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UGC NET DEC 2006 : MUSIC PAPER II

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Signature and Name of Invigilator Answer Sheet No. : ...................................................... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) Roll No. 2. (Signature) (In words) (Name) Test Booklet No. D 1 6 0 6 PAPER II MUSIC Time : 1 hours] Number of Pages in this Booklet : 48 Number of Questions in this Booklet : 50 Instructions for the Candidates 1. U DU U S U U U U 2. - 3. U U U, - S U U U - S U (i) - S U U U U S U U- U S S U U (ii) U DU U U U - S DU U U U U U U S DU / U U U U U S S U U U U U S U U - S U U - S U UQ (iii) - S R U- U U U U U- R - S U U 4. U U (A), (B), (C) (D) U U U U U A B C D (C) U 5. U U I U U- U U U U S U U U , U 6. U U 7. (Rough Work) S DU U U 8. U- S U , U U U U 9. U # U U- S U U U U U # U U U 10. / U Z U S U 11. U ( U U) U U 12. U U This paper consists of fifty multiple-choice type of questions. 3. U 1. Write your roll number in the space provided on the top of this page. 2. 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) 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) 4. 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) After this verification is over, the Serial No. of the booklet should be entered in the Answer-sheets and the Serial No. of Answer Sheet should be entered on this Booklet. Each item has four alternative responses marked (A), (B), (C) and (D). You have to darken the oval as indicated below on the correct response against each item. Example : A B C 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. 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. [Maximum Marks : 100 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. See Page No. 2 and 3 for Special Instructions / c 2 3 D 1606 1 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. Who was the author of Chaturdandiprakashika ? (A) Ramamatya (B) Vyankatmakhi (C) Pundarik Vitthal (D) Chatur Pandit 2. For which dance Samukta Panigrahi is famous ? (A) Manipuri (B) Oddissi (C) Kathak (D) Bharat Natyam 3. What is Samuad ? (A) To speak together (C) Similar faces 4. (B) (D) Consonant notes Similar sound Name the Hindustani Tala alike Karnataka Aditala ? (A) Kaharva (B) Tilwada (C) Teental 5. How many banies were there in Dhruvapada ? (A) Two (B) Three (C) Jhumra (D) Five Who is the author of Srimallakshya Sangeetam ? (A) Raja Nawab Ali (B) Bhattchande (C) V.D. Valuskar (D) Brihaspati 6. (D) 7. Four Who is the author of the Univeral History of Music ? (A) S.M. Tagore (B) Rabindra Nath Tagore (C) Kshetramohan Goswami (D) Krishna Dhan Banerjee D 1606 2 II S / / ( , S ) h l U -I 25 -II, -III, -IV, -V 25 (2) PART - I S / / h l 1. 2. 3. 4. 5. 6. 7. ? (A) (B) (C) _ (D) h ? (A) (B) (C) (D) K S (A) (B) (C) (D) ? (A) (B) (C) . . S (D) S ? (A) (B) (C) (D) ? (A) (C) (B) (D) S S $ ? (A) . . (B) (C) S (D) c D 1606 3 P.T.O. 8. Sankeerna Jathi Ata tala takes ____________ counts. (A) 9. 20 (B) 22 (C) 14 Purandara Dasa (B) Swati Tirunal (D) Name of the equivalent Karnatic raga of Malkauns : Hindolam (B) Bhairavi (C) Sudhasaveri (D) Sree Ranjini Name of the Hindustani Komal Rishabh in Karnatic Music : (A) Sudha Rishabham (B) Sadharana Rishabham (C) Shadsruti Rishabham (D) Chatusruti Rishabham Rabindranath Tagore received the Nobel Prize : (A) 13. 1886 (B) 1913 (C) 1924 Which of the following songs was Mahatma Gandhi s favourite ? (A) Amar Sonar Bangla (B) Banglar Mati Banglar Jal (C) 14. Mana Mor Megher Sangi (D) Jadi Tor D ak Shune Keu . Match the following and pick up the right choice : (a) Tagore s father (i) Abanindranath Tagore (b) Tagore s brother (ii) Jyotirindranath Tagore (c) Tagore s son (iii) Debendranath Tagore (d) Tagore s nephew (iv) Rathindranath Tagore Code : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (iv) (i) (C) (iv) (iii) (ii) (i) (D) 15. 1945 Jayadeva (A) 12. (D) Shyama Sastri (C) 11. 27 Who is one of the Musical Trinitics ? (A) 10. (D) (i) (iv) (ii) (iii) Who mastered both Tabla and Pakhawaj ? (A) Pagaldas (B) Prem Vallabh (C) Purushottam Das (D) Preetam Pakhwaji D 1606 4 8. (A) 9. 10. 