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UGC NET JUN 2008 : MUSIC PAPER II

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Signature and Name of Invigilator OMR 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) J 1 6 0 8 Test Booklet No. PAPER II Time : 1 hours] MUSIC Number of Pages in this Booklet : 48 Number of Questions in this Booklet : 50 U Instructions for the Candidates 1. 2. 3. 4. [Maximum Marks : 100 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 Test Booklet Number should be entered in the OMR Sheet and the OMR Sheet Number should be entered on this Test 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. 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 OMR U U U U OMR R - S U U 4. U U (A), (B), (C) (D) U U U U U Example : B C D A 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. 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. 6. 7. 8. 9. 10. B C D U ( U U) U U 12. U U 11. See Page No. 2 and 3 for Special Instructions / J 1608 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 25 the 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. Each question carries two (2) marks. PART - I Common to Hindustani / Karnataki / Rabindra Sangeet / Percussion 1. Name of Ustaad Vilayat Khan s father : (A) (B) Imdaad Khan (C) 2. Imrat Khan Sahab Dad Khan (D) Shujaat Khan Writer of Sangeet Ratnakar : (A) (B) Bharat (C) 3. Sharang Deo Dattil (D) Jaideo The other name for Sangeet in olden treatise : (A) (B) Vadan (C) 4. Gayan Taiyatrik (D) Nritya Who is known as Chatur Pandit ? (A) Bhatkhande (B) Paluskar (C) Ratanjankar (D) Raja Bhaiya J 1608 2 II S / / h l ( , S ) U -I 25 -II, -III, -IV, -V 25 (2) - I S / / h l 1. . (A) (B) (C) 2. (D) U U ? (A) (B) U (C) 3. U (D) U ? (A) (B) (C) 4. (D) U U ? (A) U (B) S U (C) U U (D) U J 1608 3 P.T.O. 5. Name of the poet who has composed Jogi Mat Ja : (A) (B) Soordas (C) 6. Meera Tulsi (D) Bihari The actual name of Adaaranga : (A) (B) Vilayat Khan (C) 7. Firoj Khan Naubat Khan (D) Mastan Khan Number of Marga Taalas : (A) (B) 5 (C) 8. 6 3 (D) 4 Name of the artist who was first to be approved as a classical Guitar artist by All India Radio : (A) (B) Ravi Shankar (C) 9. Brij Bhushan Kabra Vilayat Khan (D) Vishva Mohan Bhatt Who propounded Jafar Khani Gat ? (A) (B) Pt. Ravi Shankar (C) 10. U. Vilayat Khan U. Halim Jafar Khan (D) None of these Who is not a Sitar Player ? (A) (B) Buddhaditya Mukharjee (C) 11. Debu Chaudhari Indrani Chakravarty (D) Devashish Bhattacharya Rabindra Tagore s birth place : (A) Jamshedpur (B) Patna (C) Calcutta (D) Santiniketan J 1608 4 5. U ? (A) (B) U (C) 6. U (D) U U S ? (A) (B) (C) 7. U (D) S ? (A) (B) 5 (C) 8. 6 3 (D) 4 m U S U U ? (A) (B) U U (C) 9. U (D) ^ U ? (A) (B) . U U (C) 10. . . U (D) U ? (A) (B) h (C) 11. U R (D) ^ U U U S ? (A) U (B) U (C) (D) J 1608 5 P.T.O. 12. Rabindranath s father s name : (A) (B) Maharshi Debendranath Tagore (C) 13. Prince Dwaraknath Tagore Satyendranath Tagore (D) Jyotirindranath Tagore Rabindranath s Musical Drama : (A) (B) Shyama (C) 14. Chandalika Kalmrigaya (D) Chitrangada Who Edited Rabindranaths Second Edition of Gitabitans first and second part ? (A) (B) Divendranath Tagore (C) 15. Sudhir Chandrakar Jyotirindranath Tagore (D) Rabindranath Tagore Rabindranath wrote the drama : (A) (B) Raja (C) 16. Purabi Kalmrigaya (D) Manashi By replacing Nishadha in the place of Dhaivata of Mahana raga, we derive the raga : (A) (B) Hamsadhwani (C) 