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UGC NET JUN 2005 : 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 5 PAPER II MUSIC Time : 1 hours] Number of Pages in this Booklet : 40 Number of Questions in this Booklet : 25 + (25+25+25+25) U Instructions for the Candidates 1. 2. 3. 4. 1. U DU U S U U U U Write your roll number in the space provided on the top of this page. This paper consists of fifty multiple-choice type of questions. 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) 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) 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) 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. 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 [Maximum Marks : 100 2. - 3. U U U, - S U U U - S U (i) - S U U U U S U U- U S S U U (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 (iii) - S R U- U U U U U- R - S U U 4. U U (A), (B), (C) (D) U U U U U A B C D ( C) U D 5. U U I U U- U where (C) is the correct response. 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. 6. Read instructions given inside carefully. 7. Rough Work is to be done in the end of this booklet. 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. 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. Use only Blue/Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. 12. There is NO negative marking. 5. U U U S U U U , U 6. U U 7. (Rough Work) S DU U U 8. U- S U , U U U U 9. U # U U- S U U U U U # U U U / U Z U S U U ( U U) U U 12. U U 10. 11. See Page No. 2 and 3 for Special Instructions / U DU 2 U 3 J 1605 1 P.T.O. MUSIC PAPER II Hindustani (Vocal, Instrumental) / Karnatik Sangeet / Rabindra Sangeet And Percussion SPECIAL INSTRUCTIONS 1. Candidates are required to answer all the 25 questions in Part-I , which are compulsory. They should also select any one from Part-II, Part-III, Part-IV and Part-V and answer all the 25 questions of that Part only. Each question carries two marks. 2. Candidates are required to mark clearly on the OMR Answer Sheet, the Part number which they have selected. PART I 1. Tanpura is mostly tuned in : (A) Pa Sa Sa (B) Pa Sa Sa Sa (C) 2. Ga Sa Ni Dha Pa (D) Ma Dha Sa Sa Who was the father of Aesthetics ? (A) (B) Pt Raj Jagannath (C) 3. Bharat Baumgarton (D) K.C. Pandey Which musicologist has described Raga Dhyanas ? (A) 4. Somnath (C) Sharangadev Major tone (B) Minor tone Ahobal (C) Semi tone (D) Half tone 9/10 (B) (C) 15/16 16/15 (D) 9/8 (D) Pt Ahobal Agra Gharana has this special element : (A) Swara based (B) Laya based (C) 7. (D) What is the ratio between semi tone : (A) 6. (B) Swaras are divided in tempered scale on this basis : (A) 5. Bharat Swara and laya based (D) Ati vilambit laya He established Swaras on the string of veena : (A) J 1605 Marad (B) Bharat (C) 2 Matang II U S / U / U ( , S ) h l 1. U -I 25 U U , -II, -III -IV -V 25 U 2. U U OMR U S CU M U I 1. S (A) (B) (C) 2. (D) S ? (A) (B) . (C) 3. (D) . . (C) (D) (C) (D) (C) 16/15 (D) ? (A) 4. (B) ? (A) 6. (B) S S (A) 5. 9/10 (B) 15/16 ? (A) S (B) (C) 7. 9/8 S (D) S S (A) J 1605 (B) (C) 3 (D) . P.T.O. 8. This is symbolic of madhya Sa in western music : (A) Staff notation (B) Clef signature (C) Key signature (D) Time signature 9. Swaras emerging from the basic note : (A) Swyambhoo Swara (B) (C) Komal Swara (D) Achal Swara Tivra Swara The ratio between madhya sa and Tar Sa : (A) 8 : 9 (B) 15 : 16 (C) 1:2 (D) 9:2 The instrument of equally temperd scale : (A) Harmonium (B) Tanpura (C) Violin (D) Guitar He founded Maihar band : (A) Pt Ravishankar (C) Annapurna Devi Ustad Allauddin Khan Ali Akbar Khan 10. 11. 12. 13. 14. The vocal form used in Bharatnatyam Dance : (A) Padvarnam (B) Geetam (C) Match the following : (a) Garba (b) Saupan Sangeet (c) Sankeertan (d) Kavdi chind Code: (a) (b) (c) (d) (A) 3 4 1 2 (B) 4 3 1 2 (C) 3 1 2 4 (D) 4 3 2 1 15. 16. (B) (D) Tan Varnam 1 (D) 5 Tamil Nadu Gujarat Kerala How many varieties of yati are described in Natyashastra ? (A) 2 (B) 3 (C) 4 He is the founder of Tabla of Delhi Gharana ? (A) Amir Khusro (B) Phakeer Baksh (C) Siddhar Khan (D) Vilayat Ali J 1605 Kriti Manipuri 2 3 4 (D) 4 8. S (A) 9. S (B) (C) (D) S S (A) S S (B) S (C) 10. S (D) S (A) 11 . 