20 ____________ (B) 22 (C) 14 (D) 27 ? (A) (B) S (C) S L (D) ? (A) (B) (C) h (D) (D) 1945 11. S ? (A) h (B) (C) (D) 12. S # (A) 1886 (B) 1913 (C) 1924 13. - ? (A) (B) (C) (D) 14. (a) (i) (b) (ii) (c) (iii) (d) (iv) (A) (B) (C) (D) 15. (a) (ii) (iii) (iv) (i) (b) (i) (ii) (iii) (iv) (c) (iii) (iv) (ii) (ii) (d) (iv) (i) (i) (iii) ? (A) (B) (C) L (D) D 1606 5 P.T.O. 16. Which Gayan-Style Pashto Taal belongs to : (A) (B) Khayal (C) 17. Dhrupad Thumari (D) Bhajan Match the following : (a) Quada (i) Stuti (b) Peshkara (ii) Farshbandi (c) Tihai (iii) Rela (d) Paran (iv) Chakradar Code : (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iv) (iii) (ii) (i) (C) (iii) (iv) (i) (ii) (D) 18. (b) (iii) (ii) (iv) (i) Match the following : (a) Bilaskhani Todi (i) Bilawal thata (b) Patdeep (ii) Khamaj thata (c) Hemant (iii) Kafi thata (d) Durga (iv) Bhairavi thata Code : (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iii) (i) (iv) (ii) (C) (i) (iii) (iv) (ii) (D) 19. (b) (iv) (iii) (i) (ii) Mark the correct group from the following : (A) Dhruvapad, Thumri, Khyal, Prabandha (B) Prabandha, Thumri, Dhruvapad, Khyal (C) Khyal, Thumri, Prabandha, Dhruvapad (D) Prabandha, Dhruvapad, Khyal, Thumri D 1606 6 16. - ? (A) 17. (B) (C) (D) S (a) (i) S (b) (ii) $ (c) (iii) (d) (iv) (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iv) (iii) (ii) (i) (C) (iii) (iv) (i) (ii) (D) 18. (b) (iii) (ii) (iv) (i) (a) (i) (b) (ii) (c) (iii) (d) (iv) (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (iii) (i) (iv) (ii) (C) (i) (iii) (iv) (ii) (D) 19. (b) (iv) (iii) (i) (ii) (A) , , , (B) , , , (C) , , , (D) , , , D 1606 7 P.T.O. Paraphrasing or Linked Item : Read the following passage and tick the correct answer in each group of A, B, C, D. The syllabi in music education prescribed by every university for the various courses in music include an indepth study of Western Music covering in different aspects. The purpose of this study is to make ourselves well conversant with the music tradition of west and to find out if there are some possible common areas which we can adopt in our music system. Both Indian and Western Music system have developed an intricate system based on strong disciplines and rules. Mainly we must study the evolution of Harmony of west, its musical forms, Time-patterns, Time signature, Various musical scales, intervals, evolution of instruments, orchestration, concept of Aesthetics in Western Music, their teaching methods and other important aspects. Our study of Western Music System will reveal that Indian Music is purely melodic whereas Western Music is harmonic and based on Chords. In Indian Music, the intervals between different notes are unequally tempered, whereas in Western Music, they are equally tempered. An Indian Musician selects a scale/tonic to suit to his individual range of voice, but in Western Music, there is a change of key within a composition. An Indian Musician can be a performer, writer, composer, director whereas such sort of combination is not seen in Western Music. In Indian Music SA and PA are immutable and MA, GA, RE, DHA, NI can have only one flat or sharp modification, but in western system all the notes have modifications. Indian Music is based on improvisation, but it is not applicable to western music. Indian Music with its numerous thatas is rich in the field of melody, but the adoption of Harmony has reduced the choice of scales to only two, major and minor scale. In Indian Music, the system of embellishments, use of extra fine semitones, grace notes, the constant sound of drone, improvisation produce the characteristic quality, but there is a fixed notation in western music without such open minded music. In Indian Music the learning of music is a deep dedication at Guru s feet, the long hours of physical practice, the technical knowledge, whereas in western music, the music training is imparted in schools/academies and conservatories. In view of such varied aspects of both the systems, a synthesis of the two systems is not possible. 20. The comparative study of Indian and Western Music Systems is not useful for a music student at higher level. (B) The comparative study of Indian and Western Music Systems makes us well conversant of both the systems. (C) The study of Western Music should not be included in University Syllabus. (D) Indian Music and Western Music have similar scales. (A) Western Music is based on melody and has no orchestration. (B) Western Music has been developed on Chords leading to harmony. (C) The harmony of Western Music is similar to Indian Melody. (D) 21. (A) The Chords are used in Indian Melody. D 1606 8 l K M K g l S h M M , , h S , S , l , , S M , h # S C # S , S S - S S , S , , M , , , , , S # S , M S h , S , , , , S m S L # S , h h S 20. (A) (B) (C) (D) 21. (A) (B) (C) (D) D 1606 l h l S # M 9 P.T.O. 22. Indian Music is not spiritual in its concept. (D) The philosophy of Western Music is purely metaphysical. (A) In Indian Music the various swaras of a scale have modifications. (B) In Western Music only SA and PA have modifications. (C) In Western Music all the swaras of scale have flat and sharp modifications. (D) In Indian Music SA and PA are flat swaras. (A) In Indian Music, the training is only imparted in institutions and not at Gurus Feet. (B) In Western Music the Guru-Shishya Parampara is popular. (C) In Indian Music, the training is imparted at Gurus feet for long hours of