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UGC NET JUN 2007 : MUSIC PAPER II

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Signature and Name of Invigilator Answer Sheet No. : ...................................................... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) Roll No. 2. (Signature) (In words) (Name) Test Booklet No. J 1 6 0 7 PAPER II MUSIC Time : 1 hours] Number of Pages in this Booklet : 48 [Maximum Marks : 100 Number of Questions in this Booklet : 50 U Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 1. U DU U S U U U U 2. This paper consists of fifty multiple-choice type of questions. 3. U U U, - S U U U 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) 4. Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the question booklet will be replaced nor any extra time will be given. (iii) - S U (i) - S U U U U S U U- U S S U U (ii) U DU U U U - S DU To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. (ii) 2. - After this verification is over, the Serial No. of the booklet should be entered in the Answer-sheets and the Serial No. of Answer Sheet should be entered on this Booklet. U U U U U U S DU / U U U U U S S U U U U U S U U - S U U - S U UQ (iii) - S R U- U U U U U- R - S U U 4. U U (A), (B), (C) (D) U U U U Each item has four alternative responses marked (A), (B), (C) and (D). You have to darken the oval as indicated below on the correct response against each item. Example : A B C U D where (C) is the correct response. 5. Your responses to the items are to be indicated in the Answer Sheet given inside the Paper I booklet only. If you mark at any place other than in the ovals in the Answer Sheet, it will not be evaluated. 5. 6. Read instructions given inside carefully. 7. Rough Work is to be done in the end of this booklet. 7. 8. If you write your name or put any mark on any part of the test booklet, except for the space allotted for the relevant entries, which may disclose your identity, you will render yourself liable to disqualification. 9. 6. 8. 9. You have to return the test question booklet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 10. B C D U ( U U) U U 12. U U 10. Use only Blue/Black Ball point pen. 11. 11. Use of any calculator or log table etc., is prohibited. 12. There is NO negative marking. See Page No. 2 and 3 for Special Instructions / J 1607 A ( C) U U U I U U- U U U U S U U U , U U U (Rough Work) S DU U U U- S U , U U U U U # U U- S U U U U U # U U U / U Z U S U 1 c 2 3 P.T.O. MUSIC PAPER II Hindustani / Karnataki / Rabindra Sangeet / Percussion (Vocal and Instrumental) SPECIAL INSTRUCTIONS Note : Candidates are required to answer all the 25 questions in PART - I, which are c ompulsory . They should select a ny one o f the groups PART-II, PART-III, PART-IV, PART-V and answer all the 25 questions in that PART. Do not forget to darken the selected optional Part on the OMR Answer Sheet. Each question carries two (2) marks. PART - I Common to Hindustani / Karnataki / Rabindra Sangeet / Percussion 1. Who is Guitar player among the following : (A) (B) Pt. Brij Bhushan Kabra (C) 2. Pt. Nikhil Banerjee Ustad. Bismillah khan (D) Pt. Samta Prasad Which instrument has fixed freeds : (A) (B) Sitar (C) 3. Guitar Surbahar (D) Esraj Which University started first musicology department : (A) (B) Ruhelkhand University, Barielly. (C) Banaras Hindu University, Varanasi. (D) 4. M. S. University, Baroda. Allahabad University, Allahabad. Which is the tala, starting with Khali (O) : (A) (B) Dacha (C) 5. Kaharva Rupak (D) Jhaptal Strings of Jodi are tuned in which note : (A) Sa Sa (B) Sa Pa (C) Ma Sa (D) Ma Ma J 1607 2 II S / / ( , S ) h l U -I 25 -II, -III, -IV, -V 25 (2) PART - I S / / h l 1. (A) (B) . , (C) 2. , . , (D) . , l (A) (B) (C) 3. (D) S l (A) (B) M , , (C) 4. . . , , , (D) , . , (A) (B) (C) 5. M (D) U S (A) , (B) , (C) , (D) . J 1607 3 P.T.O. 6. Who is the author of Sangeet Parijat : (A) 7. (B) Bhavbhatt (C) Ahobal (D) Kohal (C) Madhuvanti (D) Darbari (D) Kedar In which ray Atikomal Gandhar is used : (A) 8. Sarangadeva Kafi (B) Todi Main six strings in Sitar is used by which artist : (A) (B) Pt. Nikhil Banerjee (C) 9. Ustad Halim Jafer Khan Ustad Vilayat Khan (D) Pt. Ravi Shankar Who authored book on History of Music from the following : (A) (B) R. C. Metha (C) 10. G. H. Ranade S. S. Paranjape (D) Dr. Premlata Sharma Who is the one who wrote maximum books on aesthetics of music : (A) (B) Dr. S. K. Saxena (C) 11. Dr. Ashok Ranade Dr. Subhadra Chaudhry (D) Dr. B. C. Deva Which Rag belongs to Kanhra Ang from the following : (A) 12. Todi (B) Nayki (C) Bihag Which Rag is sung/played in the morning from the following : (A) Bhairav (B) Yaman (C) Bhimapalasi (D) Bageshwari J 1607 4 6. (A) 7. (B) ^, (C) , (D) . (C) , (D) . (D) (A) 8. , (B) , { m (A) (B) . (C) 9. . , . (D) . S (A) (B) . . (C) 10. . . . . (D) . S (A) (B) . . . (C) 11. . . (D) . . . (A) 12. (B) (C) / (A) (B) (C) (D) J 1607 5 P.T.O. 13. Match the following : List-I List-II (a) Vocal (i) Bharat (b) Sitar (ii) Tanpura (c) Natyashastra (iii) Rag (d) Brihaddesi (iv) String instrument Code : (a) (c) (d) (A) iv iii ii i (B) iii ii i iv (C) ii iv i iii (D) 14. (b) i ii iv iii A variety of Triputa Tala : (A) (B) Ata Tala (C) 15. Adi Tala Matya Tala (D) Rupaka Tala A composition used in Karnatak Music : (A) (B) Jalatarangam (C) 16. Pallavi Sabdam (D) Alarippu Choose the oldest musical form : (A) (B) Devar nama (C) 17. Geetha Prabandham Sabdam (D) Pancharatnam Which Visesha Sanchara is prominent in the Raga Todi . (A) Pdps (B) SpMgM (C) 18. RMpNN (D) ~ Sr~MpM Grs g Which folk song is associated with Kerala female Dance : (A) (B) Giddha (C) 19. Kai Kottikali Ottam Tullal (D) Nangy a r Kuthu Tagore s compilation of songs is : (A) Gitavitan (B) Manashi (C) Puravi (D) Chaturanga J 1607 6 13. - II - I (a) (i) (b) (ii) (c) K S (iii) (d) (iv) l U (A) (B) (C) (D) 14. (a) iv iii ii i (b) iii ii iv ii (c) ii i i iv (d) i iv iii iii (A) (B) (C) 15. l (D) M S (A) (B) (C) 16. (D) (A) (B) (C) 17. (D) (A) (B) (C) 18. -- (D) ~ ~ - (A) (B) h (C) 19. (D) (A) J 1607 (B) (C) 7 (D) UX P.T.O. 20. Tagore s Chandalika is : (A) Drama (B) Dance drama (C) Both (A) and (B) (D) Poem Questions 21 to 25 : Paraphrasing or Linked Item : Read the following passage and tick the correct answer in each question. Voice and style both are necessary in Thumari presentation, the absence of which will make Thumari a boring sound. Thumari, though considered light or lighter than the Khayal and Dhrupad-Dhamar, has great capacity for musical expression, exploiting the textual meaning of a very few words, or a phrase of a line of a song and acquiring great depth of emotion. Most of the Thumaries utilise some two or four line song expressing deep sorrow or pathos of love and separation, deepest human emotions on which epics have been written. Thumari, thus has acquired much importance in the realm of musical performance for classical as well as for masses. 