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UGC NET DEC 2006 : 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 6 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. 2. 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 DU U S U U U U U U U U, U S U U U U No Additional Sheets are to be used. 3. 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 : U U U, - S U U U - S U U (i) (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. - S U U U 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 (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 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 4. Read instructions given inside carefully. 7. 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. U # U U- S U U U U U # U U U U 8. / U Z U S U 8. Use only Blue/Black Ball point pen. 9. U ( U U) U U 10. U U 9. Use of any calculator or log table etc. is prohibited. 10. There is NO negative marking. D 1606 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 1606 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 ) Read the following paragraph and answer all the five questions given below. Each question is to be answered in 30 words. Each question carries 5 marks. Each work of art has its own distinct style, which the artist does not deliberately adopts but develops in due course of time. As the handwriting of the individuals is different from each other, similarly the tone of voice from man to man varies individually. All these qualities reflect the personality of a man. If the dozen artists sing the same raga, they will all differ in the presentation of swar. They will have different flavour of tones, different results like some will sing the raga very confidently, some hesitatingly. The tones of some artists will be hard, or delicate. If one dozen artists sing the same tone, we will find one dozen results of one dozen colours/flavours. Each of these twelve interpretations will be an index of a different kind of man and from the quality of the tones, their style, we can judge the personality of these artists. If a mere singing of tones gives so much evidence about its creators, how much more complete will be the evidence of a complex work like singing, the whole melody. At every twin the artist will give himself away. He will reveal his attitude to the audience, his feeling about the moods, his keenness of observation, the retentiveness of his aural memory, his sense of design, his capacity to control his voice, tones and undertones, style is the accumulated result of all this evidence. 30 5 , Q Q D 1606 3 P.T.O. S S S , , S , S Q R S Q Q S Q S , , S , , , S 1. What are the important factors which an artist should keep in mind from aesthetic point of view while performing his art. S S C , ? D 1606 4 2. What is the psychological aspect of Indian Music which makes the art of an artist perfect to his maximum efforts. 3. The style of presentation of music identifies the personality of the artist. Discuss. S - D 1606 5 P.T.O. 4. What is the relationship between the form of music and its style of presentation ? l S ? 5. What is the difference between the artistic presentation and the craftsmanship ? Explain. S ? D 1606 6 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) (5) (5x15=75 6. ) Explain Gamak and its varieties as mentioned in Sangeet Ratnakar. D 1606 7 P.T.O. 7. Throw light on the importance of Avirbhava and Tirobhav in Indian classical music with example in one Raga. S 8. Explain Jatigayan in Short. D 1606 8 9. Where is Maihar situated. Describe in brief the characteristic features of a prominent artist beloging to Maihar parampara. S , h 10. Write short notes on any two of the following : Harmony, Consonance, Mela, Layakari, Baj, Varshamangal, Phalguni, Jati Bhed. , , , , $ , , , D 1606 9 P.T.O. 11. Describe the merits and demerits of Gharana System. h - 12. Describe the principles of Aesthetics in music S D 1606 10 13. Describe the contribution of musicians in the court of Akbar. 14. Describe in brief the Rasa theory as propogated by Bharat. m h D 1606 11 P.T.O. 15. Write short notes on any two of the following. Lavani, Baul, Jhoomar, Villuppattu, Maand, Gidda, Pandwani, Gitibitan, Nautanki. , , , , , g , , , 16. Discuss the utility of Institutional music. S D 1606 12 17. What is meant by musical intervals ? Describe the different kinds. S S 18. Describe in brief the musical contribution of your favourite artist. D 1606 13 P.T.O. 19. Write short notes on any two styles of Dances. Kathak, Kathakali, Oddissi, Bharatnatyam, Kuchipudi, Manipuri. , , , K , , 20. How far do you agree that electronic aids in teaching music are useful in the present system. h - ? D 1606 14 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 ) Elective - I U I HINDUSTANI MUSIC - VOCAL AND INSTRUMENTAL S - 21. What is the concept of beauty ? Express your views on the principles of Aesthetics as applicable to music . ? - S h 22. Throw light on the various problems and aspects of research. S 23. Give a comparative outlook of the Folk music and Classical music. S D 1606 15 P.T.O. 24. Describe the tradition of Temple music and also write in detail about the singers, instruments and Ragas of this tradition. C C , l S 25. Explain the evolution and development of Gharana system in Indian music. h S Elective - II II KARNATAKA MUSIC - VOCAL, INSTRUMENTAL AND PERCUSSION 21. Discuss the possibilities of music therapy. - 22. Compared to the earlier times facilities for learning music are plenty at the present day. Elucidate. - C 23. Explain the multiple rasas in ragas with examples. 24. Explain the musical aspect of folk songs. - D 1606 16 25. Voice Culture is a branch of knowledge pertaining to the study of right voice production. Discuss it s importance for a classical vocalist. - S S ? OR / Elective - III III RABINDRA SANGEET 21. Tagore said, It is in art where restraint is needed the most . Do you support this ? Give your arguments in brief. , ? 22. This too is the work of a revolunist, -This is how Tagore concludes his discussions with H.G. Wells. What does this refer to ? . . , R ? 23. We do not have the expression of joy in our Ragas and Raginis. Why does Tagore say this in his Sangeet O Bhale ? Do you agree ? Give your arguments. , ? ? 24. In his conversation with Einstein, Tagore observes, In European music, you have a comparative liberty about time, but not about melody. But in India we have freedom of melody, with no freedom of time. Is it true about Indian classical music ? Add your comments. S , S S , D 1606 17 P.T.O. 25. Tagore, in his discussions with Romain Rolland, makes this demand that The singer must therefore be a true artist and not merely and artisan. Please tell briefly what he means by this. , OR / Elective - IV IV PERCUSSION INSTRUMENT h l 21. Throw light on the salient features of PAKHAWAJ/TABLA. / l 22. Trace the origin of TABLA/PAKHAWAJ and give a short account of its development. / 23. Describing the importance of LAYA and LAYAKARI, elaborate AAD, QUAD and BIAD. , 24. Compare and contrast any two GHARANAS of TABLA/PAKHAWAJ. / 25. Which TABLA/PAKHAWAJ player (of National fame) do you like most ? and why ? / ( C ) ? ? D 1606 18 D 1606 19 P.T.O. D 1606 20 D 1606 21 P.T.O. D 1606 22 D 1606 23 P.T.O. D 1606 24 D 1606 25 P.T.O. D 1606 26 D 1606 27 P.T.O. D 1606 28 D 1606 29 P.T.O. 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. ) Write an essay on any one of the following : (i) Tradition of Rag Dhyan and Rag Ragini paintings in Indian music. (ii) Different classifications of Rag system and importance of Raganga classification. (iii) Contribution of various scholars and musicians in the medieval period. (iv) New Trends of Indian Music in Post Independence Era and their impact on classical music. (v) Staff Notation system and its chief characteristics. (i) - (ii) (iii) S (iv) S S (v) S h D 1606 30 D 1606 31 P.T.O. D 1606 32 D 1606 33 P.T.O. D 1606 34 D 1606 35 P.T.O. D 1606 36 D 1606 37 P.T.O. D 1606 38 D 1606 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 1606 Date ............................. 40

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