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UGC NET DEC 2008 : MUSIC PAPER II

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Signature and Name of Invigilator OMR 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) D 1 6 0 8 Test Booklet No. PAPER II Time : 1 hours] MUSIC Number of Pages in this Booklet : 48 Number of Questions in this Booklet : 50 U Instructions for the Candidates 1. 2. 3. 4. [Maximum Marks : 100 1. U DU U S U U U U Write your roll number in the space provided on the top of this page. This paper consists of fifty multiple-choice type of questions. 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. (iii) After this verification is over, the Test Booklet Number should be entered in the OMR Sheet and the OMR Sheet Number should be entered on this Test 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. 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 OMR U U U U OMR R - S U U 4. U U (A), (B), (C) (D) U U U U U Example : B C D A 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. 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. 5. 6. 7. 8. 9. 10. B C D U ( U U) U U 12. U U 11. See Page No. 2 and 3 for Special Instructions / D 1608 A (C) U U U I U U- U U U U S U U U , U U U (Rough Work) S DU U U U- S U , U U U U U # U U- S U U U U U # U U U / U Z U S U 1 c 2 3 P.T.O. MUSIC PAPER II Hindustani/Karnatic/Rabindra Sangeet (Vocal, Instrumental & Musicology) and Percussion Instrument 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 / Karnatic / Rabindra Sangeet / Percussion 1. Who propounded Sarana-Chatushtayee ? (A) (B) Bharat (C) 2. Sharangadeva Kallinath (D) Ramamatya Tivrata belongs to : (A) (B) Pitch (C) 3. Laya Vibration (D) Volume Which Swara, according to Natya Shashtra has got three Shruties ? (A) (B) Madhyam (C) 4. Gandhar Rishabh (D) Pancham How many Hangamas are there in Irani Music ? (A) 5. 24 (B) 22 (C) 25 Who has accepted that all the 22 Shruties are equal ? (A) Pt. Vyankat Makhi (B) Acharya Brihaspati (C) Pt. Bhatkhande (D) Pt. Sharanga Deo D 1608 2 (D) 23 II S / / ( , S ) h l U -I 25 -II, -III, -IV, -V 25 (2) PART - I S / / h l 1. U - C S ? (A) (B) U (C) 2. U (D) U U (A) (B) (C) 3. S U (D) U U U K S U S U ? (A) (B) (C) 4. U (D) @ U ? (A) 5. 24 (B) 22 (C) 25 (D) 23 m 22 ? (A) . U (B) S (C) . U (D) . U D 1608 3 P.T.O. 6. Which Swara, according to Bharat, is placed on 13th Shruti ? (A) (B) Gandhar (C) 7. Shadaj Madhyam (D) Dhaiwat Number of Yati-Prakaras : (A) 8. 3 (B) 6 (C) 8 Ram Sahaya (B) Shanti Sahaya (C) Ram Sharan (D) Gudai Maharaj Which Taala has got Tin Tin on its 7th and 8th Matras : (A) Ada Chartaal (B) Tritaal (C) 10. Tilwada (D) Jhumara Name the Layakari in which 7 Varnas are adjusted in 4 Matras : (A) 11. Aad (B) Kuad (C) Biad (D) Rabindranath wrote how many songs ? (A) About five thousand (B) About six thousand (C) 12. 10 Name the founder of Banaras Gharana of Tabla : (A) 9. (D) About two thousand (D) About three thousand Rabindranath got Nobel Prize for his Book : (A) Ghare Baire (B) Raja O Rani (C) Gitanjali (D) Gitali D 1608 4 None of these 6. U 13 U S U S ? (A) (B) U (C) 7. U (D) U ? (A) 8. 3 (B) 6 (C) 8 U (B) (C) U U (D) U , U U ( , ) ? (A) U (B) (C) 10. (D) U U U U ? (A) 11. (B) (C) (D) U ? (A) U (B) U U (C) 12. 10 U U ? (A) 9. (D) U (D) U U S US U ? (A) U U (B) U U (C) (D) D 1608 5 P.T.O. 13. Rabindranath s comical Drama : (A) (B) Muktadhara (C) 14. Tapati Chirakumar sabha (D) Binipaishar Bhoj Rabindranath recorded his song : (A) (B) O Aamar Deshar Mati (C) 15. Tabu Mone Rekho Aamar Rat Pohalo (D) Mono Jago Rabindranath returned his knighthood in the year of : (A) 16. 