21. Dhrupad has great depth (D) Dhrupad is considered light music (A) Thumari style is more popular (B) Thumari is not popular (C) TAN is used in Thumari (D) Thumari is sung without TAAL (A) Thumari is bhavapradhan (B) In Thumari, bhava is not needed (C) Taan is too much used in Thumari (D) Sargam is used in Thumari (A) Sweetness is must in Thumari (B) There is a noise in Thumari (C) It is not necesary to pay attention to Bhava to present Thumari (D) 24. In Thumari presentation good voice is not needed (C) 23. In Thumari presentation good voice is needed (B) 22. (A) Thumari style is not in Indian Music J 1607 8 20. (A) (B) (C) (A) U (B) (D) 21 25 U U U l - , K Q U M , c (A) (B) (C) (D) (A) (B) (C) (D) (A) (B) (C) 24. S M (D) 23. S M (C) 22. (A) (B) 21. U U U U (D) U U U J 1607 9 P.T.O. 25. (A) There are only two or three lines in Thumari (B) Thumari is only sung by the female voice (C) Thumari in sung in Khayal style (D) Thumari style was development in Ancient time PART - II Hindustani Music (Vocal / Instrument) 26. Music can not be fully notated : (A) 27. Wrong (C) Doubtful (D) Correct (C) Sarod (D) Violin (D) Ashtapadi This instrument is of equal tempered scale : (A) 28. Not necessarily (B) Tanpura (B) Harmonium Who wrote Sangeet Ratnakar : (A) (B) Pundarik Bithal (C) 29. Bharat Sharang Dev (D) Narad Dhruvpad is developed from : (A) 30. Kawwali (B) Prabandh (C) Dhruvgana This Raga is a mixture of Miya Malhar and Sarang : (A) (B) Nat Malhar (C) 31. Jayant Malhar Miyaki Sarang (D) Shudha Sarang Which classification of Ragas was prevalent in medieval period : (A) Rag Ragini Vargikaran (B) Ragang Vargikaran (C) Mela RagaVargikaran D) Thata Raga Vargikaran J 1607 10 (A) (B) (C) (D) 25. - II S ( / ) 26. S h (A) 27. (C) (D) (B) (C) (D) (B) _ (C) (D) (C) (D) c (A) 30. $ ? (A) 29. (B) # l (A) 28. (B) (A) (B) (C) 31. (D) h ? (A) (B) (C) (D) J 1607 11 P.T.O. 32. Haveli Sangeet is related to : (A) (B) Tappa Parampara (C) 33. Khayal Parampara Thumri Parampara (D) Dhruvapad Dhamar Parampara Tick mark ( ) the correct chronological order of development from Dhwani to Saptak : (A) (B) Saptak, Shruti, Swar, Dhwani, Nada (C) Dhwani, Shruti, Swar, Saptak, Nada (D) 34. Nada, Shruti, Dhwani, Saptak, Swar Dhwani, Nada, Shruti, Swar, Saptak Which of the following is two Madhyam Rag : (A) (B) Darbari (C) 35. Malhar Marubihag (D) Vibhas There is a systematic order in music teaching singing / playing. Tick mark ( ) the correct order : (A) (B) Bandish, Nibadha Alap, Tana, Anibadha Alap (C) Anibadha Alap, Bandish, Nibadha Alap, Tana (D) 36. Nibadha Alap, Tana, Bandish, Anibadha Alap Bandish, Anibadha Alap, Tana, Nibadha Alap Raga Madhuwanti is distinguished from Multani in Uttaranga by : (A) (B) Shudha Rishara (C) 37. Shudha Dhaiwat Komal Gandhar (D) Tivra Madhyam Which Anga is not used in Dhrupad gayaki ? (A) 38. (B) Gamak (C) Alap (D) Tana (C) Japtala (D) Rupak (C) Dattil (D) Matang The Tala with ten Matras is known as : (A) 39. Meend Teentala (B) Chartala The author of Natyashastra is : (A) J 1607 Sharangdev (B) Bharat 12 32. ? (A) (B) (C) 33. (D) # R R ( ) (A) (B) # , , S , , (C) 34. , , , # , S , , S , # , (D) , , , S , # ? (A) (B) (C) 35. M (D) / S R R ( ) (A) (B) , h , , h (C) h , , h , (D) 36. h , , , h , h , , h S (A) (B) h (C) 37. h (D) (A) 38. (B) (C) (D) (C) (D) M (C) (D) (A) 39. (B) K S (A) J 1607 (B) 13 P.T.O. 40. Mostly Tanpura is tuned in Swaras : (A) (B) Pa Sa Sa Sa (C) 41. Ga Pa Sa Sa Sa Ni Dha Pa (D) Ma Dha Sa Sa Assertion (A) : Tivra Ma is mostly used in Raga Maru Bihaga and Shuddha Madhyam is mostly used in Bihaga. Reason (R) : Only Shuddha Madhyam is traditionally being used in Raga Bihaga. (A) (B) (A) is false and (R) is true (C) 42. (A) is true and (R) is false Both (A) and (R) are true (D) Both (A) and (R) are false Assertion (A) : Bandishon s are very important in showing the form of Raga in Khayal