physical practice as well as the institutions also impart music training. (D) 25. The concept of Aesthetics in Western Music is parallel to Rasa in Indian Music but has different philosophy. (C) 24. Western Music is based on the concept of Rasa as described by Bharat in Indian Music. (B) 23. (A) In Western Music the conservative system is not followed. Assertion and Reasoning : Assertion (A) : The use of Kaku in music plays a vital role in creating feeling and Rasa in a presentation through swar and such affect is full of emotions according to the meaning of the poetry. Reasoning (R) : Kaku has the quality of expressing feeling and emotions. (A) Both (A) and (R) is false (B) (A) is true but (R) is false (C) (A) is false but (R) is true (D) Both (A) and (R) is true D 1606 10 22. C (D) C (A) # S (B) (C) S (D) S (A) S , L - c (B) L # , S # (C) L - c (D) 25. S S (C) 24. m (B) 23. (A) h S S (A) : S S (R) : m (A) (A) (R) (B) (A) (C) (A) (D) (A) (R) D 1606 (R) (R) 11 P.T.O. PART - II Hindustani Music (Vocal / Instrument) 26. 27. Who is the author of Sangeet Raj ? (A) Rana Khumba (C) Singha Bhupal (B) (D) Kallinath Nanya Dev How many Jaties have been described by Bharat ? (A) Twelve (B) Eighteen (C) Ten (D) 28. Which is the most suitable combination that represents Raga Bhairavi ? (A) Ma Ga, Sa Re Sa (B) Sa Ga Ma, Pa -. . . (C) Ma Dha Ni, Sa (D) Ni Sa Re Sa -- 29. Vocal form specialised by Ram Chatur Mallik : (A) Khyal (B) Dhruvapad (C) Fifteen Thumari (D) 30. Which combination suitably represents Raga Chayanat ? (A) Sa Re, Ga Ma Pa (B) Pa Re, Re Ga, Ga, Ma (C) Ma, Ni, Dha, Pa (D) Ma Ga, Ma Re, Sa - 31. Whose pseudonym was Har-Rang ? (A) Bade Gulam Ali Khan (C) Bade Muhammad Khan Kothiwal Tappa 32. (A) (C) 33. 34. 35. Bhupali Shudha Kalyan (B) (D) Re Sa belongs to which Raga ? (B) Yaman (D) Deshkar It is used in string instruments : (A) Alapti (B) Jati (C) Kirana Gharana has this special element : (A) Swar Based (C) Swar and Laya Based Mukhchalan (B) (D) Who is the author of Sangeet Chintamani ? (A) K.C.D. Brihaspati (B) (C) Premlatha Sharma (D) D 1606 Vilayat Hussain Khan Alladiya Khan 12 (D) Zamzama Laya Based Ati Vilambit Laya Based Omkar Nath Thakur Thakur Jaidev Singh - II S ( / ) 26. 27. 28. 29. 30. 31. ? (A) (B) (C) (D) m ? (A) (B) n (C) (D) S - S C ? (A) , (B) , (C) , (D) ? (A) (B) (C) (D) S - S C ? (A) , (B) , , , (C) , , , (D) , , - ? (A) (C) (D) (D) $ $ 32. (A) 33. 34. 35. (B) (D) S - ? (B) (C) h l (A) # (B) (C) (A) S (C) S (B) ? (A) . . . S (C) (B) D 1606 (D) (D) 13 P.T.O. 36. To which Gharana Alladiya Khan belonged ? (A) 37. Agra (B) Gwalior (C) Jaipur Ravi Shankar (B) Villayat Khan (C) Halim Jafar Khan (D) Nikhil Banerjee Which Khyal Gharana Aman Ali Khan belonged ? (A) Jaipur 39. (C) Gwalior (D) Patiala Matt Tala (B) Gaj Jhampa (C) Teevra (D) Chautal Nineteen (B) Twenty (C) Twenty Two (D) Seventeen (C) Todi (D) Pooriya Pancham is not used in this Raga : (A) 42. Bhindi Bazar What was the number of frets in Mushtaq Ali Khan s Sitar ? (A) 41. (B) belongs to which Tala ? (A) 40. Bhairavi (B) Vibhas Which Raga is not a variety of Kanhada ? (A) Suha (B) Kaunshi (C) 43. Patiala Which Sitar maestro popularised the Dhun Rasia ? (A) 38. (D) Shahana (D) Bageshri Match the following : (a) Baul (i) Tamil Nadu (b) Gidda (ii) Rajasthan (c) Jhoomar (iii) Bengal (d) Kavadi Attam (iv) Punjab (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iv) (iii) (ii) (i) (C) (iii) (i) (ii) (iv) (D) (iii) (iv) (i) (ii) D 1606 14 36. ? (A) (B) (C) (D) (C) (D) (C) (D) ? (A) (B) (C) (D) (A) (C) (D) (C) (D) 37. $ m ? (A) (B) (C) (D) 38. , ? (A) (B) $ 39. ? (A) 40. 41. 42. 43. (B) (B) ? (A) (B) (a) (b) g (c) (d) ^ (i) (ii) (iii) (iv) (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iv) (iii) (ii) (i) (C) (iii) (i) (ii) (iv) (D) (iii) (iv) (i) S (ii) D 1606 15 P.T.O. 44. Mark the correct group from the following : (A) Upanga, Bhashanga, Kriyanga, Raganga (B) Raganga, Bhashanga, Kriyanga, Upanga (C) Bhashanga, Raganga, Kriyanga, Upanga (D) Kriyanga, Raganga, Bhashanga, Upanga Paraphrasing or Linked Items : Read the passage below and tick the correct answer in each group of A, B, C, D : Feelings and sentiments are important in creating Rasa in music, specially in classical music. A musician is capable of touching the heart and sentiments of the listener by selecting right type of music. All fine arts are related to feelings, sentiments and Rasas. Whatever feelings and rasa is obtained in music is related to Raga, Tala, Swar, Laya, Geet, Composition, Style, instruments and meaning of the poetry of composition. This minute expression of emotions is only possible in music and music has all the means of creating Bhava-Rasa, if we like to avail. Other mediums cannot create such emotions which a swar can awaken the indepth of emotions. Swar