCUSSION INSTRUMENT [Maximum Marks : 150
Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 75
Instructions for the Candidates ¬⁄UˡÊÊÁÕ¸ÿÙ¢ ∑§ Á‹∞ ÁŸŒ¸‡Ê
1. Write your roll number in the space provided on the top of
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English version will be taken as final. ◊ÊŸÊ ¡Ê∞ªÊ–
N-09817 !N-09817-PAPER-III! 1 P.T.O.
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PERCUSSION INSTRUMENT
PAPER - III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All
questions are compulsory.
1. A beat higher than one Akshar (letter) is known as :
(1) Dugun (2) Guru (3) Laghu (4) Chaugun
2. Another name of ‘Sarswati Hridayalankar’ is :
(1) Bharat Shastra (2) Bharatarnav (3) Bharat Ved (4) Bharat bhasyam
3. Which treatise among the following is written by Pt. Jagdek Malla ?
(1) Mansollas (2) Bharat Bhasyam
(3) Sangeet Choodamani (4) Sangeet Saramrit
4. In addition to Pt. Gyan Prakash Ghosh, Anindo Chatterjee took his tabl training from which
of the following maestros ?
(1) Ustad Karamat Khan (2) Ustad Afaque Hussain
(3) Pt. Shankar Ghose (4) Pt. Gudai Maharaj
5. Which among the following is not a sign of Compound Quadruple Time ?
(1) . . . . (2) . . . .
(3) . . . . (4) . . . .
6. Dugun - Chaugun of Ashtamangal taal (11 Beats) is one avartan will begin :
1 3 2
(1) After 2 (2) After 2 (3) After 2 (4) From sam
2 4 3
7. Who among the following Padmashree awardee was also a staff artist of Akashvani ?
(1) Ustad Allarakkha Khan (2) Ustad Shafat Ahmad
(3) Ustad Ahmad Jan Thirakava (4) Pt. Samta Prasad
8. Which one is not a disciple of Ustad Muneer Khan ?
(1) Ustad Ahamad Jan Thirakava (2) Ustad Ameer Hussain Khan
(3) Ustad Nizamuddin Khan (4) Ustad Shamsuddin Khan
9. Bal and Pench are related to which of the following compositions ?
(1) Peshkar (2) Tukd (3) Gat (4) Quaida
N-09817 !N-09817-PAPER-III! 2 Paper-III
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•flŸh flÊl
¬˝‡Ÿ¬òÊ - III
ÁŸŒ¸‡Ê — ß‚ ¬˝‡Ÿ-¬òÊ ◊¥ ¬ø„ûÊ⁄U (75) ’„È-Áfl∑§À¬UËÿ ¬˝‡Ÿ „Ò¥– ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ ŒÙ (2) •¢∑§ „Ò¥– ‚÷Ë ¬˝‡Ÿ •ÁŸflÊÿ¸
„Ò¥–
1. ¿¥UŒ ‡ÊÊSòÊ ◊¥ ∞∑§ •ˇÊ⁄U ‚ •Áœ∑§ ◊ÊòÊÊ ∑§Ê‹ ∑§Ê ◊ÊŸÊ ªÿÊ „Ò —
(1) ŒÈªÈŸ (2) ªÈL§ (3) ‹ÉÊÈ (4) øÊҪȟ
2. “‚⁄USflÃË NŒÿÊ‹¥∑§Ê⁄U” ª˝¥Õ ∑§Ê ŒÍ‚⁄UÊ ŸÊ◊ —
(1) ÷⁄UÇÊÊSòÊ (2) ÷⁄UÃÊáʸfl (3) ÷Ê⁄UÃflŒ (4) ÷⁄Uà ÷Êcÿ◊
3. ¬¥. ¡ªŒ∑§-◊À‹ mÊ⁄UÊ Á∑§‚ ª˝ãÕ ∑§Ë ⁄UøŸÊ ∑§Ë ªß¸ „Ò?
(1) ◊ÊŸ‚ÊÀ‹Ê‚ (2) ÷⁄Uà ÷Êcÿ◊
(3) ‚¥ªËà øÍ«∏Ê◊ÁáÊ (4) ‚¥ªËà ‚Ê⁄UÊ◊ÎÃ
4. •ÁŸãŒÊ ø≈U¡Ë¸ Ÿ ¬¥. ôÊÊŸ ¬˝∑§Ê‡Ê ÉÊÊ· ∑§ •ÁÃÁ⁄UÄà •ãÿ Á∑§‚ ªÈL§ ‚ Ã’‹ ∑§Ë Á‡ÊˇÊÊ ¬˝Êåà ∑§Ë „Ò?
(1) ©. ∑§⁄UÊ◊à πÊ° (2) ©. •Ê$»§Ê∑§ „È‚ÒŸ
(3) ¬¥. ‡Ê¥∑§⁄U ÉÊÊ· (4) ¬¥. ªÈŒß¸ ◊„Ê⁄UÊ¡
5. ÁŸêŸ ◊¥ ‚ ∑§ê¬Ê©ã«U ÄflÊ«˛‰U¬‹ ≈UÊß◊ ∑§Ê Áøã„ Ÿ„Ë¥ „Ò?
(1) . . . . (2) . . . .
(3) . . . . (4) . . . .
6. •c≈U ◊¥ª‹ (11 ◊ÊòÊÊ) ÃÊ‹ ∑§Ê ŒÈªÈŸ-øÊҪȟ ∞∑§ •ÊfløŸ ◊¥ ∑§„Ê° ‚ ¬˝Ê⁄Uê÷ „ʪË?
1 3 2
(1) 2 ∑§ ¬‡øÊà (2) 2 ∑§ ¬‡øÊà (3) 2 ∑§ ¬‡øÊà (4) ‚◊ ‚
2 4 3
7. ¬küÊË ¬È⁄US∑§Ê⁄U ‚ ‚ê◊ÊÁŸÃ Ã’‹Ê-flÊŒ∑§ ¡Ê ¬Ífl¸ ◊¥ •Ê∑§Ê‡ÊflÊáÊË S≈UÊ»§ ∑§‹Ê∑§Ê⁄U ÷Ë ⁄U„ —
(1) ©. •À‹Ê⁄UπÊ πÊ° (2) ©. ‚$»§Êà •„◊Œ
(3) ©. •„◊Œ ¡ÊŸ ÁÕ⁄U∑§flÊ (4) ¬¥. ‡ÊÊêÃÊ ¬˝‚ÊŒ
8. ÁŸêŸ ◊¥ ‚ ∑§ÊÒŸ ◊ÈŸË⁄U πÊ° ∑§ Á‡Êcÿ Ÿ„Ë¥ „Ò?
(1) ©. •„◊Œ ¡ÊŸ ÁÕ⁄U∑§flÊ (2) ©. •◊Ë⁄U „È‚ÒŸ πÊ°
(3) ©. ÁŸ¡Ê◊ÈgËŸ πÊ° (4) ©. ‡Ê◊‚ÈgËŸ πÊ°
9. ’‹ •ÊÒ⁄U ¬¥ø Á∑§‚ ⁄UøŸÊ ‚ ‚¥’¥ÁœÃ „Ò¥?
(1) ¬‡Ê$∑§Ê⁄U (2) ≈ÈU∑§«∏Ê (3) ªÃ (4) $∑§ÊÿŒÊ
N-09817 !N-09817-PAPER-III! 3 Paper-III
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10. Match the following and use the code of given correct answer :
(Programme) (State)
(a) Dober lane music conference (i) Gujarat
(b) Sawai Gandharva Sangeet Samaroha (ii) Madhya Pradesh
(c) Tansen Samaroha (iii) Maharashtra
(d) Saptak Festival (iv) West Bengal
Code :
(a) (b) (c) (d)
(1) (iv) (iii) (ii) (i)
(2) (iii) (iv) (i) (ii)
(3) (i) (ii) (iii) (iv)
(4) (ii) (i) (iv) (iii)
11. The ‘Chhand ShÂstra’ by pingal is divided into how many chapters ?
(1) Six (2) Seven (3) Eight (4) Nine
12. TaalÂs have been explained in which chapter of ‘Sangeet Samay sÂr’ ?
(1) First Chapter (2) Fourth Chapter
(3) Eighth Chapter (4) Twelveth Chapter
13. The author of ‘Tihaiyan Evam Chakkardaron ka Ganitiya Visleshan’ is __________.
(1) Dr. Hemant Sachdeva (2) Prof. Jamuna Prasad Patel
(3) Dr. Gulshan Saksena (4) Dr. Shobha Rani Kudesia
14. Who among the following is the son - in - law of Ustad Bakhshu Khan ?
(1) Haji Vilayat Ali (2) Salari Miyan
(3) Ustad Imam Bakhsh (4) Ustad Munne Khan
15. Farodast taal consists of how many sections (Vibhagas) ?
(1) Five (2) Six (3) Seven (4) Eight
16. Which layakari will be formed by playing Rupak taal sam to sam in one avartan in Brahm
taal ?
