
	Trending ▼ ICSE CBSE 10th ISC CBSE 12th CTET GATE UGC NET Vestibulares ResFinder

UGC NET DEC 2005 : MUSIC PAPER II

40 pages, 250 questions, 0 questions with responses, 0 total responses,

	ugc_net	+Fave Message
	Profile Timeline Uploads Q & A

Home > ugc_net >

Formatting page ...

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. D 1 6 0 5 PAPER II MUSIC Time : 1 hours] Number of Pages in this Booklet : 40 [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 / D 1605 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 / Karnatik / 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 / Karnatik / Rabindra Sangeet / Percussion 1. The tal of Karnatak Sangeet which corresponds to Hindustani Roopak tal : (A) 2. Jhampa Javli (B) Tillana (C) Padam (C) Khyal (D) All Dhamar (B) Thumri (D) Dhruva Gaan Todi (B) Sarang (C) Bhairav (D) Bhairavi Jaipur (B) Ajrada Senia (D) Kirana Giddha (D) Tappa (C) (C) Garba (B) Chaiti (C) (D) Mammat (D) Veena Who is the commentator of Sangeet Ratnakar ? (A) 8. (D) Which folk song is associated with Uttar Pradesh ? (A) 7. Roopakam Which gharana is associated with the Tansen ancestory ? (A) 6. (C) Which Raganga is important in Kanhara Anga ? (A) 5. Chapu Tal This is the oldest musical vocal form : (A) 4. (B) The composition which is used both in Vocal and Dance forms in karnatak music : (A) 3. Adi Tal Kallinath (B) Abhinav Gupta Lochan Which is the drone instrument ? (A) D 1605 Violeen (B) Sarangi (C) 2 Tanpura II S / / ( , S ) h l U -I 25 -II, -III, -IV, -V 25 (2) PART - I S / / h l 1. S L g (A) 2. (B) (C) (D) (C) (C) (D) (C) (D) (C) h (D) (C) (D) (C) (B) (D) (D) (B) (B) (B) % (A) 8. (A) 7. (D) (A) 6. L (C) (A) 5. (A) 4. (B) (A) 3. (B) S l (A) D 1605 (B) 3 P.T.O. 9. Sadarang Adarang belonged to which state ? (A) (B) Wajid Ali Shah (C) 10. Muhammad Shah Rangeele Bahadur Shah Zaffar (D) Asaffadulla Which system of classification of Ragas was prevelent in Medieval period ? (A) (B) Rag - Ragini system (C) 11. Jati Gayan Raganga system (D) Thata - Raga classification Nauhar Vani is related to : (A) 12. Dhamar (B) Dhruvapad (C) Khyal Sonal Mansingh (B) Shobhna Narain (C) Sudha Chandran (D) Hema Malini Tick the correct sequence of musicologists : (A) Matang, Dr. Premlata Sharma, Pt. V.N. Bhatkhande, Sharangadev (B) Dr. Premlata Sharma, Matang, Pt. V.N. Bhatkhande, Sharangadev (C) Matang, Sharangadev, Pt. V.N. Bhatkhande, Dr. Premlata Sharma (D) 14. Pt. V.N. Bhatkhande, Dr. Premlata Sharma, Sharangadev, Matang Which of these is not a Pakhawaj player ? (A) Bhavani Das (B) Purushottam Das (C) 15. Prabandh She is the famous Kathak dancer : (A) 13. (D) Kanthe Maharaj (D) Ayodhya Prasad Who composed Vande - Matram ? (A) (B) Sri Krishna Narain Ratanjankar (C) 16. Swami Haridas Rabindra Nath Tagore (D) Bankim Chandra Chattopaddhyay How many matras are there in Chachatput tal ? (A) 17. 6 (B) 8 (C) 10 This is used in western music : (A) Natural scale (B) Chromatic scale (C) Equally tempered scale (D) Pythagorian scale D 1605 4 (D) 12 9. (A) (B) $ (C) 10. $ (D) h (A) (B) - h (C) 11. h (D) - (A) 12. (B) (C) (D) (C) (D) (D) (D) 12 h (A) 13. (B) S (A) (B) . , , . . , X (C) , X , . . . , . (D) 14. , . , . . . X . . . , . , X , (A) 15. (B) L (C) (A) (B) c (C) 16. S (D) ^ (A) 17. 6 (B) 8 (C) 10 (A) S (B) S (C) S (D) S D 1605 5 P.T.O. 18. Match the following : List - I (a) Clef signature is used in (b) Related to Rasa (c) Associated with Khyal Gayan (d) Associated with Patiyala Gharana Code : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iii) (ii) (iv) (i) (C) (ii) (iii) (i) (iv) (D) (iv) (i) (ii) (iii) (i) (ii) (iii) (iv) List - II Bade Ghulam Ali Kishori Amonkar Pt. Raj Jagannath In western music 19. Assertion (A) : Rasa theory is followed in Indian music and each Raga has its own Rasa, but it is seen that rasa of a raga changes according to the composition of Bandhish in that particular Raga. Reason (R) : Because the different compositions of one particular Raga are being written by different musicians, therefore a particular Raga cannot be rigidly associated with one particular Rasa. (A) (A) true and (R) true (B) (A) true, (R) false (C) (A) false (R) true (D) Both (A) and (R) are false 20. Sequencing type : Mark the correct group. (A) Raganga, Kriyanga, Bhashanga, Upang (B) Raganga, Bhashanga, Kriyanga, Upang (C) Bhashanga, Kriyanga, Upang, Raganga (D) Kriyanga, Bhashanga, Upang, Raganga