8/9 (B) 15/16 (C) 1/2 (B) (C) . (B) (D) S g (C) (D) K (A) 14 . 9/10 S (A) 13 . (D) S l (A) 12 . (B) (C) (D) (a) 1 (b) 2 (c) 3 (d) 4 : (A) (B) (C) (D) 15 . (a) 3 4 3 4 (b) 4 3 1 3 (d) 2 2 4 1 K S ? (A) 2 16 . (c) 1 1 2 2 (B) 3 (C) 4 (D) 5 S . (A) (B) $ (C) g (D) J 1605 5 P.T.O. 17. Match the following : (a) Grah 1 Bisham (b) Jati 2 Vilambit (c) Ang 3 Tishra (d) Laya 4 Plut Code : (a) (c) (d) (A) 2 1 3 4 (B) 4 3 2 1 (C) 2 3 4 1 (D) 18. (b) 1 3 4 3 Sequencing type Questions. Mark the correct group from the following : (A) (B) Tishra, Mishra, Khand, Sankirna (C) Chatushra, Khand, Mishra, Sankirna (D) 19. Chatushra, Mishra, Khand, Sankirna Tishra, Chatushra, Sankirna, Mishra Karnatak Rag Mohanam resembles to which Hindustani Rag : (A) 20. Bhupali (B) Kafi (C) Sindhu (D) Natnarain Rabindra Sangeet is more closer to : (A) Hindustani Sangeet (B) Karnatak Music (C) Western Music (D) Folk Music Paraphrasing or Linked Items Read the passage below and tick the correct answer in each group of A B C D It is a general concept these days that institutional music has influenced the quality of music, specially those Gurus who have received traditional training are bitterly critical about the institutional teaching. They generally complain that the students of music are not so devoted and sincere to their training and teachers and they themselves used to be. That is why these Gurus are strictly of the opinion that the traditional mode of music teaching should not be discontinued. Such sort of rigidity narrows the wider concept of music teaching and an awe and horror prevails amongst the beginners of music, leading to the unpopularity of classical music. But as a matter of fact, the introduction of music teaching at the institutions was the need of the hour as after the decay of empires and States, the music Gurus became far away and out of interaction with the general public. There has bean the globalisation of music and professional channels are in much demand. Music as an academic discipline has to be at par with other subjects. J 1605 6 17 . (a) 1 (b) 2 (c) 3 S (d) 4 : (A) (B) (C) (D) 18 . (a) 2 4 2 1 (b) 1 3 3 3 (c) 3 2 4 4 (d) 4 1 1 2 R (A) S , , , (B) (C) S , , , (D) 19 . , , , , S , , S ? (A) 20 . (B) (C) (D) ? (A) S (B) (C) (D) S L L C , S l D , L L - c S # L l , / m / l L # , S S L - c - c l , l J 1605 7 P.T.O. For the preservation and quality of music, the music teachers have to be very alert and their prime duty is to divert the students in right direction by teaching music whole - heartedly. The concept of hostels has to be developed where the music students can interact and receive intense training in close association of their teachers. Such a concept already exists in western countries where the pupils reside in the conservatories and receive rigorous training for 5-6 years. They emerge as the specialist and experts in their discipline after the rigorous training. We in India can also adopt the same practice and provide professional training to the students of music. This will help in enriching the quality of music as well as in preservation and propagation of music at a wider space. 21. The music teachers do not emphasise upon the quality of music (A) There still exists the states to provide shelter to musicians (B) Today there are Darvari musicians (C) Today the empires and states have vanished, which used to give shelter to musicians (D) Institutional education does not provide music training (A) There is no scope of professional courses in music (B) Music only aims at making an artist (C) It is also necessary that music education should aim at making a stage performer as well as a musicologist and a researcher (D) There is no use of becoming a musicologist (A) Music is recognised as a discipline at par with other subjects (B) Even today the musicians are not honoured in the society (C) The professional courses are not required in music (D) Only the institutional training can make a successful artist and a specealist (A) There is no provision of special training of