gayan. Reason (R) : The complete form of Raga is not present in Bandish (A) (B) (A) is false and (R) is true (C) 43. (A) is true and (R) is false Both (A) and (R) are true (D) Both (A) and (R) are false Matching type questions. This question consist of two list of statements, terms, or symbols and the candidate has to match an item in one list with an item of the other. List - I List - II (a) Combination of these Ragas exists in Raga Ahir Bhairav (i) Jog (b) Both the Gandharas are use in which Raga (ii) Bhairav, Kafi (c) Which Raga is made by doing Re and Dha Komal in Raga Bholpali (iii) Madhuwanti (d) Which raga is produced by doing (iv) Shuddha the Komal Risharbh Dhaiwat of Raga Multani Code : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iii) (i) (ii) (iv) (D) (iv) (iii) (i) (ii) J 1607 14 Vibhas 40. S (A) 41. (B) (C) (D) (A) : M h (R) : h (A) (B) (A) (R) (C) (A) (R) (D) 42. (A) (R) (A) (R) (A) S M (R) U S M (A) (B) (A) (R) (C) (A) (R) (D) 43. (A) (R) (A) (R) U - II - I (a) (i) (b) (ii) , (c) (iii) (d) h (iv) (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iii) (i) (ii) (iv) (D) (iv) (iii) (i) (ii) J 1607 15 P.T.O. 44. List - I List - II (a) Bada Khayal is sung in this Laya (i) Komal Gandhar (b) This Gandhar is used in Kanhada Ang (ii) Vilanmbit Laya (c) Poorija Ang is used where in Pooriya Kalyana (iii) Uttarang (d) Kafi Anga is used in Ahir Bhairav (iv) Poorwang Code : (a) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (ii) (i) (iii) (D) 45. (b) (iii) (iv) (ii) (i) Which university did first start department of Musicology separately ? (A) (B) Delhi (C) 46. Bombay Banaras (D) Allahabad It is used in string instruments : (A) (B) Jati (C) 47. Alapti Mukhchalan (D) Jamjatha Who sung Vande - Mataram on the first morning of Independence in All India Radio ? (A) (B) Ameer Khan (C) 48. Pt. Omkar Nath Thakur V. D. Bhatkhande (D) D. V. Paluskar Which of the following is a variety of Kanhara Raga sung with Malkauns Ang ? (A) Sooha (B) Kaunshi Kanhra (C) Sugharai (D) Shahana J 1607 16 - I 44. - II (a) (i) (b) (ii) (c) (iii) (d) (iv) Z (a) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (ii) (i) (iii) (D) 45. (b) (iii) (iv) (ii) (i) l S (A) (B) (C) 46. (D) l (A) (B) (C) 47. # (D) S ? (A) (B) (C) 48. c (D) . . S ? (A) (B) (C) (D) J 1607 17 P.T.O. 49. Pt. Ahobal is the author of : (A) (B) Sangit Raj (C) 50. Sangit Saramrit Sangit Parijat (D) Sangit Sar In which style Deepchandi is used ? (A) Dhrupad (B) Tappa (C) Khayal (D) Thumri PART - III Karnatic Music - Vocal Instrumental, Percussion 26. Sa ndhinchine in Arabhi Raga is : (A) (B) (C) 27. Panchalinga sthala Kriti Navagraha Kriti (D) Pancharatna Kriti Navaratri Kriti A Kriti of Papanasam Sivan : (A) - Todi (B) M a Ramanan - Hindolam (C) Sarasaksha - Pantuvarali (D) 28. Kaddana variki Siddhivinayakan - Shanmukha priya Pada Garbham denotes the temporary stop of a : (A) (B) Varnam (C) 29. Pallavi Kriti (D) Gitam T a nam precedes a (A) (B) Varnam (C) 30. Kriti Pallavi (D) Tillana Padavarnam is employed in : (A) Bharatanatyam (B) Pallavi concert (C) Tiruppugazh singing (D) Bhajana sampradaya J 1607 18 49. . S $ (A) (B) (C) 50. (D) ? (A) (B) (C) $ (D) - III ( , ) 26. ? (A) (B) (C) 27. S (D) (A) (B) - (C) 28. a - - (D) h - S (A) (B) (C) 29. (D) __________ (A) (B) (C) 30. (D) __________ (A) K (B) (C) L (D) J 1607 19 P.T.O. 31. Tavil accompanies (A) (B) Flute (C) 32. Nagasvaram Veena (D) Vocal Tala dasa pranas denote : (A) (B) Features of Tala (C) 33. A scheme of Tala Variety of Sapta Tala (D) A chapter of Talarnavam Musical stone pillars are employed in : (A) (B) Dance Music (C) 34. Classical