Para Phrasing or Linked Items : Read the passage below and tick the correct answer in each group of A, B, C, D : In Indian music, there has been an oral tradition of teaching under Guru-Shishya Parampara and various Gharanas of music evolved with a view to preserve the classical music. These Gharanas are credited for good artists but for the last more than 6 decades, the institutional music has been introduced and music has become an academic formal discipline for common students. This change has some merits and demerits of its own. The tradition of parampara has almost disintegrated giving place to some of the popular modern trends of music. Other trends like cine-music, popular music, light music, gazal, quawali, have captured the music scene and badly influenced the purity and quality of classical music. But the present generation of students feels that with all the professional channels, one cannot devote oneself in Sangeet Riyaz for 24 hours like D 1605 6 18. - II - I (a) (i) (b) (ii) (c) (iii) . (d) (iv) (A) (B) (C) (D) (a) (iv) (iii) (ii) (iv) (b) (iii) (ii) (iii) (i) (c) (ii) (iv) (i) (ii) (d) (i) (i) (iv) (iii) (A) h , , M (R) 19. m h (A) (B) (A) (R) (C) (A) (R) (D) 20. (A) (R) (A) (R) (A) , , , (B) , , , (C) , , , (D) , , , S P L c S m C 6 S l S S , , , $ , M - S D 1605 7 P.T.O. 21. Swami Haridas and Tansen, rather music curriculum should include the professional courses, so that the learners of music are well placed in the society. These professional channels may be stage - performer, musicologists, teachers, instrument repairer, music director, music for advertisement, music for therapic use and so on. Such inclusion of various courses in the Universities will increase the number of qualitative students and enable to establish the music subject at par with Arts and science subjects. Electronic and communication media has also enhanced the scope of classical music from the boundaries of Gharanas to the large audience of music learners. In this context it will be a positive step for the institutions to start distant education of music with the help of audio-visual methods. Such mode of education will survey the old Gurus of music and record their rare compositions. Such survey and documentation will enable the old Gurus to interact as well as teach the larger group of students, who are devoid of good training because of far-off places or so on. Questions : The author is primarily concerned with : (A) The growing demand in the institutional music (B) The decreasing number of students (C) For disintegration of gharanas of music (D) For the ethical upliftment of general mass 22. (A) (B) (C) (D) Professional courses will help in the development of music Music only aims at making an artist Institutional music has no contribution in the field of research Institutional music creates all artists 23. (A) (B) (C) (D) The preservation of music is only possible through Guru Shishya Parampara Only the electronic and communication media can preserve the music Gharanas have not been able to preserve music The best way to preserve the music is with the combination of Guru Shishya Parampara and Institutional music 24. (A) (B) (C) The distant education of music will propogate the music at wide nutshell No institutional music provides distant education of music The distant education of music is most beneficial to the primary level and highter level students It is not possible to share the treasure of music of the Gurus via the Distant mode of education (D) 25. (A) (B) (C) (D) D 1605 Institutional music has decreased the quality of music More and more students have started learning music The possibilities of becoming are artist became very rare Institutional music is credited for practical training as well as musicology and research oriented training 8 l , , S , , , , , . . C , l c - S - l D L S l 21. (A) (B) (C) (D) 22. (A) (B) (C) (D) 23. (A) (B) (C) (D) 24. (A) (B) (C) (D) 25. (A) (B) (C) (D) D 1605 S l # g S S L c S L c S , S S l L S l S S 9 P.T.O. PART - II HINDUSTANI MUSIC (VOCAL / INSTRUMENTAL) 26. 27. 28. 29. 30. 