(1) Ek gun (2) Adhgun (3) Pavgun (4) Savagun
17. BiÂd of Dhamar Taal in one avartan will begin at :
(1) After 5 matras (2) After 6 matras (3) After 4 matras (4) After 7 matras
N-09817 !N-09817-PAPER-III! 4 Paper-III
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10. ‚È◊Á‹Ã ∑§ËÁ¡∞ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(∑§Êÿ¸∑˝§◊) (¬˝Œ‡Ê)
(a) «UÊ’⁄U‹Ÿ êÿÈÁ¡∑§ ∑§ÊÚŸ$»§⁄U゘ (i) ªÈ¡⁄UÊÃ
(b) ‚flÊ߸ ª¥œfl¸ ‚¥ªËà ‚◊Ê⁄UÊ„ (ii) ◊äÿ ¬˝Œ‡Ê
(c) ÃÊŸ‚Ÿ ‚◊Ê⁄UÊ„ (iii) ◊„Ê⁄UÊc≈˛U
(d) ‚åÃ∑§ »§ÁS≈Ufl‹ (iv) ¬¥. ’¥ªÊ‹
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (iii) (ii) (i)
(2) (iii) (iv) (i) (ii)
(3) (i) (ii) (iii) (iv)
(4) (ii) (i) (iv) (iii)
11. Á¬X‹∑Χà “¿¥UŒ‡ÊÊSòÊ” Á∑§ÃŸ •äÿÊÿÊ¥ ◊¥ Á‹πÊ ªÿÊ „Ò?
(1) ¿U— (2) ‚Êà (3) •Ê∆U (4) ŸÊÒ
12. ‚¥ªËà ‚◊ÿ‚Ê⁄U ∑§ Á∑§‚ •äÿÊÿ ◊¥ ÃÊ‹Ê¥ ∑§Ê ÁflfløŸ Á∑§ÿÊ ªÿÊ „Ò?
(1) ¬˝Õ◊ •äÿÊÿ (2) øÃÈÕ¸ •äÿÊÿ
(3) •c≈U◊˜ •äÿÊÿ (4) mÊŒ‡Ê •äÿÊÿ
13. “ÁÄÊ߸ÿÊ° ∞fl¥ øÄ∑§⁄UŒÊ⁄UÊ¥ ∑§Ê ªÁáÊÃËÿ Áfl‡‹·áÊ” ∑§ ‹π∑§ „Ò¥ —
(1) «UÊÚ. „◊ãà ‚øŒfl (2) ¬˝Ê. ¡◊ÈŸÊ ¬˝‚ÊŒ ¬≈U‹
(3) «UÊÚ. ªÈ‹‡ÊŸ ‚Ä‚ŸÊ (4) «UÊÚ. ‡ÊÊ÷Ê ⁄UÊŸË ∑ȧŒÁ‡ÊÿÊ
14. ©. ’ćÊÍ πÊ° ∑§ ŒÊ◊ÊŒ „Ò¥ —
(1) „Ê¡Ë Áfl‹Êÿà •‹Ë (2) ‚‹Ê⁄UË Á◊ÿÊ°
(3) ©. ß◊Ê◊ ’Å‡Ê (4) ©. ◊ÈÛÊ πÊ°
15. »§⁄UÊŒSà ÃÊ‹ ◊¥ ∑ȧ‹ Á∑§ÃŸ Áfl÷ʪ „Ò¥?
(1) ¬Ê°ø (2) ¿U„ (3) ‚Êà (4) •Ê∆U
16. ’˝ê„ ÃÊ‹ ◊¥ M§¬∑§ ÃÊ‹ ∞∑§ •ÊfløŸ ◊¥ ‚◊ ‚ ‚◊ Ã∑§ ’¡ÊŸ ¬⁄U ∑§ÊÒŸ ‚Ë ‹ÿ∑§Ê⁄UË „ʪË?
(1) ∞∑§ªÈŸ (2) •œªÈŸ (3) ¬ÊflªÈŸ (4) ‚flʪȟ
17. œ◊Ê⁄U ÃÊ‹ ∑§Ê Á’•Ê«∏ ∞∑§ •ÊfløŸ ◊¥ ∑§„Ê° ‚ ¬˝Ê⁄Uê÷ „ʪË?
(1) 5 ◊ÊòÊÊ ’ÊŒ ‚ (2) 6 ◊ÊòÊÊ ’ÊŒ ‚ (3) 4 ◊ÊòÊÊ ’ÊŒ ‚ (4) 7 ◊ÊòÊÊ ’ÊŒ ‚
N-09817 !N-09817-PAPER-III! 5 Paper-III
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18. In which year Pt. Kishan Maharaj was falicitated with KALIDAS - SAMMAN ?
(1) 1994 - 95 (2) 1996 - 97 (3) 1992 - 93 (4) 1991 - 92
19. In which of the following traditions, a theka is called Peshkar ?
(1) Dakshinatya Sangeet Parampara (2) Odisi Sangeet Parampara
(3) Nathdwara Parampara (4) Uttaranchal ved Parampara
20. Match the following and use the code of given correct answer :
(Sthayibhav) (Rasa)
(a) Rati (i) Raudra
(b) Has (ii) Karun
(c) Shok (iii) Hasya
(d) Krodh (iv) Shringar
Code :
(a) (b) (c) (d)
(1) (iv) (iii) (ii) (i)
(2) (iii) (ii) (iv) (i)
(3) (iv) (iii) (i) (ii)
(4) (ii) (iii) (i) (iv)
21. Which artist among the following from Farrukh  b d Ghar  n has done his maximum
compositions in Geetangi Chhand ?
(1) Ustad Ahmed Jan Thirakav (2) Ustad Shamsuddin Khan
(3) Ustad Amir Hussain Khan (4) Ustad Karamat - Ullah Khan
22. The period of ‘Singh Bhupal’ is :
(1) 13th Century (2) 15th Century
(3) 14th Century (4) 12th Century
23. Read Assertion (A) and Reason (R) carefully and select correct answer from the code given
below :
Assertion (A) : Thek is called ‘Paring’ in Manipuri taal system while ‘GÂmÂn’ in Assamese
music.
Reason (R) : Paring (Manipuri) may also consist of more than one Avartan.
Code :
(1) (A) and (R) both are false (2) (A) is true but (R) is false
(3) (A) is false and (R) is true (4) (A) and (R) both are true
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18. ¬¥. Á∑§‡ÊŸ ◊„Ê⁄UÊ¡ ∑§Ê ∑§ÊÁ‹ŒÊ‚ ‚ê◊ÊŸ ∑§’ ¬˝Êåà „È•Ê?
(1) 1994 - 95 (2) 1996 - 97 (3) 1992 - 93 (4) 1991 - 92
19. Á∑§‚ ¬⁄Uê¬⁄UÊ ◊¥ ∆U∑§ ∑§Ê ¬‡Ê∑§Ê⁄U ∑§„Ÿ ∑§Ë ¬⁄Uê¬⁄UÊ „Ò?
(1) ŒÊÁˇÊáÊÊàÿ ‚¥ªËà ¬⁄Uê¬⁄UÊ (2) •ÊÁ«U‚Ë ‚¥ªËà ¬⁄Uê¬⁄UÊ
(3) ŸÊÕmÊ⁄UÊ ¬⁄Uê¬⁄UÊ (4) ©ûÊ⁄UÊ¥ø‹ flŒ ¬⁄Uê¬⁄UÊ
20. ‚È◊Á‹Ã ∑§ËÁ¡ÿ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(SÕÊÿË÷Êfl) (⁄U‚)
(a) ⁄UÁà (i) ⁄UÊÒŒ˝
(b) „Ê‚ (ii) ∑§L§áÊ
(c) ‡ÊÊ∑§ (iii) „ÊSÿ
(d) ∑˝§Êœ (iv) oÎ¥ªÊ⁄U
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (iii) (ii) (i)
(2) (iii) (ii) (iv) (i)
(3) (iv) (iii) (i) (ii)
(4) (ii) (iii) (i) (iv)
21. »§M¸§πÊ’ÊŒ ÉÊ⁄UÊŸ ∑§ Á∑§‚ ∑§‹Ê∑§Ê⁄U Ÿ ªËÃÊ¥ªË ¿¥UŒ ◊¥ ‚flʸÁœ∑§ ⁄UøŸÊÿ¥ ∑§Ë „Ò?