muisc in Western Countries (B) In West, the University only provides general as well as the special training of music. (C) In West, there are conservatories to provide expertised training of music. (D) 25. The ideal combination of music teaching is the mixture of institutional teaching with Guru - Shishya parampara (D) 24. Only the Gharana System was prevalent in music (C) 23. Music teaching is only possible by Guru Shishya mode (B) 22. (A) In West, there are no professional courses of music. J 1605 8 l l , D l - L (A) L (C) # (D) S (A) KR S (B) g (C) g - , S (D) S (A) D # (B) (C) KR (D) S Q , (A) (B) l (C) S (D) 25. S L - c (B) 24. h (D) 23. L - c (C) 22. (A) (B) 21. KR J 1605 9 P.T.O. PART - II HINDUSTANI MUSIC (VOCAL / INSTRUMENTAL) 26. This text has the collection of Dhrupads of Bakshoo : (A) (B) Rag mala (C) 27. Sahas Ras Rag Sagar (D) Rag Ratnakar In which classical form Deepchandi is used : (A) 28. Dhrupada (B) Khyal (C) Thumri (D) (D) Natya Shashtra (B) Sangeet Ratnakar (C) Brahaddeshi (D) Nardi Shiksha Pancham is Varjit in this Raga : (A) 30. Bhairavi (B) Chandrakaunsa (C) Todi Who is the father of Aesthetics ? (A) 31. Plato (B) Herbert Spenser (C) Kant (D) Baumgarton When Pt. V.A.Jog expired ? (A) 31 January 2004 (B) 28 December 2004 (C) 32. Pooriya Dashbidhi Raga vargikaran has been discussed in which grantha : (A) 29. Dhamar 16 November 2003 (D) 6 January 2005 Who is the author of Bhartiya Sangeet Ek Ethihasik Bishleshan ? (A) (B) Prof. Swatantra Sharma (C) 33. Prof. Madhu Bala Saxena Prof. Satya Bhan Sharma (D) Prof. S.S. Awasthi Raga with a mixture of miya malhar and saranga : (A) (B) Nat Malhar (C) 34. Jayant Malhar Miya ki sarang (D) Shuddha Sarang Which Oduv jati Rag uses both Gandhars and both Nishads ? (A) 35. Desh (B) Tilang (C) Jog (D) Patdeep is sung with : (A) Baggeshwari Ang (B) Dhanashree Ang (C) Sri Ang (D) Kanhara Ang J 1605 10 Jog kauns Part - II S ( / ) 26. (A) 27. (D) (B) (C) (D) K S (B) (C) (D) (B) (C) (D) (C) (D) S ? (A) 31. (C) (A) 30. ? (A) 29. (B) Q ? (A) 28. (B) S . . . ? (A) (B) 28 2004 (C) 32. 31 2004 16 2003 (D) 6 2005 S ? (A) (B) . S (C) 33. . . (D) . . . S (A) (B) (C) 34. (D) h ? (A) 35. (B) (C) (D) (C) (D) ? (A) J 1605 (B) 11 P.T.O. 36. Sa Re Dha Sa are symbolic of : (A) (B) Jaldhar Kedar (C) 37. Malhar Durga (D) Bilawal Which Oduv jati Rag belongs to Bhairav ? (A) (B) Gunkali (C) 38. Ramkali Ananda Bhairav (D) Bhairav Which Raga uses Komal and Andolit Nishad with Gamak ? (A) (B) Megh Malhar (C) 39. Madmad sarang Miya Malhar (D) Deshi Which Raga uses swara combination of Re - Pa ? (A) 40. Kamod (B) Kalyan (C) Malhar Chayanut Assertion A : Indian music has a tradition of solo Singing / Playing and includes time theory of Ragas, tonic note and intricacies of music, but the Class - room teaching does not adhere to time theory and teaching of music intricacies. Reasoning R : Because in a group of students, adherence to the teaching of intricacies is not possible (A) A true R false (B) A false R True (C) 41. (D) Both A and R true (D) Both A and R false Assertion A : Several Systems of Rag - classifications have been in practice and still exist - but Raganga Vargikaran is equally important today. Reasoning R : Because swara combinations of Ragangas play important role in creation and mixture of Ragas. (A) A true R false (B) Both A and R are false (C) Both A and R are true (D) A false and R true J 1605 12 36. S ? (A) 37. (C) (B) (B) (B) (C) (D) (C) (D) (C) (D) S S (A) (R) - S h , S S C S l (A) (A) (R) (B) (A) (R) (C) 41. (D) ? (A) 40. ? (A) 39. (B) ? (A) 38. (A) (R) (D) (A) (R) S S (A) (R) h - h h S , (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1605 13 P.T.O. 42. This question consists of two lists of statements, terms or symbols and the candidate has to match an item in one list with an item of the other. List - I (a) List -II The Interval between Equally 1 1:2 tempered scale is (b) The ratio of the Octave Interval is 2 Perfect consonant (c) The interval between 3 at equal interval 4 Western Music Sa - Pa, Sa - Ma, Sa - Ga is (d) Time Signature and Key signature are used in Code : (a) (b) (c) (d) (A) 