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UGC Net JUN 2013 : MUSIC PAPER III

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PAPER-III MUSIC Signature and Name of Invigilator 1. (Signature) __________________________ OMR Sheet No. : ............................................... (To be filled by the Candidate) (Name) ____________________________ 2. (Signature) __________________________ (Name) ____________________________ 16 S 1 3 1 Time : 2 /2 hours] Number of Pages in this Booklet : 32 Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. This paper consists of seventy five multiple-choice type of questions. 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 / polythene bag on the booklet. Do not accept a booklet without sticker-seal / without polythene bag and do not accept an open booklet. (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. (iii) After this verification is over, the OMR Sheet Number should be entered on this Test Booklet. 4. Each item has four alternative responses marked (A), (B), (C) and (D). You have to darken the circle as indicated below on the correct response against each item. Example : where (C) is the correct response. 5. Your responses to the items are to be indicated in the OMR Sheet given inside the Booklet only. If you mark at any place other than in the circle in the OMR 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, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except for the space allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, you will render yourself liable to disqualification. 9. You have to return the original OMR Sheet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are however, allowed to carry duplicate copy of OMR Sheet on conclusion of examination. 10. Use only Blue/Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. 12. There is no negative marks for incorrect answers. S-16-13 Roll No. (In figures as per admission card) Roll No.________________________________ (In words) [Maximum Marks : 150 Number of Questions in this Booklet : 75 1. 2. - 3. , - - , : (i) - / - / (ii) - / - - (iii) OMR - 4. (A), (B), (C) (D) : (C) 5. OMR OMR , 6. 7. (Rough Work) 8. OMR , , , , , 9. OMR OMR 10. / 11. ( ) 12. 1 P.T.O. MUSIC Paper III (Hindustani / Karnatak / Rabindra Sangeet / Percussion Instrument Vocal/ Instrumental and Musicology) Special Instructions : This paper has two parts. Part-I consists of 50 objective questions common to all, which is compulsory and carries 2 marks each. Part II has Four sections viz Part II, Part III, Part IV, Part V Hindustani, Karnatak, Rabindra Sangeet and Percussion Instruments with 25 questions each of 2 marks each. Candidates should select any one of the Part II / Part III / Part IV / Part V as per his / her discipline. PART I Hindustani / Karnatak / Rabindra Sangeet / Percussion Instruments Common to all 1. First person to play Indian Classical 4. How many Kakus are mentioned in Music on Slide Guitar is Sangeet Ratnakar ? (A) Pt. Brij Bhushan Kabra (A) 8 (B) (C) (D) 5 (B) Pt. Vishva Mohan Bhatt (C) Pt. Varun Kumar Pal 5. (D) Nalin Kant Mukherjee 6 Which of the following is a famous dance of Manipur ? (A) Navkuchiya 2. 