goes deep into the rasa. Emotions are directly related with heart and rasas are associated with emotions. Rasa creation is only possible by emotions. Rasas and Bhavas are related to each other. Bhava and Rasa are akin to each other and related to heart. The artistic side of music is related to intellect. All those musicians who combine an equal balance of intellect and heart can better present their music and provide Rasa and pleasure to listeners. When intellect and heart are combined, the realisation of God with Supernatural feelings is attained. Only the technicalities of music can not make us realise the supernatural powers. The emotions which are just feelings in day today life become full of pleasure in music, these emotions are permanent. Rasa is Bhav and poetry plays an important role in such Rasa Nishpatti. Other Bhavas remain as Sanchari and Vybhichari Bhavas and only provide temporary pleasure. They cannot help in achieving that mood where Tamogun and Rajogun are suppressed and only Satvik feelings remain permanent. This Satvik pleasure is like achieving God. 45. Feelings and emotions play important role in creating Rasa in Music. (B) Rasa is not related to feelings. (C) Ragas are not helpful in creating Rasa. (D) Fine arts are not related to Rasas (A) Compositions are the best mediums in expression of Rasas. (B) Raga and Swara have no place in Rasa of Music. (C) Music has no elements to create and awaken feelings. (D) 46. (A) Rasa and Bhava are not related to each other. D 1606 16 44. (A) , , , (B) , , , (C) , , , (D) , , , m c , S S S m # , , S , , , , l m , c , S , N , c N m N h , h N , , S , M S r 45. m c (B) (C) m c (D) (A) c (B) m S S (C) (D) 46. (A) D 1606 17 P.T.O. 47. Intellect and emotions cannot be combined. (D) Intellect of a man cannot render rasa of music. (A) Sthayi Bhava is the basis of Rasa-Nishpatti. (B) Sanchari Bhava can create permanent pleasure. (C) Vybhichari Bhavas are related to Rasa and feelings. (D) Sanchari and Vybhichari Bhava give permanent pleasure. (A) The combination of intellect and heart in presentation of music is the ultimate way to God realisation. (B) The temporary pleasure is described by Sthayi Bhavas. (C) Different swaras are not able to create rasas in music. (D) 50. The emotional side of music is not related to the heart. (C) 49. The technical side of music is associated with the intellect of human being. (B) 48. (A) Music is not a fine art and is not based on swara-laya. Assertion and Reasoning : Assertion (A) : In Indian music the presentation of one single note with the help of various swara combinations and gamakas creates different shades and feelings, but such an expression is not possible in equally tempered scale of western music. Reasoning (R) : In harmony, the tonic is not fixed but changes in every key of the composition. (A) Both (A) and (R) are true (B) (A) is false but (R) is true (C) (A) is true but (R) is false (D) Both (A) and (R) are wrong D 1606 18 47. h (D) c h (A) c S (B) S (C) (D) S # (A) h r # (B) S m # (C) - S m # (D) 50. N (C) 49. c h (B) 48. (A) S - S (A) : S S S S l m (R) : S ( ) S (A) (A) (R) (B) (A) (C) (A) (D) (A) (R) D 1606 (R) (R) 19 P.T.O. PART - III Karnatic Music - Vocal Instrumental, Percussion 26. 27. 28. 29. 30. 31. 32. How many Vivadi Melas are there in the 72 Mela Kartha scheme ? (A) 36 (B) 40 (C) 24 (D) Anya Swara of Bhairavi raga : (A) Sudha dhaivatam (C) Chatusruti dhaivatam (B) (D) Kaisiki Nishadam Chatusruti rishabham Mudra used by Kshetrajna : (A) Rajagopala (C) Venugopala (B) (D) Muvvagopala Muttukumara Raga name of Agni-go : (A) Dheera Sankarabharanam (C) Hanumathodi (B) (D) Mayamalavagavla Mechakalyani Tisra gati of Misra jathi triputa tala takes ____________ counts. (A) 33 (B) 24 (C) 09 Who is karnatic sangita pitamaha ? (A) Tyagaraja (C) Purandara Dasa (B) (D) Swati Tirunal Dikshitar Who composed Navavarana Kritis ? (A) Tyagaraja (C) Shyama Sastri (B) (D) Dikshitar Swati Tirunal 33. Name the raga for sa ra gu ma pa dha nu : (A) Mecha Kalyani (B) Suryakantam (C) Mayamalavagavla (D) Chakravakam 34. Tiruvottiyur Pancharatna is composed by : (A) Dikshitar (B) (C) Swati Tirunal (D) Tyagaraja None of the above Author of Ragavibodha : (A) Somanatha (C) Ramamatya (B) (D) Venkitamakhi Bharata Birth place of Dikshitar : (A) Thiruvayyar (C) Thirupuram (B) (D) Thiruvaroor None of the above 35. 36. 44 D 1606 20 (D) 11 - III ( , ) 26. 27. 28. 29. 30. 72 (A) 36 32. 33. (B) 40 S (A) h (C) (C) (B) 24 (D) 44 (D) (A) (B) (C) (D) - (A) (B) (C) (D) 09 (D) 11 __________ 24 (C) (A) 31. h ? 