Music Temple Music (D) Drama Music Karnatak Music Vocalist : (A) (B) Lalgudi Jayaraman (C) 35. Musiri Subramanya Iyer Palghat Mani Iyer (D) Rajaratnam Pillai Ahata Nada is produced by : (A) (B) Natural Effort (C) 36. Human Effort Birds (D) Animals Indicate the correct pair : (A) (B) Mahanataka Veena and Mahalasya Veena (C) Hastha Veena and Prahastha Veena (D) 37. Rudra Veena and Mudra Veena Kinnari Veena and Saraswathi Veena Pulluvan Kudam is a : (A) Metal Instrument (B) Stringed Instrument (C) Percussion Instrument (D) Wind Instrument J 1607 20 31. __________ (A) 32. S (B) (C) (D) (A) (B) (C) 33. (D) S S S __________ (A) S (B) (C) 34. (D) K (A) (B) (C) 35. U (D) % m (A) (B) (C) 36. (D) (A) L (B) S (C) 37. S S (D) S __________ (A) (B) (C) (D) J 1607 21 P.T.O. 38. Travancore is the birth place of : (A) (B) Tyagaraja (C) 39. Tansen Swami Haridas (D) Swati Tirunal 108 Karanas are found in : (A) (B) Chidambaram (C) 40. Trivandrum Madurai (D) Kanyakumari Mizhavu is a Traditional Instrument of : (A) (B) Andhra Pradesh (C) 41. Tamil Nadu Karnataka (D) Kerala The Kovur Pancharatna Kriti : (A) (B) Sambho Mahadeva (C) 42. Gurulekatuvanti Sri Ganapatini (D) Siva Siva Siva Match the following : List - I List - II (a) . Karnata k Music (i) Rabindranath Tagore (b) Western Music (ii) Tansen (c) Hindustasni Music (iii) Bach (d) Rabindra Sangita (iv) Tyagaraja Code : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (iii) (ii) (C) (ii) (i) (iv) (iii) (D) (iii) (ii) (i) (iv) J 1607 22 38. S (A) (B) (C) 39. S (D) S 108 (A) (B) (C) 40. (D) (A) (B) (C) 41. (D) % (A) (B) (C) 42. L U o (D) - II -I (a) (i) (b) (ii) (c) S (iii) (d) U (iv) (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (iii) (ii) (C) (ii) (i) (iv) (iii) (D) (iii) (ii) (i) (iv) J 1607 23 P.T.O. 43. Match the following : List - I List - II (a) srgpds (i) Suddha Saveri (b) srmpns (ii) Hindolam (c) sgmdns (iii) Madhyamavati (d) srmpds (iv) Mohanam Code : (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (ii) (iii) (iv) (C) (ii) (iv) (i) (iii) (D) 44. (b) (iii) (i) (iv) (ii) Match the following : List - I List - II (a) Ariyakudi (i) T. K. Govinda Rao (b) Musiri (ii) K. V. Narayanaswamy (c) Semmangudi (iii) T. M. Tyagarajan (d) Chembai (iv) K. J. Yesudas Code : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (ii) (i) (iii) (D) (i) (iii) (iv) (ii) J 1607 24 43. - II - I (a) (i) h (b) (ii) (c) (iii) (d) (iv) (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (ii) (iii) (iv) (C) (ii) (iv) (i) (iii) (D) 44. (b) (iii) (i) (iv) (ii) - I - II (a) (i) . . (b) (ii) . . S (c) (iii) . . (d) (iv) . . (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (ii) (i) (iii) (D) (i) (iii) (iv) (ii) J 1607 25 P.T.O. 45. Match the following : List - I List - II (a) Sivakumar Sarma (i) Shahnai (b) Ravi Shankar (ii) Sarod (c) Amjad Ali Khan (iii) Sitar (d) Bismilla Khan (iv) Santoor Code : (a) (c) (d) (A) (iii) (iv) (i) (ii) (B) (ii) (iv) (iii) (i) (C) (i) (ii) (iv) (iii) (D) 46. (b) (iv) (iii) (ii) (i) Assertion (A) : Syama Sastri composed Svarajatis. Reasoning (R) : He was the only one who composed in Telugu and Tamil (A) (B) Both (A) and (R) are False (C) (A) is False (R) is True (D) 47. Both (A) and (R) are True (A) is True (R) is False Assertion (A) : Parsvadeva wrote Sangita Samaya Sara Reasoning (R) : Mahavaidyanatha Sivan composed the 72 Melaraga Malika (A) (A) is False (R) is False (B) (A) is True (R) is True (C) (A) is False (R) is True (D) (A) is True (R) is False J 1607 26 45. - I - II (a) (i) (b) (ii) (c) $ (iii) (d) S (iv) (a) (c) (d) (A) (iii) (iv) (i) (ii) (B) (ii) (iv) (iii) (i) (C) (i) (ii) (iv) (iii) (D) 