17. Bilahari Saranga (D) Kambhoji The total number of Chakras in Raga classification in Karnatak Music is : (A) 6 (B) 9 (C) 10 (D) 12 J 1608 6 12. U ? (A) (B) U U (C) 13. m U U U U U (D) U U U U U ? (A) (B) (C) 14. U (D) U m S U U U ? (A) (B) U U (C) 15. U U U U U (D) U U U U U ? (A) (B) U (C) 16. U (D) U U U (A) (B) (C) 17. U U (D) U U U (A) 6 (B) 9 (C) 10 (D) 12 J 1608 7 P.T.O. 18. The Varna, Veereeboni in Bhairavi raga, in Attatala is composed by : (A) (B) Mysore Vasudevacharya (C) 19. Veena Kuppair Patnam Subramanya Iyer (D) Adippaiyya The number of akshara kalas in Khanda Jathi dhruvatala is : (A) (B) 19 (C) 20. 16 17 (D) 22 Namagiripettaih Krishnan has been awarded with : (A) Padmabhushan (B) Padmashree (C) Padmavibhushan (D) Bharataratna Paraphrasing or linked items : Read the passage below and tick the correct answer in each group of (A), (B), (C) and (D). Music plays an important role in moulding the society. Indian music which took it s roots from ancient Vedas, has been witnessing a great evolution from ancient to modern times. Many composers, musicians and musicologists have contributed in enriching this art form which is globally recognised. In the Contemporary Era, music has multiple dimensions. Ancient texts depicted the notion that music is for Entertainment. The present day scenario has developed in various directions. Music has stretched it s periphery to serve various purposes. Music has opened itself for various research purposes. Many scholars have taken up research work to expand the possibilities of new inventions in music. Music and science, music and philosophy, ethnomusicology and music therapy have been the new subjects for research. Music and media is also providing good platform for artists who choose their career in journalism. With the invention of modern Electronic Equipments, music also has been applied in the field of computers and has opened up new dimensions in the modern era. J 1608 8 18. U U , ^ U U U U (A) (B) U (C) 19. U UU (D) U U (A) (B) 19 (C) 20. 16 17 (D) 22 U U c (A) k (B) k (C) k (D) U U U U U U (A), (B), (C) (D) U U U U , S U , S h , S U U U m U c U U , U , $ U U U U U U l U c U , U U J 1608 9 P.T.O. 21. Ancient musical texts depicted the idea that : (A) (B) music is multipurpose (C) music is multidimensional (D) 22. music is meant for entertainment music is science Music has presently been enriched by : (A) (B) music and mathematics (C) 23. electronic equipments music and history (D) music and mythology Research in music opens up : (A) (B) new inventions (C) 24. old conceptions confusions (D) unscientific results Modern electronic equipment which helps music to expand its periphery is : (A) (B) ancient texts (C) 25. library computers (D) musical paintings Assertion (A) : Swar is the basis of beauty in music. Dhvani is the mool nad of Swara. Several dhvanies are melodious by nature and they effect the heart very much. Reason (R) : In melodious dhvanies there is no happy blending of Aroh-Avroh and utar-chadhav. Code : (A) (A) and (R) right (B) (A) right (R) wrong (C) (A) and (R) wrong (D) (A) wrong (R) right J 1608 10 21. (A) (B) (C) (D) 22. U h ? (A) (B) U (C) 23. U U U (D) U M ? (A) (B) c U (C) 24. U (D) U U l U (A) S (B) (C) U U (D) S (A) : U S U , S U U S U U U (R) : 25. U U- U - U U U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1608 11 P.T.O. PART - II Hindustani Music (Vocal / Instrument) 26. Founder of Rasa Theory : (A) 27. Matang (C) Bharat (D) Dattil Aesthetics (B) Rasa (C) Nad (D) That Sadra (C) Drut Khayal (D) Kajri TeenTal Tala best suited to : (A) 29. (B) Bhav, Vibhav are related to : (A) 28. Mammat Tappa (B) Who is the author of Sangeet Ratnakar ? (A) (B) Sharang Dev (C) 30. Bharat Abhinav Gupta (D) Matang Tala Deepchandi is best suited to : (A) 31. (B) Khayal (C) Thumri (D) Dadra (C) Bhairav (D) Yaman Which Raga is a morning Raga ? (A) 32. Dhruvapad Bhimpalasi (B) Durga Which Raga uses combination of G M R S ? (A) (B) Shyamkalyan (C) 33. Shudha Sarang Bhatiyar (D) Puriya How many main Talas are in Karnatak Music ? (A) 34. Seven (B) Five (C) Thirty (D) Forty (C) Violinist (D) Lyricist Pd. Ravi Shankar is a famous and great : (A) J 1608 Vocalist (B) Sitarist 12 - II S ( / ) 26. U S (A) 27. S (B) U (C) (D) U U (B) U (C) (D) U U (B) U (C) (D) (B) (C) U U (D) U (B) (C) U (D) h U (C) U U (D) U (C) (D) (C) (D) (B) U ? (A) 34. U U S U ? (A) 33. (D) U ? (A) 32. U (A) 31. (C) U U ? (A) 30. (A) 29. (B) , ? (A) 28. U (B) . U U h (A) J 1608 (B) U 13 U U P.T.O. 35. Which Odav Jati Raga uses both Gandhar and both Nishad ? (A) 36. Durga (C) Jog (D) Tilang Dhamar (B) Dhruvapad (C) Khyal (D) Prabandh (C) Bairagi (D) Malkauns (D) Six Matra (D) Nat Malhar (D) Khamaj (D) 10 Dhaiwat Swar is Varjit in this Raga : (A) 38. (B) Dagur Vani is related to : (A) 37. Desh Todi (B) Bhopali The name of the propounder of Ten That : (A) (B) Pt. Sharang Dev (C) 39. Pt. Ahobal Pt. Bhatkhande (D) Vyankat Mukhi Jhaptal consists of : (A) 40. (C) Ten Matra Ahir Bhairav (B) Nat Bihag (C) Nat Bhairav Identify the Raga of the Bandish Ari Eri Ali Piya Bina : (A) 42. Twelve Matra Which Raga originates with a mixture of Nat and Bhairav ? (A) 41. Sixteen Matras (B) Bihag (B) Yaman (C) Des Famous senior vocalist of Kirana Gharana is : (A) (B) Bhim Sen Joshi (C) 43. Kishori Amonkar Bade Gulam Ali (D) Amirkhan How many name of Swaras are there in Hindustani Music ? (A) 44. 12 (B) 7 (C) 9 This is the oldest musical Vocal form : (A) Dhruvapad (B) Thumri (C) Khayal (D) Dhruvagan J 1608 14 35. U U U U ? (A) 36. U (B) (C) (D) (C) U (D) (B) . U (C) . U (D) U (B) U (C) (D) U (C) U U (D) U U (C) (D) (B) . U U (B) U U U U ? (A) 42. (D) U U U U ? (A) 41. (A) 40. (C) U (A) 39. U S U (A) 38. (B) U U (A) 37. (B) h Uc U U U (A) (B) (C) 43. U U (D) U S S U ? (A) 44. 12 (B) 7 (C) 9 (D) 10 (C) (D) (A) J 1608 (B) U U 15 P.T.O. 45. Match the following : (a) Abhogi (i) Morning (b) Bairagi (ii) Evening (c) Multani (iii) Afternoon (d) Kalyan (iv) Night Code : (a) (c) (d) (A) (iv) (i) (iii) (ii) (B) (ii) (iii) (iv) (i) (C) (iii) (ii) (i) (iv) (D) 46. (b) (i) (ii) (iv) (iii) Match the following : (a) Dhrupad (i) Deepchandi (b) Thumri (ii) Teental (c) Khayal (iii) Kaharwa (d) Kajri (iv) Chartal Code : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (i) (iv) (C) (iv) (i) (ii) (iii) (D) (i) (ii) (iii) (iv) J 1608 16 45. (a) (i) U (b) U (ii) (c) (iii) U (d) (iv) U U (a) (c) (d) (A) (iv) (i) (iii) (ii) (B) (ii) (iii) (iv) (i) (C) (iii) (ii) (i) (iv) (D) 46. (b) (i) (ii) (iv) (iii) (a) U (i) U (b) U U (ii) (c) (iii) U (d) U (iv) U U (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (i) (iv) (C) (iv) (i) (ii) (iii) (D) (i) (ii) (iii) (iv) J 1608 17 P.T.O. Para Phrasing or linked items : (For Question No. 47 to 49) Read the passage below and tick the correct answer in each group of (A), (B), (C) and (D). Music is a Practical Art. It s practical aspect is very important. Hence