33 (B) ? (A) (B) S L (C) (D) ? (A) (B) (C) S (D) S L (A) (B) (C) (D) (D) 34. L ? (A) (B) (C) S L (D) 35. ? (A) (B) 36. S (A) L (C) L D 1606 (C) (B) (D) L M 21 P.T.O. 37. Arunachalakavirayar composed : (A) (B) Krishna leela tharangini (C) 38. Ramanatakam Janaki parinayam (D) Padam Tandava Diparadhana is performed in the temples of : (A) 39. Tirunelveli (B) Trichi (C) Chennai A popular artist who is proficient in both vocal and percussion : (A) (B) B. Rajam Iyer (C) 40. T.N. Krishnan T.V. Gopalakrishnan (D) Karaikudi Mani Match the following. Use the code given below : (a) Geetam (i) Manodharma Sangita (b) Samgraha Alapana (ii) Abhyasa Gana (c) Kakapadam (iii) Netra (d) Dhenuka (iv) Shadanga Code : (a) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (i) (ii) (D) 41. (b) (iii) (ii) (iv) (i) Match the following. Use the code given below : (a) Arabhi (i) Tamil (b) String Instrument (ii) Dikshitar (c) Samashti Charanam (iii) Audava Sampurnam (d) Tevaram (iv) Yazh Code : (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (ii) (iii) (i) (D) (iv) (i) (iii) (ii) D 1606 22 (D) Madurai 37. 38. M (A) (C) (B) (D) c ? (A) L (B) (C) 39. h l l (A) . . c (B) . (C) . . c (D) 40. (D) (a) (i) (b) (ii) (c) (iii) (d) (iv) (a) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (i) (ii) (D) 41. (b) (iii) (ii) (iv) (i) (a) (i) (b) l (ii) (c) C (iii) (d) (iv) $ (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (ii) (iii) (i) (D) (iv) (i) (iii) (ii) D 1606 23 P.T.O. 42. Match the following. Use the code given below : (a) Harikamboji (i) Tyagaraja (b) Sadhim Chane (ii) Brahmotsavam (c) Musical stone pillar (iii) Purvanga mela (d) Sarva Vadyam (iv) Madurai Code : (a) (c) (d) (A) (iii) (i) (iv) (ii) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iii) (iv) (D) 43. (b) (iv) (ii) (iii) (i) Match the following. Use the code given below : (a) Adhama ragas (i) Mono drama (b) Panniya Thiram (ii) Ramamatya (c) Nandanar Charitram (iii) Shadava raga (d) Kalakshepam (iv) Gopalakrishna Bharati Code : (a) (c) (d) (A) (i) (ii) (iv) (iii) (B) (ii) (iii) (iv) (i) (C) (ii) (iv) (i) (iii) (D) 44. (b) (iv) (iii) (ii) (i) Assertion (A) : The tanpura player need not have an accurate sruti gnanam while playing in a concert. Reasoning (R) : Because it is only a physical activity. (A) (A) true (R) false (B) Both (A) and (R) false (C) Both (A) and (R) true (D) (A) false (R) true D 1606 24 42. (a) (i) (b) (ii) r (c) S S S (iii) Z (d) l (iv) (a) (c) (d) (A) (iii) (i) (iv) (ii) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iii) (iv) (D) 43. (b) (iv) (ii) (iii) (i) (a) (i) (b) (ii) (c) (iii) (d) (iv) c (a) (c) (d) (A) (i) (ii) (iv) (iii) (B) (ii) (iii) (iv) (i) (C) (ii) (iv) (i) (iii) (D) 44. (b) (iv) (iii) (ii) (i) (A) : D - (R) : (A) (A) (B) (A) (R) (C) (A) (R) (D) (A) D 1606 (R) (R) 25 P.T.O. 45. Assertion (A) : Compositions in Khamas raga of Swati Tirunal take only the Kaisiki nishadam. Reasoning (R) : Because Khamas is an upanga raga. (A) (B) (A) true (R) false (C) Both (A) and (R) false (D) 46. Both (A) and (R) true (A) false (R) true Assertion (A) : Karnatic music and Hindustani music have influenced each other and to mutual advantage. Reasoning (R) : Because there were many courts in South India wherein exponents of Hindustani music held the posts of Samstana Vidwans . (A) (B) (A) false (R) true (C) Both (A) and (R) true (D) 47. (A) true (R) false Both (A) and (R) false Assertion (A) : Kedaragavla and Narayana gavla are upanga Janya ragas of the 28th mela, still they differ from each other. Reasoning (R) : Because Narayana gavla takes ubhayavakra arohana and avarohana and Kedaragavla takes a krama audava sampurna arohana and avarohana. (A) (A) false (R) true (B) (R) false (A) true (C) Both (A) and (R) false (D) Both (A) and (R) true D 1606 26 45. (A) : S L (R) : (A) (B) (A) (C) (A) (R) (D) 46. (A) (R) (A) (R) (R) (A) : S (R) : S S m (A) (R) (B) (A) (R) (C) (A) (R) (D) 47. (A) (A) (R) (A) : 28 , l (R) : (A) (A) (R) (B) (R) (A) (C) (A) (R) (D) (A) (R) D 1606 27 P.T.O. 48. Arrange the following in order of the 72 melakarta scheme. Use the code given below : (i) Shanmugapriya (ii) Shyamalangi (iii) Simhendra madyamam (iv) Haimavati Code : (A) (B) (i), (ii), (iii), (iv) (C) (ii), (iv), (iii), (i) (D) 49. (ii), (i), (iii), (iv) (iv), (iii), (i), (ii) Arrange the following in correct order. Use the code given below : (i) Disi (ii) Rudra (iii) Vasu (iv) Brahma Code : (A) (B) (iii), (iv), (i), (ii) (C) (iii), (i), (ii), (iv) (D) 50. (i), (iii), (ii), (iv) (ii), (iii), (i), (iv) Arrange the following in correct order. Use the code given below : (i) Layam (ii) Kala (iii) Yati (iv) Prastharam Code : (A) (ii), (i), (iii), (iv) (B) (i), (ii), (iv), (iii) (C) (i), (iii), (ii), (iv) (D) (iv), (ii), (iii), (i) D 1606 28 48. 