(1) ©. •„◊Œ ¡ÊŸ ÁÕ⁄U∑§flÊ (2) ©. ‡Ê◊‚ÈgËŸ πÊ°
(3) ©. •◊Ë⁄U „È‚ÒŸ πÊ° (4) ©. ∑§⁄UÊ◊à ©À‹Ê πÊ°
22. Á‚¥„ ÷ͬʋ ∑§Ê ‚◊ÿ „Ò —
(1) 13 flË¥ ‡ÊÃÊéŒË (2) 15 flË¥ ‡ÊÃÊéŒË
(3) 14 flË¥ ‡ÊÃÊéŒË (4) 12 flË¥ ‡ÊÃÊéŒË
23. •Á÷∑§ÕŸ (A) ÃÕÊ ∑§Ê⁄UáÊ (R) ∑§Ê ¬…∏¥ •ÊÒ⁄U ŸËø ÁŒÿ ªÿ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U øÈŸ¥ —
•Á÷∑§ÕŸ (A) : ◊ÁáʬÈ⁄UË ÃÊ‹ ¬hÁà ◊¥ ∆U∑§ ∑§Ê “¬Á⁄¥Uª” ∑§„à „Ò¥ ¡’ Á∑§ •‚Á◊ÿÊ ‚¥ªËà ◊¥ ßã„¥ “ªÊ◊ÊŸ” ∑§„Ã
„Ò¥–
∑§Ê⁄UáÊ (R) : ¬Á⁄¥Uª (◊ÁáʬÈ⁄UË) ∞∑§ ‚ •Áœ∑§ •ÊfløŸ ∑§ ÷Ë „Êà „Ò¥–
∑ͧ≈U —
(1) (A) ÃÕÊ (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) ‚„Ë ÃÕÊ (R) ª‹Ã „Ò¥–
(3) (A) ª‹Ã ÃÕÊ (R) ‚„Ë „Ò– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–
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24. Who among the following tabl players of Banaras GharÂn has also took training from
other GharÂnÂs ?
(1) Pt. Bundi Mishra (2) Pt. Biru Mishra
(3) Pt. Baldev Sahai (4) Pt. Vishwanath Mishra
25. Pratap Shikhar Taal consists of how many mÂtrÂs ?
(1) 9 (2) 11 (3) 13 (4) 17
26. The composer of Surya Mani taal is :
(1) Raja Chatrapati Singh (2) U. Amir Hussain Khan
(3) Pt. Pannalal Upadhyaya (4) Pt. Shrikant Mishra
27. Which one among the following sequences is written in correct descending order of mÂtrÂs
of Karnatak TaalÂs ?
(1) Chatastra JÂti Mathya, Khand JÂti Triput, Misra JÂti Rupak, Tisra JÂti Dhruva
(2) Tisra JÂti Dhruva, Misra JÂti Rupak, Khand JÂti Triput, Chatastra JÂti Mathya
(3) Misra JÂti Rupak, Khand JÂti Triput, Chatastra JÂti Mathya, Tisra JÂti Dhruva
(4) Tisra JÂti Dhruva, Chatastra JÂti Mathya, Khand JÂti Triput, Misra JÂti Rupak
28. Which among the following is not played in basic Peshkar ?
(1) Ti t Ti t (2) Tirkit (3) Ghada- ˘-n (4) Kadan
29. Select correct sequence of years when Ustad Maseet Khan, Ustad Karamtulla Khan and
Ustad Sabin Khan were given Sangeet Natak Akademi Award respectively :
(1) 1972, 1977, 1999 (2) 1969, 1974, 2011
(3) 1971, 1975, 2013 (4) 1970, 1976, 2012
30. Match the following and use the code of given correct answer :
(Author) (Guru)
(a) Pt. Sudhir Mainkar (i) Pt. Lalaji Shrivastav
(b) Pt. Girishchandra Shrivastav (ii) Ut. Munne Khan
(c) Dr. Yogamaya Shukala (iii) Ut. Habibuddin Khan
(d) Prof. Sudhir kumar Saxena (iv) Ut. Inam Ali
Code :
(a) (b) (c) (d)
(1) (iv) (i) (ii) (iii)
(2) (ii) (i) (iii) (iv)
(3) (iii) (i) (iv) (ii)
(4) (iv) (i) (iii) (ii)
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24. ’ŸÊ⁄U‚ ÉÊ⁄UÊŸ ∑§ Ã’‹Ê-flÊŒ∑§ ¡Ê •ãÿ ÉÊ⁄UÊŸ ‚ ÷Ë Á‡ÊˇÊÊ ¬˝Êåà Á∑§ÿ, „Ò¥ —
(1) ¬¥. ’ÈãŒË Á◊üÊ (2) ¬. ’ËL§ Á◊üÊ
(3) ¬¥. ’ÀŒfl ‚„Êÿ (4) ¬¥. Áfl‡flŸÊÕ Á◊üÊ
25. “¬˝Ãʬ Á‡Êπ⁄U” ÃÊ‹ Á∑§ÃŸË ◊ÊòÊÊ•Ê¥ ∑§Ê „Ò?
(1) 9 (2) 11 (3) 13 (4) 17
26. ‚Íÿ¸◊ÁáÊ ÃÊ‹ ∑§ ⁄UøŸÊ∑§Ê⁄U „Ò¥ —
(1) ⁄UÊ¡Ê ¿UòʬÁà Á‚¥„ (2) ©. •Á◊⁄U „È‚ÒŸ πÊ°
(3) ¬¥. ¬ÛÊÊ‹Ê‹ ©¬ÊäÿÊÿ (4) ¬¥. üÊË∑§Ê¥Ã Á◊üÊ
27. ÁŸêŸÁ‹Áπà ∑§ŸÊ¸≈U∑§ ÃÊ‹Ê¥ ◊¥ ‚ ◊ÊòÊÊ•Ê¥ ∑§ ©Ã⁄Uà ∑˝§◊ ∑§ •ŸÈ‚Ê⁄U ∑§ÊÒŸ-‚Ê ‚„Ë „Ò¥?
(1) øÃSòÊ ¡ÊÁà ◊∆K, πá«U ¡ÊÁà ÁòʬÈ≈U, Á◊üÊ ¡ÊÁà M§¬∑§, ÁÃd ¡ÊÁà œ˝Èfl
(2) ÁÃd ¡ÊÁà œ˝Èfl, Á◊üÊ ¡ÊÁà M§¬∑§, πá«U ¡ÊÁà ÁòʬÈ≈U, øÃSòÊ ¡ÊÁà ◊∆K
(3) Á◊üÊ ¡ÊÁà M§¬∑§, πá«U ¡ÊÁà ÁòʬÈ≈U, øÃSòÊ ¡ÊÁà ◊∆K, ÁÃd ¡ÊÁà œ˝Èfl
(4) ÁÃd ¡ÊÁà œ˝Èfl, øÃSòÊ ¡ÊÁà ◊∆K, πá«U ¡ÊÁà ÁòʬÈ≈U, Á◊üÊ ¡ÊÁà M§¬∑§
28. ◊Í‹ ¬‡Ê∑§Ê⁄U ◊¥ ß‚ ’Ê‹ ∑§Ê flÊŒŸ Ÿ„Ë¥ „ÊÃÊ —
(1) ÁÃ≈U ÁÃ≈U (2) ÁÃ⁄UÁ∑§≈U (3) ÉÊ«∏Ê˘Ÿ˜ (4) Ä«UÊŸ
29. ©. ◊‚Ëà πÊ°, ©. ∑§⁄UÊ◊ÃÈÀ‹Ê πÊ° ∞fl¥ ©. ‚ÊÁ’⁄U πÊ° ∑§Ê ∑˝§◊‡Ê— ‚¥ªËà ŸÊ≈U∑§ •∑§ÊŒ◊Ë ¬È⁄US∑§Ê⁄U Á◊‹Ê —
(1) 1972, 1977, 1999 (2) 1969, 1974, 2011
(3) 1971, 1975, 2013 (4) 1970, 1976, 2012
30. ‚È◊Á‹Ã ∑§ËÁ¡∞ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(‹π∑§) (ªÈL§)
(a) ¬¥. ‚ÈœË⁄U ◊Ê߸áÊ∑§⁄U (i) ¬¥. ‹Ê‹¡Ë üÊËflÊSÃfl
(b) ¬¥. ÁªÁ⁄U‡Ê øãŒ˝ üÊËflÊSÃfl (ii) ©. ◊È㟠πÊ°
(c) «UÊÚ. ÿʪ◊ÊÿÊ ‡ÊÈÄ‹Ê (iii) ©. „’Ë’ÈgËŸ πÊ°
(d) ¬˝Ê. ‚ÈœË⁄U ∑ȧ◊Ê⁄U ‚Ä‚ŸÊ (iv) ©. ߟÊ◊ •‹Ë
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (i) (ii) (iii)
(2) (ii) (i) (iii) (iv)
(3) (iii) (i) (iv) (ii)
(4) (iv) (i) (iii) (ii)
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31. Laghu - Guru order of ‘Yagan’ in a chhand is :
(1) ˘– ˘ (2) –˘˘ (3) ˘ ˘– (4) –––
32. ‘Yastu taalam na janati na sa gata na vadka’ :
The above line is an extract from which of the following books ?
