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UGC NET DEC 2009 : MUSIC PAPER III

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Signature and Name of Invigilator Roll No. 1. (Signature) __________________________ (In figures as per admission card) (Name) ____________________________ 2. (Signature) __________________________ Roll N o.____________________________ (In words) (Name) ____________________________ Test Booklet No. D-1609 Time : 2 1/2 hours] PAPER-III MUSIC Number of Pages in this Booklet : 40 Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. Answer to short answer/essay type questions are to be given in the space provided below each question or after the questions in the Test Booklet itself. No Additional Sheets are to be used. 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) 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. 4. Read instructions given inside carefully. 5. One page is attached for Rough Work at the end of the booklet before the Evaluation Sheet. 6. If you write your name or put any mark on any part of the Answer Sheet, except for the space allotted for the relevant entries, which may disclose your identity, you will render yourself liable to disqualification. 7. You have to return the test booklet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 8. Use only Blue/Black Ball point pen. 9. Use of any calculator or log table etc., is prohibited. D-1609 [Maximum Marks : 200 Number of Questions in this Booklet : 26 1. 2. , 3. , - - : (i) - - (ii) - / - - 4. 5. - (Rough Work) 6. - , 7. - 8. / 9. ( ) P.T.O. FOR OFFICE USE ONLY Marks Obtained Marks Obtained Question Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 Total Marks Obtained (in words) ........................................... (in figures) .......................................... Signature & Name of the Coordinator ................................... (Evaluation) D-1609 Date ......................... 40 MUSIC PAPER III III Note : This paper is of two hundred (200) marks containing four (4) sections. Candidates are required to attempt the questions contained in these sections according to the detailed instructions given therein. : (200) (4) D-1609 2 SECTION I I Note : This section contains five (5) questions based on the following paragraph. Each question should be answered in about thirty (30) words and each carries five (5) marks. (5 5 = 25 Marks) : (5) (30) (5) (5 5 = 25 ) Hindustani Sangeet is based on Raga Sangeet and all the elements of music are developed on the basis of Raga. The elements of Rag were evolved and developed in Vedic yug if we analyse the seven Swaras of Samgan, their singing style, and stotradi etc. But the development of Raga into pure classical form has occurred after Bharat. Matanga has analysed the characteristics of Ragas in Brahadeshi Grantha and defined a Raga by saying that Raga is evolved out of Jati. We also get references of Raga in Mahakavya, Shiksha Grantha, and Puran etc. after Vedic Yug. By the 12th century Ragas and Prabandhas used in Ragas were fully developed and by the period of Ratnakar, one domain of Rag Gayan is finished. In the Court of Allauddin Khilji, Ameer Khusro used and experimented the new form of Ragas and created many new Ragas by a mixture of Persian and Hindustani Ragas. After that Sultan Hussain Sharki of Jaunpur created many new Ragas. We mean to say that though tradition of Raga is old and very rich, but there has been a continuous change in the form of Ragas in accordance with the taste and temperament of people. In ancient music Dhruva in Rag-Gayan, use of old texts, Prabandha Gayan, then in medieval period Dhrupad, and then various forms of Khyal Gayan like Thumri, Chaturang, Sadra etc. were developed. The same tradition of Ragas are being practised and followed in present day music also. But the change in the taste of people is natural from ancient to present times. The form of Ragas prevalent 200 years ago does not exist at present. Also many Ragas which were popular in the period of Matanga were vanished by the time of Sarangadeva. The Ragas of Sarangadev like Bhairav, Varati, Gurjari, Basant, Dhannasi, Deshi, Bhairavi, Lalita, Mallar, Velavali etc. have a changed form in present day music. The different form of these Ragas from Sarangdev to present provides us the changing pattern of Ragas in absence of notation system. Raga chitra and Raga Dhyan also denote the old form of Ragas. Some South Indian Ragas have been adopted in Northern music and some old Ragas have been vanished and few Ragas like Jog, Marubihag and Jogkauns have become very popular. Today we do not find the purity of Gharanas in one Raga because of the mixture of various Gharanas in music. There is a difference in Swaras of Ragas. In fact Aroh, Avaroh, Pakad, Vadi, Sambadi, Swar combinations of a particular Raga show the rules and purity of Ragas. What we mean to say is that in this changing phase of music, teachers have to give training to their pupils by keeping in view the changing pattern as well as the purity of Ragas both. , , D-1609 3 P.T.O. , , , - 15 - , , , , , - , , , , , , , , , , , , , , , , , 1. What is the significance of Raga Sangeet in Music ? ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 4 2. In which period the development of the classical form of Ragas started and when did this development reached its full bloom ? ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 3. Describe the musical contribution of Ameer Khusro. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 5 P.T.O. 4. What changes occurred from Prachin Gayan, Rag Gayan of Medieval Period to the form of Ragas in modern period ? What is the reason of this changing pattern of Ragas ? , ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 5. Discuss the duties of a music teacher in imparting music education in the institutional system of music. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 6 SECTION II II Note : This section contains fifteen (15) questions, each to be answered in about thirty (30) words. Each question carries five (5) marks. (15 5 = 75 Marks) : - (5-5) (15) (30) (15 5 = 75 ) 6. How the timbre or quality of Nada is related to overtones ? Explain. (overtones) ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 7. Define Varna and explain the various kinds of Varna. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 7 P.T.O. 8. What is meant by Gati-Bhed and Jati-Bhed ? Clarify the same by giving few examples. - - ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 9. Describe in brief the key signature and time signature of Western Music. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 8 10. Express your views on the importance and utility of Shadaj-Pancham and Shadaj Madhyam Bhava and their role in deciding Vadi-Sambadi Swara in a Raga. - - _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 11. What is an interval ? Explain the various intervals of a scale in brief. ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 9 P.T.O. 12. Discuss the merits and demerits of Tempered Scale. - _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 13. Show the significance of folk music in rituals and various festivals. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 10 14. Discuss the importance and objectives of higher education with special reference to music education. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 15. What is the similarity between Aesthetics and Rasa ? Also explain the kinds of Rasa in brief. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 11 P.T.O. 16. Explain the chronological establishment of twelve swaras of modern music on twenty two shruties in brief. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 17. Explain some of the kinds of Rabindra Sangeet. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 12 18. What is the place of Sangatis and Vakra swaras in the Raga ? State some examples. ? _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 19. Show the importance of Sarang Ang in the varieties of Kanhara and state few examples by Ragas. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 13 P.T.O. 20. Write the chief characteristics of any two Ragas from the following : Kalingara, Poorvi, Shree, Asavari, Ahiri, Dhanyasi. 2 : , , , , , _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ SECTION III III Note : This section contains five (5) questions from each of the electives/specializations. The candidate has to choose only one elective/specialization and answer all the five questions from it. Each question carries twelve (12) marks and is to be answered in about two hundred (200) words. (5 12 = 60 marks) : / (5) / (12) (200) (5 12 = 60 ) D-1609 14 ELECTIVE I I (Hindustani Music Vocal and Instrumental) ( - ) 21. The general objective of research is the advancement of knowledge. In this context, what should be the research methodology ? Write. , ? 22. Presentation of Rag is a piece of art and all the aesthetical concepts of Indian music are included in it. Justify this statement. 23. The folk music preserves the history of our traditions and values. Justify this statement. 24. The origin and development of all the Gharanas have been under the Royal Patronage. Describe and also write why some of the Gharanas were less in practice, while other gharanas became more popular. , 25. What do you understand by interdisciplinary approach in music teaching ? Also write that which subjects have possibility of such an approach with music teaching. Explain in detail. ( ) ? - ? OR / D-1609 15 P.T.O. ELECTIVE II II (Karnataka Music Vocal, Instrumental and Percussion) ( , ) 21. Analyse the Navagraha Kritis of Muttuswamy Dikshitar. 22. Describe the folk music of your region highlighting the classical elements in it. 23. Explain the different parts of structure of Mridanga of Karnatak Music. 24. Give an account of the contribution of Prof. P. Sambamurthy to music field as a musicologist. , . . 25. Raga-Tana-Pallavi is the epitome of a musician s technical and creative abilities. Justify. - - OR / D-1609 16 ELECTIVE III III (Rabindra Sangeet) ( ) 21. Write the akarmatrik notation of the sthayee of the song and explain its devotional flavour. 22. Find out the song (Rabindra Sangeet) set to Pancham Sawari tal. Write down its distribution of beats (matra-bibhag) of this tal. State your note of appreciation for such a tal used by Rabindranath. 23. The detailed exhibitionism of Chhayanat is not an art. Explain with reference to the context. - 24. To whom did Rabindranath dedicate his work Phalguni ? What was his contribution to the world of Rabindra Sangeet ? ? ? 25. Who was Alain Danielou ? What did he do for the cause of Indian music including Rabindra Sangeet ? ? ? OR / D-1609 17 P.T.O. ELECTIVE IV IV (Percussion Instruments) ( - ) 21. Name the main styles (BAJ) of Tabla/Pakhawaj and describe in detail any one of them with examples. / 22. Explain the merits and demerits of a Tabla/Pakhawaj player. / - 23. Write in Notation one Quada of Aadi-Laya and render 5 palats and one Tihai. 5 24. Write about right procedure of Solo-Playing of Tabla/Pakhawaj and describe such an artist of National repute. / - 25. Write in Notation Taal Jhumara in Aadi-Laya, and Quadi-Laya. _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-1609 18 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SECTION IV IV Note : This section consists of one essay type question of forty (40) marks to be answered in about one thousand (1000) words on any one of the following topics. (1 40 = 40 Marks) : (40) , (1000) (1 40 = 40 ) 26. Express your views on the utility of modern trends of music like Music direction, Composer, Orchestra, Brinda-Gan, Musicology, Folk music, Music criticism, manufacturing of music instruments etc., after Independence. , , , , , , , OR/ Express your views on the industrialization of music. OR/ Music is not only a means of spiritual attainment or entertainment, but it has its therapic usage also. 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Additional Info : Ugc Net December 2009 Question Paper -Music ( Paper III )
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