there is every possibilities to do research regarding its practical aspects. For example creating of new melodies, Ragas and analytical study of old Ragas may be some of the selected topics for the research. Different exponents have got different opinions about one and the same Raga and a RagForm has also got several versions, so an important research may be done regarding the natural Rasas of Ragas. In the process of creating new Ragas, its aesthetic, artistic and emotional approaches are to be established authentically. Apart from this, time theory of Ragas is also to be established authentically. A proper way of voice culture for Indian Vocal Music, some new approaches to develop the voice more effectively, may also be exercised for new research in music. 47. Music is not a practical Art (D) The practical aspect of Music is weak (A) Different exponents have got a same opinion about every Raga. (B) Different exponents have got a same opinion about Raga Forms . (C) Different exponents have got a different opinion about the Ragas. (D) The Research work is not required about Raga Forms . (A) It can be possible to create some new approaches of voice culture to develop the voice more effective. (B) It is not possible to create new approaches of voice culture. (C) The research work is not possible to do about Time Theory . (D) 50. The practical aspect of Music is not important (C) 49. The practical aspect of Music is very important (B) 48. (A) The new approaches of musical exercises is not necessary. 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) Both (A) and (R) true (D) Both (A) and (R) false J 1608 18 U U U U (A), (B), (C) (D) U ( 47 49 ) U U U , U U U U U U - U S M U S U U U - U , , U U h U U U U U $ U - U (D) $ U (A) U U (B) U U S M (C) U U - (D) U S M U (A) $ U - U (B) U U (C) U h U (D) 49. (C) 48. (A) (B) 47. U S (A) : U - U U S U h U-S U U S c U U (R) : 50. S l U U (A) (A) U (R) (B) (A) U (R) (C) (A) U (R) (D) (A) U (R) J 1608 19 P.T.O. PART - III Karnatic Music - Vocal Instrumental 26. The total number of melas in Karnatak music is : (A) (B) Ten (C) 27. Twelve Thirty Six (D) Seventy Two The raga saveri is derived from the mela : (A) (B) Kalyani (C) 28. Asaveri Harikambhoji (D) Mayamalavagowla Purandaradasa has composed his compositions in the following language : (A) (B) Kannada (C) 29. Telugu Malayalam (D) Tamil Kuchupudi is the art form which belongs to : (A) (B) Karnataka (C) 30. Kerala Tamil Nadu (D) Andhra Pradesh The number of aksharakalas found in Khandajathi Jhampe tala is : (A) (B) Ten (C) 31. Eight Nine (D) Seven The guru of Sri Purandaradasa was : (A) (B) Vyasaraya (C) 32. Sreepadaraya Kanakadasa (D) Vijayadasa The ancient name of flute in Karnatak music is : (A) Venu (B) Vana (C) Vipanchi (D) Chitra J 1608 20 - III ( , ) 26. U (A) (B) (C) 27. U U (D) U U U U (A) (B) (C) 28. U U (D) U U U U ? (A) (B) U (C) 29. (D) U M ? (A) (B) U (C) 30. U U (D) U U ? (A) (B) (C) 31. U (D) U U L ? (A) (B) U (C) 32. U (D) U ? (A) (B) (C) (D) J 1608 21 P.T.O. 33. The composer of Melaragamalika is : (A) (B) Subbarama Dikshitar (C) 34. Tyagaraja Mahavaidyanatha Iyer (D) Madhurai Mani Iyer Vipanchi Veena has how many strings ? (A) (B) 9 (C) 35. 