(1) Sangeet Ratnakar (2) Sangeet Samay sÂr
(3) Natya Shastra (4) Vrihatdeshi
33. Name of the father of Ustad Nizamuddin Khan :
(1) Azeem Bakhsh (2) Haidar Bakhsh
(3) Sikandar Bakhsh (4) Gulam Bakhsh
34. The first guru (Trainer) of Pt. Kumar Bose was :
(1) Pt. Shankar Ghose (2) Pt. Vishwanath Bose
(3) Pt. Gyan Prakash Ghose (4) Pt. Kishan Maharaj
35. Another name of Hudduka Vadya is :
(1) Idikka (2) Dimdima (3) Mardal (4) Mandilara
36. A sam to sam Nauhakka in Chatastra JÂti cannot be played in which of the following taalÂs ?
(1) Rudra taal (2) Pancham Sawari
(3) Lakshmi Taal (4) Jhap taal
37. According to present principles of Taal - Rachana the ‘Khali’ should be placed in :
(1) The starting (2) Last
(3) The middle (4) Above all the three
38. Who has translated Abhinav Taal Manjari ?
(1) Dr. Anil Bihari Beohar (2) Dr. Premlata Sharma
(3) Dr. Subhadra Choudhary (4) Dr. Puru Dadhich
39. The Avanaddha instrument which is played with NÂdaswaram ?
(1) Hudakka (2) Tavil (3) Dardur (4) Madduk
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31. ¿¥UŒ ◊¥ “ÿªáÊ” ∑§Ê ‹ÉÊÈ-ªÈL§ ∑˝§◊ „Ò —
(1) ˘– ˘ (2) – ˘ ˘ (3) ˘ ˘– (4) –––
32. ““ÿSÃÈ ÃÊ‹◊ Ÿ ¡ÊŸÊÃË Ÿ ‚ ªÊÃÊ Ÿ flÊŒ∑§Ê”” —
ÿ„ ‡‹Ê∑§ ¬¥ÁÄà Á∑§‚ ª˝ãÕ ‚ ‹Ë ªß¸ „Ò?
(1) ‚¥ªËà ⁄UàŸÊ∑§⁄U (2) ‚¥ªËà ‚◊ÿ‚Ê⁄U
(3) ŸÊ≈K‡ÊÊSòÊ (4) fl΄Ì‡ÊË
33. ©. ÁŸ¡Ê◊ÈgËŸ πÊ° ∑§ Á¬ÃÊ ∑§Ê ŸÊ◊ —
(1) •$¡Ë◊ ’Å‡Ê (2) „ÒŒ⁄U ’ŇÊ
(3) Á‚∑§ãŒ⁄U ’Å‡Ê (4) ªÈ‹Ê◊ ’ŇÊ
34. ¬¥. ∑ȧ◊Ê⁄U ’Ê‚ ∑§ ¬˝Õ◊ ªÈL§ „Ò¥ —
(1) ¬¥. ‡Ê¥∑§⁄U ÉÊÊ· (2) ¬¥. Áfl‡flŸÊÕ ’Ê‚
(3) ¬¥. ôÊÊŸ ¬˝∑§Ê‡Ê ÉÊÊ· (4) ¬¥. Á∑§‡ÊŸ ◊„Ê⁄UÊ¡
35. „È«˜U«ÈU∑§Ê flÊl ∑§Ê •ãÿ ŸÊ◊ „Ò —
(1) ßÁ«UÄ∑§Ê (2) Á«U◊Á«U◊Ê (3) ◊ÊŒ¸‹ (4) ◊Á㌋⁄UÊ
36. Á∑§‚ ÃÊ‹ ◊¥ øÃSòÊ ¡ÊÁà ◊¥ ‚◊ ‚ ‚◊ ŸÊÒ„Ä∑§Ê ‚ê÷fl Ÿ„Ë¥ „Ò?
(1) L§Œ˝ ÃÊ‹ (2) ¬¥ø◊ ‚flÊ⁄UË
(3) ‹ˇ◊Ë ÃÊ‹ (4) ¤Ê¬ ÃÊ‹
37. flø◊ÊŸ ◊¥ ÃÊ‹ ⁄UøŸÊ Á‚hʥà ∑§ •ŸÈ‚Ê⁄U πÊ‹Ë „ÊŸÊ øÊÁ„ÿ —
(1) ¬˝Ê⁄¥U÷ ◊¥ (2) •¥Ã ◊¥
(3) ◊äÿ ◊¥ (4) ©¬⁄UÊÄà ÃËŸÊ¥ ◊¥
38. •Á÷Ÿfl ÃÊ‹ ◊¥¡⁄UË ∑§Ê •ŸÈflÊŒ Á∑§ÿÊ „Ò —
(1) «UÊÚ. •ÁŸ‹ Á’„Ê⁄UË éÿÊfl„Ê⁄U (2) «UÊÚ. ¬˝◊‹ÃÊ ‡Ê◊ʸ
(3) «UÊÚ. ‚È÷Œ˝Ê øÊÒœ⁄UË (4) «UÊÚ. ¬ÈL§ ŒÊœËø
39. ŸÊŒSfl⁄U◊˜ ∑§ ‚ÊÕ ’¡ÊÿÊ ¡ÊŸ flÊ‹Ê •flŸh flÊl —
(1) „È«UÄ∑§Ê (2) ÃÁfl‹ (3) ŒŒÈ¸⁄U (4) ◊«˜U«ÍU∑§
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40. Match the following and use the code of given correct answer :
(Book) (Place)
(a) Taal toy Nidhi (i) Hyderabad
(b) Mridang Sagar (ii) Raigarh
(c) Taal Prakash (iii) Mewar
(d) Abhinav Taal Manjari (iv) Hathras
Code :
(a) (b) (c) (d)
(1) (i) (iv) (iii) (ii)
(2) (iv) (i) (ii) (iii)
(3) (iii) (iv) (i) (ii)
(4) (ii) (iii) (iv) (i)
41. The simple Quadruple time is also called :
(1) Common time (2) Compound time
(3) Simple Trilet (4) Time Signature
42. Read Assertion (A) and Reason (R) carefully and select correct answer from the code given
below :
Assertion (A) : The structure of Khol and Khanjari instruments is made of mud.
Reason (R) : The structure of Khol is prepared in two parts and then assembled.
Code :
(1) (A) and (R) both are false. (2) (A) is false and (R) is true.
(3) (A) is true and (R) is false. (4) (A) and (R) both are true.
43. Preface of the book Tabl - Vadan Kala aur Shastra is written by :
(1) Pt. Suresh Talwalkar (2) Pt. Arvind Mulganwkar
(3) Pt. Bhai Gaytonde (4) Pt. Sudheer Mainkar
44. The Guru (Trainer) of Swami Pagal Das ji was :
(1) Pt. Sant Sharan (2) Pt. Ramkrishna Das
(3) Baba Thakur Das (4) All of the above
45. Another name of Dimdima Vadya is :
(1) Damaroo (2) Ghan (3) Mardal (4) Tabul
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40. ‚È◊Á‹Ã ∑§ËÁ¡∞ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(ª˝¥Õ) (SÕÊŸ)
(a) ÃÊ‹ ÃÊÿ ÁŸÁœ (i) „ÒŒ⁄UÊ’ÊŒ
(b) ◊ÎŒ¥ª ‚ʪ⁄U (ii) ⁄UÊÿª…∏
(c) ÃÊ‹ ¬˝∑§Ê‡Ê (iii) ◊flÊ«∏
(d) •Á÷Ÿfl ÃÊ‹ ◊¥¡⁄UË (iv) „ÊÕ⁄U‚
∑ͧ≈U —
(a) (b) (c) (d)
(1) (i) (iv) (iii) (ii)
(2) (iv) (i) (ii) (iii)
(3) (iii) (iv) (i) (ii)
(4) (ii) (iii) (iv) (i)
41. Á‚ꬋ ÄflÊ«˜UL§¬‹ ≈UÊß◊ ∑§Ê „Ë ∑§„à „Ò¥ —
(1) ∑§ÊÚ◊Ÿ ≈UÊß◊ (2) ∑§ê¬Ê©ã«U ≈UÊß◊
(3) Á‚ꬋ Á≈˛U‹≈U (4) ≈UÊß◊ Á‚ÇŸø⁄U
42. •Á÷∑§ÕŸ (A) ÃÕÊ ∑§Ê⁄UáÊ (R) ∑§Ê ¬…∏¥ ÃÕÊ ŸËø ÁŒÿ ªÿ ∑ͧ≈U ∑§ •ÊœÊ⁄U ¬⁄U ‚„Ë ©ûÊ⁄U ∑§Ê øÿŸ ∑§⁄¥U —
•Á÷∑§ÕŸ (A) : πÊ‹ •ÊÒ⁄U π¥¡⁄UË flÊlÊ¥ ∑§Ê …Ê°øÊ Á◊≈˜U≈UË ∑§Ê „ÊÃÊ „Ò–
∑§Ê⁄UáÊ (R) : πÊ‹ ∑§Ê …UÊ°øÊ ŒÊ Á„S‚Ê¥ ◊¥ ’ŸÊ∑§⁄U Á»§⁄U ©‚ ¡Ê«∏Ê ¡ÊÃÊ „Ò–
∑ͧ≈U —
(1) (A) ÃÕÊ (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) ª‹Ã ÃÕÊ (R) ‚„Ë „Ò–
(3) (A) ‚„Ë ÃÕÊ (R) ª‹Ã „Ò– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–
43. “Ã’‹ÊflÊŒŸ ∑§‹Ê •ÊÒ⁄U ‡ÊÊSòÊ” ¬ÈSÃ∑§ ∑§Ë ¬˝SÃÊflŸÊ Á‹πË „Ò —
(1) ¬¥. ‚È⁄U‡Ê Ëfl‹∑§⁄U (2) ¬¥. •⁄UÁfl㌠◊È‹ªÊ¥fl∑§⁄U
(3) ¬¥. ÷Ê߸ ªÊÿÃÊá«U (4) ¬¥. ‚ÈœË⁄U ◊Ê߸áÊ∑§⁄U
44. SflÊ◊Ë ¬Êª‹ŒÊ‚ ¡Ë ∑§ ªÈL§ „Ò¥ —
(1) ¬¥. ‚ãà ‡Ê⁄UáÊ (2) ¬¥. ⁄UÊ◊ ∑ΧcáÊ ŒÊ‚
(3) ’Ê’Ê ∆UÊ∑ȧ⁄U ŒÊ‚ (4) ©¬⁄UÊÄà ‚÷Ë
45. Á«U◊Á«U◊Ê flÊl ∑§Ê ŒÍ‚⁄UÊ ŸÊ◊ „Ò —
(1) «U◊L§ (2) ÉÊŸ (3) ◊ÊŒ¸‹ (4) Ã’Í‹
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46. Thek in one Âvartan of any taal will be complete in which of the following four layakaries ?