46. (b) (iv) (iii) (ii) (i) (A) : S (R) : ( U U) (A) (B) (A) (R) (C) (A) (R) (D) 47. (A) (R) (A) (R) (A) : (R) : l 72 (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1607 27 P.T.O. Sequencing type : 48. Write the correct sequence of the following musicologists according to their chronological year : (A) (B) Subbarama Dikshitar, Vipulananda, Prof. P. Sambamurthy, Dr. S. Ramanathan (C) Dr. S. Ramanathan, Vipulananda, Subbarama Dikshitar, Prof. P. Sambamurthy (D) 49. Prof. P. Sambamurthy, Dr. S. Ramanathan, Vipulananda, Subbarama Dikshitar Vipulananda, Prof. P. Sambamurthy, Dr. S. Ramanathan, Subbarama Dikshitar Arrange the following order according to the Century : (i) Tirujnana Sambandar (ii) Ilango Adikal (iii) Gopalakrishna Bharati (iv) Papanasam Sivan Code : (A) (i) (iii) (iv) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iv) (iii) (D) 50. (ii) (iv) (i) (ii) (iii) Arrange the following Chakras according to their serial order : (i) Disi (ii) Bana (iii) Rishi (iv) Rudra Code : (A) (iii) (i) (ii) (iv) (B) (iv) (iii) (ii) (i) (C) (ii) (iii) (i) (iv) (D) (i) (ii) (iii) (iv) J 1607 28 R 48. U R R (A) (B) , , . , . . (C) . . , , , . (D) 49. . , . . , , , . , . . , R (i) L (ii) (iii) c (iv) (A) (i) (iii) (iv) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iv) (iii) (D) 50. (ii) (iv) (i) (ii) (iii) R R (i) (ii) (iii) (iv) L (A) (iii) (i) (ii) (iv) (B) (iv) (iii) (ii) (i) (C) (ii) (iii) (i) (iv) (D) (i) (ii) (iii) (iv) J 1607 29 P.T.O. PART - IV RABINDRA SANGEET 26. Janaganamana was composed as : (A) (B) Brahma sangeet (C) 27. Patriotic song Songs for children (D) Devotional songs Identify the raga of the song Anandodhara Bohiche Bhuvane : (A) (B) Malkaunsh (C) 28. Khanaj Lalit (D) Pilu Identify the Raga and Tal of the song Garava momo horeche prabhu : (A) (B) Bihas / Choutal (C) 29. Iman / Ektal Desh / Dhamar (D) Sree / Tevra The character by the name Amar is the hero of Rabindranath s Gitynatya : (A) (B) Kalmrigaya (C) 30. Valmiki Protibha Mayar Khela (D) Shapmochan In which book you can get all Tagores, musical composition ? (A) (B) Gan (C) 31. Rabichaya Gitavita (D) Giticharcha The song Jodi Prem Dilena Praney is set to : (A) Dadra (B) Tewra (C) Choutal (D) Ektal J 1607 30 - IV U 26. __________ M (A) (B) r (C) 27. Q - (D) Q - (A) (B) (C) 28. (D) (A) (B) / (C) 29. / / (D) o / __________ (A) (B) (C) 30. (D) S (A) (B) (C) 31. U (D) __________ (A) (B) (C) (D) J 1607 31 P.T.O. 32. The patriotic song of Tagore Swarthaka Janama Amar was composed in the year : (A) (B) 1900 (C) 33. 1896 1905 (D) 1940 Which is the first opera composed by Tagore (A) (B) Kalmrigaya (C) 34. Valmiki Pratibha Mayarkhela (D) Parishad To whom Tagore dedicated his Drama Phalguni ? (A) (B) Atul Prasad Sen (C) 35. Kaji Najrul Islam Dinendranath Tagore (D) Rajanikant Sen Number of Tagores, songs is : (A) (B) 3500 (C) 36. 3000 Nearly two thousand (D) None of these Who wrote the Tagores notation Book in staff Notation Twentysix songs of Tagore ? (A) (B) DilipKumar Ray (C) 37. Bhimrav Shastri Alain Danielou (D) Sangameshwar Sastri By whose request Tagore composed his last song ? (A) Indira Devi Chowdhurani (B) Dinendranath Tagore (C) Soumyendranath Tagore (D) Sarala Devi J 1607 32 32. Q __________ (A) (B) 1900 (C) 33. 1896 1905 (D) 1940 m (A) (B) (C) 34. (D) (A) (B) (C) 35. M S (D) U __________ (A) (B) 3500 (C) 36. 