1896 (B) 1913 (C) 1940 The three swarajathis of Sri. Shamashastry are in the following ragas : (A) Kalyani, Bhairavi, Todi (B) Todi, Bhairavi, Yadukula kambhoji (C) Shankarabharana, Bhairavi, Todi (D) 17. (D) Bhairavi, Yadukula kambhoji, Shankarabharana The father of Karnatak music is : (A) (B) Sri MuttuSwamy Dikshitar (C) 18. Sri Tyagaraja Sri Shamashastry (D) Sri Purandaradasa 72 melakarta scheme was systematized by : (A) Ramamatya (B) Venkatamakhi (C) Subbarama Diskshitar (D) Govindacharya D 1608 6 1919 13. U S U (A) (B) Q U (C) 14. # U U (D) U U U U ? (A) (B) U U U (C) 15. U U U (D) U U U ? (A) 16. 1896 (B) 1913 1940 1919 , U , U (B) U , U , (C) U U , U , U (D) U , , U U U (A) U (B) S U (C) 18. (D) S S U U (A) 17. (C) S (D) U U U h R h (A) U (B) U (C) U U (D) D 1608 7 P.T.O. 19. The text written by Nijaguna Shivayogi is : (A) (B) Sadraga Chandrodaya (C) 20. Sangita sara Sangita Saramruta (D) Vivekachintamani Kudumiyamalai inscription pertaining to music is situated near : (A) Mahabalipuram (B) Tanjavur (C) Tiruvayyur (D) Pudukkottai Paraphrasing or linked items : Read the passage below and tick the correct answer in each group of (A), (B), (C) and (D) : Music therapy is a subject which is attracting the whole globe in the present era. It deals with the application of Music to heal several mental and physical ailments of mankind and others. It is a known fact that mankind suffers from the deformities due to several genetical, environmental, social, personal and medical reasons. Due to lack of proper brain cells, a person suffers from mental and physical disorders. It is an established fact that Indian music definitely has therapeutic values since ancient times. Many ragas have the therapeutic values in Indian music. Certain hormones which are produced in the brain which controls the general behaviour and motor activities of a person. By administering proper way of Music in both vocal and instrumental music, a patient s disorder can be cured or atleast be controlled. Alongwith the elements of Music, therapy is possible through dance, and theatre activities also. Several measures have been taken to conduct methodological and scientific research to derive the ragas of Indian music to be implemented for music therapy. Hence, along with other dimensions that music has, viz, historic, textual, practical, research, aesthetic, interdisciplinary, it has now a new and most scientific approach of applying music as a therapy which is a heavenly boon to mankind. 21. Music is used to cure : (A) physical disorders of mankind (B) mental disorders of mankind (C) both mental and physical disorders of mankind (D) both mental and physical disorders of mankind and others D 1608 8 19. m U (A) (B) U (C) 20. U U (D) U (A) U (B) U (C) L U (D) U U U U U (A), (B), (C) (D) U , S U U U U U U U U U h , U , , Q U l U M S c , Q U U U U C S U U M U U U U U U U S c U U Q U U U l U U U - U h U U U U , S U S , , , , , , U - C M U U 21. U U ? (A) U U U (B) U (C) U U U (D) U U U U D 1608 9 P.T.O. 22. Indian music has therapeutic values in its system since : (A) (B) after it got bifurcated in to 2 branches (C) ancient times (D) 23. post independence era modern times By administering proper music as a therapy the disorder in a person can be : (A) (B) Cured partially (C) 24. Cured completely Controlled to an extent (D) Both