(1) Thah, Dugun, Tigun, Aad (2) Dugun, Chaugun, Chhahgun, BÂrahgun
(3) Tigun, Aad, Chaugun, Dugun (4) Chaugun, Tigun, Dugun, AÂd
47. Which of the following ‘Presidents’ of India awarded Padma Vibhushan to Pt. Kishan
Maharaj ?
(1) Mr. K.R. Narayan (2) Dr. Abdul Kalam
(3) Mrs. Pratibha Patil (4) Dr. Shankar Dayal Sharma
48. How many kinds of ‘Kaku’ are mentioned ?
(1) 6 (2) 7 (3) 5 (4) 8
49. lOO is a sign for which of the following karnatak taalas ?
(1) Triput (2) Jhamp (3) Dhruva (4) Roopak
50. Match the following and use the code of given correct answer :
(Books) (Language)
(a) Tabla (i) Hindi
(b) Tabla Granth (ii) Bengali
(c) Tablar Katha (iii) Gujarati
(d) Tablano Itihas ane parampara (iv) Marathi
Code :
(a) (b) (c) (d)
(1) (iv) (ii) (i) (iii)
(2) (iv) (i) (ii) (iii)
(3) (i) (iv) (iii) (ii)
(4) (iv) (ii) (iii) (i)
51. Bharat Bhashyam consists of how many Shlokas ?
(1) 5000 (2) 6000 (3) 7000 (4) 8000
52. Read Assertion (A) and Reason (R) carefully and select correct answer from the code given
below :
Assertion (A) : The book ‘Risala - e - Tabl nawazi’ authored by Mohammad Ishak was
published in the beginning of 20th Century.
Reason (R) : Mohammad Ishak took training of Sitar from Amrit Sen.
Code :
(1) (A) is true (R) is false (2) (A) is false and (R) is true
(3) (A) and (R) both are false (4) (A) and (R) both are true
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46. Á∑§‚Ë ÃÊ‹ ∑§ ∞∑§ •ÊfløŸ ◊¥ ∆U∑§Ê Á∑§Ÿ øÊ⁄U ÁflÁ÷ÛÊ ‹ÿ∑§ÊÁ⁄UÿÊ¥ ‚ ¬Í⁄UË „ʪË?
(1) ∆UÊ„, ŒÈªÈŸ, Áêȟ, •Ê«∏ (2) ŒÈªÈŸ, øÊҪȟ, ¿U„ªÈŸ, ’Ê⁄U„ªÈŸ
(3) Áêȟ, •Ê«∏, øÊҪȟ, ŒÈªÈŸ (4) øÊҪȟ, Áêȟ, ŒÈªÈŸ, •Ê«∏
47. Á∑§‚ ⁄UÊc≈˛U¬Áà Ÿ ¬¥. Á∑§‡ÊŸ ◊„Ê⁄UÊ¡ ∑§Ê ¬k Áfl÷Í·áÊ ‚ê◊ÊŸ ¬˝ŒÊŸ Á∑§ÿÊ?
(1) üÊË. ∑§.•Ê⁄U. ŸÊ⁄UÊÿáÊ (2) «UÊÚ. •éŒÈ‹ ∑§‹Ê◊
(3) üÊË◊ÃË ¬˝ÁÃ÷Ê ¬Ê≈UË‹ (4) «UÊÚ. ‡Ê¥∑§⁄U ŒÿÊ‹ ‡Ê◊ʸ
48. “∑§Ê∑ͧ” ∑§ Á∑§ÃŸ ÷Œ ∑§„ ªÿ „Ò¥?
(1) 6 (2) 7 (3) 5 (4) 8
49. ÁŸêŸ ◊¥ ‚ Á∑§‚ ∑§ŸÊ¸≈U∑§Ëÿ ÃÊ‹ ∑§Ê Áøã„ lOO „Ò?
(1) ÁòʬÈ≈UU (2) ¤Êê¬ (3) œ˝Èfl (4) M§¬∑§
50. ‚È◊Á‹Ã ∑§ËÁ¡∞ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(¬ÈSÃ∑§) (÷Ê·Ê)
(a) Ã’‹Ê (i) Á„ãŒË
(b) Ã’‹Ê ª˝¥Õ (ii) ’ʥNjÊ
(c) Ã’‹Ê⁄U ∑§ÕÊ (iii) ªÈ¡⁄UÊÃË
(d) Ã’‹ÊŸÊ ßÁÄʂ •Ÿ ¬⁄¥U¬⁄UÊ (iv) ◊⁄UÊ∆UË
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (ii) (i) (iii)
(2) (iv) (i) (ii) (iii)
(3) (i) (iv) (iii) (ii)
(4) (iv) (ii) (iii) (i)
51. ÷⁄Uà ÷Êcÿ◊ ◊¥ Á∑§ÃŸ ‡‹Ê∑§ „Ò¥?
(1) 5000 (2) 6000 (3) 7000 (4) 8000
52. •Á÷∑§ÕŸ (A) ÃÕÊ ∑§Ê⁄UáÊ (R) ∑§Ê ¬…∏Ê¥ •ÊÒ⁄U ŸËø ÁŒÿ ªÿ ∑ͧ≈U ∑§ ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U øÈŸ¥ —
•Á÷∑§ÕŸ (A) : ◊Ê„ê◊Œ ß‚„Ê∑§ Á‹Áπà Á∑§ÃÊ’ “Á⁄U‚Ê‹Ê-∞-Ã’‹Ê ŸflÊ$¡Ë” ¬ÈSÃ∑§ ’Ë‚flË¥ ‡ÊÃÊéŒË ∑§ ¬˝Ê⁄¥U÷ ◊¥
¬˝∑§ÊÁ‡Êà „È߸ ÕË–
∑§Ê⁄UáÊ (R) : ◊Ê„ê◊Œ ß‚„Ê∑§ Ÿ •◊Îà ‚Ÿ ‚ Á‚ÃÊ⁄U ∑§Ë ÃÊ‹Ë◊ ‹Ë ÕË–
∑ͧ≈U —
(1) (A) ‚„Ë (R) ª‹Ã „Ò– (2) (A) ª‹Ã ÃÕÊ (R) ‚„Ë „Ò–
(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–
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53. The ‘Fard’ composition originates from which of the following GharÂnÂs ?
(1) Lucknow (2) Punjab (3) Delhi (4) Ajrada
54. ‘Tritaal’ in ‘YavankÂl’ is called :
(1) AÂditaal (2) Teelwada taal
(3) Badi sawari taal (4) Khamsa taal
55. Which one among the following is an avanaddha vadya without Baddhi ?
(1) Khanjari (2) Nagada (3) Khol (4) Tasha
56. Match the following and use the code of given correct answer :
(a) Hindi (i) Tabl
(b) Arabi (ii) Chilla
(c) Farsi (iii) Àghat
(d) Sanskrit (iv) Upaj
Code :
(a) (b) (c) (d)
(1) (iv) (ii) (iii) (i)
(2) (ii) (iv) (iii) (i)
(3) (i) (iii) (iv) (ii)
(4) (iv) (i) (ii) (iii)
57. Which among the following is written in a correct descending order ?
(1) Mani, Pratapshikhar, GajjhampÂ, Shikhar
(2) Mani, GajjhampÂ, Pratapshikhar, Shikhar
(3) Visnu, GajjhampÂ, Pratapshikhar, Mani
(4) Vishnu, Pratapshikhar, GajjhampÂ, Mani
58. The word ‘Tabl’ is not from Arabi but from persian origin :
(1) True (2) False
(3) Doubtful (4) None of the above
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53. ““$»§Œ¸”” Á∑§‚ ÉÊ⁄UÊŸ ∑§Ë ◊ÊÒÁ‹∑§ ⁄UøŸÊ „Ò?