4 (C) Correct Bols of Maseetkhani Gat are (B) Teratali Natuvangam (D) Laiharoba (A) Dir Dir Da Dir Da Ra Da Ra (B) (C) 6. Da Dir Dir Dir Da Dir Da Ra Dir Da Dir Da Ra Da Da Ra Which of the following is a famous Oddissi dancer ? (A) Sitara Devi (D) Dir Da Dir Da Ra Da Ra Da Charan Girdhar (C) 3. (B) Kumudini Lakhiya (D) Kelucharan Ravanhattha is a folk instrument of (A) Punjab 7. Which term was used for orchestra, (B) Kerala in Bharat Muni s Natyashastra ? (C) Madhya Pradesh (A) Vitat (B) (C) (D) Kutap (D) Rajasthan Paper-III 2 Krushtha Mandal S-16-13 III : / / / ( / ) : 2 I 50 , 2-2 II II / III / IV / V ( / / / ) , 25-25 2-2 II / III / IV / V 25 I / / / 1. : (A) 2. ? (A) (B) (C) (D) 7. , ? (A) (B) (C) (D) (A) (C) (D) ? (A) 8 (B) 4 (C) 6 (D) 5 (B) 3. 6. ? (A) (B) (C) (D) . (D) 5. . (C) . (B) 4. ? (A) (B) (C) (D) S-16-13 3 Paper-III 8. 9. 10. 11. As per Hindustani Music, what is the required interval between Vadi and Samvadi ? (A) 9/12 (B) 10/14 (C) 9/13 (D) 7/11 14. Ustad Faiyaz Khan was an artist of (A) Agra Gharana (B) Gwalior Gharana (C) Atrauli Gharana (D) Bhendi Bazar Gharana The conclusive part of Thumri is rendered with (A) Rela (B) Kayda (C) Ladi laggi (D) Jhala 15. Nandikeshwar is the author of (A) Raga Tatva Vibodh (B) Raga Rahasya (C) Which of the following musician is famous for Thumri ? (A) Saiduddin (B) Fahimuddin (C) Riyazuddin (D) Bindadeen Rag Darpan (D) Abhinaya Darpan 16. Avirbhav in a raga is meant for which of the following ? (A) Beginning of Raga (B) Soulful presentation (C) Reinstatement of Raga (D) Spiritual presentation Jangda Geet is the folk form of (A) Gujarat (C) 17. (B) (D) Uttar Pradesh Rajasthan Punjab Vikrit Swar of Bharat (A) Teevra Tar Ni 12. 13. What is the length of Shudha Ni according to Ahobal, as per the method of placing the swaras on the 36 wire of veena ? (A) 20 (B) 27 (C) 32 (D) 18 (B) (C) Antar Gandhar (D) Teevratam Dhaivat 18. Identify the correct order of tuning the four-string Tanpura : (A) Madhya Pa, Tar Sa, Tar Sa, Madhya Sa (B) Mandra Pa, Madhya Sa, Madhya Sa, Mandra Sa (C) Mandra Pa, Tar Sa, Tar Sa, Mandra Sa (D) Madhya Pa,Tar Sa, Tar Sa, Mandra Sa Paper-III Kaushik Ni Dominant chord is formed of (A) Pa + Ni + Re . (B) Dha + Sa + Ni (C) Ma + Dha + Sa (D) Sa + Ga + Pa 19. Instrument of equally tempered scale (A) Tanpura (C) 4 (B) (D) Harmonium Guitar Violin S-16-13 8. 9. 11. 12. (A) + + (B) + + (C) + + (D) + + 19. (A) (B) (C) (D) 36" (A) 20" (B) (C) 13. (A) (B) (C) (D) 18. , . ? ? (A) (B) (C) (D) 17. (A) (B) (C) : (D) ? (A) (B) (C) (D) 16. ? (A) (B) (C) (D) , ? (A) (B) (C) (D) 15. ? (A) (B) (C) (D) 10. 14. ? (A) 9/12 (B) 10/14 (C) 9/13 (D) 7/11 (D) 18" 32" 27" : (A) , , , (B) , , , (C) , , , (D) , , , S-16-13 5 Paper-III 20. What is the basis of classification of Swaras in tempered scale ? (A) Major tone (C) 21. (B) Musical form similar to Jawalli (A) Padam (B) (C) 27. No. of Sanchari Bhavas (B) (C) (D) Daru Jy k ra invented the (A) Dundubhi (D) 43 33 Tillana 13 (C) The main characteristic of Chanda 28. (B) Rag Bhairav corresponds to (A) Mayamalavagoula (B) Matric (B) Saveri (C) Matra (C) Bhupalam (D) Layabaddhata (D) Sriranjini Which music journal is edited by Prof. R.C.Mehta ? 29. Jiva Svaras are (A) Chayanut (A) Raga Ch ya Svaras (B) Sangeet Masik (B) Nyasa Svaras (C) Kala Saurabh (C) Amsa Svaras (D) Journal of Musicological Society 24. Veena Ancient Harp (D) Flute (A) Varnic 23. Kriti (D) Half tone Semi tone Minor tone (A) 23 22. 26. Indian (D) None of the above 30. Bilawal as Shuddha Swar Saptak was first recognized in Misra Chapu Tala has (A) 9 aksharakalas (B) (A) Chaturdandi Prakashika 6 aksharakalas 7 aksharakalas (B) Nagmate Aasfi (C) (C) Sangeet Sar (D) 8 aksharakalas (D) Sangeet Kalpdrum 31. 25. Chenda is an instrument TAAL is used ? (A) Cymbal (B) (C) (D) Melodic Paper-III Percussion With which style of singing EK Wind (A) Dhrupad (C) 6 (B) (D) Tappa Thumari Khayal S-16-13 20. 21. 22. 23. 24. 25. ? (A) (B) (C) (D) 26. (A) 27. (B) (D) ? (A) 28. (B) (C) (D) ? (A) (C) (D) 29. (B) (D) (B) . . . ? (A) (B) (C) (D) (A) (C) (D) 30. (B) (A) (B) (C) (D) (A) 6 (C) 7 (D) 31. 9 (B) ? (A) (B) (C) (D) S-16-13 (C) (A) 23 (B) 13 (C) 33 (D) 43 (A) (C) 8 (C) (A) 7 ? (D) (B) Paper-III ka Shashtriya Vivechan Which style of singing is adorned with PARANAS ? (A) Dr. Lal Mani Mishra 32. Writer of the book Bhartiya Taalon (A) Dhrupad (B) (C) (D) Tappa (B) Dr. Arun Kumar Sen (C) 37. Acharya K.C.D. Brihaspati 38. (D) Dr. Avan E. Mistri Thumari Which TAAL of Karnatak Taal system is depicted by the symbol of 101 ? Composition with Tihayee played (A) Dhruva Taal (B) three times 33. Khayal (C) (A) Tihayee (B) (C) (D) Chakradar Rela Roopak Taal Mathya Taal (D) Ek Taal Tukada 39. Most expandable composition of Tabla (A) Quiada The Book in which Theka word is (B) Tukada used for the first time (C) Mohara (A) Radha Govinda Sangeet Sar 34. (D) Kamali Chakradar (B) Sarmaye Isharat (C) Sangeet Naad Vinoda 40. Match the following : List I (D) Sangeet Kaladhar List II (i) Zakir Hussain 35. Writer of the book TABLA 1. Vazid Hussain (ii) Kumarlal 2. Kishan Maharaj (A) Arvinda Mukherjee (iii) Afak Hussain (B) (C) (iv) Pooran Maharaj Arvinda Sharma Arvinda Mulgaonkar (D) Arvinda Azad 3. Allarakha Khan 4. Gudai Maharaj Codes : (i) (ii) (iii) (iv) In which Swar should Tabla be tuned (A) 3 1 2 4 for accompaniment ? 36. (B) 3 2 1 4 (C) 3 4 1 2 (D) 3 2 4 1 (A) Gandhar (B) (C) (D) Shadaj Paper-III Pancham Madhyama 8 S-16-13 32. 37. ? (A) . (B) . . . (D) . . (D) . (C) (B) (C) (A) 38. 101 ? (A) 33. (B) (A) (B) (C) (D) 39. 34. (D) (C) - (A) (A) (B) (B) (C) (C) (D) (D) 40. : I 35. II (i) 1. 2. (A) (ii) (B) (iii) 3. (C) (iv) 4. (D) : (i) 36. (iii) (iv) (A) 3 1 2 4 (B) ? (ii) 3 2 1 4 (A) (B) (C) 3 4 1 2 (C) (D) (D) 3 2 4 1 S-16-13 9 Paper-III (A) Srikantha Singh Which percussion instrument is being used for accompaniment with Rabindra Sangeet ? (B) Vishnu Chakravarti (A) Sarangi (B) (C) 41. Who was not appointed as music teacher in the Tagore family ? Jadu Bhatta (C) (D) Sri Khol 46. Mandira Esraj (D) Ramshankar Bhattacharya 47. 42. Who was the second son of Maharshi Devendranath ? (A) Mayar Khela (A) Jyotirindranath (B) (B) Hemendranath Kal Mrigaya (D) Chitrangada (D) Rabindranath 43. Bhanu Singher Padavali (C) Satyandranath (C) Mention the name of Rabindra opera with a story related to Dasarath, king of Ayodhya & Rishi Kumar ? 48. Tagore family originally came from which place of Bangladesh ? (A) Maimansingh (B) Which one is the first Pada of Bhanu Singher Padavali ? (A) Bose Achhi He Kobe Chattagram 44. Dhaka (B) (D) Jashore (B) (C) 49. (D) Tripathi Dastidar Sono Tar Sudha Vani (D) Sansare Tumi Rakhile What was the original surname of Tagore before coming to Kolkata ? (A) Dishari Gahan Kusuma Kunja Mojhe (C) (C) Kushari Which author Ashtapadi ? is known for (A) Vyankatmukhi 45. (B) Jaydeva (C) Which song was composed by Rabindranath following his elder brother Jyotirindranath s He Antaryami, Trahi ___ ? Ramamatya (D) Lochan (A) Kon Sundar Hote Amar (B) Anander-I Sagar Hote What is the term for playing Tala on hand ? (C) E Parabase Robe Ke Hai (A) Panivadak 50. (D) Sakal Garba Dur Kori Dibo Paper-III (C) 10 (B) Udgata Veenavadak (D) Vitatvadak S-16-13 41. ? 46. ? (A) (A) (B) (B) (C) (D) (C) (D) 42. 47. ? ? (A) (A) (B) (B) (C) (C) (D) (D) 43. 48. ? ? (A) (A) (B) (B) (C) (D) (C) (D) 44. ? (A) (B) (C) (D) 49. ? , . ? 50. (B) (C) 45. (A) (D) ? (A) (A) (B) (B) (C) (C) (D) (D) S-16-13 11 Paper-III PART II Hindustani Music 51. Main Singer of Samveda is known as 55. Haveli Sangeet falls under which (A) Pratiharta Trigata musical form ? (C) (D) Udgata (A) Dhrupad (B) (C) 52. (B) (D) Tappa Samvachik Thumari Khyal Arrange the following forms in chronological order : 56. 1. Rika 2. Khayal 3. Salagsuda 4. Dhrupad 5. Dhruva Which of the following is the biggest centre of Haveli-Sangeet at present ? (A) Mathura (C) (A) 5, 1, 4, 3, 2 (B) (C) (D) 1, 2, 4, 5, 3 1, 5, 3, 4, 2 (B) (D) Jaipur Nathdwara Gokul 1, 3, 4, 5, 2 57. Following Swara combination is of which Raga ? 53. Which of the following represents Ma Dha Ni Dha Mewati Gharana ? (A) Joti Ram Moti Ram (A) Maru Bihag (B) Chhannu Lal Mishra Sen (B) Hindol (C) Rajan Mishra Sajan Mishra (C) Kamod (D) Surinder Singh Tejendar Singh 54. a Ga (D) Multani The title Gana Saraswati was bestowed upon Sushri 58. Kishori Following Swara combination is of which Raga ? Amonkar by Ni Sa Ga Ma Pa Dha Pa (A) Ragasheela Saraswati (B) (C) (A) Bhimplasi Dayanand Saraswati Naad Saraswati (D) Jagatguru Mahaswamiji (B) (C) of Shringeri Muth Paper-III Bhairavi Multani (D) Bilaskhani Todi 12 S-16-13 II II 51. ? (A) (B) (C) (D) 55. ? 53. 54. (B) 56. , ? (A) (C) (D) 57. (B) ? , ? (A) (B) (C) (D) ' (A) (C) (D) 58. (B) - ? (A) (B) (C) (D) S-16-13 (C) : 1. 2. 3. 4. 5. (A) 5, 1, 4, 3, 2 (B) 1, 3, 4, 5, 2 (C) 1, 5, 3, 4, 2 (D) 1, 2, 4, 5, 3 (D) 52. (A) ? (A) (B) (D) (C) 13 Paper-III 59. Write down the names of the 63. The author of Pranav Bharati is following Scholars in chronological (A) V.N. Bhatkhande order : (i) Parshwadev (iii) Matang (ii) (B) (iv) Ahobal Bholanath Bhatt (C) Sharangdev Omkarnath Thakkur (D) Ramashraya Jha Codes : (A) (ii), (iii), (i), (iv) (B) (i), (iv), (iii), (ii) (C) (ii), (iv), (iii), (i) 64. According to Solfa Notation system the swaras are known as (A) Sa, Re, Ga, Ma, Pa, Dha, Ni (D) (iii), (i), (ii), (iv) (B) Name the pair of playback singers in (C) 1, 2, 3, 4, 5, 6, 7 the film Sur-Sangam 60. C, D, E, F, G, A, B (D) Do, Re, Me, Fa, Sol, La, Si (A) Gundecha Brothers (B) Salamat Ali-Nazakat Ali (C) Rajan-Sajan Mishra 65. Which is combination the most representing suitable Malhar Ang is ? (D) Singh Brothers (A) Re Ga Re Sa 61. How many Brahamans are there in (B) (C) Samveda ? (A) 6 (C) 62. (B) (D) 9 7 8 Ma Re Re Pa Pa Ga Ma Re Sa (D) Dha Ni Re Sa 66. Ranayani branch is related to Who was the son of Alladia Khan ? (A) Atharavveda (A) Haddu Khan (B) Yajurveda (B) Manji Khan (C) Samveda (C) Mohammad Khan (D) None of these Paper-III (D) Ali Akbar Khan 14 S-16-13 59. . . (B) 63. (A) : (i) (ii) (iii) (C) (iv) (D) : (A) (ii), (iii), (i), (iv) (B) (C) (ii), (iv), (iii), (i) (A) , , , , , , (D) (iii), (i), (ii), (iv) (B) , , , , , , (C) 60. (i), (iv), (iii), (ii) ? 1, 2, 3, 4, 5, 6, 7 (D) , , , , , , 64. - ? (A) (B) - (C) - (D) 65. ? (A) 6 (C) 62. (B) (D) (D) 9 7 8 (C) ? (B) 61. (A) 66. ? ? (A) (B) (C) (C) (D) (D) (A) (B) S-16-13 15 Paper-III 67. Acharya K.C.D. Brahaspati belonged to which Gharana ? (A) Kirana (C) 68. (B) 72. (A) Sonal Mansingh (D) Agra Gwalior Name the Kuchipudi Dancer Rampur (B) (C) Raga of Kalyan thaat having Rishabh Vadi Swapna Sundari Shashwati Sen (D) Kiran Sehgal (A) Shuddha Kalyan (B) Chayanut (C) Kamod 73. (D) Yaman Kalyan 69. (A) Govind Dixit (B) (A) Kalyan + Shuddha Kalyan + Nat. Bilawal + Kalyan + Shuddha Kalyan. (D) Khamaj + Kalyan + Malhar. 70. Someshwar (D) Kallinath Saranga + Desh + Kalyan. (C) Parshvadeva (C) Which combination of Ragas belongs to Deogiri Bilawal ? (B) Author of Kala Nidhi Grantha 74. (A) William Johns Who is the author of Gharandar Gayaki ? (B) Vaman Rao Deshpande (C) Dr. Thakur Jaidev Singh Fox Strangeways (C) (A) S.N. Ratanjankar (B) Author of Music of Hindustan E. Clements (D) N. Augustus Williard (D) Dr. Subhadra Chowdhury 71. 75. Which musician of the films sang Hori Ayi Re Kanhai Rang Barse, Suna De Jara Bansuri ? (A) Krishnanand Vyas (B) Asha Bhonsle (C) Suman Kalyanpur Parshvadeva (D) Bhatta Shubhankar (D) Shamshad Begum Paper-III Dr. Premlata Sharma (C) (A) Lata Mangeshkar (B) Who edited Sahsaras Grantha ? 16 S-16-13 67. . . . ? (A) (B) (C) (D) 72. 69. (B) (C) (D) 74. (B) ? (A) + + (B) + + (C) + + (D) + + (A) 73. (C) (A) (B) (C) (D) (D) 68. (A) (A) 70. (A) (B) (C) (D) 71. (B) ? (A) (B) (C) (D) S-16-13 75. . (D) ? . . . . (C) . ? (A) (B) . (C) (D) 17 Paper-III PART III Karnatak Music 51. Thiruvattiyur Pancharatna (A) Dikshitar (B) Shyama Shastri (C) Swati Thirunal (D) Tyagaraja 52. Marga is an important part of (A) Dasa Prana (B) Yati (C) Kriya (D) Jati 59. Match the following : I. Janani Pahisada 1. Patnam Subramanyam Iyer II. Aparad-hamulan 2. Navagraha Kriti III. Smaramyaham 3. Navaratri Kriti IV. Svara ragasudha 4. Tyagaraja Codes : I II III IV (A) 3 1 2 4 (B) 2 4 1 3 (C) 3 4 1 2 (D) 1 2 4 3 Assertion (A) : Devotion and Music have traversed together since time immemorial. Reason (R) : Vedas glorify Gods. Codes : (A) Both (A) and (R) are true. (B) (A) is true, (R) is false. (C) (A) is false, (R) is true. (D) Both (A) and (R) are false. 61. Write the correct sequencing : (A) Raga Vibodha, Sangita Ratnakara, Swaramela Kalanidhi, Chaturdandi Prakasika, Dattilam. (B) Dattilam, Chaturdandi Prakashika, Sangita Ratnakara, Raga Vibodha. (C) Sangita Ratnakara, Dattilam, Swaramela Kalanidhi, Chaturdandi Prakashika. (D) Dattilam, Sangita Ratnakara, Swaramela Kalanidhi, Chaturdandi Prakashika. Dikshitar s Chandram Bhaja Manasa is a Kiriti (A) Nava Varna (B) Panchalinga Sthala (C) Nava Graha (D) None from the given 54. Kavi Kunjara Bharati has composed (A) Daru (B) Todaya Mangalam (C) Ashtap di (D) Sarabhendra Bhupala 60. 53. 58. Tiruvasagam was composed by (A) Arunagirinathar (B) Manikkavasagar (C) Annamacharya (D) Andal 55. Arrange the following in order of Parent scales : (i) Hindolam (ii) Vijaysri (iii) Malaymarutam (iv) Ananda Bhairavi Codes: (A) (iii), (ii), (i), (iv) (B) (i), (iii), (iv), (ii) (C) (i), (iii), (ii), (iv) (D) (ii), (i), (iii), (iv) 56. Venkatesha Pancharatnam composer (A) Swati Thirunal (B) Vina Kuppaiyar (C) Mahavaidyanatha Iyer (D) None of the above 57. Which is not a Pancha Dasa Gamaka ? (A) Andolita (B) Tribhinna (C) Ahata (D) Tripuscha Paper-III 18 S-16-13 III 51. 52. 58. ? (A) (B) (C) (D) 53. ? (A) (B) (C) (D) 55. : (i) (ii) (iii) (iv) : : I. 1. II. 2. III. 3. IV. 4. : (A) (B) (C) (D) 54. ? (A) (B) (C) (D) 59. (A) (B) (C) (D) (A) (B) (C) (D) I (A) 3 (B) 2 (C) 3 (D) 1 ? (A) (B) (C) (D) S-16-13 IV 4 3 2 3 (A) : - (R) : , : (A) (A) (R) (B) (A) , (R) (C) (A) , (R) (D) (A) (R) 61. (A) (B) (C) (D) 57. III 2 1 1 4 60. : (A) , , , , (B) , , , (C) , , , (D) , , , (iii), (ii), (i), (iv) (i), (iii), (iv), (ii) (i), (iii), (ii), (iv) (ii), (i), (iii), (iv) 56. II 1 4 4 2 19 Paper-III 62. Padam Aliveni Entu Chaiwo is composed by (A) Kshetregna (B) Swati Tirunal (C) Irayimman Tampi (D) Annamacharya 63. Match the following : I. Navavarna 1. II. Lalgudi 2. Pancharatna III. Utsava 3. Prabandham IV. Panchalinga 4. Sthala Codes : I II III (A) 2 4 3 (B) 3 4 2 (C) 3 4 1 (D) 1 3 2 68. 69. 70. 71. Annamacharya s composition also known as (A) Srinagara Kirtanas (B) Churnikas (C) Dandakams (D) Daru 72. Rudra Veena is also known as (A) Saraswati Veena (B) Mahati Veena (C) Yazh (D) None of the above 73. Tanjore Krishna Bhagavatar was famous for (A) Kalakshepam (B) Dandakam (C) Pallavi (D) Padam 74. Chetasri in Dvijavanti is modelled after (A) Khayal (B) Tappa (C) Dhrupad (D) Abhang 75. Tyagaraja IV 1 1 2 4 65. Sadir Nritya is known as (A) Bhartanatyam (B) Mohiniyattam (C) Kuchipudi (D) Kavadi Chindu Composer of Melaragamaleka (A) Patnam Subramanyam Iyer (B) Maha vaidyanatha Iyer (C) Maha vishwanatha Iyer (D) Madhurai Mani Iyer Assertion (A) : Tanjore Vina is also known as the Saraswati Vina. Reasoning (R) : Vina and Yazh developed side by side. Codes : (A) Both (A) & (R) are false. (B) (A) is true, (R) is false. (C) (A) is false, (R) is true. (D) Both (A) and (R) are true. Paper-III Vijaya Raghava Pancharatna s composer is (A) Kshetregna (B) Annamacharya (C) Narayana Tirthar (D) Tyagaraja Prathamanga and Dvitiyanga are parts of (A) Raga alapana (B) Varnam (C) Kuravanji (D) R ga Tanam Pallavi Dikishitar Papanasa Sivan composed (A) Marivere dikyavaru (B) Ma ramanan (C) Gopalaka pahimam (D) None of the above 67. Tillana Daru is a (A) Divyanama Kirtana (B) Samkirtana (C) Misra Prabandha (D) Ugabhoga Kanchipuram Swati Thirunal 64. 66. Sita Rama Vijayam of Tyagaraja is a (A) Kriti (B) Opera (C) Utsava Sampradaya Kriti (D) Bhajana 20 are S-16-13 62. 63. 68. I (A) 2 (B) 3 (C) 3 (D) 1 64. II 4 4 4 3 III 3 2 1 2 65. 73. ? (A) (B) (C) (D) 74. ? (A) (B) (C) (D) 75. (A) (B) (C) (D) (A) (B) (C) (D) ? (A) (B) (C) (D) ? (A) (B) (C) (D) 66. (A) (B) (C) (D) 72. (A) (B) (C) (D) (A) (B) (C) (D) 71. IV 1 1 2 4 (A) (B) (C) (D) 70. : I. 1. II. 2. III. 3. IV. 4. : (A) (B) (C) (D) 69. (A) (B) (C) (D) 67. (A) : (R) : - : (A) (A) (R) (B) (A) , (R) (C) (A) , (R) (D) (A) (R) S-16-13 21 Paper-III PART IV Rabindra Sangeet 51. Which Tal was created by Tagore 55. in 3/2/3 divisions ? raga was not created by Tagore for (A) Jhampak (B) (C) his composition ? (D) Rupakda Rupak Which one of the following mishra- Khemta (A) Kafi-Kanda (B) Marana re, Tuhu mama Shyam (C) Bhup-Kalyan Saman song is from which opera ? 52. Sohini-Kalingra (D) Pilu-Barwa (A) Valmiki Pratibha (B) Bhanu Singher Padabali (C) Kal Mrigaya 56. Which type of singing influenced Tagore mostly in his compositions ? (A) Khyal 53. (D) Lok-Geet Dhrupad Thumri To whom Tagore mentioned as the curator of all of my songs ? 57. (A) Abanindranath (B) Tomar Geeti, Jagalo Smriti belongs to which category of Rabindra Sangeet ? Dwijendranath (C) Dinendranath (A) Prakriti 58. Mention the style of the following (B) (C) (D) Sourindranath 54. (B) (C) (D) Mayar Khela (D) Baul Puja Prem Who was the author of the book Rabindra Sangeet Compositions : Rabindra-Smriti ? Amar Mallika Bane or Sakhi (A) Amiya Tagore Bahe Gelo Bela .. (B) Sahana Devi (C) Indira Devi Choudhurani (A) Baul (B) (C) (D) Thumri Paper-III Kirtan Lok Geet (D) Kanak Biswas 22 S-16-13 IV 51. 3/2/3 ? 55. ? (A) (B) (A) - (C) (D) (B) - (C) 52. - (D) - , - ? (A) (B) (C) (D) 56. ? (B) (D) ? (A) (C) (D) 57. (B) 54. (C) 53. (A) , ? (A) 58. (B) (C) : (D) ? (A) (B) .. .. (A) (B) (C) (C) (D) (D) S-16-13 23 Paper-III 59. The following songs are based on which raga ? 