3 1 2 4 (B) 1 2 3 4 (C) 2 3 1 4 (D) 4 1 2 3 43. List - I List - II (a) Octave Interval is used in 1 Harmonics, originating from basic note (b) 2 Western Harmony (c) Shadaj Pancham and Shadaj Madhyam Bhava are important in Chords are used in 3 Western music (d) The muscial Quality of sound 4 Indian music depends on Code : (a) (c) (d) (A) 3 4 2 1 (B) 4 2 1 3 (C) 1 2 3 4 (D) 44. (b) 2 3 1 4 In this question, the candidates have to tick on the correct Sequence or the chronological order of a set of related events /or matter (A) Jati Gayan, Khyal Gayan, Thumri Gayan, Prabandh Gayan, Dhrupad Gayan (B) Jati Gayan, Prabandh Gayan, Dhrupad Gayan, Khyal Gayan, Thumri Gayan (C) Thumri Gayan, Khyal Gayan, Jati Gayan, Prabandh Gayan, Dhrupad Gayan (D) Dhrupad Gayan, Thumri Gayan, Prabandh Gayan, Jati Gayan. J 1605 14 42. -I -II -I (a ) (b) (c) (d) II ` S S - , - , - 1 1 2 2 3 4 : (A) (B) (C) (D) (a) 3 1 2 4 (b) 1 2 3 1 (c) 2 3 1 2 (d) 4 4 4 3 -I 43. (a) (b) (c) (d) -II Z 1 - , 2 3 4 : (A) (B) (C) (D) 44. (a) 3 4 1 2 (b) 4 2 2 3 (c) 2 1 3 1 (d) 1 3 4 4 R R (C) , , , - , , , , , , , , , (D) , , , , (A) (B) J 1605 15 P.T.O. 45. (A) Gurukul System, Guru Shishya Parampara, Darvari Sangeet, Gharana System, Institutional Music. (B) Darvari Sangeet, Institutional Music, Gurukul System, Gharana System, Guru Shishya Parampara (C) Gurukul System, institutional Music, Daravari Sangeet, Guru Shishya Tradition, Gharana System, (D) Gharana System, Guru Shishya Tradition, Gurukul System, Institutional Music, Darvari Music Para Phrasing or linked Items Read the passage below, and tick on the correct answer in A. B. C. D, that follow based on your understanding the passage. In Indian music several scholars have enriched the classical music by their sadhana and dedication and have analysed the music on psychological ethical and aesthetical grounds. Few artists have equally contributed in the area of practical as well as musicological aspect, but they are very few. As a matter of fact, both the performing artists and the musicologists deserve all appreciation for enriching the classical music by way of their performances and books. The treaties of the musicologists analyses the technical aspects of music like Gram, Moorchana, Jati, Gram Rag, Grama Rag, musical forms. In modern period also the scholars of music have written valuable texts, which have preserved and propagated the cause of music. The coming generation in music might be certainly benefited by such important texts and concepts, for which we give all credit to the scholars of music. If we review the past, we find that after the demolition of states and empire of Moghals, the artists and the scholars were far beyond the scene of general public. At such a critical hour Pt. V.D. Paluskar and Pt. V.N. Bhatkhande pioneered the revival of music and stated institutional teaching which enabled the music students to learn music easily. For music, they travelled all around the country, innovated a notation system and wrote several books on music. These collection of books include their own compositions as well as compositions of old Gurus / Ustads. These books strengthened the music teaching at the basic level. Today also, so many scholars of music are writing on the various aspects of music and specially the research scholars and teachers of music are being benefited. Even the students find great help by these books while appearing in various examinations. All such scholars and artists deserve appreciation and credit, because with their joint hands, the classical music has been so popular. J 1605 16 (A) L h , L c , , , S h (B) , S h , L h , , L c (C) L h , S h , , L c , (D) 45. , L - c , L h , S h , , m S , , S h R - S , S C - h g R , , , , , , C m S R D , M m / # S m # 20 . . c S . c S . , - , , h , S - , c S Q m m S R / S , l S S l S J 1605 17 P.T.O. 46. Stage artists cannot be teachers (A) From vedic yug to modern times, only the text books have been written on the practical side of the music (B) We find good books on practical and theoretical aspects of music since vedic period to modern times. (C) There is no relation