31. Which belongs to Jati ? (A) Amsha Swara (B) Brahad Deshi This Grantha belongs to Rajput Kal : (A) Natya Shashtra (C) Geet Govind Founder of Rasa theory : (A) Mammat (B) (B) (D) (C) Meend (D) Gamak Nardiya Shiksha Sangeet Ratnakar Abhinav Gupta (C) Bharat Bharat has mentioned this in his Natyashastra : (A) Jati Rag (B) Aesthetics (C) Komal Swar (D) (D) Dattil Rag - Gayan It is used in western music : (A) Rag Sangeet (B) Saptak (C) Chords (D) Melody The frequency of Nada depends upon : (A) Pitch (B) Magnitute (C) Timber (D) Harmonics 32. Consonance in the Swaras of scale depends upon : (A) Vibration of the String (B) Pitch (C) Frequencies of the vibrations (D) Vibrator 33. Ragas have been classified as Raga - Raginees in this Granth for the first time : (A) Sangeet Ratnakar (B) Sangeet Makarand (C) Nardiya Shiksha (D) Brahaddishi 34. Bhav, Vibhav are related to : (A) Aesthetics (B) Rasa (C) Nad 35. Which Oduv Jati Raga uses both Gandhar and Both Nishad ? (A) Desh (B) Durga (C) Jog Shruti (D) Tilang This Raga is a mixture of Miya Malhar and Sarang : (A) Jayant Malhar (B) Nat Malhar (C) Miya Ki Sarang (D) Shuddha Sarang 36. (D) D 1605 10 PART - II S ( / ) 26. (A) 27. (D) S (B) (C) (D) (B) # (C) (D) (C) S (D) - (C) (D) (D) (B) S (A) 31. (C) S (A) 30. S (A) 29. (B) (A) 28. S (B) # (A) (B) - (C) 32. c ( ) (D) # S (A) (B) S (C) 33. S (D) S S L (A) 34. (C) S (B) (C) (D) o (A) 36. (B) , (A) 35. (B) (C) (D) h (D) (A) D 1605 (B) (C) 11 P.T.O. 37. Assertion (A) : Two varieties of one note are not used in Indian music but in exceptional cases, some Ragas are prevelent as Lalit, Shuddha Sarang etc., which use variety of one note. Reason (R) : Though there is said to be dissonant interval between two varieties of one note, but the musicians have used two varieties of one note for music appeal and this use has been adopted by the musicians today. (A) Both (A) and (R) true (B) Both (A) and (R) are false (C) (A) is true but (R) is false (D) (A) false but (R) true 38. Assertion (A) : Indian classical music is mainly melody music, which cannot use harmony element, but Vrinda - Vadan and Vrinda - Gan uses Harmony element. Reason (R) : Vrinda - Vadan and Vrinda Gan can adopt Harmony element because of the Notation system and also that these forms are presented in group where the intricacies of classical music have little scope for presentation. (A) (A) true (R) false (B) (A) false (R) true (C) Both (A) and (R) true (D) Both (A) and (R) false 39. Assertion (A) : Indian music has followed the tradition of time theory of Ragas but some Ragas like Malhar, Bahar have their appeal only in Rainy season. Reason (R) : Bahar and Malhar are madhyam dominant Ragas, which represent Shringar Rasa and therefore these Ragas are most suitable to express the delicate feelings in Rainy season. (A) (A) true (R) false (B) (A) and (R) false (C) Both (A) and (R) true (D) (A) false and (R) true Sequencing type questions : In this item, the candidates have to identify the correct sequence or the chronological order of a set from A, B, C, D and mark P on the correct order. 40. Several good treaties have been written down in Indian music. Tick the P sign on the correct chronological evolution of Granthas/treaties on A B C D. (A) Brahaddeshi, Gita Govind, Natya Shashtra, Sangit Ratnakar (B) Gita Govind, Natya Shashtra, Sangit Ratnakar, Brahaddeshi (C) Natya Shashtra, Brahaddeshi, Gita Govind, Sangit Ratnakar (D) Sangit Ratnakar, Natya Shashtra, Gita Govind, Brahaddeshi D 1605 12 S 37. (A) (A) (B) (C) (D) 38. (A) (A) (B) (C) (D) 39. S l (R) l S S - (A) , (R) (A) , (R) (A) (R) (A) (R) (A) (A) (B) (C) (D) 40. S M S M , h S M (R) S M l , C m S M (A) (R) (A) (R) (A) (R) (A) (R) h , , (R) o l (A) , (R) (A) (R) (A) (R) (A) (R) (i) D 1605 o c (A) , , S , (B) , S , , (C) S , , , (D) , S , , 13 P.T.O. 41. There is a chronological sequence of the parts of Raga teaching in Indian music. Tick P on the correct one. (A) Antara, Anibaddha Alap, Sthayi, Tan, Nibaddha Alap (B) Anibaddha Alap, Sthayi, Antara, Nibaddha Alap, Tan (C) Sthayi, Tan, Anibaddha Alap, Nibaddha Alap, Antara (D) Antara, Nibaddha Alap, Tan, Sthayi, Anibaddha Alap 42. Various musical forms have been in practice in Indian music. Tick the correct group as per their chronological evolution and practice. (A) Dhruva Gan, Khyal, Dhrupad, Prabandha (B) Dhruva Gan, Prabandha, Dhrupad, Khyal (C) Dhruva Gan, Khyal, Prabandha, Dhrupad (D) Prabandha, Dhruva Gan, Dhrupad, Khyal 43. There evolved several systems of Raga classification in Indian music and still exists. Tick P the correct group of their evolution. (A) Rag - Ragini classification, Mela Rag classification, Shuddha - Chayalag - sankeerna classification, Raganga classification and that - Rag classification (B) Thata - Raga classification, Mela Rag classification, Shuddha - Chayalag Sankeerna, Raganga classification, Rag - Ragini classification (C) Mela Raga classification, Raga - Ragini classification, Shuddha - Chayalag Sankeerna classification, Raganga vargikaran, that - Raga - classification (D) Raganga vargikaran, Mela Rag vargikaran, Shuddha chayalag - Sankeeru, Thata - Raga Vargikaran, Rag - Ragini Vargikaran. 