(1) ‹πŸ™§ (2) ¬¥¡Ê’ (3) ÁŒÀ‹Ë (4) •¡⁄UÊ«∏Ê
54. ÁòÊÃÊ‹ ∑§Ê “ÿflŸ∑§Ê‹” ◊¥ ∑§„à „Ò¥ —
(1) •ÊÁŒÃÊ‹ (2) ÃË‹flÊ«∏Ê ÃÊ‹
(3) ’«∏Ë ‚flÊ⁄UË ÃÊ‹ (4) π◊‚Ê ÃÊ‹
55. ’hË ⁄UÁ„à •flŸh flÊl „Ò?
(1) π¥¡⁄UË (2) Ÿ$ªÊ«UÊ (3) πÊ‹ (4) ÃʇÊÊ
56. ‚È◊Á‹Ã ∑§ËÁ¡∞ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ‚¥’¥œ ’ÃÊßÿ —
(a) Á„ãŒË (i) Ãé‹
(b) •⁄U’Ë (ii) ÁøÀ‹Ê
(c) »§Ê⁄U‚Ë (iii) •ÊÉÊÊÃ
(d) ‚¥S∑Χà (iv) ©¬¡
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (ii) (iii) (i)
(2) (ii) (iv) (iii) (i)
(3) (i) (iii) (iv) (ii)
(4) (iv) (i) (ii) (iii)
57. ÁŸêŸÁ‹Áπà ◊¥ ‚ ∑§ÊÒŸ-‚Ê •fl⁄UÊ„Ë ∑˝§◊ ‚„Ë „Ò?
(1) ◊ÁáÊ, ¬˝ÃʬÁ‡Êπ⁄U, ª¡¤Êê¬Ê, Á‡Êπ⁄U
(2) ◊ÁáÊ, ª¡¤Êê¬Ê, ¬˝ÃʬÁ‡Êπ⁄U, Á‡Êπ⁄U
(3) ÁflcáÊÈ, ª¡¤Êê¬Ê, ¬˝ÃʬÁ‡Êπ⁄U, ◊ÁáÊ
(4) ÁflcáÊÈ, ¬˝ÃʬÁ‡Êπ⁄U, ª¡¤Êê¬Ê, ◊ÁáÊ
58. Ãé‹ ‡ÊéŒ ◊͋× •⁄U’Ë ÷Ê·Ê ∑§Ê Ÿ „Ê∑§⁄U »§Ê⁄U‚Ë ÷Ê·Ê ∑§Ê ‡ÊéŒ „Ò —
(1) ‚„Ë (2) ª‹Ã
(3) ‚¥ãŒ„ÊS¬Œ (4) ߟ◊¥ ‚ ∑§Ê߸ Ÿ„Ë¥
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59. The editor of ‘Sangeet’ patrika is :
(1) Dr. Mukesh Garg (2) Smt. Madhavi Nanal
(3) Dr. Sudha Patwardhan (4) Dr. Ravindra Nath Bahore
60. Match the following and use the code of given correct answer :
(Taal) (Vibhag)
(a) Jhampak (i) 2|4
(b) Shashthi (ii) 3|2|3
(c) Rupkad (iii) 3|2|2|4
(d) EkÂdashi (iv) 3|2
Code :
(a) (b) (c) (d)
(1) (iii) (iv) (ii) (i)
(2) (ii) (iii) (iv) (i)
(3) (iv) (i) (ii) (iii)
(4) (iv) (ii) (i) (iii)
61. The 86 Taalas are listed in which Chapter of the treatise ‘Sangeet Makrand’ ?
(1) Taladhyay (2) Vadyadhyay
(3) Nrityadhyay (4) None of the above
62. Read Assertion (A) and Reason (R) carefully and select correct answer from the code given
below :
Assertion (A) : The word ‘ThekÂ’ was first used in the book ‘Saram - e - Ishrat’ published in
1857.
Reason (R) : The author of ‘Saram - e - Ishrat’ was Sarik Ali Khan.
Code :
(1) (A) and (R) both are false. (2) (A) is true and (R) is false.
(3) (A) is false and (R) is true. (4) (A) and (R) both are true.
63. Preface of ‘Pakhawaj evam Tabla ke Gharane evam parampara’ is written by :
(1) Pt. Gyan Prakash Ghose (2) Takur Jaidev Singh
(3) Pt. Girish Chandra Srivastava (4) Pt. Sudhir Mainkar
64. Which among the following is a different taal ?
(1) Rudra (2) Kumbha (3) Mani (4) Vikram
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59. “‚¥ªËÔ ¬ÁòÊ∑§Ê ∑§ ‚¥¬ÊŒ∑§ „¥Ò —
(1) «UÊÚ. ◊È∑§‡Ê ªª¸ (2) üÊË◊ÃË ◊ÊœflË ŸÊŸ‹
(3) «UÊÚ. ‚ÈœÊ ¬≈Uflœ¸Ÿ (4) «UÊÚ. ⁄UÁflãŒ˝ ŸÊÕ ’„Ê⁄U
60. ‚È◊Á‹Ã ∑§ËÁ¡∞ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(ÃÊ‹) (Áfl÷ʪ)
(a) ¤Ê¥¬∑§ (i) 2|4
(b) ·c∆UË (ii) 3|2|3
(c) M§¬∑§«UÊ (iii) 3|2|2|4
(d) ∞∑§ÊŒ‡ÊË (iv) 3|2
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iii) (iv) (ii) (i)
(2) (ii) (iii) (iv) (i)
(3) (iv) (i) (ii) (iii)
(4) (iv) (ii) (i) (iii)
61. ‚¥ªËà ◊∑§⁄¥UŒ ª˝¥Õ ∑§ Á∑§‚ •äÿÊÿ ◊¥ 86 ÃÊ‹Ê¥ ∑§ ŸÊ◊ ÁŒÿ ªÿ „Ò¥?
(1) ÃÊ‹ÊäÿÊÿ (2) flÊlÊäÿÊÿ
(3) ŸÎàÿÊäÿÊÿ (4) ߟ◊¥ ‚ ∑§Ê߸ Ÿ„Ë¥
62. •Á÷∑§ÕŸ (A) ÃÕÊ ∑§Ê⁄UáÊ (R) ∑§Ê ¬…∏¥U •ÊÒ⁄U ŸËø ÁŒÿ ªÿ ∑ͧ≈UÊ¥ ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U øÈŸ¥ —
•Á÷∑§ÕŸ (A) : ‚Ÿ˜ 1857 ◊¥ ¬˝∑§ÊÁ‡Êà ‚⁄U◊-∞-߇Ê⁄Uà ◊¥ ‚’‚ ¬„‹ ∆U∑§Ê ‡ÊéŒ ∑§Ê ¬˝ÿʪ „È•Ê „Ò–
∑§Ê⁄UáÊ (R) : ‚⁄U◊-∞-߇Ê⁄Uà ∑§ ‹π∑§ ‚ÊÁ⁄U∑§ •‹Ë πÊ° „Ò¥–
∑ͧ≈U —
(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) ‚„Ë •ÊÒ⁄U (R) ª‹Ã „Ò–
(3) (A) ª‹Ã •ÊÒ⁄U (R) ‚„Ë „Ò– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–
63. “¬πÊfl¡ ∞fl¥ Ã’‹Ê ∑§ ÉÊ⁄UÊŸ ∞fl¥ ¬⁄¥U¬⁄UÊ∞°” ¬ÈSÃ∑§ ∑§Ë ¬˝SÃÊflŸÊ (•Ê◊Èπ) Á‹πÊ „Ò —
(1) ¬¥. ôÊÊŸ¬˝∑§Ê‡Ê ÉÊÊ· (2) ∆UÊ∑ȧ⁄U ¡ÿŒfl Á‚¥„
(3) ¬¥. Áª⁄UË‡Ê øãŒ˝ üÊËflÊSÃfl (4) ¬¥. ‚ÈœË⁄U ◊Ê߸áÊ∑§⁄U
64. ÁŸêŸ ◊¥ ‚ ∑§ÊÒŸ-‚Ê ÃÊ‹ Á÷ÛÊ „Ò?
(1) L§Œ˝ (2) ∑ȧê÷ (3) ◊ÁáÊ (4) Áfl∑˝§◊
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65. Which one among the following is an Ancient Avanaddha Vadya ?
(1) Mandidakka (2) Kalptaru
(3) Kamanyacha (4) Kshudraghantika
66. Which among the following sequences of taalÂs of Rabindra Sangeet is correct according to
the ascending order of matrÂs ?
(1) Jhampak, Sashthi, RupkadÂ, Navtaal
(2) Navtaal, RupkadÂ, Sashthi, Jhampak
(3) Navtaal, Sashthi, RupkadÂ, Jhampak
(4) Jhampak, Sashthi, Navtaal, RupkadÂ
67. Who has propounded the ‘Sutras’ of Chhand - Shastra ?
(1) Maharishi Vashishtha (2) Maharishi Pingal
(3) Vedvyas (4) Tulsi Das
68. ‘Laya is equal speed of division of time (space) by hitting (ÂghÂt)’.