between the practical and the theory (D) Musicology has no contribution to the practical side of music (A) The books written on the practical and theoretical aspects cannot preserve the music (B) The texts by the scholars of music have been of vital importance in the preservation of Indian music (C) There is no place for books in Indian music (D) Books are of no importance in Research work (A) Moghul Darbars and States did not shelter the musicians (B) No artists were promoted in Moghul period (C) The music was best preserved in Moghul empire and by the States (D) Gharanas were not associated with the States (A) Pt. Bhatkhande travelled and propogated the music but never wrote the books (B) Pt. V.N. Bhatkhande founded the institutional music and formed the notation system (C) Pt. V. D. Paluskar did not form any notation system (D) 50. The musicologists cannot be performers (D) 49. Several artist also write the books along with their performances (C) 48. The writing work is not possible with the performance (B) 47. (A) No music book of modern period contains the collection of compositions J 1605 18 (A) S C (C) S R (D) R S (A) S R m (B) m m m (C) (D) (A) (B) (C) (D) (A) . (B) . S S (C) . c S S (D) 50. S (B) 49. R - S (D) 48. R (C) 47. (A) (B) 46. J 1605 19 P.T.O. PART-III Karnatik Music (Vocal, Inst., Percussion) 26. 28. 29. 30. 31. 32. 33. 34. (B) (D) Dvidhatu Prabandha None of the above Swati Thirunal is the composer of : (A) Utsava Prabandham (B) Utsava Sampradaya kriti (C) 27. Astapdi of Jayadeva is : (A) Kirtana (C) Padyam (D) All the above (B) (D) Na manavini Sogasuga mrudanga Divya Prabandham A kriti with svara sahitya : (A) Shankari nive (C) Nadaloludai Pratiloma in pallavi is speed variation in : (A) Sahitya (B) (C) None of the above (D) Tala Both the above Manasime paritapam is a Padavarnam by : (A) Vina Kuppaiyar (B) (D) (C) Venkata Subbaya Svati Thirunal Pallavi Gopalaiyyar Bheri is a : (A) Percussion Instrument (C) Stringed instrument (B) (D) Wind instrument Castenets Suchindram is famous for : (A) Musical stone pillars (C) Frescos (B) (D) Sculptures None of the above Kriya is an important element : (A) Sapta suladi Talas (C) Talas of Tirupugazh (B) (D) Tala dasapranas All the above A place well known for conducting Tyagaraja aradhana : (A) Thiruvattiyoor (B) Thiruvaroor (C) Thiruvaiyyaru (D) Thirunelveli J 1605 20 PART-III ( , ) 26. 27. 28. 29. 30. 31. 32. 33. 34. C (A) (C) l (B) S L (A) (C) (B) S (A) (C) (B) (A) (C) Q (B) (A) (C) (B) (A) l (C) l (B) M (A) S (C) S (B) R (A) # (C) L (B) S (A) L (C) L L (B) J 1605 (D) (D) (D) (D) (D) (D) (D) (D) (D) 21 m Q Q Q S L l l Q Q M M L P.T.O. 35. The Triad concept of sangeet is defined in : (A) Sangeeta Ratnakara (B) (C) Chaturdandi Prakasika (D) Chilappadikaram All the above 36. Leading Karnatik musician who demised in Dec. 2004 : (A) K. V. Narayanswamy (B) M. S. Subbalaxmi (C) K. S. Narayanaswamy (D) Mani Krishnaswamy 37. Jugupsa corresponds to : (A) Atbhuta Rasa (C) Karuna Rasa (B) (D) Bhibhatsa Rasa Hasya Rasa Desadi Tala comprises of : (A) One beat and three visarjita (C) One visarjita and three beats (B) (D) Three beats and one visarjita Two beats and two visarjitas 38. 39. 40. Bramha in the 72 melakarta scheme is the : (A) Seventh Chakra (B) (C) Twelfth Chakra (D) Ninth Chakra Fifth Chakra Salaga raga is same as : (A) Salanka raga (C) Both the above Chayalaga raga None of the above (B) (D) 41. Recipient of Sangeet Natak Akademi award 2004 in Mridangam. (A) Bhaktavatsalam (B) Kanan (C) Velu kutty Nair (D) Ariyakudi Mani 42. Match the following : List-I (a) Abhinaya Darpanam (b) Sangeeta Kalpadrumam (c) Sangita Sampradaya pradarshini (d) Sangita Saramrita Code : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iv) (i) (ii) (iii) (C) (iii) (i) (ii) (iv) (D) (ii) (iii) (iv) (i) J 1605 22 (i) (ii) (iii) (iv) List-II Muttiah Bhagavatar Subbarama Dikshitar Tulaja Nandikesvara 35. (A) (C) (B) (D) Q 36. 2004 (A) . . S (B) . . (C) . . S (D) c S 37. (A) (C) 38. 39. L (B) (D) (A) (C) S (D) (B) 72 (A) (B) 9 R (C) 40. 7 R 12 R (D) 5 R (A) (C) Q (B) Q (D) 41. 