44. Matching type questions : This question consists 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 (i) Jogkauns (a) Shyam Kalyan is a mixture of these Ragas (b) Which Raga uses both Gandhar, both (ii) Kalyan - Kamod Nishad and Shuddha Madhyam (c) Which Raga uses Komal Rishabha, (iii) Madhubanti Shuddha Dhaivat, Komal Nishad and other Shuddha Swaras (d) Which Raga originates by changing komal (iv) Ahir Bhairav Rishabha - Dhaivat of Raga Multani to that of Shuddha Code : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iv) (ii) (iii) (i) (C) (ii) (i) (iv) (iii) (D) (iii) (iv) (i) (ii) D 1605 14 41. (ii) / S P (A) , h , S , , h (B) (C) , h , , S , h , P (A) , , , (B) , , , (C) 43. S , , h , h , (D) 42. h , S , , h , , , , (D) , , , h S P (A) , , h , (B) - , h- - , , (C) , , h - , , (D) , h - , - , , - I 44. - II (a) o (i) (b) , (ii) - (iii) (iv) h (c) , g , g S (d) : (A) (B) (C) (D) D 1605 - h (a) (ii) (iv) (ii) (iii) (b) (i) (ii) (i) (iv) (c) (iv) (iii) (iv) (i) (d) (iii) (i) (iii) (ii) 15 P.T.O. 45. List - I List - II (a) This is used in western music (i) Ma, Re, Re, Pa (b) This swara - combination is symbolic of Malhar Ang (ii) Major, Minor, Chord (c) These swaras are used in Shuddha Sarang (iii) N i Pa Ma Pa G a Ma Re Sa 2 2 (d) Main Raganga of Kanhara Ang (iv) 99 Sa Re Ma Ma Pa Code : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iv) (i) (iii) (ii) (C) (ii) (i) (iv) (iii) (D) (i) (ii) (iii) (iv) Para Phrasing or linked items : Read the passage below and answer the questions that follow based on your understanding of the passage by using P on the correct statement. Indian Rasa theory is parralel to Western Aesthetics. Some thinkers opine that Indian music has not dealt with aesthetics, but a study of the old texts reveal that Rigveda and other treaties have used words like Lavanya, Manoram, Kanti, Kamniya, Madhur, Charu on several places, which is adjacent to word beauty. Even Bharat has used beauty and its parallel in Natya Shastra while mentioning the merits and demerits of Vaggeykar. Ramayana also uses the word Saundarya and Kalidas and other poets have used the word Saundarya on many occasions. Indian music refers to the pleasure derived from beauty to that nearer to God. The expression of beauty helps in deriving the real pleasure of Rasa. Bharat mentions various components of Rasa Bhava, Vibhav, Anubhav, Sanchari, Alambau, Uddipan in Matya Shastra and indicated the colours, varnas and gods of Swara - Rasa in his Grantha. The other musicologists like Abhinav Gupta, Shankuk, Mahim, Dandi, Pt. Raj Jagannath and Prof. K.C. Pandey have also dealt with the Rasa theory in detail. Even the Ragas have been persouified as male - female Rag - Raginees by Narad in Sangeet Makarand on the basis of Rasa and this theory laid the basis of Rag - Ragini classification in Medieval period. Even today the traditional musicians value the male - female element of Ragas as per the Rag Ragini system. Raga - paintings and Raga Dhyanas were also forms on the basis of Rasa - theory. Pt. Somnath has dealt with Raga Dhyanas in his book Raga Vivad and classified the Rasa of each Raga in their Dhyanas. The forms of music like Dhruvapad, Dhamar, Khyal, Thumari have been associated with different Rasas and express the various moods when sung as per their Rasas. Even the melody of instruments is classified into various Rasas. D 1605 16 - I 45. - II (a) (i) (b) S (ii) , (c) h S (iii) (d) S (iv) : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iv) (i) (iii) (ii) (C) (ii) (i) (iv) (iii) (D) (i) (ii) (ii) (iv) S (Para Phrasing or Linked Items) P S h S M S , , , , , F , M S - S - S M , m - M . S M , , o , , l c c , S , , - m , , S - # r S # S , , , , S , , g , S S , , D 1605 17 P.T.O. Raga is also a vital element in expression of beauty and Rasa and the various components of a Raga like Bandish, Swara, Laya, Tempo, Atap, Sargam, Tan, contribute to the expression of pleasure of a Raga. Kaku is another vital element of Ras - theory. For deriving aesthetic feeling and Ananda - Rasa, these all factors become of inevitable importance. 