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UGC NET JUN 2005 : MUSIC PAPER III

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Signature and Name of Invigilator Roll No. (In figures as per admission card) 1. (Signature) (Name) Roll No. 2. (Signature) (Name) J 1 6 0 5 Time : 2 hours] (In words) Test Booklet No. PAPER III MUSIC Number of Pages in this Booklet : 36 [Maximum Marks : 200 Number of Questions in this Booklet : 26 Instructions for the Candidates U U 1. Write your roll number in the space provided on the top of this page. 1. U DU U S U U U U U 2. U U U, U S U U 2. Answers to short answer/essay type questions are to be given in the space provided below each question or after the questions in the Test Booklet itself. U U No Additional Sheets are to be used. 3. U U U, - S U U U - S 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) - S U U U U U U U S U U- U S S U U (i) To have access to the Test 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) U DU U U U - S DU 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 (ii) 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. 4. U U 4. Read instructions given inside carefully. 5. One page is attached for Rough Work at the end of the booklet before the Evaluation Sheet. 5. U U- S (Rough Work) U U DU 6. 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. 6. U- S U , U U U U 7. U # U U- S U U U U U # U U U U 7. You have to return the Test booklet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 8. / U Z U S U 8. Use only Blue/Black Ball point pen. 9. Use of any calculator or log table etc. is prohibited. 9. U ( U U) U U 10. There is NO negative marking. 10. U U J 1605 1 P.T.O. MUSIC PAPER III - III NOTE : This paper is of two hundred (200) marks containing four (4) sections. Candidates are required to attempt the questions contained in these sections according to the detailed instructions given herewith. (200) (4) S J 1605 2 SECTION - I U I This section contains five (5) questions based on the following paragraph. Each question should be answered in about thirty (30) words and each carries five (5) marks. (5x5=25 marks) (5) (30) (5) Read the following paragraph and answer all the five questions given below. Each question is to be answered in 30 words. Each question carries 5 marks. Every work of art has its own style. And an artist s style is not a thing he deliberately adopts, though it is the thing he can exploit or develop. Like a man s handwriting the tone of voice is an inevitable part of himself. It is his personality made manifest. Tell a dozen artists to sing the notes of a raga and you will get a dozen different results and different flavour of tones. Some will sing boldly, others hesitatingly, some of the tones will be hard and steely, others delicate and sensitive, some will remind you of a thread of silk laid on a paper, others, a piece of black velvet. Each of these twelve interpretations will be an index of a different kind of man and from the quality of the tones, its style, you can deduce the man. If a mere singing of tones gives so much evidence about its creators, how much more complete will be the evidence of a complex work like singing the whole melody. At every twin the artist will give himself away. He will reveal his attitude to the audience, his feeling about the moods, his keenness of observation, the retentiveness of his aural memory, his sense of design, his capacity to control his voice, tones and undertones, style is the accumulated result of all this evidence . 30 5 % , S $....... S S , , S , $ S S S S , S , , $ , S J 1605 3 P.T.O. 1. What are the important factors which an artist should keep in mind from Aesthetic point of view while performing his art ? S S C , ? 2. What is the Psychological aspect of Indian music which makes the art of an artist perfect to his maximum efforts ? % ? J 1605 4 3. The style of presentation of music identifies the personality of the artist. Discuss. S , 4. What is the relationship between the form of Music and its style of presentation ? l S J 1605 5 P.T.O. 5. What is the difference between the artistic presentation and the craftsmanship ? Explain. S ? SECTION - II U II This section contains fifteen (15) questions each to be answered in about thirty (30) words. Each question carries five (5) marks. (5x15=75 marks) - (5-5) (15) (30) (5) 6. Write the definition of Swara and Shruti. S J 1605 6 7. Define Gamak and write the names of different Gamaks as mentioned in Sangeet Ratnakar. 8. What is meant by musical intervals ? (musical scales) ? J 1605 7 P.T.O. 9. Write short notes on any three of the following : Drone, Alpatva-Bahutva, Laya, Ansha, Nyasa, Laggi, Farshabandi, Bhashanga, Swarajati, Padam, Neraval, Tevaram, Varsha mangal, Baitalik, Gita-Bitan. , , , , , S , , , , , , - 10. Give the short description/lakshanas of any two ragas having Re and Dha Komal or any two talas of 14 beats each alongwith their Ada and Kuada Layakaries/Korvais. / 14 / J 1605 8 11. Write the names of Swaras placed by Pt. Ahobala on 22 Shrutis. . m 22 S S 12. Give a short description of the origin of Vrindavadan. J 1605 9 P.T.O. 13. Write at least ten points about the merits of Guru shishya parampara or the musical creativity of Ravindranath Tagore. L c 14. Write the names of different parts of any three of the following instruments : Sitar, Sarod, Tanpura, Vichitra Veena, Sarangi, Violin, Pakhawaj, Mridangam, Sur-Bahar, Tabla. l l , , , , , , , , , J 1605 10 15. Write the names of states/parts of India where the following dances have their origin. Also indicate the name of one popular artist each of any three of the dance forms mentioned below : Kathak, Bharatnatyam, Kuchipudi, Odissi, Kathakali. / h , , , , 16. Name the specific gadgets of electronic equipment which can be used as teaching Aids in Music education. l M J 1605 11 P.T.O. 17. Mention at least three granthas of ancient and medieval period in which it has been agreed that Ragas should be sung in accordance with the time and season. S M 18. Write the names of 18 Jatis related to shadja grama and madhyam grama. 