7 10 (D) 5 Muvvagopala is the signature of one of the following composer : (A) (B) Basavanna (C) 36. Annamacharya Gopalakrishna Bharati (D) Khestragna The composer who composed Manipravala Krutis is : (A) (B) Vasudevacharya (C) 37. Tyagaraja Swati Tirunal (D) Patnam Subramanya Iyer In Kathakali which one of the following is the musical compositions frequently used ? (A) (B) Lakshanageetham (C) 38. Sopanageetham Dhrvageetham (D) Jatiswaram Which musician for the first time sung in United League of Nation s ? (A) (B) M.L. Vasantha Kumari (C) 39. M.S. Subbalakshmi D.K. Pattambal (D) Vasantha Kokilam The number of gamakas used in Karnatak Music are : (A) 12 (B) 10 (C) 14 (D) 16 J 1608 22 33. U U U ? (A) (B) U U (C) 34. U l U (D) U U U ? (A) (B) (C) 35. (D) U ? (A) (B) (C) 36. c U (D) U U ? (A) (B) (C) 37. U S L (D) U U U ? (A) (B) (C) 38. (D) S U U c U S U ? (A) (B) . . U (C) 39. . . U . . ^ (D) U (A) U (B) (C) (D) J 1608 23 P.T.O. 40. Tevaram is composed in which of the following language ? (A) (B) Telugu (C) 41. Kannada Tamil (D) Malayalam Padas are composed by : (A) (B) Kshetragna (C) 42. Sheshanna Subbarama Dikshitar (D) Kanakadasa Tiruppugal belongs to the traditional musical form of which state in South India ? (A) (B) Tamil Nadu (C) 43. Karnataka Andhra Pradesh (D) Kerala The composer who introduced kakali nishadha in Kamach raga was : (A) (B) Muttuswamy Dikshitar (C) 44. Papanasha Shivam Iyer Sadashivam Brahmendra (D) Mysore Vasudevacharya Which one of the following art form belongs to folk ? (A) (B) Tillana (C) 45. Yakshagana Bharatanatyam (D) Varnam Match the following and select the correct combination from the code below : (a) Muttuswamy Dikshitar (i) Chennamallikarjuna (b) Swathi Tirunal (ii) Swarajathi (c) Akkamahadevi (iii) Royal composer (d) Shamashastry (iv) Navagraha Krutis (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iv) (iii) (i) (ii) (D) (iii) (iv) (i) (ii) J 1608 24 40. U U ? (A) (B) (C) 41. U (D) U U ? (A) (B) (C) 42. U U (D) U U M L ? (A) (B) U (C) 43. U (D) U U U U U ? (A) (B) S U (C) 44. U r (D) U U ? (A) (B) (C) 45. U K (D) U U (a) S U (i) (b) S L (ii) S U (c) (iii) U (d) S (iv) (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iv) (iii) (i) (ii) (D) (iii) (iv) (i) (ii) J 1608 25 P.T.O. 46. Purandaradasa lived in the following Empire : (A) (B) Pallavas (C) 47. Vijayanagar Hoysalas (D) Magadha The ragas used by Tyagaraja in his pancharatna krutis are : (A) (B) Varali, Arabhi, Gowla, Sree, Nata (C) Nata, Arabhi, Sree, Gowla, Varali (D) 48. Gowla, Nata, Sree, Varali, Arabhi Nata, Gowla, Arabhi, Varali, Sree Which composition in Hindustani music is equivalent to Javali of Karnatak Music ? (A) (B) Drupad (C) 49. Thumri Tappa (D) Tarana Muttuswamy Dikshitar s Navagraha Kruti Swaramyaham is in the raga : (A) (B) Yadukula Kambhoji (C) 50. Athana Sourashtra (D) Ramamanohari The morning raga in Karnatak Music is : (A) Bhouli (B) Mohana (C) Kapi (D) Hindola J 1608 26 46. U U U ? (A) (B) (C) 47. U (D) U U U (A) (B) U , U , , , U (C) U , U , , , U (D) 48. , U , , U , U U , , U , U , U S U ? (A) (B) (C) 49. U U (D) U S U S U U ? (A) (B) (C) 50. U U c U (D) U U U U ? (A) (B) (C) (D) J 1608 27 P.T.O. PART - IV RABINDRA SANGEET 26. Tagore wrote the song Railo Bole Rakhle Kare for the Drama : (A) (B) Muktodhara (C) 27. Visarjan Rinsodh (D) Raktokorabi In which book, Tagores all writings on music is compiled ? (A) (B) Chali O Gan (C) 28. Kalantar Viswa Parichay (D) Sangeet Chinta To whom Rabindranath called Amaar Sakal Ganer Bhondari ? (A) (B) Ajit Chakravarty (C) 29. Kanika Banerjee Dinandranath Tagore (D) Indiradevi Choudhurani The following Talas Tagore used in most of his composition : (A) (B) Kaharwa (C) 30. Dadra Tewra (D) Trital Which Tal was created by Tagore ? (A) (B) Jhampak (C) 31. Surfakta Pancham Swari (D) Ada Chowtal Two complete different tunes were composed in one of the following songs : (A) Aji Jharo Jharo (B) Gane Gane Tatabo Bandhana (C) Kanna Hasir Dal Dalano (D) Tomar Holo Shuru J 1608 28 - IV 26. U U U , U U U ? (A) (B) U (C) 27. U (D) U U U U U S ? (A) (B) (C) 28. U U (D) U U U U U ? (A) (B) (C) 29. U U (D) U U U U U (A) (B) U (C) 30. U U (D) U U ? (A) (B) (C) 31. U S U (D) U ? (A) U U (B) (C) U (D) U L J 1608 29 P.T.O. 32. Which Tagores song is based on Western Music ? (A) (B) Eyeta Bhalo legechilo (C) 33. Phule Phule dhale dhale Prem Easechilo (D) Basonte ki sudhu kebal Which Tagore song is based on Bengali folk song ? (A) (B) Likhano Tomar (C) 34. Amar Sonar Bangla Tumi kon Kanoner Phul (D) Amar Praner Pore Tagores last composition was : (A) (B) Aaj Bari Jhore (C) 35. Jadi Jantem Ganguli mor Saibaleri Dal (D) Oie Mahamana Ashe Which of this Dance Drama was also composed as Lyrical Drama ? (A) (B) Shyama (C) 36. Chandalika Chitrangada (D) Mayur Khela According to the date of composition which is the first song ? (A) (B) Bani mor nahi (C) 37. Tomari Tore ma Jodi tore nai chinigo (D) He nutan Which patriotic song of Rabindranath can be used internationally ? (A) Swarthako Janama Amaar (B) Bidhir Bondon Katbe Tomi (C) Nai Bhaya, Nai Bhaya (D) Nishidin Bharsa Rakhis J 1608 30 32. U U U U ? (A) (B) U U (C) 33. U U (D) h U U U U ? (A) (B) U (C) 34. U U U (D) U U U U U U (A) (B) U U (C) 35. U U (D) U U M U ? (A) (B) (C) 36. U (D) U U U, ? (A) (B) U (C) 37. U U U (D) U U c U M ? (A) S U (B) U U (C) , (D) U J 1608 31 P.T.O. 38. Which book is Tagores collection of songs ? (A) (B) Purabi (C) 39. Rabichhaya Khonika (D) Prohasini Who were not a direct student of Music ? (A) (B) Anadi Kumar Dastidar (C) 40. Dilip Kumar Roy Sailaja Rajan Majumdar (D) Santidev Ghose Tagore set the tune of the poems : (A) (B) Bankim Chandra Chattopadhyay (C) 41. Sukumar Ray Hemlata Tage (D) Akshay Baral Rabindranath dedicated his book Taskar Desh to : (A) (B) Subhas Chandra Bose (C) 42. Kaji Nazrul Islam Dinendranath Tagore (D) Atul Prasad Sen The song Prathama Adi Taba Shaki was sung to tal : (A) (B) Dhamar (C) 43. Surfakta Tewra (D) Ektal Assertion (A) : All Tagore songs should not be sung with rhythm. Reason (R) : Because most of songs are Kavya gita. (A) (A) is true, but (R) is false (B) (R) is true but (A) is false (C) Both (R) and (A) are false (D) Both (R) and (A) are true J 1608 32 38. U U S ? (A) (B) U (C) 39. U U (D) l ? (A) (B) U S U (C) 40. U U U U (D) U U U ? (A) (B) ^ (C) 41. U U U (D) U S S U ? (A) (B) (C) 42. $ $ M S U U (D) ? (A) U (B) U (C) U (D) (A) : U U U (R) : 43. (A) (A) , (R) (B) (R) , U (A) (C) (A) U (R) (D) (A) U (R) J 1608 33 P.T.O. 44. Assertion (A) : Tagore was first lyricist then a Poet. Reason (R) : Because he was a poet of distinction and composed music. (A) (B) (A) is false but (R) is true (C) Both (A) and (R) are false (D) 45. (A) is true, but (R) is false Both (R) and (A) are true Assertion (A) : Tagore used song in all of his Drama. Reason (R) : Because he used songs in place of long dialogue. (A) (B) (R) is true, but (A) is false (C) Both (R) and (A) are false (D) 46. (A) is true, but (R) is false Both (R) and (A) are true Match the following and select the correct combination from the code below : (a) Kal Sakale Uthbo Mora (i) Kalmrigaya (b) Mora Jaley