2004 (A) Q (B) (C) ^ (D) 42. (a) (b) (c) (d) : (A) (B) (C) (D) J 1605 (a) (i) (iv) (iii) (ii) (b) (iii) (i) (i) (iii) (c) (ii) (ii) (ii) (iv) (i) (ii) (iii) (iv) (d) (iv) (iii) (iii) (i) 23 P.T.O. 43. Match the following. Use the code given below : (a) Palai (i) Region (b) Mizhavu (ii) Svara (c) Kural (iii) Scale (d) Maruthal (iv) Drum Code : (a) (c) (d) (A) (iv) (ii) (i) (iii) (B) (iii) (iv) (ii) (i) (C) (ii) (iii) (i) (iv) (D) 44. (b) (i) (ii) (iv) (iii) Match the following. Use the code given below : (a) Kathakali (i) Mridangam (b) Bharatanatyam (ii) Pakhavaj (c) Odissi (iii) Chenda (d) Kathak (iv) Tabla Code : (a) (c) (d) (A) (iii) (i) (ii) (iv) (B) (ii) (iii) (i) (iv) (C) (i) (iv) (ii) (iii) (D) 45. (b) (iv) (ii) (i) (iii) Match the following : List-I List-II (a) Lavani (i) Padam (b) T.N. Krishnan (ii) Violin (c) Thumri (iii) Upanga (d) Raga (iv) Kavadiattam Code : (a) (b) (c) (d) (A) (iv) (ii) (i) (iii) (B) (ii) (iii) (i) (iv) (C) (i) (iv) (iii) (ii) (D) (iii) (ii) (iv) (i) J 1605 24 43. (i) S (b) (ii) S (c) (iii) # (d) L (iv) l (a) : (a) (c) (d) (A) (iv) (ii) (i) (iii) (B) (iii) (iv) (ii) (i) (C) (ii) (iii) (i) (iv) (D) 44. (b) (i) (ii) (iv) (iii) (a) (i) (b) K (ii) (c) (iii) (d) (iv) : (a) (c) (d) (A) (iii) (i) (ii) (iv) (B) (ii) (iii) (i) (iv) (C) (i) (iv) (ii) (iii) (D) 45. (b) (iv) (ii) (i) (iii) (a) (i) (b) . . c (ii) (c) (iii) (d) (iv) ^ : (a) (b) (c) (d) (A) (iv) (ii) (i) (iii) (B) (ii) (iii) (i) (iv) (C) (i) (iv) (iii) (ii) (D) (iii) (ii) (iv) (i) J 1605 25 P.T.O. 46. Arrange in order of their correct sequence. (A) (B) Kumudvati, Chandovati, Tivra, Manda (C) Tivra, Kumudvati, Manda, Chandovati (D) 47. Tivra, Manda, Chandovati, Kumudvati Manda, Tivra, Chandovati, Kumudvati Arrange the following in order of the 72 mela karta scheme. Use the code given below. (i) Senavati (ii) Dhenuka (iii) Hanumantodi (iv) Nataka priya Code : (A) (B) (ii), (i), (iii), (iv) (C) 48. (i), (iii), (iv), (ii) (iv), (iii), (ii), (i) (D) (i), (iii), (ii), (iv) Arrange the following in correct order. Use the code given below. (i) Natya Shastra (ii) Dattilam (iii) Sangita Makaranda (iv) Brihaddesi Code : (A) (B) (i), (ii), (iv), (iii) (C) 49. (i), (ii), (iii), (iv) (ii), (i), (iii), (iv) (D) (iv), (ii), (iii), (i) Assertion (A) : Brindagana was more popular than solo singing in the ancient times. Reasoning (R) : Compositions to only suit group singing were composed. (A) (B) (A) is false (R) is true (C) Both (A) and (R) are true (D) 50. (A) is true (R) is false Both (A) and (R) are false Assertion (A) : Musical stone pillars are marvels of sculptural and musical skills. Reasoning (R) : They provided the drone. (A) (A) is true (R) is false (B) (A) is false (R) is true (C) Both (A) and (R) are true (D) Both (A) and (R) are false J 1605 26 46. R (A) (B) , , , (C) , , , (D) 47. , , , , , , 72 S R (i) (ii) (iii) (iv) : (A) (B) (ii), (i), (iii), (iv) (C) 48. (i), (iii), (iv), (ii) (iv), (iii), (ii), (i) (D) (i), (iii), (ii), (iv) R (i) K S (ii) (iii) (iv) g : (A) (B) (i), (ii), (iv), (iii) (C) 49 . (i), (ii), (iii), (iv) (ii), (i), (iii), (iv) (D) (iv), (ii), (iii), (i) S S (A) : (B) : Q (A) (B) (A) (B) (C) (A) (B) (D) 50 . (A) (B) (A) (B) S S (A) : S , j (B) : S S (A) (A) (B) (B) (A) (B) (C) (A) (B) (D) (A) (B) J 1605 27 P.T.O. PART-IV RABINDRA SANGEET 26. The foremost song along with dance-procession of vasantotsav at Santiniketan is : (A) (B) Ore bhai phagun legechhe bane bane (C) 27. Ore grihavasi khol dwar khol Aji vasanta jagrata dware (D) Sab dibi ke The drama Vasanta is dedicated to : (A) (B) Rabindranath s wife Mrinalini (C) 28. The younger poet Kazi Nazrul Islam Victoria Okampo of Arjentina (D) A.K. Coomaraswamy Man-in-the-universe is the theme of the song : (A) (B) Tumi kon kananer phul (C) 29. Akash bhara surya tara Yadi tor dak shune keu na ase (D) Surer Guru Rabindranath derived his prayer-song yadi jhader megher mato ami dhai from : (A) (B) The Gita (C) 30. A verse of the Rig veda Mohamudgada (D) Chandi Rabindranath s work, dedicated to his scientist friend Acharya Jagadish Chandra Basu, is : (A) (B) Visva-Parichay (C) 31. Vanavani Rather Rashi (D) Phalguni Rabindranath s last public address at Santiniketan in 1941 is followed by the song : (A) (B) He nutan dekha dik arbar (C) 32. Oi mahamanava ase Janaganamana (D) Vande mataram The rhythmic pattern of the song Hriday amar prakash holo ananta akashe is like this : (A) 33. (B) 214 (C) 412 (D) 21212 Chhutir banshi bajlo bajlo bajlo ye oi nil gagane belongs to the thematic category : (A) 34. 