Who has defined laya so :
(1) Dr. Aban Mistri (2) Dr. Yog Maya Shukla
(3) Dr. Arun Kumar Sen (4) Pt. Sudheer Mainkar
69. Akshar kÂl of ‘Totak’ Chhand is equal to the beat of which of the north Indian Chhand :
(1) Gajjhampa (2) Badi SawÂri
(3) Shikhar (4) Lakshmi
70. Match the following and use the code of given correct answer :
(Artist) (AIR Centre)
(a) Ustad Shekh Dawood (i) Kalkatta
(b) U. Afaque Hussain (ii) Hyderabad
(c) U. Alla Rakha (iii) Varanasi
(d) Pt. Kumar Lal (iv) Delhi
Code :
(a) (b) (c) (d)
(1) (ii) (iv) (i) (iii)
(2) (i) (iii) (iv) (ii)
(3) (iv) (i) (ii) (iii)
(4) (ii) (i) (iv) (iii)
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65. ¬˝ÊøËŸ •flŸh flÊl „Ò —
(1) ◊¥Á«U«UÄ∑§Ê (2) ∑§À¬ÃL§
(3) ∑§◊Ê°ÿøÊ (4) ˇÊÈŒ˝ÉÊ¥Á≈U∑§Ê
66. ÁŸêŸÁ‹Áπà ⁄UÁflãŒ˝ ‚¥ªËà ∑§ ÃÊ‹Ê¥ ◊¥ ‚ ◊ÊòÊÊ•Ê¥ ∑§ ’…∏à ∑˝§◊ ∑§ •ŸÈ‚Ê⁄U ∑§ÊÒŸ-‚Ê ‚„Ë „Ò?
(1) ¤Ê¥¬∑§, ·c∆UË, M§¬∑§«UÊ, ŸflÃÊ‹
(2) ŸflÃÊ‹, M§¬∑§«UÊ, ·c∆UË, ¤Ê¥¬∑§
(3) ŸflÃÊ‹, ·c∆UË, M§¬∑§«UÊ, ¤Ê¥¬∑§
(4) ¤Ê¥¬∑§, ·c∆UË, ŸflÃÊ‹, M§¬∑§«UÊ
67. ¿¥UŒ ‡ÊÊSòÊ ∑§ ‚ÍòÊ Á∑§‚Ÿ Á‹π „Ò¥?
(1) ◊„Á·¸ flÁ‡Êc∆U (2) ◊„Á·¸ Á¬¥ª‹
(3) flŒ√ÿÊ‚ (4) ÃÈ‹‚ˌʂ
68. ““•ÊÉÊÊà ‚ Á∑§∞ ª∞ ∑§Ê‹-Áfl÷Ê¡Ÿ ∑§ ‚◊’h flª ∑§Ê ‹ÿ ∑§„à „Ò¥–””
©¬ÿȸÄà ¬Á⁄U÷Ê·Ê Á∑§‚Ÿ ŒË „Ò?
(1) «UÊÚ. •Ê’ÊŸ Á◊SòÊË (2) «UÊÚ. ÿʪ ◊ÊÿÊ ‡ÊÈÄ‹Ê
(3) «UÊÚ. •M§áÊ ∑ȧ◊Ê⁄U ‚Ÿ (4) ¬¥. ‚ÈœË⁄U ◊Ê߸áÊ∑§⁄U
69. “ÃÊ≈U∑§” ¿¥UŒ ∑§ •ˇÊ⁄U ∑§Ê‹ Á∑§‚ ©ûÊ⁄U ÷Ê⁄UÃËÿ ÃÊ‹ ∑§Ë ◊ÊòÊÊ ∑§ ‚◊ÊŸ „Ò?
(1) ª¡¤Ê¥¬Ê (2) ’«∏Ë ‚flÊ⁄UË
(3) Á‡Êπ⁄U (4) ‹ˇ◊Ë
70. ‚È◊Á‹Ã ∑§ËÁ¡ÿ ÃÕÊ ∑ͧ≈U ∑§Ë ‚„ÊÿÃÊ ‚ ‚„Ë ©ûÊ⁄U ’ÃÊßÿ —
(∑§‹Ê∑§Ê⁄U) (•Ê∑§Ê‡ÊflÊáÊË)
(a) ©. ‡Êπ ŒÊ©Œ (i) ∑§‹∑§ûÊÊ
(b) ©. •Ê$»§Ê∑§ „È‚ÒŸ (ii) „ÒŒ⁄UÊ’ÊŒ
(c) ©. •À‹Ê ⁄UπÊ (iii) flÊ⁄UÊáÊ‚Ë
(d) ¬¥. ∑ȧ◊Ê⁄U ‹Ê‹ (iv) ÁŒÀ‹Ë
∑ͧ≈U —
(a) (b) (c) (d)
(1) (ii) (iv) (i) (iii)
(2) (i) (iii) (iv) (ii)
(3) (iv) (i) (ii) (iii)
(4) (ii) (i) (iv) (iii)
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Read the following passage carefully and answer questions 71 to 75 on the basis of your
understanding the text :
Many types of compositions are played in solo Tabl recitation. They have been categorised
and named differently by great scholars on the basis of their structure, style of presentation and
specialities, Viz Peshkar, Quaida, Rela, Mukhda, Tukda, Gat, Chakradar etc. All these compositions
could be broadly divided into two groups - Vistarsheel (Expandable) and Avistarsheel (Non -
expandable) compositions. Peshkar, Quaida. Rela and BÂnt are some of the major expandable
compositions. In some cases GatÂs of khali - Bhari are also expanded, which are called Gat -
Quaidas.
Peshkar is the most Vistarksham (expandable) Composition because it is played at mediam
tempo and there is no compulsion of expanding it by using only the bolas of original composition.
Imaginative use of tonal precesion of Right (Dayan) Left (Bayan), emphasis on different specific
fractions of beats, use of melodious bole lines, the Peshkar ornamented with different layakaries,
spell magic on its audience and immerses them in the ecstacy of ras  s; it also reflects the
imaginativeness of the Tabl player and his hold on the instrument. Quaida in its principled form
is a crisp composition, which is expanded on the basis of boles used in original composition and is
expected to keep the order in mind during expansion. According to the old maestros, specially in
the tradition of Delhi Gharana, Quaidas should be expanded in following order - Mukh, Dohra,
Ardh Dohra, Palte, Bal, Pench, Rela, and Tihai. The number of Paltas, Bal, and Pench depends on
the skill of the player.
Rela is played in fast tempo which shows the skill of the artist. As these compositions are
played in fast tempo, they exhibit sufficient use of Boles like Tirkit and Dhirdhir in them. The
‘B Â nt’ composition, abundantly played in lucknow and Banaras gharan Âs, too expandable
composition. The famous composition - - is
a good example of BÂnt.
71. The compositions played in tabl solo recitations can be broadly devided into how many
categories ?
(1) Five (2) Four (3) Three (4) Two
72. The most expandable (Vistarsheel) composition is :
(1) Rela (2) PeshkÂr (3) Quaida (4) Gat
73. Which among the following is an independent composition, but has also been mentioned in
PaltÂs of Quaidas ?
(1) Bal (2) Pench (3) Rela (4) DohrÂ
74. The expandable (Vistarsheel) composition which is played in fast tempo with the Boles tirkit
dhirdhir :