46. The author is primarily concerned with : (A) (B) (A) Words like Manoram, Lavanya, Sundar have been used in Indian literature for Saundarya In Indian literature, there is no word used as parallel to Saundarya (C) No texts refers to aesthetics and Rasa in Indian literature (D) Anand is not parallel to Rasa, but Snigdh, Charu are equivalent to Rasa (A) Bharat has not dealt with the merits and demerits of Vaggeykar in his Natya Shastra (B) Natya Shastra makes a reference of Rasa theory in detail (C) Ramayan does not use word Saundarya on any occasion (D) Kalidas has also not used the word Saundarya in his text (A) Scholars have referred to the realistic and idealistic views of aesthetics (B) Aesthetics has been expressed on realistic grounds only (C) Aesthetics has been expressed on idealistic grounds only (D) The pleasure derived from beauty has not been associated to that of Almighty (A) Raga Paintings, Raga Dhyanas and Rag - Ragini classification have been formed on the basis of rasas (B) No Rag has been associated with any Rasa in Raga Mala paintings (C) Rasa has no place in Indian music (D) 50. Much has been written on aesthetics in Indian music and not on Rasa (B) 49. Several treaties have been written an aesthetics in Indian music (D) 48. The mention of Saundarya and its parallel words have been always found in Indian texts from vedic yug (C) 47. There is no reference of beauty in Indian music Ragas have no identity in Aesthetics and Rasa in Indian music D 1605 18 #, , , , , . , . . . m - M L S M , g S M - 46. S (A) (B) (A) , , M (C) (D) M , S L M (A) S - (B) S h (C) M (D) (A) S M m (B) S (C) (D) # r (A) - , (B) (C) S (D) 50. S S (B) 49. S (D) 48. M (C) 47. S D 1605 19 P.T.O. PART - III Karnatik Music (Vocal, Instrumental, Percussion) 26. Sarasa samadhana in Kapi Narayani is a : (A) 27. Tridhatu Prabandha (B) Kriti (C) Padam (D) Sadasiva Brahmendra is the composer of : (A) Tera Teyaga rada (B) Guruleka yetuvanti (C) 28. Manasa saneare (D) Aparadhamulu A kriti with svaras and jatis : (A) Durusuga kripa juci (B) Sobhillu sapta svara (C) 29. Shankari neive (D) Sri Mahaganapatira Anuloma in a pallavi is the change in speed in : (A) 30. Sahitya (B) Tala (C) Both the above (D) None of the above two Not a Tana Varnam : (A) Manasime paritapam (B) Sarasya Mukhi (C) 31. Kankangi (D) Jalajakshi Timila is a : (A) Wind instrument (B) Percussion (C) 32. Stringed (D) None of the above (C) Madhurai Musical stone pillars can be found in : (A) 33. Suchindram (B) Humphi Tala dasa pranas include : (A) 34. Divyanamam Prastara (B) Yati (C) Jati (D) All the above (D) All the above A leading musician who is disciple of Musiri : (A) M. Balamurali Krishna (B) T.K. Govindarao (C) Umayalpuram Swaraman (D) K.S. Narayanaswamy D 1605 20 PART - III ( , ) 26. (A) 27. (B) M (C) (D) L (B) # S (C) (D) (B) (B) S (C) (B) l (C) l (D) (C) (D) (D) l (B) (C) (D) (B) (C) (D) (A) 34. S S (A) 33. (D) (A) 32. (A) 31. (C) (A) 30. S (A) 29. (B) (A) 28. S c (A) c (B) (C) (D) S D 1605 21 P.T.O. 35. Tauratrikam is a term defined for sangita in : (A) (B) Svaramela Kalanidhi (C) 36. Natya Shastra Chaturdandi Prakasika (D) Sangita Ratnakara The Tanjore model vina has : (A) 37. 22 frets (B) 23 frets (C) 24 frets (D) None of the above Ullasita is a : (A) (B) Sulaadi Tala (C) 38. Dasa prana Gamaka (D) None of the above Jalatarangam is also known as : (A) (B) Udaka vadyam (C) 39. Jalavadyam Villu vadyam (D) None of the above Kudumiyamalai inscription is found in : (A) 40. Tanjore (B) Thiruvaroor (C) Kumbhakonam Chidambaram temple of Nataraja is famous for : (A) Musical stone pillars (B) Avanadha vadyas (C) 41. 108 Karnas (D) 32 Angaharas Panchavadyam is an important ensemble of : (A) Tamil nadu (B) Andhra Pradesh (C) 42. (D) Karnataka (D) Kerala Match the following : List - I List - II (a) Geya Natakas (i) Opera (b) Kutapas (ii) Narayana Tirthar (c) Tarangam (iii) Musical accompaniment (d) Yakshagana (iv) Dance drama Code : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (ii) (i) D 1605 22 Pudukottai 35. (A) (B) S (C) 36. K S (D) (A) 37. (C) 24 (D) (B) (C) (D) l l (C) l (D) (C) (D) (B) (A) 40. 23 (A) 39. (B) (A) 38. 