3000 (D) - S S (A) (B) (C) 37. (D) S (A) (B) (C) (D) J 1607 33 P.T.O. 38. What according to Tagore is the conception about Chhanda and Tal ? (A) (B) Tal is only mathematics (C) Tal is variety of Rythem (D) 39. Chhanda is essential In music lyric, Tone and Chhanda are essential Write the first line of Rabindra Sangeet heared on Rag Shree : (A) (B) Kar Milana Chao Birahi (C) 40. Rakho Rakho re Tomara Preme (D) Bara Asha Kore When Tagore got the Noble prize for his English Gitanjali ? (A) (B) 1938 (C) 41. 1940 1926 (D) 1913 Name of the person with whom Tagore exchanges his views on music : (A) (B) Dilip Kumar Ray (C) 42. Mahitlal Majumdar Rajani Kanto Sen (D) Buddhadev Bose In Tagore s early age, who inspired him most for Music composition ? (A) (B) Ganendranath Tagore (C) 43. Radhika Prasad Goswami Jyotirindranath Tagore (D) Srikantha Singh Bahe Nirantar the first line of Tagore s composition in which following Raga : (A) Nishasag (B) Sarfarda (C) Gandhari (D) Bhiravi J 1607 34 38. ? (A) (B) (C) 39. (D) , S o Q (A) (B) (C) 40. (D) M S ? (A) (B) 1938 (C) 41. 1940 1926 (D) 1913 Q (A) (B) (C) 42. (D) h (A) (B) (C) 43. S (D) o U Q (A) (B) (C) (D) J 1607 35 P.T.O. 44. Who composed some of the tune of Rabindra Sangeet ? (A) (B) Sarala Devi (C) 45. Indiradevi Choudhurani Bishnu Chakravarti (D) Jyotirindranath Tagore Who prepared maximum number of notation of Tagore songs ? (A) (B) Sarala devi (C) 46. Jyotirindranath Tagore Kangari Charan Sen (D) Dinendranath Tagore Which song Tagore composed in his early ages ? (A) (B) Ayore mora Fasal kati (C) 47. Je Dhruvapada Bal Golab more bal (D) Tomar holosuru Which song Tagore composed in his last period ? (A) (B) Jivana Jakhun Sukhaye Jaye (C) Amar Pranor Pare (D) 48. Mone Roye Gyalo Monera Katha Ki Paini Tari Hisab Milate Which song is in the preface of Tagore s Gitavitan ? (A) (B) Gan Amar Jaye Bhesa (C) Tumi Kemon Kore Gan Kora He Guni (D) 49. Kanna Hasir Dol Dolano Prathomo Jugero Udaya Digongane Which song Tagore composed for Harvest ceremony ? (A) O Amar Deshar Mati (B) Aaye re Mora Fasal Kati (C) Eso Shyamala Sundara (D) Jete Jyodi Hoe Jabo Jabo J 1607 36 44. (A) (B) (C) 45. c R (D) (A) (B) (C) 46. (D) (A) (B) U (C) 47. (D) L ? (A) (B) (C) 48. U (D) S ? (A) (B) (C) 49. (D) S ? (A) (B) (C) (D) J 1607 37 P.T.O. 50. Who prepared Notations of some of Tagores Music ? (A) Shyam Sunder Misra (B) (C) Dhirendra Krishna Deb barman (D) Vinayak Ray Masoji Bhim Rao Shastri PART - V PERCUSSION 26. MATRAS of Taal Basant : (A) (B) 9 (C) 27. 7 11 (D) 13 Which class does PUSHKAR belong to ? (A) (B) SUSHIR VADYA (C) 28. TANTRA VADYA GHAN VADYA (D) AVANADHHA VADYA Measurement of DHA lying on the first MATRA of Taal JHUMARA : (A) (C) 29. 1 1 4 1 (B) 1 (D) 1 2 3 4 GHARANA of VILAYAT ALI : (A) (B) PANJAB (C) 30. DELHI FARUKHABAD (D) BANARAS TAAL having 11 MATRAS : (A) BASANT (B) BRAHMA (C) RUDRA (D) LAXMI J 1607 38 50. (A) o (B) (C) c (D) - V h l 26. (A) (B) 9 (C) 27. 7 11 (D) 13 c l ? (A) (B) l (C) 28. l l (D) l (B) 1 (D) 3 4 (A) (C) 29. 1 1 1 2 (A) 30. 1 4 (B) (C) L (D) (B) r (C) L (D) 11 (A) J 1607 39 P.T.O. 31. Founder of Delhi Gharana (TABLA) : (A) (B) CHAND KHAN (C) 32. SIDDHAR KHAN MASIT KHAN (D) KALLU KHAN Provide correct chronological order of the following musicologists : (i) (ii) BHARAT (iii) BHATKHANDE (iv) MANANGA (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (ii) (iv) (i) (iii) (D) 33. SHARANGA DEO (iv) (ii) (i) (iii) In which year was Pt. SAMTA PRASAD MISHRA (GUDAI MAHARAJ) awarded PADMA BHUSHANA ? (A) (B) 1972 (C) 34. 1962 1982 (D) 1992 TAAL having TAALI on first, eight, and twevelth : (A) (B) ADACHAR TAAL (C) 35. TRITAAL GAJ JHAMPA (D) SAWARI Number of MARGI TAALAS : (A) 36. 