72 h (i) (ii) (iii) (iv) (A) (B) (i), (ii), (iii), (iv) (C) (ii), (iv), (iii), (i) (D) 49. (ii), (i), (iii), (iv) (iv), (iii), (i), (ii) (i) (ii) L (iii) (iv) r (A) (B) (iii), (iv), (i), (ii) (C) (iii), (i), (ii), (iv) (D) 50. (i), (iii), (ii), (iv) (ii), (iii), (i), (iv) (i) (ii) (iii) (iv) S (A) (ii), (i), (iii), (iv) (B) (i), (ii), (iv), (iii) (C) (i), (iii), (ii), (iv) (D) (iv), (ii), (iii), (i) D 1606 29 P.T.O. PART - IV RABINDRA SANGEET 26. The theme song of Gitabitan, placed as a preface to the book, is : (A) Akash bhara surya-tara (B) Kannahasir dol-dolano (C) Tomar surer dhara (D) Prathama juger udaya-digangane 27. The song Gahanakusuma kunja majhe belongs to the book : (A) Gitanjali (B) Bhanusingher Padavali (C) Valmiki - Pratibha (D) Mayar Kehla (lyrical drama) 28. Tagore set this song apart to be sung on his death : (A) Shesh nahi je (B) Samukhe shanti parabar (C) Amare tumi ashesh karechha (D) Tumi ebar amay laho he nath 29. The song is tuned on the gat patterns of a sitar : (A) Amar praner pare (B) Janaganamana (C) Ami Chanchala he (D) Mor bhabanare ki haoay 30. Tagore wrote most of his Swadeshi songs on the occasion of : (A) Banga-Bhanga Movement (B) Jalianwalabagh Protest (C) Non-cooperation Movement (D) Bharat-Chhoro Movement 31. The source of the tune of E parabasi rabe ke hay is the song : (A) kari kari kamaria (B) Jago, mohana pritama (C) E miyan wejanewale (D) ab chhodo braj ki bansari 32. The song Amar praner manush achhe prane has a tune from : (A) Baul songs (B) Kirtan (C) Dhrupad (D) Scottish Ballad 33. Tagore composed his song Sarba Kharbatare dahe taba krodhadaho on hearing the news of : (A) Hanging of Ksudiram (B) Gandhiji s imprisonment (C) Jatin Das s death after 62 days of fasting (D) The Beginning of the Second World War 34. What are the Tagore songs that have adopted tunes from North Indian classical music usually called ? (A) Baithaki Gan (B) Bhanga gan (C) Bangla Kheyal (D) Uchchanga sangit D 1606 30 - IV 26. , S M , (A) - (B) - (C) (D) - 27. S (A) (C) - (B) ( K) (D) 28. (A) (B) (C) (D) 29. (A) (C) (B) (D) 30. S (A) - (B) (C) (D) - 31. d (A) (B) , (C) (D) 32. (A) (B) (C) (D) S 33. (A) (B) (C) 62 (D) m 34. S S ? (A) (B) (C) (D) D 1606 31 P.T.O. 35. What is the tal of E parabase rabe ke hai ? (A) (B) madhya man (C) 36. sur-phakta jhamp tal (D) tin tal The song Sangshaya timira majhe is based on the raga : (A) (B) Singhendra-Madhyam (C) 37. Sindhu Kanada (D) Raj Vijay Ei udashi haoar pathe pathe is a song that belongs to the category of : (A) 38. Prem (B) Prakriti (C) Puja Dhurjati Prasad Mukherjee (B) Santideb Ghosh (C) Dilip Kumar Ray (D) Pulin Bihari Sen Tagore set tune to this peom of Sukumar Ray : (A) Shunte pelam posta giye (B) Rode ranga inter panja (C) 40. Swadesh Relationship of words and tune is discussed by Tagore mostly in his correspondance with : (A) 39. (D) Gan dharechhen grismakale (D) Khai khai karo keno Assertion (A) : Tagore is also a master of North Indian classical music. Reasoning (R) : Because of his mastery of the ragas as well as of his innovations. (A) (B) (A) is false, but (R) is true (C) Both (A) and (R) are false (D) 41. (A) is true, but (R) is false Both (A) and (R) are true Assertion (A) : All Tagore songs should be sung with Tabla accompaniment. Reasoning (R) : Because Tabla suits every mood expressed in his songs. (A) (A) is false, but (R) is true (B) (A) is true, but (R) is false (C) Both (A) and (R) are true (D) Both (A) and (R) are false D 1606 32 35. ? (A) 36. (D) (B) (C) (D) (C) (D) S (A) 38. (C) (A) 37. (B) - (B) ? (A) (B) (C) 39. (D) (A) (B) (C) 40. S c (D) (A) : m (R) : (A) (B) (A) (C) (A) (R) (D) 41. (A) , (R) (A) (R) , (R) (A) : (R) : (A) (A) (B) (A) (C) (A) (R) (D) (A) (R) D 1606 , (R) , (R) 33 P.T.O. 42. Assertion (A) : Tagore used songs in most of his plays. Reasoning (R) : Because he thought songs were more expressive than mere words. (A) (B) (A) is true, but (R) is false (C) Both (A) and (R) are true (D) 43. (A) is false, but (R) is true Both (A) and (R) are false Match the following and select the correct combination from below : (a) Tal (i) Part of a song (b) That (ii) Singing technique (c) Tan (iii) Time Division (d) Tuk (iv) Ragas and Raginis Code : (a) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (i) (iii) (ii) (D) 44. (b) (i) (ii) (iv) (iii) Match the following and select the correct combination from the code below : (a) Mari O Kahar bachha (i) Chitrangada (b) Tai ami dinu bar (ii) Shyama (c) Bhalobese jadi sukh nahi (iii) Valmiki - Pratibha (d) Amar jibanapatra uchchalia (iv) Mayar Khela (lyrical drama) Code : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) (iii) (i) (iv) (ii) D 1606 34 42. (A) : (R) : (A) (B) (A) (C) (A) (R) (D) 43. (A) (R) (A) (R) , (R) (a) (i) (b) (ii) (c) (iii) (d) (iv) (a) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iii) (iv) (ii) (i) (C) (iv) (i) (iii) (ii) (D) 44. (b) (i) (ii) (iv) (iii) (a) (i) (b) (ii) (c) (iii) (d) (iv) ( - K) (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) (iii) (i) (iv) (ii) D 1606 35 P.T.O. 45. Match the