22 (B) L M (A) (B) l (C) 41. S 108 (D) 32 l l (A) 42. (B) (C) (D) - II - I (a) (i) (b) (ii) (c) (iii) (d) (iv) (A) (B) (C) (D) D 1605 : (a) (b) (c) (d) (i) (iii) (ii) (iv) (iii) (ii) (i) (iii) (ii) (i) (iii) (ii) (iv) (iv) (iv) (i) 23 P.T.O. 43. 45. 46. (c) (iii) (ii) (ii) (d) (i) (iv) (iii) (D) 44. Match the following : List - I (a) Gottuvadyam (b) Samvaada daru (c) Vipralambha (d) Tana Varnam Code : (a) (b) (A) (iv) (ii) (B) (i) (iii) (C) (iv) (i) (i) (iv) (iii) (ii) (i) (ii) (iii) (iv) Match the following : List - I (a) Indu (b) Kovur Pancharatnam (c) Jiva Svara (d) Periya melom Code : (a) (b) (c) (A) (iv) (i) (ii) (B) (iii) (ii) (iv) (C) (ii) (i) (iii) (D) (iii) (iv) (i) (i) (ii) (iii) (iv) List - II Syama Shastri Svati Thirunal Tyagaraja Muttuswami Dikshitar (i) (ii) (iii) (iv) Match the following : List - I (a) Navaratna malika (b) Panchalinga sthala kritis (c) Navaratri kritis (d) Nowka Charitam Code : (a) (b) (c) (d) (A) (iii) (ii) (iv) (i) (B) (i) (iv) (ii) (iii) (C) (ii) (iv) (iii) (i) (D) (iii) (iv) (ii) (i) List - II Musical dialogue Sambhoga Vena Kuppayar Stringed ins List - II Samudaya kritis Raga chaya svaras Nagasvaram Netra (d) (iii) (i) (iv) (ii) Assertion and Reasoning : Assertion (A) : There is no place for sangatis in folk music. Reasoning (R) : It is primarily meant for entertainment of masses. (A) Both (A) and (R) are true (B) (A) is false, (R) is true (C) (A) is true but (R) is false (D) Both (A) and (R) are false D 1605 24 43. - I (a) (b) (c) (d) l L : (A) (B) (C) (D) 44. - II (a) (iv) (i) (iv) (iii) (i) (ii) (iii) (iv) (b) (ii) (iii) (i) (ii) (c) (iii) (ii) (ii) (i) (d) (i) (iv) (iii) (iv) - I (a) (b) (c) (d) - II S : (A) (B) (C) (D) 45. (a) (iii) (i) (ii) (iii) (b) (ii) (iv) (iv) (iv) (i) (ii) (iii) (iv) (c) (iv) (ii) (iii) (ii) S S L S (d) (i) (iii) (i) (i) - I (a) (b) (c) (d) - II S : (A) (B) (C) (D) 46. l (a) (iv) (iii) (ii) (iii) (i) (ii) (iii) (iv) (b) (i) (ii) (i) (iv) (c) (ii) (iv) (iii) (i) S S (d) (iii) (i) (iv) (ii) (A) : (B) : (A) (C) D 1605 (A) (B) (B) (A) (B) (A) (B) (D) (A) (B) 25 P.T.O. 47. Assertion and Reasoning : Assertion (A) : The Yazh with guts slowly made an exist. Reasoning (R) : The Tanjore vina made possible the production of subtte graces and decliate tonal shades. (A) (B) (A) is true, (R) is false (C) Both (A) and (R) are true (D) 48. (A) is false, (R) is true Both (A) and (R) are false Sequencing type : Write the correct sequence of the following texts in order of their origin : (A) (B) Brihaddesi, Naradi siksha, Dattilam, Sangita samayasara (C) Naradi siksha, Dattilam, Brihaddesi, Sangita samayasara (D) 49. Sangita samayasara, Dattilam, Naradi siksha, Brihaddesi Sangita samayasara, Dattilam, Naradi siksha, Brihaddesi Arrange the following in order of the 72 melakarta scheme. Use the code given below : (i) Kantamani (ii) Latangi (iii) Rishabhapriya (iv) Vachaspati Code : (A) (iii), (ii), (iv) (B) (ii), (iii), (i), (iv) (C) (iv), (i), (ii), (D) 50. (i), (iii), (ii), (iv), (i) (iii) Arrange the following in order of the chronology of sandhis. Use the code given below : (i) Indra (ii) Bramha (iii) Vayu (iv) Kubera Code : (A) (i), (iii), (ii), (B) (ii), (i), (C) (iv), (iii), (i), (ii) (D) (iii), (i), (iv) D 1605 (iv) (iii), (iv) (ii), 26 47. (A) : # (B) : M (A) (B) (A) (B) (C) (A) (B) (D) 48. (A) (B) (A) (B) (A) (B) , , , (C) , , , (D) 49. , , , , , , 72 (i) (ii) (iii) (iv) S (A) (B) (C) (D) 50. (i), (ii), (iv), (iii), (iii), (iii), (i), (ii), (ii), (i), (ii), (iv), (iv) (iv) (iii) (i) (i) (ii) r (iii) (iv) (A) (B) (C) (D) D 1605 (i), (ii), (iv), (iii), (iii), (i), (iii), (i), (ii), (iii), (i), (ii), (iv) (iv) (ii) (iv) 27 P.T.O. PART - IV RABINDRA SANGEET 26. Janaganamana was composed by Rabindranath Tagore in the year : (A) 27. (C) 1911 (C) Bengali (B) Hindi (C) Sanskrit 1861 - 1941 (B) 1860 - 1940 (C) qr Th trr (B) (D) Sangit O Bhav 1705 - 1800 Sangiter Mukti Rabindranath Tagore (B) Herbert Spencer Edmund Spencer (D) Arnold Bake Identify the raga of the song Satyamangalapremamaya tumi : Yaman - Kalyan (B) Behag (C) Khamaj (D) Chhayanat The book Sur O Sangati is co-authored by Rabindranath and : (A) Alain Danielou (C) Maharshi Debendranath Tagore (D) (B) Dhurjatiprasad Mukhopadhyay Santideb Ghosh The girl by the name Prakriti is the heroine of Rabindranath s dance - drama : (A) 34. (D) The famous essay The Origin and Function of Music is written by : (A) 33. Maithili Sangit O Kabita (C) 32. 