Sthaley (ii) Valmiki Pratibha (c) Ami Tomere Karibo Nibedan (iii) Chandalika (d) Lajja Chi Chi Lajja (iv) Chitrangada Code : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) (iv) (i) (ii) (iii) J 1608 34 (A) : U U U U U (R) : 44. c U U U U (A) (A) , U (R) (B) (A) , U (R) (C) (A) U (R) (D) (A) U (R) (A) : U U U U (R) : 45. S U (A) (B) (R) , U (A) (C) (A) U (R) (D) 46. (A) , U (R) (A) U (R) U U U U (a) U U (i) (b) U S (ii) (c) U U (iii) U (d) U U (iv) U (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) (iv) (i) (ii) (iii) J 1608 35 P.T.O. 47. Match the following and select the correct combination from the code below : (a) Gane Gane Tabo Bandhano (i) Swadesh (b) Swarthaka Janma Amaar (ii) Puja (c) O Kyeno Bhalobasa (iii) Vichitra (d) Tomar Surer Dhara (iv) Prem Code : (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) 48. (b) (ii) (i) (iv) (iii) Place the following in order of publication and select the correct combination from the code below : (i) Gitali (ii) Gitimalya (iii) Gitanjali (iv) Shyama Code : (A) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) 49. (i) (iii) (i) (ii) (iv) Under whose guidance Tagore started song writing : (A) (B) Kshetramohan Goswami (C) 50. Jodu Bhatta Radhika Prasad Goswami (D) Jyotirindranath Tagore Write one name of Tagores Books of Songs. (A) Gan (B) Prohashini (C) Kalantar (D) Katha O Kahini J 1608 36 47. U U U U (a) (i) S (b) S U (ii) (c) (iii) (d) U U U U (iv) U (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) 48. (b) (ii) (i) (iv) (iii) U U U U U (i) (ii) (iii) (iv) U (A) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) 49. (i) (iii) (i) (ii) (iv) U U U ? (A) (B) S (C) 50. ^ U S (D) U U U U U S (A) (B) (C) U (D) J 1608 37 P.T.O. PART - V PERCUSSION INSTRUMENTS 26. Which word is used for an Instrument in Natya Shastra ? (A) (B) Atodya (C) 27. Vadya Uhya (D) Todya Which Instrument was related to Ghanshyamdas ? (A) (B) Pakhvaj (C) 28. Tabla Mridangam (D) Dholak With which vocal form Deepchandi Tal is played ? (A) (B) Khayal (C) 29. Dhrupad Thumri (D) Tappa How many Talas are mentioned in Sangeet Ratnakar ? (A) (B) 110 (C) 30. 100 120 (D) 130 Which style of singing Addha Trital is used ? (A) (B) Khayal (C) 31. Dhrupad Thumari (D) Tappa Trace out Tabla Player from the following : (A) (B) Ahmadjan Thirakva (C) 32. Pagaldas Bafatimiya (D) Gopaldas How many Matras are there in the tal Savari ? (A) 12 (B) 13 (C) 14 (D) 15 J 1608 38 - V h l 26. K S l U ? (A) (B) l (C) 27. l s (D) l l ? (A) (B) (C) 28. (D) U U ? (A) (B) (C) 29. U U (D) U U U ? (A) (B) 110 (C) 30. 100 120 (D) 130 h - U ? (A) (B) (C) 31. U U (D) U (A) (B) U (C) 32. (D) U ? (A) 12 (B) 13 (C) 14 (D) 15 J 1608 39 P.T.O. 33. Which Tal is Visham Tal ? (A) (B) Kaharava (C) 34. Dadara Rupak (D) Khemta Which instrument was played by Karamtullakhan ? (A) (B) Pakhvaj (C) 35. Tabala Nakkara (D) Dholak Which instrument Ta Kit Taka belongs to : (A) (B) Pakhvaj (C) 36. Tabala Nakkara (D) Dholak Who mastered Tabala and Pakhvaj equally ? (A) (B) Lalji Gokhale (C) 37. Chaturla Prem Vallabh (D) Munne Khan Match the following : (a) Kayada (i) Fershbandi (b) Peshkar (ii) Palat (c) Paran (iii) Chakredar (d) Tihai (iv) Stuti Code : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iv) (i) (ii) (iii) (D) (ii) (iii) (iv) (i) J 1608 40 33. ? (A) (B) U (C) 34. U M (D) U U l ? (A) (B) (C) 35. U (D) U U l ? (A) (B) (C) 36. U (D) U U l M ? (A) (B) (C) 37. U (D) (a) (i) (b) U (ii) U (c) U (iii) U (d) (iv) S U (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iv) (i) (ii) (iii) (D) (ii) (iii) (iv) (i) J 1608 41 P.T.O. 38. Match the following : (a) Karamat Ullakhan (i) Lucknow (b) Jahangir Khan (ii) Allahabad (c) Munne Khan (iii) Kolkata (d) Lalaji Shrivastav (iv) Indore Code : (a) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) 39. (b) (i) (ii) (iii) (iv) Which Tal is used with Dadara ? (A) (B) Jattal (C) 40. Dipchandi Rupak (D) Dadara Who is related to whom ? (a) Gudai Maharaj (i) Kumar Lal (b) Allarakha (ii) Sabir Khan (c) Karamtullah Khan (iii) Jakir Hussain (d) Ahamad Jan (iv) Lalaji Gokhalay Code : (a) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (i) (iii) (iv) (C) (iii) (iv) (ii) (i) (D) 41. (b) (iv) (iii) (ii) (i) Which animal s skin is used to prepare pudi ? (A) Horse (B) Cow (C) Goat (D) Sheep J 1608 42 38. (a) U (i) (b) U (ii) (c) (iii) (d) S (iv) U U (a) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) 39. (b) (i) (ii) (iii) (iv) U ? (A) (B) (C) 40. M (D) U ? (a) U (i) U (b) U (ii) U (c) U (iii) $ U (d) (iv) U (a) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (i) (iii) (iv) (C) (iii) (iv) (ii) (i) (D) 41. (b) (iv) (iii) (ii) (i) U ? (A) (B) (C) U (D) J 1608 43 P.T.O. 42. How many Ghara s are there in Tabala/Pakhavaj ? (A) (B) 14 (C) 43. 12 16 (D) 18 Which thing is used for preparing shyahi of Tabala Pudi ? (A) (B) Glass Pawader (C) 44. Kastha Pawedar Iron Pawedar (D) None of these Who is famous for what ? (a) Anokhelala (i) Sangat (b) Allarakha (ii) Na Dhin Dhin Na (c) Ahamad Jan (iii) Gat (d) Habibuddin (iv) Uni Talas Code : (a) (c) (d) (A) (ii) (iv) (iii) (i) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) 45. (b) (iv) (ii) (i) (iii) The number of Gattars in Tabala : (A) (B) 7 (C) 46. 6 8 (D) 9 Which treatise is written by Bharat ? (A) (B) Mahabharat (C) 47. Natya Shastra Sam Ved (D) Ramayan To show SAM before it Actually comes : (A) Agat (B) Atit (C) Nirgat (D) Anagat J 1608 44 42. / U ? (A) (B) 14 (C) 43. 12 16 (D) 18 S ? (A) (B) (C) 44. S U (D) h ? (a) (i) (b) U (ii) (c) (iii) (d) g (iv) U (a) (c) (d) (A) (ii) (iv) (iii) (i) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) 45. (b) (iv) (ii) (i) (iii) ^ (A) (B) 7 (C) 46. 6 8 (D) 9 U ? (A) (B) U (C) 47. K S (D) U ? (A) (B) (C) (D) J 1608 45 P.T.O. 48. With whose skin baddi is prepared ? (A) (B) Camel (C) 49. Goat Cow (D) Horse Assertion (A) : A perfect solo playing of tabala is essential for a good accompaniment of gayan, vadan and nritya. Reasoning (R) : Skill of solo playing creates obstacles during accompaniment. Code : (A) (B) (A) right (R) wrong (C) 50. (A) right (R) right (A) wrong (R) right (D) (A) wrong (R) wrong Assertion (A) : A Quada is compiled with a Tihai having the same notes used in the different palatas of that Quada. Reasoning (R) : By doing this a type of oneness is observed throughout in the form of a Quada. Code : (A) (A) right (R) right (B) (A) wrong (R) right (C) (A) right (R) wrong (D) (A) wrong (R) wrong -oOo- J 1608 46 48. g ? (A) (B) U (C) 49. U (D) U S (A) : (R) : , U S S U U U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : U U (R) : 50. U S M l U U U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) -oOo- J 1608 47 P.T.O. Space For Rough Work J 1608 48

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Additional Info : Ugc Net June 2008 Question Paper -Music ( Paper II )
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