313 Prem (B) Puja (C) Prakriti Phalguni is dedicated to : (A) Mrinalini Tagore (B) Dinendranath Tagore (C) Anna Tadkhad (D) Victoria Okampo J 1605 28 (D) Vichitra PART-IV 26. - (A) (B) g (C) 27. m m (D) (A) (B) (C) 28. $ $ L S (D) . . S - - ? (A) (B) (C) 29. (D) L (A) (B) (C) 30. (D) (A) (B) (C) 31. (D) 1941 . (A) (D) N 3+3 (A) 34. (A) 33. (B) (C) 32. (B) (B) 2+4 (C) (C) 4+2 (D) (D) 2+2+2 (A) (B) (C) (D) J 1605 29 P.T.O. 35. Amar praner pare chole gelo ke contains : (A) 36. (C) All the 12 notes (D) 6 notes Hindi (B) Bengali (C) (D) Oria Kaphi (D) Chhayanat Yat (D) Chanchor Maithili Bilaval (B) Khamaj (C) Identify the tala of the song Sudha sagara tire : (A) 39. 7 major notes Identify the raga of the song He sakha mama hridaye raho . (A) 38. (B) The language of the songs of Bhanusinher Padavali is : (A) 37. 5 notes Dhamar (B) Dipchandi (C) Alap-alochana is co-authored by Rabindranath and __________ . (A) (B) Dwijendralal Ray (C) 40. Atul Prasad Sen Dilip Kumar Ray (D) Mrinalini Tagore Our Gayatri Mantra is derived from : (A) (B) Rigveda (C) 41. Shukla yajur veda Samaveda (D) Atharva veda Janaganamana was first sung in : (A) (B) Maghotsav (C) 42. Hindumela The Parliament Session (D) Brigade Parade Ground, Calcutta Our music is the music of cosmic emotion . Tagore asserted this in his writing : (A) (B) Sangiter Mukti (C) Music and Feeling (D) 43. Foreword to Thirty Indian Songs by Ratan Devi The Word and the Tune The primary meaning of the word raga is encolouration (of mind and soul). This saying occurs in : (A) Sangiter Mukti (B) Sangit (C) Sangit O Bhav (D) Katha O Sur J 1605 30 35. (A) 36. (A) 38. 7 h S (C) 12 S (D) 6 S (B) (C) (D) (C) $ (D) (C) (D) N (B) (A) 39. (B) (A) 37. 5 S (B) - (A) (B) (C) 40. (D) (A) (B) (C) 41. (D) (A) (B) (C) 42. (D) , ? (A) (B) Q (C) (D) 43. 30 P C (A) Q (B) (C) - - (D) - - J 1605 31 P.T.O. 44. Shreemati is the heroine of Tagore s drama : (A) (B) Sharadotsav (C) 45. Raja Natir Puja (D) Guru There is no female role in Tagore s drama entitled : (A) B) Phalguni (C) 46. Malini Vasant (D) Dakghar The theme of Rabindranath s music-drama kalmrigaya is derived from : (A) (B) The Mahabharata (C) 47. The Ramayana Harivamsha (D) Atharva Veda A few verses from A tharva Veda a re artistically applied by Rabindranath in his dance-drama : (A) (B) Shyama (C) 48. Chitrangada Chandalika (D) Mayar Khela Nataraja : Riturangashala was first staged at Santiniketan as a part of : (A) (B) Autumn Festival (C) 49. Spring-Festival Varshamangal (D) The annual convocation The Origin and Function of Music is written by : (A) (B) Edmund Spencer (C) 50. Herbert Spencer Rabindranath Tagore (D) Fox Strangways Rabindranath listened to Shree Krishna Ratanjankar s kheyal singing in Chhayanat in : (A) Lucknow (B) Calcutta (C) Santiniketan (D) London J 1605 32 44. ? (A) (B) (C) 45. (D) L S ? (A) (B) (C) 46. (D) - (A) (B) (C) 47. (D) m M - Q ? (A) (B) (C) 48. (D) X M S ? (A) (B) (C) 49. (D) (A) (B) S (C) 50. S (D) S c m (A) (B) (C) (D) J 1605 33 P.T.O. PART-V PERCUSSION 26. The author of Taal Kosh is : (A) (B) Yogmaya Shukla (C) 27. Sudhir Mainkar Girish Chandra Shrivastara (D) Kishan Maharaj Pandit Kanthe Maharaj belongs to : (A) (B) Banaras gharana (C) 28. Lucknow gharana Delhi gharana (D) Allahabad gharana Bi-aad means : (A) 29. 4/7 (B) 7/8 (C) 5/4 (D) 7/4 Anga (D) Drut Relas (D) Gat (D) Avartan In which taal the Sam is on khali : (A) (B) Dhamar (C) 30. Tivra Roopak (D) Pancham Sawari Which Taal pair is not having the same number of matras ? (A) (B) Roopak - Tivra (C) 31. Tritaal - Punjabi Adachautal - Dhamar (D) Basant - Brahma The smallest unit of Taal is : (A) 32. (B) Matra (C) Ustad Hazi Vilayat Ali is well known for his : (A) 33. Laya Peshkar (B) Quaida (C) These are the essential parts of a Taal : (A) (B) Matra, Avagraha, Tali (C) 34. Matra, Vibhag, Kriya Matra, Dugun, Khali (D) Sam, Matra, Peshkar The definite Bol-samooha of Taal is called : (A) J 1605 Man (B) Theka (C) 34 Tali PART-V ( ) 26. - (A) (B) (C) 27. S (D) ? (A) (B) (C) 28. (D) (A) 29. (B) 7/8 (C) 5/4 (D) 7/4 (C) M (D) ? (A) 30. 