1941 (D) 1920 - 1980 (A) 31. (D) Rabindranath Tagore s first lecture - demonstration on music is titled : (A) 30. 1905 Rabindranath Tagore s life-span is between the years : (A) 29. (B) The language of the lyrics of Rabindranath s Bhanusinher Padavali is : (A) 28. 1899 Chandalika (B) Chitrangada (C) Shyama (D) Identify the raga and tala of the song Vina bajao he mama antare : (A) Purvi , Dhamar (B) Malkaunsh , Chautal (C) Bhairavi , Jhamptal (D) Tilang , Trital D 1605 28 Mayar Khela PART - IV 26. m (A) 27. (A) 28. (B) (B) 1905 (C) 1911 (D) 1941 (C) S (D) (C) 1920-1980 (D) 1705-1800 (A) 29. 1899 1861-1941 (B) 1860-1940 S (A) (B) - - (C) 30. - - (D) h (A) 31. (A) 32. (B) S (C) S (D) (C) (D) (D) (B) - - S (A) (B) (C) 33. (D) (A) 34. (B) (C) (A) , (B) , (C) , (D) , D 1605 29 P.T.O. 35. The title of Rabindranath s Hibbert Lecture in Oxford is : (A) (B) The Religion of Man (C) 36. Personality The Crisis of Civilization (D) Creative Unity The song Dh i re bandhu dh i re sung by the blind Baul in the drama Phalguni has in its time : (A) 37. 5 notes (B) 6 notes (C) 7 notes Santiniketan (B) Sriniketan (C) Dhara Bhashan (D) Prarthana The song Amare Karo tomar bina in Khamaj , Ektal belongs to the thematic category (Paryay) called : (A) 39. All the 12 notes The title of the anthology of Rabindranath s congregation addresses is : (A) 38. (D) 3 MD (B) Prem (C) Prakriti (D) Swadesh Which one is the first song of the Puja category ? (A) (B) Kanna-hasir doldolano (C) 4 0. Tumi keman karo gan karo he guni Nrityer tale tale (D) F q u r Rabindranath derived the theme of his song Tumi amader Pita (Thou art our Father) from : (A) (B) The Mahabharata (C) 41. Sukla Yajur veda The Gita (D) Manu Samhita The tune of the song Amar sonar Bangla is : (A) 42. Kirtan (B) Baul (C) Tori (D) Jhumur (C) Dadra (D) Yat The song Prathama adi taba shakti is set to : (A) D 1605 Surphakta (B) Tivra 30 35. (A) (B) (C) 36. $ (D) (A) 37. (B) 6 S (C) 7 S (D) 12 S (B) (C) (D) h M (A) 39. 5 S (A) 38. m (B) (C) (B) (C) (D) (A) 41. (B) (C) (D) (C) (D) (C) (D) (A) 42. S (A) 40. (D) (B) h (A) D 1605 (B) 31 P.T.O. 43. Rabindranath won the Nobel Prize for his book : (A) (B) The Gitanjali in Bengali (C) 44. The Gitanjali in English Gora (D) Chitra Rabindranath dedicated his drama Taser Desh to : (A) (B) Netaji Subhash Chandra Basu (C) 45. Pandit Vishnu Narayan Bhatkhande Kazi Nazrul Islam (D) Kantakabi Rajani Kanta Sen In which essay did Rabindranath mention the reference of Matthew Arnold s poem An Epilogue to Lessing s Laocoon ? (A) 46. Katha O Sur (B) Sangit O Kabita (C) Sanchay Albert Einstein (B) Romain Rolland (C) Dilip Kumar Ray (D) A.K. Coomaraswamy Rabindranath s first Gitinatya (music - drama) Valmiki - Pratibha was first staged in Jora - Sanko Tagore - Palace in the year : (A) 48. 1881 (B) 1880 1882 (D) 1879 Amar paner pare chole gelo ke (B) He nirupama (C) Sahasa dalpala tor (D) Baje karun sure Arup Ratan is a bit shortened form of the drama : (A) 50. (C) All the twelve notes are artistically used by Rabindranath in his song : (A) 49. Dharma Alap - Alochana is Rabindranath s dialogue with : (A) 47. (D) Raja (B) Visarjan (C) Rather Rashi (D) Goday galad Rabindranath composed the song Jwal jwal chita dwigun dwigun when his age was just : (A) D 1605 10 years (B) 14 years (C) 32 25 years (D) 62 years 43. S (A) 44. $ (B) (C) (A) . c (B) (C) 45. $ M S (D) (A) 46. - - (B) - - (C) (B) (C) (D) . . S - - S (A) 48. 1881 (B) 1880 (C) 1882 (B) 1879 M (C) (D) M # S M ? (A) 50. (D) m S M (A) 49. (D) - (A) 47. (D) (B) (C) (D) m m (A) D 1605 10 (B) 14 (C) 33 25 (D) 62 P.T.O. PART - V PERCUSSION 26. 27. 28. Brahmtaal is consists of : (A) 22 Matras (B) 24 Matras (C) 26 Matras (D) Panav is a : (A) Tal Vadya (C) Sushir Vadya (B) (D) Avanaddha Vadya Ghan Vadya Ada - Chautal has : (A) Four talies and two khalies (C) Three talies and three khalies (B) (D) 28 Matras Four talies and three khalies Four talies and four khalies 29. Tabla player Ustad Maseet Khan belongs to : (A) Delhi gharana (B) Ajarada gharana (C) Benaras gharana (D) Farrukhabad gharana 30. Ustad Hazi Vilayat ali is the founder of : (A) Farrukhabad gharana (B) (C) Delhi gharana (D) 31. How many matras are these in Rudra taal ? (A) 9 (B) 10 (C) 32. The (i) (ii) (iii) (iv) (A) (B) (C) (D) 33. Pandit Nikhil Ghosh was honoured by : (A) Padmashree (B) (C) Padma Vibhushan (D) 34. Banaras gharana Punjab gharana (D) 12 (D) Chautaal sequence of appearance of these musicologist : Sharangedeo Bharat Bhatkhande Matang (i), (ii), (iii), (iv) (ii), (i), (iv), (iii) (ii), (iv), (i), (iii) (iv), (ii), (i), (iii) Padma Bhushan None of these Talies fall on first, third and eighth matra in : (A) Tritaal (B) Ektaal (C) D 1605 11 34 Jhaptaal PART - V l 26. r (A) 27. (B) 24 (C) 26 (D) 28 h l (C) l (D) l _________ l (A) 28. 