(1) Fard (2) Tukda (3) Paran (4) Rela
75. BÂnt is played more commonly in which gharÂn ?
(1) Delhi (2) Banaras (3) Ajrada (4) Farrukhabad
-oOo-
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ŸËø ÁŒ∞ •ŸÈë¿UŒ ∑§Ê äÿÊŸ ‚ ¬…∏¥ •ÊÒ⁄U ¬Ê∆U ∑§Ë •¬ŸË ‚◊¤Ê ∑§ •ÊœÊ⁄U ¬⁄U ¬˝‡Ÿ 71 ‚ 75 Ã∑§ ∑§ ©ûÊ⁄U øÈŸ¥ —
∞∑§‹ Ã’‹Ê flÊŒŸ ◊¥ ∑§ß¸ ¬˝∑§Ê⁄U ∑§Ë ⁄UøŸÊÿ¥ ’¡Ê߸ ¡ÊÃË „Ò¥– ÁflmÊŸÊ¥ Ÿ, ¬˝àÿ∑§ ⁄UøŸÊ ∑§Ê ©‚∑§Ë ’ŸÊfl≈U, ¬˝SÃÈÁà ∑§Ë
‡ÊÒ‹Ë •ÊÒ⁄U Áfl‡Ê·ÃÊ ∑§ •ÊœÊ⁄U ¬⁄U •‹ª-•‹ª ŸÊ◊ ÁŒÿ „Ò¥ - ¡Ò‚ - ¬‡Ê∑§Ê⁄U, $∑§ÊÿŒÊ ⁄U‹Ê, ◊Èπ«∏Ê, ≈ÈU∑§«∏Ê, ªÃ, ø∑˝§ŒÊ⁄U
•ÊÁŒ– ߟ ‚÷Ë ⁄UøŸÊ•Ê¥ ∑§Ê ◊ÈÅÿ M§¬ ‚ ŒÊ flªÊZ ◊¥ Áfl÷ÊÁ¡Ã Á∑§ÿÊ ¡Ê ‚∑§ÃÊ „Ò ÿÕÊ - ÁflSÃÊ⁄U‡ÊË‹ ⁄UøŸÊÿ¥ ÃÕÊ
•ÁflSÃÊ⁄U‡ÊË‹ ⁄UøŸÊÿ¥– ¬‡Ê∑§Ê⁄U, $∑§ÊÿŒÊ, ⁄U‹Ê •ÊÒ⁄U ’Ê¥≈U ÿ ¬˝◊Èπ ÁflSÃÊ⁄U‡ÊË‹ ⁄UøŸÊÿ¥ „Ò¥– ∑§Áìÿ πÊ‹Ë-÷⁄UË ∑§Ë ªÃÊ¥ ∑§Ê
ÁflSÃÊ⁄U ÷Ë Á∑§ÿÊ ¡ÊÃÊ „Ò Á¡ã„¥ ªÃ $∑§ÊÿŒÊ ∑§„Ê ªÿÊ „Ò–
¬‡Ê∑§Ê⁄U ‚flʸÁœ∑§ ÁflSÃÊ⁄UˇÊ◊ ⁄UøŸÊ „Ò Á¡‚∑§Ê ∑§Ê⁄UáÊ ß‚ ⁄UøŸÊ ∑§Ê ◊äÿªÁà ◊¥ flÊŒŸ Á∑§ÿÊ ¡ÊŸÊ ÃÕÊ ◊Í‹ ⁄UøŸÊ ∑§
’Ê‹Ê¥ ‚ „Ë ÁflSÃÊ⁄U Á∑§ÿ ¡ÊŸ ∑§Ë ’ÊäÿÃÊ “Ÿ” „ÊŸÊ „Ò– ŒÊ¥ÿ-’Ê¥ÿ ∑§Ë ŸÊŒÊà◊∑§ÃÊ ∑§Ê ∑§À¬ŸÊ¬Íáʸ ¬˝ÿʪ, ÁflÁ÷ÛÊ ◊ÊòÊÊ•Ê¥ ¬⁄U
’‹ÊÉÊÊÃ, ŸÊŒ◊œÈ⁄U ’Ê‹ ¬¥ÁÄÃÿÊ¥ ∑§Ê ¬˝ÿʪ •ÊÒ⁄U ÁflÁ÷ÛÊ ‹ÿ∑§ÊÁ⁄UÿÊ¥ ‚ ÿÈÄà ¬Á⁄U¬Íáʸ ¬‡Ê∑§Ê⁄U ÁŸ‡øÿ „Ë üÊÊÃÊ•Ê¥ ∑§Ê ⁄U‚Á‚ÄÃ
ÃÊ ∑§⁄UÃÊ „Ë „Ò flÊŒ∑§ ∑§Ë ∑§À¬ŸÊ‡ÊË‹ÃÊ •ÊÒ⁄U flÊl ¬⁄U ©‚∑§Ë ¬∑§«∏ ∑§Ê ¬Á⁄Uøÿ ÷Ë ∑§⁄UÊÃÊ „Ò– “$∑§ÊÿŒÊ¥” •¬Ÿ ◊Í‹ M§¬ ◊¥
∞∑§ ∞‚Ë ‚¥ÁˇÊåà ⁄UøŸÊ „ÊÃË „Ò Á¡‚∑§Ê ◊Í‹ ⁄UøŸÊ ◊¥ ¬˝ÿÈÄà ’Ê‹Ê¥ ∑§ •ÊœÊ⁄U ¬⁄U „Ë ÁflSÃÊ⁄U Á∑§ÿ ¡ÊŸ ∑§Ê ÁŸÿ◊ „Ò– ÁflSÃÊ⁄U
◊¥ ∑˝§◊ ∑§Ê ÷Ë äÿÊŸ ⁄UπÊ ¡ÊŸÊ •¬ÁˇÊà „ÊÃÊ „Ò– ¬È⁄UÊŸ ©SÃʌʥ ∑§ •ŸÈ‚Ê⁄U, Áfl‡Ê·∑§⁄U ÁŒÀ‹Ë ÉÊ⁄UÊŸ ∑§Ë ¬⁄Uê¬⁄UÊ ◊¥ ∑§ÊÿŒÊ¥ ∑§Ê
ÁflSÃÊ⁄U ÁŸêŸÊŸÈ‚Ê⁄U ∑˝§◊ ◊¥ Á∑§ÿ ¡ÊŸ ∑§Ê ÁŸÿ◊ ◊ÊŸÊ ¡ÊÃÊ ⁄U„Ê „Ò - ÿÕÊ - ◊Èπ, ŒÊ„⁄UÊ, •œ¸ ŒÊ„⁄UÊ ¬À≈U, ’‹, ¬¥ø, ⁄U‹Ê •ÊÒ⁄U
ÁÄÊ߸– ¬À≈U, ’‹ •ÊÒ⁄U ¬¥øÊ¥ ∑§Ë ‚¥ÅÿÊ flÊŒ∑§ ∑§Ë ˇÊ◊ÃÊ ¬⁄U ÁŸ÷¸⁄U ∑§⁄UÃË „Ò–
“⁄U‹Ê” Œ˝Èà ªÁà ◊¥ ’¡ÊÿË ¡ÊŸ flÊ‹Ë ⁄UøŸÊ „Ò ¡Ê flÊŒ∑§ ∑§Ë ÃÒÿÊ⁄UË ∑§Ê ¬˝ÁÃÁ’Áê’à ∑§⁄UÃË „Ò– Œ˝Èà ◊¥ ’¡Êÿ ¡ÊŸ ∑§
∑§Ê⁄UáÊ Áfl‡Ê· M§¬ ‚ “ÁÃ⁄UÁ∑§≈U” •ÊÒ⁄U “Áœ⁄UÁœ⁄U” ’Ê‹Ê¥ ∑§Ê ¬˝ÿʪ ߟ ⁄UøŸÊ•Ê¥ ◊¥ ŒπŸ ∑§Ê Á◊‹ÃÊ „Ò– ‹πŸ™§ •ÊÒ⁄U ’ŸÊ⁄U‚
ÉÊ⁄UÊŸÊ¥ ◊¥ ’„Ȭ˝øÁ‹Ã “’Ê¥≈U” ÷Ë ∞∑§ ÁflSÃÊ⁄U‡ÊË‹ ⁄UøŸÊ „Ò– ÿ„ ¬˝Á‚h ⁄UøŸÊ
’Ê¥≈U ∑§Ê ∞∑§ •ë¿UÊ ©ŒÊ„⁄UáÊ „Ò–
71. ∞∑§‹ Ã’‹Ê flÊŒŸ ◊¥ ’¡Ÿ flÊ‹Ë ⁄UøŸÊ∞°, ◊ÈÅÿ M§¬ ‚ Á∑§ÃŸ flªÊZ ◊¥ Áfl÷ÊÁ¡Ã ∑§⁄U ‚∑§Ã „¥Ò?
(1) ¬Ê°ø (2) øÊ⁄U (3) ÃËŸ (4) ŒÊ
72. ‚flʸÁœ∑§ ÁflSÃÊ⁄U‡ÊË‹ ⁄UøŸÊ „Ò —
(1) ⁄U‹Ê (2) ¬‡Ê∑§Ê⁄U (3) $∑§ÊÿŒÊ (4) ªÃ
73. ÿlÁ¬ ÿ„ ∞∑§ SflÃ¥òÊ ⁄UøŸÊ „Ò Á∑¥§ÃÈ $∑§ÊÿŒ ∑§ ¬À≈UÊ¥ ◊¥ ÷Ë ß‚∑§Ê ©À‹π „Ò —
(1) ’‹ (2) ¬¥ø (3) ⁄U‹Ê (4) ŒÊ„⁄UÊ
74. ÁÃ⁄UÁ∑§≈U •ÊÒ⁄U Áœ⁄UÁœ⁄U ’Ê‹ ÿÈÄà Œ˝Èà ªÁà ◊¥ ’¡Ê߸ ¡ÊŸ flÊ‹Ë ÁflSÃÊ⁄U‡ÊË‹ ⁄UøŸÊ —
(1) $»§Œ¸ (2) ≈ÈU∑§«∏Ê (3) ¬⁄UŸ (4) ⁄U‹Ê
75. ÁŸêŸ ◊¥ ‚ Á∑§‚ ÉÊ⁄UÊŸ ◊¥ “’Ê¥≈U” ’¡ÊŸ ∑§Ê •Áœ∑§ ¬˝ø‹Ÿ „Ò?
(1) ÁŒÀ‹Ë (2) ’ŸÊ⁄U‚ (3) •¡⁄UÊ«∏Ê (4) »§M¸§πÊ’ÊŒ
-oOo-
N-09817 !N-09817-PAPER-III! 23 Paper-III
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Space For Rough Work N-09817 !N-09817-PAPER-III! 24 Paper-III
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Source: University Grants Commission. Question paper published by University Grants Commission.