4/7 (B) ? (A) (B) M - (C) 31. - - (D) - r (A) 32. (B) (C) (D) S h (A) (B) (C) 33. (D) (A) (B) , , (C) 34. , , R , , (D) , , (D) (A) J 1605 (B) (C) 35 P.T.O. 35. Assertion (A) Reason (R) : (A) (C) 36. 37. 38. 39. 40. : Siddhar Khan was not the inventor of Tabla Instrument. Because prior to him there is evidence of its existence in painting and sculpture. (A) and (R) are true (B) (A) is true (R) is false (A) and (R) are false (D) (A) is false but (R) is true Deep-chandi taal is mainly meant for accompanying with : (A) Dhamar (B) Khayal (C) Thumri Match the following : (a) Natthoo Khan (b) Habibuddin Khan (c) Ram Sahai (d) Alla Rakha Code : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iv) (iii) (ii) (i) (C) (i) (iv) (ii) (iii) (D) (i) (iv) (iii) (ii) (i) (ii) (iii) (iv) (C) (i) (ii) (iii) (iv) Matra Ghatam Pakhawaj Mridangam Tabla Arrange the following Tabla players in (i) Muneer Khan (ii) (iii) Bugara Khan (iv) (A) (i), (ii), (iii), (iv) (B) (C) (ii), (iii), (iv), (i) (D) J 1605 Dhrupad (D) Anga Delhi gharana Punjab gharana Banaras gharana Ajarada gharana Sashabda Kriya is also called : (A) Tali (B) Khali Match the following : (a) Karaikudi R. Mani (b) Nana Panse (c) Vinayak Ram (d) Zakir Hussain Code : (a) (b) (c) (d) (A) (iii) (ii) (i) (iv) (B) (ii) (iii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) (i) (ii) (iii) (iv) (D) order which they appeared : Ahemad jan Thirkuwa Anindo Chatterjee (iii), (i), (ii), (iv) (iii), (i), (iv), (ii) 36 35. S (A) l c (R) l (A) (C) 36. 37. (a) (b) g (c) (d) (A) (B) (C) (D) 39. (a) (i) (iv) (i) (i) (b) (ii) (iii) (iv) (iv) (c) (iii) (ii) (ii) (iii) (i) (ii) (iii) (iv) (A) (R) (A) (R) (B) (D) (d) (iv) (i) (iii) (ii) R ______ (A) (B) (C) a . b c d i ii iii iv : (A) (B) (C) (D) 40. (B) (D) L (A) (C) : 38. (A) (R) (A) (R) (a) (iii) (ii) (iv) (i) (b) (ii) (iii) (iii) (ii) (c) (i) (i) (ii) (iii) (D) (d) (iv) (iv) (i) (iv) R (i) (ii) (iii) (iv) (A) (C) J 1605 (i), (ii), (iii), (iv) (ii), (iii), (iv), (i) (B) (D) (iii), (i), (ii), (iv) (iii), (i), (iv), (ii) 37 P.T.O. 41. The number of Deshi talas described in Sangeet Ratnakar are : (A) 108 (B) 111 (C) 109 (D) 42. The author of the book titled-Tabla Vadan shastra ya kala - is : (A) Dr. A.K. SEN (B) Dr. Subhadra Chaudhary (C) Sudhir Mainkar (D) Bhagawat Sharan Sharma 43. The Talas are described in Natyashstra : (A) 8 (B) 7 120 44. 45. 46. (C) 6 Which one of the following is not an Avanaddha Vadya ? (A) Dardur (B) Panav (C) Venu Brahma taal has : (A) 9 talis and 5 khalis (C) 11 talis and 3 khalis (B) (D) Pakhawaj is mainly accompanied with : (A) Dhrupad (B) Dadra (D) 5 (D) Pataha (D) Khayal 10 talis and 4 khalis 8 talis and 6 khalis (C) Gazal 47. Assertion (A) : Shuddha Gat does not have Tihai. Because gat has the quality of repetition (Re-cycling). Reason (R) : (A) (A) and (R) both are false (B) (A) and (R) both are true (C) (A) is true but (R) is false (D) (A) is false but (R) is true 48. Place in order : (1) Ameer Hussain Khan (2) Inam Ali (3) (4) Sidhar Khan Bakhshu Khan (A) 50. (B) 2, 4, 1, 3 (C) 49. 1, 4, 3, 2 2, 4, 3, 1 (D) 2, 3, 4, 1 Ustad Abid Hussain Khan belongs to : (A) Lucknow gharana (B) (C) Punjab gharana (D) Delhi gharana Farrukhabad gharana The Sampakveshtak taal has : (A) 8 Matras (B) 12 Matras (C) ** *** ** J 1605 38 16 Matras (D) 20 Matras 41. (A) 42. 43. 45. 46. 47. 50. (C) 109 (D) 120 . 8 (B) 7 (C) 6 (D) (A) 9 5 (C) 11 3 (B) (D) l L (A) (B) (C) $ $ (D) S (A) h (R) (A) (R) (A) (R) 5 (D) h l ? (A) (B) (C) 10 4 8 6 $ (B) (D) (A) (R) (A) (R) (B) (D) 2, 4, 1, 3 2, 3, 4, 1 R (1) (2) g (3) (4) (A) (C) 49. 111 K S (A) (C) 48. (B) S S (A) . . . (B) (C) (D) (A) 44. 108 1, 4, 3, 2 2, 4, 3, 1 S ? (A) (B) (C) C (A) 8 (B) 12 (C) 16 (D) M (D) 20 ** *** ** J 1605 39 P.T.O. Space For Rough Work J 1605 40

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