3 (B) 5 (C) 7 Which class does KARTAAL belong to : (A) GHAN (B) SUSHIR (C) 37. (D) AVANADDHA (D) TANTRI Sub name of PAGAL DAS : (A) RAM SHANKAR DAS (B) RAMAA SHANKAR DAS (C) SHANKAR DAS (D) UMA DAS J 1607 40 9 31. ( ) S (A) (B) (C) 32. (D) R (i) (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (ii) (iv) (i) (iii) (D) 33. UX (iv) (ii) (i) (iii) (iii) 1962 (B) 1972 (C) 1982 (B) (D) 1992 ? (A) 3 (B) 5 (C) 7 (D) 9 (C) (D) l ? (A) 37. (D) (C) 36. , , (A) 35. (iv) . o ( ) k ? (A) 34. (ii) (B) ? (A) (B) (C) (D) J 1607 41 P.T.O. 38. Match the following : (a) KARAMATULLA KHAN (i) DHOLAK (b) RAJA CHHATRAPATI SINGH (ii) MRIDANGAM (c) UMAYAPURAM SHIVRAMAN (iii) TABLA (d) BAFAATI KHAN PAKHAWAJ (iv) Code : (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (iii) (iv) (ii) (i) (D) 39. (b) (iii) (iv) (i) (ii) Number of DESI TAALAS in Sangeet Ratnaker : (A) (B) 110 (C) 40. 108 115 (D) 120 Name the animal whose skin is used to make DUAL of TABLA/PAKHAWAJ : (A) (B) Elephant (C) 41. Horse Camel (D) Goat Assertion (A) : LAGGI-LADIES are generally used in TAAL DADRA and KHARAWA. Reason (R) : Because the nature of these TAALAS is jesting rather than serious. (A) (A) Right (R) Wrong (B) (A) Wrong (R) Right (C) (A) Right (R) Right (D) (A) Wrong (R) Wrong J 1607 42 38. (a) (i) (b) (ii) (c) (iii) (d) $ (iv) (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (iii) (iv) (ii) (i) (D) 39. (b) (iii) (iv) (i) (ii) % (A) (B) 110 (C) 40. 108 115 (D) 120 ? (A) (B) (C) 41. (D) (A) : - (R) : S M , (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1607 43 P.T.O. 42. Which fraction depects PAUN-GUN ? (A) (B) 4 5 (C) 43. 5 4 7 4 (D) 9 4 The TAAL generally used with THUMARI : (A) (B) KHEMTA (C) 44. TRITAAL DHUMALI (D) DEEPCHANDI Which system SAPTA SULADI TAALAS belong to ? (A) (B) Karnatak TAAL system (C) 45. Hindustani TAAL system Both the TAAL systems (D) None of these Name the writer of TAAL-KOSH : (A) (B) GIRISHCHANDRA SRIVASTAVA (C) SATISHCHANDRA SRIVASTAVA (D) 46. HARISHCHANDRA SRIVASTAVA LALJI SRIVASTAVA Match the following : (a) CHANTI (i) FARUKHABAD GHARANA (b) PAKHAWAJ (ii) LUCKNOW GHARANA (c) GATEN (iii) PANJAB GHARANA (d) DANCE (iv) DELHI GHARANA Code : (a) (b) (c) (d) (A) (iv) (iii) (i) (ii) (B) (iii) (iv) (i) (ii) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i) J 1607 44 42. ? (A) (B) 4 5 (C) 43. 5 4 7 4 (D) 9 4 Q (A) (B) (C) 44. (D) # ? (A) (B) (C) 45. S (D) - (A) (B) o S (C) 46. o S o S (D) o S (a) (i) L (b) (ii) (c) (iii) (d) (iv) (a) (b) (c) (d) (A) (iv) (iii) (i) (ii) (B) (iii) (iv) (i) (ii) (C) (i) (ii) (iii) (iv) (D) (iv) (iii) (ii) (i) J 1607 45 P.T.O. 47. Name the writer of PAKHAWAJ AUR TABLA KE GHARANE AVAM PARAMPARAEN : (A) (B) AVAM E MISTRI (C) 48. YOG MAYA SHUKLA ANURADHA PAL (D) SHOBHA KUDESIA Match the following : (a) GAME KHAN (i) FARUKHABAD GHARANA (b) ZAQIR HUSSAIN (ii) LUCKNOW GHARANA (c) SAPAN CHAUDHARY (iii) PANJAB GHARANA (d) SABIR KHAN (iv) DELHI GHARANA Code : (a) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (i) (iv) (iii) (C) (iv) (iii) (ii) (i) (D) 49. (b) (iv) (i) (ii) (iii) GHARANA famous for Quadas of AADILAYA : (A) (B) DELHI BAAJ (C) 50. LUCKNOW BAAJ AJARADA BAAJ (D) PANJAB BAAJ Name the writer of BHARATIYA SANGEET VADYA : (A) ACHARYA BRIHASPATI (B) B. C. DEVA (C) Dr. LALMANI MISHRA (D) Dr. A. K. SEN -oOo- J 1607 46 47. ? (A) (B) . S (C) 48. (D) (a) (i) L (b) (ii) (c) S (iii) (d) (iv) (a) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (i) (iv) (iii) (C) (iv) (iii) (ii) (i) (D) 49. (b) (iv) (i) (ii) (iii) (A) (B) (C) 50. (D) l S (A) S (B) . . (C) . o (D) . . . -oOo- J 1607 47 P.T.O. Space For Rough Work J 1607 48

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Additional Info : Ugc Net June 2007 Question Paper - Music ( Paper II )
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