18 J 1605 12 19. Give the corresponding names of the following melas of Karnatak Music in Hindustani Music : Shubhpantuvarali, Mayamalavagaula. Kharaharapriya, Harikambhoji, Hanumanta-Todi, S , , , , 20. Give a brief introduction of Raga Ragini paintings from the viewpoint of their importance in Music or the relationship of Painting and Sculpture with music. # - J 1605 13 P.T.O. SECTION - III U III This section contains five (5) questions from each of the elective / specialisation. The candidate has to choose only one elective / specialisation and answer all the five questions from it. Each question carries twelve (12) marks and is to be answered in about two hundred (200) words. (12x5=60 marks) / (5) / ( 12) (200) Elective - I U I (HINDUSTANI MUSIC - VOCAL AND INSTRUMENTAL) ( S - ) 21. What is the musical relevance of Natya shastra from the historical point of view ? C S ? 22. What is the relationship of Music and Philosophy ? ? 23. Why has music been considered as the mirror of the Culture and Religion of a Country ? S ? 24. New trends of Indian Music in Post Independence Era have enriched the advancement of this art . Discuss. S h 25. Research is an inseperable part of music education . Express your views. OR / J 1605 14 Elective - II II (KARNATAK MUSIC) ( ) 21. Discuss the importance of Rasa in a music concert. 22. Highlight the musical genius in the compositions of any one of the composers of 18th or 19th century. 18 19 23. Other than a teaching career or a career as a performing artist what are the new possible professional avenues for a student of music which can be adopted as a career. l M 24. Commercialisation has set in even in the music festivals that was initially aimed at providing opportunity to every young aspiring musician . Substantiate. M 25. Describe the folk music of your region highlighting the classical elements in it. S OR / Elective - III III (RABINDRA SANGEET) ( ) 21. Give a critical account of the dialogue between Rabindranath Tagore and H.G. Wells on the theme of the East-West encounter of the art of music. . . - 22. Explain the concept of chance and determinism (in music and human conduct) on the basis of Tagore-Einstein dialogue. ( ) J 1605 15 P.T.O. 23. The language of music is universal - Justify or nullify with argument. - h 24. Bhairon is, as it were, the first awakening of the morning sky . Explain with two suitable examples of songs or tonal phrases. , 25. Why did Tagore refer to Lessing s Laocoon in his essay on Sangit-o-Kabita ? - - OR / Elective - IV IV (PERCUSSION) ( l) 21. Describe any four Avanaddha Vadyas used in folk music with their sketch. h l 22. Clarify the difference between Baj and Gharana and write a note on the main characteristics of Delhi Gharana. S C 23. Give a detailed description of the origin and development of Tabla instrument. l S 24. Write your views on the changes occurred in the Tabla solo presentation in last fifty years. Z S 25. Define Tihai and explain the principles of making Bedam and Damdar Tihai with example. h J 1605 16 J 1605 17 P.T.O. J 1605 18 J 1605 19 P.T.O. J 1605 20 J 1605 21 P.T.O. J 1605 22 J 1605 23 P.T.O. J 1605 24 J 1605 25 P.T.O. J 1605 26 SECTION - IV U IV This section consists of one essay type question of forty (40) marks to be answered in about one thousand (1000) words on any of the following topics. This question carries 40 marks. (40x1=40 marks) (40) , (1000) 26. Write an essay on any one of the following : (i) Music and science (ii) Importance of historical evidences in Music Research (iii) The Interrelationship of Folk and Classical music (iv) Interrelationship of sahitya, sangeet and rasa : (i) (ii) (iii) S (iv) , J 1605 27 P.T.O. J 1605 28 J 1605 29 P.T.O. J 1605 30 J 1605 31 P.T.O. J 1605 32 J 1605 33 P.T.O. J 1605 34 J 1605 35 P.T.O. FOR OFFICE USE ONLY 1 26 51 76 2 27 52 77 3 28 53 78 4 29 54 79 5 30 55 80 6 31 56 81 7 32 57 82 8 33 58 83 9 34 59 84 10 35 60 85 11 36 61 86 12 37 62 87 13 38 63 88 14 39 64 89 15 40 65 90 16 41 66 91 17 42 67 92 18 43 68 93 19 44 69 94 20 45 70 95 21 46 71 96 22 47 72 97 23 48 73 98 24 49 74 99 25 50 75 Marks Obtained Question Number Marks Obtained Question Number Marks Obtained Question Number Marks Obtained Question Number Marks Obtained 100 Total Marks Obtained (in words) ..................................... (in figures) .................................... Signature & Name of the Coordinator ............................... (Evaluation) J 1605 Date ............................. 36

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Additional Info : Ugc Net June 2005 Question Paper -Music ( Paper III )
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