22 l (B) (A) (B) (C) 29. (D) S ? (A) 30. (B) (C) L (B) (C) (D) M ? (A) 32. 9 (B) 10 (C) 11 12 (D) X (ii) (iii) (iv) (A) (B) (C) (D) (i), (ii), (ii), (iv), (ii), (i), (iv), (ii), (iii), (iv), (i), (i), (iv) (iii) (iii) (iii) (A) k (B) k (C) 34. (D) S (i) 33. L S $ S ? (A) 31. (D) k (D) , (A) D 1605 (B) (C) 35 P.T.O. 35. 36. How many Deshi talas are described by Sharangdeo ? (A) 108 (B) 110 (C) 115 (D) 120 Which of these is not an Avanaddha Vadya ? (A) Daff (B) Damaru (C) (D) Nakkara Kartaal 37. Pandit Ramshankar Das was popularly known as : (A) Pakhawaj Das (B) Pagal Das (C) Mridang Shiromani (D) Pagala Maharaj 38. Match the following : List - I (a) Karamatullah Khan (b) Raja Chhatrapati Singh (c) Umayalpuram Shivaraman (d) Bafati Khan Code : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iv) (i) (ii) (iii) (C) (iii) (iv) (ii) (i) (D) (iii) (iv) (i) (ii) 39. Assertion (A) Reason (R) (A) (B) (C) (D) 40. 41. 42. (i) (ii) (iii) (iv) List - II Dholak Mridangam Tabla Pakhawaj : : The highest elaboration is possible of Peshkar. Because the syllables other than the original composition can also be used in it. (A) is true but (R) is false (A) is false but (R) is true Both (A) and (R) are false Both (A) and (R) are true The syahi of Tabla is made of : (A) Powder of coal (C) Powder of iron - ore (B) (D) Powder of wood None of them The number of Marg taalas described in Natyashastra is : (A) 4 (B) 5 (C) 6 (D) 7 (D) 5 7 Layakari of Sawagun means : (A) D 1605 4 5 (B) 3 5 (C) 36 5 4 35. X ? (A) 36. 110 (C) 115 (D) 120 (B) (C) (D) P (C) M (D) (A) 38. (B) l ? (A) 37. 108 (B) (a) (i) (b) (ii) (c) (iii) (d) $ (iv) : (a) (iv) (iv) (iii) (iii) (A) (B) (C) (D) 39. (A) : (R) : (b) (iii) (i) (iv) (iv) (c) (ii) (ii) (ii) (i) (d) (i) (iii) (i) (ii) S S (A) (B) (A) (R) (C) (A) (R) (D) 40. (A) (R) (A) (R) S (A) (B) (C) 41. (D) S (A) 42. 4 (B) 5 (C) 6 (D) 7 3 5 (C) 5 4 (D) 5 7 (A) D 1605 4 5 (B) 37 P.T.O. 43. 44. 45. 46. Chautaal taal is mainly accompanied with : (A) Dhrupad (B) Dhamar (C) Thumari (D) Khayal Main Taalas of present karnatak music are : (A) 5 (B) 6 (C) 7 (D) 8 Match the following : List - I (a) Gamee Khan (b) Zakir Hussain (c) Swapan Chaudhary (d) Sabir Khan Code : (a) (b) (c) (A) (i) (iii) (iv) (B) (ii) (i) (iv) (C) (iv) (iii) (ii) (D) (iv) (i) (ii) (i) (ii) (iii) (iv) List - II Farrukhabad gharana Lucknow gharana Punjab gharana Delhi gharana (d) (ii) (iii) (i) (iii) The author of Bhartiya Sangeet Vadya is : (A) Acharya Brihaspati (B) (C) Lalmani Mishra (D) B.C. Deva V.N. Bhatkhande 47. Name of the book, which is written by Dr. A.K. Sen, is : (A) Bhartiya Ragon ka shastriya Vivechan (B) Bhartiya Talon ka Adhyayan (C) Bhartiya Talon ka Saundaryatmak Vivechan (D) Bhartiya Talon ka Shastriya Vivechan 48. Ustad Gamee Khan belongs to : (A) Delhi gharana (C) Ajarada gharana 49. 50. (B) (D) Punjab gharana Lucknow gharana __________ gharana is known for Quaidas of Adi laya : (A) Lucknow (B) Delhi (C) Ajarada Shikher taal consists of : (A) 15 Matras (B) 16 Matras (C) -oOoD 1605 38 17 Matras (D) Kudau Singh (D) 18 Matras 43. M (A) (B) (C) 44. (D) $ (A) 45. 5 (B) 6 (C) 7 (i) L (b) $ (ii) (c) S (iii) (d) (iv) : (A) (B) (C) (D) (a) (i) (ii) (iv) (iv) (b) (iii) (i) (iii) (i) (c) (iv) (iv) (ii) (ii) (d) (ii) (iii) (i) (iii) l S (A) S (B) . . (C) 47. o (D) . . . . . m S (A) S (B) (C) 48. (D) S S $ (A) (B) (C) 49. (D) h (A) (B) (C) 50. 8 (a) 46. (D) $ (D) (A) 15 (B) 16 (C) 17 (D) 18 -oOoD 1605 39 P.T.O. Space For Rough Work D 1605 40

Formatting page ...

Additional Info : Ugc Net December 2005 Question Paper -Music ( Paper II )
Tags : cbse ugc net question papers, UGC NET Solved Sample Question Paper, UGC NET Exam Papers, ugc net past question papers, ugc net syllabus, ugc net specimen, ugc net study material, UGC NET Study Materials FREE, UGC NET Exam Pattern, Free Ugc Net Online Practice Tests, ugc net previous question papers, central board of secondary education,

ugc_net chat

Horizontal lines at:
Guest Horizontal lines at:
AutoRM Data:
Box geometries: