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UGC NET DEC 2005 : MUSIC PAPER III

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Signature and Name of Invigilator Roll No. (In figures as per admission card) 1. (Signature) (Name) Roll No. 2. (Signature) (Name) D 1 6 0 5 Time : 2 hours] (In words) Test Booklet No. PAPER III MUSIC Number of Pages in this Booklet : 40 [Maximum Marks : 200 Number of Questions in this Booklet : 26 Instructions for the Candidates U U 1. Write your roll number in the space provided on the top of this page. 1. U DU U S U U U U U 2. U U U, U S U U 2. Answers 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. U U No Additional Sheets are to be used. 3. U U U, - S U U U - S U U 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) - S U U U U U U U S U U- U S S U U (i) To have access to the Test 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) 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 (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. U U 4. Read instructions given inside carefully. 5. One page is attached for Rough Work at the end of the booklet before the Evaluation Sheet. 5. U U- S (Rough Work) U U DU 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. 6. U- S U , U U U U 7. U # U U- S U U U U U # U U U U 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. / U Z U S U 8. Use only Blue/Black Ball point pen. 9. Use of any calculator or log table etc. is prohibited. 9. U ( U U) U U 10. There is NO negative marking. 10. U U D 1605 1 P.T.O. 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) S D 1605 2 SECTION - I U 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. (5x5=25 marks) ( 5) (30) ( 5) (5x5=25 ) Great difference of opinion exists as to the relation of the shrutis to the notes. Some think that they both being perceivable by the ear are one and the same in nature. But this opinion does not appear to be sound one, for the shruti is the foundation or supporter of the note and consequently the supported cannot be the supporter. Others hold that the note is reflected on shruti just as the human face is reflected on the looking glass. This view too does not seem to be alone refutation, for unlike that of the note with reference to the shruti, the perception of the reflected object is of an illusive nature. It is the conclusion of another class of thinkers that the shruti is the cause of the note, in the same sense that a lump of clay is the cause of an earthen pot. But this kind of reasoning is faulty too in as much as the clay may be distinguished in the presence of the earthen pot, where as the shruti cannot be percieved in the presence of the note. Some others make out that the shruti is transformed into note in the manner in which milk is transformed into curd . S # m Q S S M # S Q S c S M M ^ ^ ^ S ^ S S S C S M D 1605 3 P.T.O. 1. Define the relationship between shruti and swara. S S 2. The reflection of a note on shruti is same as the human face in a mirror . Discuss in detail. S S D 1605 4 3. Why shruti has been considered as the cause of a note ? S ? 4. Do you agree that shruti and swara are same in nature ? Express your views in a critical manner. S ? M S D 1605 5 P.T.O. 5. Can shruti be perceived in a note ? If it is not so, what is meant by the proper connotation of a particular note (swara) in a particular Raga ? S S ? C S C ? SECTION - II U II Note : This section contains fifteen (15) questions each to be answered in about thirty (30) words. Each question carries five (5) marks. (5x15=75 marks) (15) (30) (5x15=75 ) (5) D 1605 6 6. Define Nada and its specialities. 7. Give the definition of Raga or Tala highlighting its importance in Hindustani or Karnataka Music. S D 1605 7 P.T.O. 8. What is meant by Marga and Deshi Sangeet ? ? 9. Write the thekas of any two talas of Hindustani Music in Dugun and Tigun or write the total matras in a Khanda Jati of Jhampatal and Sankeerna Jati of Ata tala. S D 1605 8 10. Write the special features of folk music of Punjab/Rajasthan/Uttar Pradesh or the Kirtan of Bengal or Folk music of any state of South India. / S / C C 11. Give a short description of Taladashpranas. # D 1605 9 P.T.O. 12. Write the names of Dhatus and Angas of Prabandha alongwith their specific role in its formation. S M C 13. Throw light on the contents of any three of the following : Chataranga, Trivat, Tarana, Kriti, Tillana, Varnam, Javali, Ragamalika, Thematic Variations of Ravindra Sangeet, Dhrupad, Dhamar. S , , , , , , , , , , D 1605 10 14. Write the names of five great scholars of ancient period indicating the names of the Granths written by them. m 15. Give the names of any five stringed instruments mentioned in Rikveda and Samaveda. l D 1605 11 P.T.O. 16. Highlight the important contribution made by any two of the following schoolars towards Indian Music : Bharat, Ahobala, Matanga, Vyankatamukhi, Tyagaraja, Pt. Sharangadeva. m , , , , , . X 17. Name the Rasas which have been mentioned by Bharat in Natya Shastra. Also indicate the Rasas which are more appropriate for Music in comparison to Natya. m K S K Q D 1605 12 18. How many swarashrita gitis have been referred in Sangeet Ratnakar ? Write their names and short description. S ? # 19. Define Kaku and throw light on its varieties. D 1605 13 P.T.O. 20. What are the methodologies to be adopted for Research in Music ? ? SECTION - III U III Note : This section contains five (5) questions from each of the electives / specialisations. The candidate has to choose only one elective / specialisation 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. (12x5=60 marks) / (5) / (12) (200) (12x5=60 ) D 1605 14 Elective - I U I HINDUSTANI MUSIC - VOCAL AND INSTRUMENTAL S - 21. Throw light on the principles of Aesthetics applicable to Indian Music. S h 22. Give a critical analysis of the importance of Gharanas in modern context when music education is being imparted through universities and music institutions. l S S 23. Why interdesciplinary studies have been considered important for the advancement of the art of music in contemporary period. Explain. ? 24. Throw light on the new avenues of research in music. 25. How has classical music been influenced by folk music and temple music of India. S h ? OR / Elective - II D 1605 15 P.T.O. II KARNATAKA MUSIC 21. Discuss the importance of Aesthetics in Karnataka Music compositions. S 22. What do you understand by the term Sampradaya ? How relevant is it in the present times ? ? ? 23. Religion and Music in India are intertwined ? Substantiate. , 24. Every generation has seen a new trend in the classical concert paddhati. Discuss the trend in Karnataka music concert in the post Independence Era. S S S S 25. Institutionalised training in music though is systematic in terms of theory and practice, yet has its limitations. What in your opinion are these limitations and how can they be overcomed ? Discuss. S R C l S S l ? OR / D 1605 16 Elective - III III RABINDRA SANGEET 21. What is the musical relevance of Rabindranath s concept of Nataraja ? h ? 22. Give your critical appreciation of Rabindranath s musical play Nataraja : Riturangashala. X 23. Why did Rabindranath refer to Lessing s Laocoon in the essay on Music and Poetry ? ? 24. Multan as it were the tiresome sigh/breathing of the sultry day-ending . Explain with appropriate examples of a song or a tonal phrase of Multani. - # S 25. Our music is the music of cosmic emotion . In which context did Rabindranath say this ? Explain the sentence with suitable examples. c K ? Q OR / D 1605 17 P.T.O. Elective - IV IV PERCUSSION l 21. Define Avanaddha and describe Dholak, Mandar and Hudukka with sketch. h , P 22. What do you mean by Gharana ? Clarify the specialities of Farukkhabad Gharana. ? M S C 23. Discuss the aesthetical values of Tabla Solo. 24. Clarify the difference between the Tihai and Chakkardar. Write in notation one Farmaishi and one Kamali Chakradar in Tritala. R S C R h 25. Write your views on the importance of AVANADDHA VADYAS in music. l l D 1605 18 D 1605 19 P.T.O. D 1605 20 D 1605 21 P.T.O. D 1605 22 D 1605 23 P.T.O. D 1605 24 D 1605 25 P.T.O. D 1605 26 D 1605 27 P.T.O. D 1605 28 D 1605 29 P.T.O. D 1605 30 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 of the following topics. This question carries 40 marks. (40x1=40 marks) (40) , (1000) (40x1=40 ) 26. Importance of experimentation in Indian Music. OR / Importance of textual evidence and oral tradition in music and their interrelationship. S OR / Role of Music and Religion in the enrichment of the culture of a country. S h D 1605 31 P.T.O. D 1605 32 D 1605 33 P.T.O. D 1605 34 D 1605 35 P.T.O. D 1605 36 D 1605 37 P.T.O. D 1605 38 D 1605 39 P.T.O. FOR OFFICE USE ONLY 1 26 51 76 2 27 52 77 3 28 53 78 4 29 54 79 5 30 55 80 6 31 56 81 7 32 57 82 8 33 58 83 9 34 59 84 10 35 60 85 11 36 61 86 12 37 62 87 13 38 63 88 14 39 64 89 15 40 65 90 16 41 66 91 17 42 67 92 18 43 68 93 19 44 69 94 20 45 70 95 21 46 71 96 22 47 72 97 23 48 73 98 24 49 74 99 25 50 75 Marks Obtained Question Number Marks Obtained Question Number Marks Obtained Question Number Marks Obtained Question Number Marks Obtained 100 Total Marks Obtained (in words) ..................................... (in figures) .................................... Signature & Name of the Coordinator ............................... (Evaluation) D 1605 Date ............................. 40

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Additional Info : Ugc Net December 2005 Question Paper -Music ( Paper III )
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