63. Which Prohibited note was used in his composition Tomaro Ashime in (i) Majhe Majhe Taba Dekha Pai raga Bihag by Tagore ? (ii) Achho Antare Chirodin (A) Komal Re (iii) Bendhechho Premer (B) Komal Ga (iv) Pratidin Ami He (C) Komal Dha Codes : (D) Komal Ni (A) Gaud Mallhar (B) Khamaj (C) Kedara 64. According to the Tagore, which one is (D) Kafi the correct accompaniment division with for Rabindra Sangeet in Ada-Chautal ? 60. The song Simar Majhe Asim Tumi is based on which raga ? (A) 2 + 2 + 2 + 2 + 2 + 2 + 2 (B) (B) Todi (C) Chhayanat 65. (A) 3 (D) 2 5 4 Bibhas Bihagada (B) (C) (A) Paraj (C) According to the Tagore, how many divisions are in Sur-faktal ? The song Aji Pranami Tomare is based on which raga ? (B) 2+4+4+4 (D) 3 + 2 + 2 + 3 + 2 + 2 (D) Paraj 61. 2+3+2+2+3+2 (C) (A) Jai Jayanti 66. How many songs were not composed by Rabindranath in Geetanjali out (D) Bhairavi of a total 157 number of songs ? 62. (A) 57 (A) Banaras Gharana 67. (B) (C) Which Gharana or style of Hindustani vocal tradition influenced Tagore mostly in his compositions ? (D) 76 71 61 Which of the following is being used (B) Kirana Gharana to play Esraj ? (C) Gwalior Gharana (A) Plectrum (B) (C) (D) Bow (D) Vishnupur Gharana Paper-III 24 Stick Java S-16-13 59. ? (i) (ii) 63. (A) (B) (C) (D) 64. (D) : (C) (iv) (B) (iii) (A) ? , ? (A) 60. (B) (A) (B) (D) 3+2+2+3+2+2 (C) 2+4+4+4 (D) ? 2+3+2+2+3+2 (C) 2+2+2+2+2+2+2 65. , - ? (A) 61. .. ? (A) (B) (C) (D) 66. (B) 4 (C) 3 5 (D) 2 157 ? (A) 62. (B) 61 (C) ? 57 71 (D) 76 (A) (B) (C) (A) (B) (D) S-16-13 (C) (D) 67. 25 ? Paper-III Who used to make suitable lyrics to 71. Who was felicitated by Rabindranath Jyotirindranath s compositions other with the title Swar Saraswati ? than Rabindranath ? (A) Jadu Bhatt (A) Nabo Gopal Mitra 68. (B) Gyanendra Prasad Goswami (C) Gopeswar Bandopadhayay (B) Akshay Choudhury (C) (D) Radhika Prasad Goswami Indira Devi (D) Radhika Prasad Goswami 72. Who was the teacher of Sourindra Mohan Tagore and Kali Prasanna Bandopadhayay ? 69. How many Padas were included in (A) Gyanendra Prasad Goswami Bhanu Singher Padabali ? (A) 42 (C) 70. (B) (B) (C) (D) 18 22 32 Radhika Prasad Goswami Kshetra Mohan Goswami (D) Girija Shankar Chakravarthy Match the following Talas in terms 73. of their total number of Matra : I Ektal Teental song is based on which Tal ? (i) Ada-Chautal II (ii) Khemta III Jat Tal (A) Ektal (C) (iv) Rupakda (B) (D) Teental Kawali Kaharwa (iii) Madhyaman IV Dhamar Tumi Sandhyar Megha Mala 74. which raga ? Codes : I (A) (ii) Naba Anande Jago song is based on (A) Todi II III (i) (C) IV (B) Gurjari Todi (D) Asavari (iii) (iv) (B) (ii) (iii) (iv) (C) 75. (i) Bhairavi He Mor Debata .. based on which Tal ? (i) (iii) (ii) (iv) (A) Jhaptal (B) (D) (iii) (i) (iv) (ii) (C) (D) Ektal Paper-III 26 Teental Sur-faktal S-16-13 68. - ? 71. ? (A) (A) (B) (B) (C) (C) (D) (D) 72. ? 42 (B) (C) 22 (D) 18 : 73. (C) 32 (B) ? (A) 70. (A) (D) 69. .. ? I. (i) (A) (B) II. (ii) (C) (D) III. (iii) IV. (iv) 74. : (A) I (A) (ii) II III (i) (B) (C) IV (D) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (i) (iii) (ii) (D) (iii) (i) (iv) 75. (iv) (ii) S-16-13 ? . ? (C) (A) 27 - (D) (B) Paper-III PART V PERCUSSION 51. 52. 53. Aadi-Deva of Avanaddha Vadyas (A) Brahma (B) Vishnu (C) Mahesh (D) Ganesh 57. On which part M Varna is played of Dhumakit ? (A) Chaanti (C) The percussion instrument used with Lawani of Maharashtra is (A) Changa (B) Upanga (C) Dholak (D) Naal 58. (B) (D) Gajara Lava Syahi Tabla player who was famous for composing jodas of Gat (A) Haji Vilayat Ali The fraction depicting Layakari of Ku-aad (A) 3/4 (B) 5/4 (C) 7/4 (D) 9/4 (B) Salari Miyan (C) Sidhar Khan (D) Gudai Maharaj 54. 55. Assertion (A) : The mukh (basic) of Quaida is played in dugun/chougun and after improvisations it ends with a Tihai. Reason (R) : Because Quaida is a non-expandable composition. Codes : (A) (A) correct, (R) wrong. (B) (A) correct, (R) correct. (C) (A) wrong, (R) correct. (D) (A) wrong, (R) wrong. 59. A phrase of tabla syllables played three times is called (A) Tihai (C) 60. (B) (D) Theka Gat Chakradar Artist who had command equally over Tabla and Pakhawaj both (A) Laljee Gokhale (B) (C) Lakshan of Shatpitaputraka Tal is (A) | | Ismail Daddukhan Prem Vallabha (D) Rosevel Layal | | (C) | | (D) | | (B) 61. First well-known lady tabla player (A) Dr. Yogmaya Shukla 56. Alla Rakkha Khan belongs to Gharana of (A) Delhi (B) Lucknow (C) Farukhabad (D) Punjab Paper-III (B) Dr. Aban E.Mistri (C) Rimpa Shiva (D) Anuradha Pal 28 S-16-13 V 51. 52. 53. 54. 55. 56. (A) (B) (C) (D) 57. ? (A) 58. (B) (C) (A) (B) (C) (D) (D) (A) (D) (A) : / , , (R) : : (A) (A) , (R) (B) (A) , (R) (C) (A) , (R) (D) (A) , (R) (C) 59. (B) ? 3 5 (A) 4 (B) 4 7 9 (C) 4 (D) 4 (A) 60. (B) (C) (D) (A) (C) (D) 61. (B) (A) | | (B) | | (C) | | (D) | | - (A) . . (C) (D) 29 . (B) ? (A) (B) (C) (D) S-16-13 Paper-III 62. Match the following : List I List II i Guitar 1. Budhaditya Mukherjee ii Sitar 2. V.G. Jog iii Violin 3. Brij Bhushan Kabra iv Shehnai 4. Jagannath Pacheriwal Codes : i ii iii iv (A) 2 4 3 1 (B) 3 2 4 1 (C) 3 1 4 2 (D) 3 1 2 4 63. 70. Ustad Haji Vilayat Ali was the founder of which Gharana of Tabla ? (A) Delhi (B) Punjab (C) Lucknow (D) Farukhabad 71. To set Jhaptaal in the span of Ektaal (From Sam to Sam) causing layakari of (A) 5/6 (B) 6/5 (C) 5/4 (D) 6/4 72. Gopuchha is a kind of (A) Jati (B) Gati (C) Graha (D) Yati 73. A small and attractive composition on Tabla to catch the sam. (A) Tukda (B) Mukhada (C) Gat (D) Tihai 74. Writer of the book Pakhawaj Aur Tabla Ke Gharane Avam Paramparaen (A) Yogmaya Shukla (B) Aban E. Mistri (C) Madhukar Ganesh Godbole (D) Girish Chandra Srivastava 75. Composition played in uninterrupted flow set in fast tempo (A) Peshkar (B) Rela (C) Bant of Theka (D) Tihai Raja Chhatrapati Singh played (A) Tabla (B) Pakhawaj (C) Nakkara (D) Dukkada Writer of the book Mridanga-Sagar (A) Ghanshyam Das (B) Purushotam Das (C) Bhagwan Das (D) Gopal Das The form of Rupak tal in Karnatak system (A) (B) (C) (D) 64. 69. 65. Tilwada Theka accompanies the singing style of (A) Thumri (B) Ghazal (C) Bada Khyal (D) Chhota Khyal 66. Awap is a (A) Nibaddha Kriya (B) Nishabd Kriya (C) Sashabd Kriya (D) Alap-gan 67. Total number of Dha and Dhin syllables are used in the Theka of Trital (A) 6 Dha - 6 Dhin (B) 7 Dha - 7 Dhin (C) 7 Dha - 6 Dhin (D) 6 Dha - 7 Dhin 68. Taal having four talies and three khaleis (A) Chautaal (B) Ada-Chautaal (C) Vasant Taal (D) Ek-Taal Paper-III 30 S-16-13 62. : I II i. 1. ii. 2. . . iii. 3. iv. 4. : i (A) 2 (B) 3 (C) 3 (D) 3 63. ii 4 2 1 1 iii 3 4 4 2 69. 70. ( ) 5 (A) 6 5 (C) 4 (A) (C) (B) (D) ? (A) (B) (C) (D) 73. (A) (B) (C) (D) (A) (C) 74. 75. - (A) (B) (C) (D) 65. 66. (B) (D) : (A) 6 -6 (B) 7 -7 (C) 7 -6 (D) 6 -7 (A) (B) (C) (D) (A) (B) . (C) (D) (A) 68. 6 5 6 (D) 4 (B) 72. 64. 67. . ? (A) (B) (C) (D) 71. iv 1 1 2 4 ? (A) (B) (C) (D) (A) (B) (C) (D) S-16-13 (B) (C) (D) 31 Paper-III Space For Rough Work Paper-III 32 S-16-13

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