following and select the correct combination from the code below : (a) Tomar preme dhanya karo (i) Swadeshi (b) Kar banshi nishibhore (ii) Prem (c) Ekasutre bandhiachhi (iii) Puja (d) Ei udasi haoar pathe pathe (iv) Prakriti Code : (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) 46. (b) (iv) (i) (ii) (iii) Match the following and select the correct combination from the code below : (a) Gitanjali (i) 1919 (b) School at Santiniketan (ii) 1881 (c) Jalianwalabagh killings (iii) 1910 (d) Valmiki - Pratibha (iv) 1900 Code : (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iii) (iv) (i) (ii) (C) (ii) (iii) (iv) (i) (D) 47. (b) (iv) (i) (ii) (iii) Place in order and select the correct combination from the code below : (i) Rabindranath Tagore (ii) Sailajaranjan Majumdar (iii) Jadu Bhatta (iv) Salil Chowdhury Code : (A) (i), (ii), (iii), (iv) (B) (iv), (iii), (ii), (i) (C) (iii), (ii), (i), (iv) (D) (iii), (i), (ii), (iv) D 1606 36 45. (a) (i) S (b) (ii) (c) (iii) (d) - (iv) (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (iv) (i) (ii) (D) 46. (b) (iv) (i) (ii) (iii) (a) (i) 1919 (ii) 1881 (b) S (iii) 1910 (c) (iv) 1900 (d) (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iii) (iv) (i) (ii) (C) (ii) (iii) (iv) (i) (D) 47. (b) (iv) (i) (ii) (iii) (i) (ii) (iii) (iv) (A) (i), (ii), (iii), (iv) (B) (iv), (iii), (ii), (i) (C) (iii), (ii), (i), (iv) (D) (iii), (i), (ii), (iv) D 1606 37 P.T.O. 48. Place the following in order and select the correct combination from the code below : (i) Shyama (ii) Gitanjali (iii) Mayar Khela (lyrical drama) (iv) Valmiki - Pratibha Code : (A) (B) (i), (iii), (iv), (ii) (C) (iv), (iii), (ii), (i) (D) 49. (i), (ii), (iii), (iv) (iii), (iv), (i), (ii) Place the following in order and select the correct combination from the code below : (i) Tagore (ii) Ramprasad (iii) Vidyapati (iv) Jayadeva Code : (A) (B) (iii), (ii), (i), (iv) (C) (iv), (ii), (i), (iii) (D) 50. (ii), (i), (iii), (iv) (iv), (iii), (ii), (i) Place the following in order and select the correct combination from the code below : (i) Prem (ii) Swadesh (iii) Puja (iv) Prakriti Code : (A) (iii), (ii), (i), (iv) (B) (i), (iii), (ii), (iv) (C) (ii), (iii), (i), (iv) (D) (iv), (ii), (i), (iii) D 1606 38 48. (i) (ii) (iii) ( - K) (iv) (A) (B) (i), (iii), (iv), (ii) (C) (iv), (iii), (ii), (i) (D) 49. (i), (ii), (iii), (iv) (iii), (iv), (i), (ii) (i) (ii) (iii) l (iv) (A) (B) (iii), (ii), (i), (iv) (C) (iv), (ii), (i), (iii) (D) 50. (ii), (i), (iii), (iv) (iv), (iii), (ii), (i) (i) (ii) S (iii) (iv) (A) (iii), (ii), (i), (iv) (B) (i), (iii), (ii), (iv) (C) (ii), (iii), (i), (iv) (D) (iv), (ii), (i), (iii) D 1606 39 P.T.O. PART - V PERCUSSION 26. Veeru Mishra was a player of : (A) 27. Tabla (B) Pakhawaj (C) Mridangam (D) Name of the writer of Taal-Kosh : (A) Harish Chandra Srivastava (B) Satish Chandra Srivastava (C) 28. Girish Chandra Srivastava (D) Lal Ji Srivastava Which style of singing Khemta-Taal belongs to ? (A) 29. (B) Khyal (C) Thumari (D) Bhajan Delhi (B) Poorab (C) Panjab (D) Ajarada 11 (D) 13 How many Matras are there Ashtamangal Taal ? (A) 31. Dhrupad In which Gharana Adi-Laya-Bolas are used in great number ? (A) 30. 7 (B) 9 (C) The founder of Delhi Gharana of Tabla : (A) Modu Khan (B) Bakshu Khan (C) 32. Siddhartha Khan (D) Ishhak Khan Which Hindustani Taal resembles to Ata Taal (Chatushra Jaati) of Karnatak Music ? (A) 33. Jhap Taal (B) Sool Taal (C) Chau Taal Aad (B) Kuaad (C) Biyad (D) Tivra None of these Ustaad Allarakha belonged to : (A) Delhi Baaj (B) Poorab Baaj (C) 35. (D) 9/4 Layakari belongs to : (A) 34. Ghatam Panjab Baaj (D) Ajarada Baaj Dha Tin Na Da Bol originally belongs to : (A) D 1606 Tabla (B) Pakhawaj (C) 40 Nakkara (D) Dholak - V h l 26. M l ? (A) (B) (C) (D) 27. ? (A) S (B) S (C) S (D) S 28. - - ? (A) (B) (C) (D) ? (A) (B) (C) (D) (C) 11 (D) 13 (C) h (D) 29. 30. C - ? (A) 31. 7 (B) 9 (A) (B) 32. S S ? (A) (B) (C) (D) 33. 9/4 (A) (C) 34. 35. ? (B) (D) S ? (A) (B) (C) (D) l ? (A) (B) (C) (D) D 1606 41 P.T.O. 36. 37. 38. 39. 40. Match the following : (a) Quada (b) Peshkara (c) Paran (d) Tihai Code : (a) (b) (c) (A) (i) (ii) (iii) (B) (ii) (i) (iv) (C) (iv) (i) (ii) (D) (ii) (iii) (iv) Match the following : (a) Jahangir Khan (b) Lalji Srivastava (c) Karama Tulla (d) Munne Khan Code : (a) (b) (c) (A) (ii) (i) (iv) (B) (i) (ii) (iv) (C) (iii) (iv) (i) (D) (ii) (i) (iii) (i) (ii) (iii) (iv) Farshbandi Palate Chakra Dar Stuti (d) (iv) (iii) (iii) (i) (i) (ii) (iii) (iv) Allahabad Indore Lucknow Calcutta (d) (iii) (iii) (ii) (iv) Which Taal Vadya is played in Haweli Sangeet ? (C) (A) Tabla (B) Pakhawaj Mridangam (D) Ghatam Which Taal Vadya is related to Nana Pan Se ? (A) Tabla (B) Pakhawaj (C) Mridangam (D) Ghatam Establish near and dear relations. (a) Alla Rakkha Khan (b) Lalji Gokhale (c) Gudai Maharaj (d) Karamatulla Khan Code : (a) (b) (c) (d) (A) (iii) (iv) (i) (ii) (B) (ii) (i) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) (iv) (i) (ii) (iii) D 1606 Use (i) (ii) (iii) (iv) the given codes : Sabir Khan Kumar Lal Ahmad Jan Thirakna Zaquir Hussen 42 36. (a) (b) (c) (d) (A) (B) (C) (D) 37. 39. 40. (b) (ii) (i) (i) (iii) (c) (iii) (iv) (ii) (iv) (ii) (iii) (iv) (a) (ii) (i) (iii) (ii) (b) (i) (ii) (iv) (i) (c) (iv) (iv) (i) (iii) S (d) (iv) (iii) (iii) (i) (a) (b) S (c) (d) (A) (B) (C) (D) 38. (a) (i) (ii) (iv) (ii) (i) (i) (ii) (iii) (iv) (d) (iii) (iii) (ii) (iv) l ? (A) (B) (C) (D) l ? (A) (B) (C) (D) D ? C (a) (i) (b) (ii) (c) (iii) (d) (iv) $ (A) (B) (C) (D) D 1606 (a) (iii) (ii) (iv) (iv) (b) (iv) (i) (iii) (i) (c) (i) (iii) (ii) (ii) (d) (ii) (iv) (i) (iii) 43 P.T.O. 41. 42. Match the player and his style : (a) Hazi Vilayat Ali Khan (b) Alla Rakkha Khan (c) Kishan Maharaj (d) Munne Khan Code : (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iii) (ii) (i) (iv) (D) (iv) (iii) (ii) (i) Match the following : (a) Siddhar Khan (b) Nana Panse (c) Dilavar Khan (d) Bafati Miyan Code : (a) (b) (c) (A) (iii) (iv) (ii) (B) (i) (ii) (iii) (C) (ii) (iii) (iv) (D) (ii) (i) (iv) (i) (ii) (iii) (iv) Panjab Baaj Farukhabad Baaj Lucknow Baaj Banaras Baaj (i) (ii) (iii) (iv) Pakhawaj Tabla Dholak Nakkara (d) (i) (iv) (i) (iii) 43. Match the Tabla player with his specialisation : (a) Anaukhe Lal (i) Accompaniment (ii) Na, Dhin, Dhin, Na (b) Alla Rakkha (c) Ahmad Jan Thirakua (iii) Gat (d) Habibuddin (iv) Uni-Talen Code : (a) (b) (c) (d) (A) (ii) (iv) (iii) (i) (B) (i) (iii) (ii) (iv) (C) (i) (ii) (iii) (iv) (D) (iv) (i) (ii) (iii) 44. Arrange in chronological order : (A) Tabla, Pakhawaj, Dundubi, Pushkar (B) Pakhawaj, Tabla, Pushkar, Dundubi (C) Dundubi, Pushkar, Pakhawaj, Tabla (D) Pushkar, Dundubi, Tabla, Pakhawaj D 1606 44 41. ? C (a) (i) (b) (ii) L (c) (iii) (d) (iv) (A) (B) (C) (D) 42. (c) (iii) (iv) (i) (ii) (d) (iv) (iii) (iv) (i) (a) (iii) (i) (ii) (ii) (b) (iv) (ii) (iii) (i) (c) (ii) (iii) (iv) (iv) (i) (ii) (iii) (iv) (a) (ii) (i) (i) (iv) (b) (iv) (iii) (ii) (i) (c) (iii) (ii) (iii) (ii) (d) (i) (iv) (i) (iii) (a) (b) (c) (d) g (A) (B) (C) (D) 44. (b) (ii) (i) (ii) (iii) (a) h (b) (c) (d) (A) (B) (C) (D) 43. (a) (i) (ii) (iii) (iv) (i) (ii) (iii) (iv) (d) (i) (iv) (iv) (iii) (A) , , , c (B) , , c , (C) , c , , (D) c , , , D 1606 45 P.T.O. 45. Arrange chronogically : (A) Biru Mishra, Ram Sahay, Gudai Mahraj, Kumar Lal (B) Gudai Mahraj, Biru Mishra, Ram Sahay, Kumar Lal (C) Kumar Lal, Gudai Maharaj, Biru Mishra, Ram Sahay (D) Ram Sahay, Biru Mishra, Gudai Maharaj, Kumar Lal 46. Which order is correct for Karnatak Taalas - Ektall, Rupak, Triput, Matya Taal ? (A) 1, 10, 100, 101 (B) 10, 1, 101, 100 (C) 101, 100, 1, 10 (D) 100, 101, 10, 1 47. Assertion (A) : Reason (R) : RELA is also a kind of QUADA which can be played in DRUTLAYA. Hence easy BOLAs are taken in it. Later on RAU is made with some of its BOLAS. It is difficult to play complicated BOLAs in DRUT-LAYA and the possibility of making RAU is also marred. Code : (A) (A) right, (R) wrong (C) (A) and (R) both right 48. Assertion (A) : Assertion (A) : Assertion (A) : (B) (D) (B) (D) (A) wrong, (R) right (A) and (R) both right BOLAS of different styles (BAAJ) are like flowers of different kind. A bouquet prepared with flowers of different kind looks far better. Variation is also a means to make a thing beautiful. Reason (R) : Code : (A) (A) right, (R) wrong (C) (A) and (R) both right (B) (D) -oOo- D 1606 (A) wrong, (R) right (A) and (R) both wrong Generally PAKHAWAJ is played in Temples. The reason of this is its gravity. Without gravity spiritual pursuit is not possible. Reason (R) : Code : (A) (A) right, (R) wrong (C) (A) and (R) both wrong 50. (A) wrong, (R) right (A) and (R) both wrong TAAL gives discipline to a music-composition. It makes the composition well-formed. In the absence of discipline there is possibility of being ugly. Reason (R) : Code : (A) (A) right, (R) wrong (C) (A) and (R) both right 49. (B) (D) 46 (A) wrong, (R) right (A) and (R) both wrong 45. - (A) M , , , (B) , M , , (C) , , M , (D) , M , , 46. - , M , K S M ? (A) (C) 1, 10, 100, 101 101, 100, 1, 10 (B) (D) 10, 1, 101, 100 100, 101, 10, 1 47. S (A) : (R) : C (A) (A) , (R) (B) (A) , (R) (C) (A) (R) (D) (A) (R) 48. S (A) : (R) : (A) (A) , (R) (B) (A) , (R) (C) (A) (R) (D) (A) (R) 49. S (A) : (R) : (A) (A) , (R) (B) (A) , (R) (C) (A) (R) (D) (A) (R) 50. S (A) : c c c - (R) : - h (A) (A) , (R) (B) (A) , (R) (C) (A) (R) (D) (A) (R) -oOo- D 1606 47 P.T.O. Space For Rough Work D 1606 48

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Additional Info : Ugc Net December 2006 Question Paper -Music ( Paper II )
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