be cured and controlled The new dimension of Indian Music is : (A) (B) Textual (C) 25. Historic Instrumental (D) Music Therapy Assertion (A) : Gharanas are rooted and flourished through the combination of tradition and their individual identity. If we look at each Gharana then it is clear that each has its boundary. Reason (R) : The boundaries of Music are fixed in Indian Music. Code : (A) (A) and (R) are correct (B) (A) is correct but (R) is wrong (C) (A) and (R) both are wrong (D) (A) is wrong but (R) is correct D 1608 10 22. U U - U ? (A) (B) m (C) (D) 23. S M U U Q U (A) (B) M U (C) 24. U U (D) U U (A) (B) (C) l (D) S (A) : U U U U U U U C U S C (R) : 25. U U U U U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) D 1608 11 P.T.O. PART - II Hindustani Music (Vocal / Instrument) 26. Writer of Natyashastra . : (A) 27. Kohal (B) Bharat (C) Dattil (D) Writer of Bhartiya Sangeet Vadya . : (A) Acharya Brahaspati (B) B. C. Deva (C) 28. Pt. Lal Mani Mishra (D) Dr. Prem Lata Sharma Musicology department of B. H. U. was established by : (A) Alain Danielou (B) Prem Lata Sharma (C) 29. Subhadra Chaudhry (D) None of these Which composition was written by Jaideva ? (A) 30. Ramayan (B) Geet Govind (C) Geet Rahasya Bharat (B) Kohal (C) Matang Narada (B) Acharya Brahaspati (D) Who wrote Sangeet Raj ? Maharana Kumbha (B) Sinh Bhupal (C) Bharat (D) Sarang Deva Trace the time by which Brihaddesi was written by Matang : (A) 8th Century (B) 9th Century (C) 13th Century (D) 15th Century How many parts are there of Hindustani Sangeet Kramik Pustak Malika ? (A) 35. Nanya Deva Lalmani Mishra (A) 34. (D) Sinh Bhupal (C) 33. Geetanjali Who gave first comments on Sangeet Ratnakar ? (A) 32. (D) Who described twenty two Swar Murchanas ? (A) 31. Sarangdeva 3 (B) 4 (C) 5 (D) 6 (D) Gwalior Where Haridas Sangeet Samaroh is mainly organised ? (A) D 1608 Vrindawan (B) Agra (C) 12 Varanasi - II S ( / ) 26. K S U (A) 27. (B) U (C) (D) U l (A) S (B) . . (C) 28. (D) S ( . . . U ) S ? (A) U (B) (C) 29. U (D) U ? (A) 30. U (B) (C) U S (D) (C) (D) m S U U ? (A) 31. U (B) U U U U ? (A) U (B) (C) 32. S (D) U m U ? (A) 33. U (B) (C) U 8 (B) U 9 (C) 13 (D) 15 S R S ? (A) 35. (D) g U ? (A) 34. U 3 (B) 4 (C) 5 (D) 6 (C) U (D) U U U ? (A) D 1608 (B) U 13 P.T.O. 36. To which note Chikari wire of sitar is tuned ? (A) 37. (B) (C) S .. (D) . S (C) S . 3 (D) 4 How many Banias are there of Dhrupad ? (A) 38. S 1 (B) 2 What is the name of the Guru of Gangubai Hangle ? (A) (B) Alladia Khan (C) 39. Abdul Karim Khan Sawai Gandharv (D) Amir Khan What is the name of the Guru of Annapurna ? (A) (B) Ravisanker (C) 40. Ustad Allauddin Khan Nisar Hussain Khan (D) None of these Which combination of notes belong to Raga Gaur-Sarang from the following ? (A) 41. RP (C) S, R, G R (D) P, GMRS R-DHA (B) (C) G-M (D) N-DHA (C) G-N Bhairav (D) Bageshri Which Raga belongs to Morning ? (A) 43. (B) Which note is flat in Raga Bhairav ? (A) 42. G R, M G Yaman (B) Khamaj Match the following : (a) Gwalior (i) Ustad Alladia Khan (b) Agra (ii) Shankar Pandit (c) Jaipur (iii) Ustad Abdul Karim khan (d) Kirana (iv) Ustad Faiyaj Khan Code : (a) (b) (c) (d) (A) (ii) (iv) (i) (iii) (B) (ii) (i) (iii) (iv) (C) (ii) (iv) (iii) (i) (D) (i) (ii) (iii) (iv) D 1608 14 36. U U U U ? (A) 37. (B) (C) (D) U (B) 2 (C) 3 (D) 4 ? (A) 38. 1 L ? (A) (B) U (C) 39. U (D) U L ? (A) (B) U U (C) 40. . g U S (D) - U S U ? (A) 41. U (C) , U, U (D) , U U- (B) - (C) - (D) - (B) (C) U (D) U ? (A) 43. (B) U U S U ? (A) 42. U, (a) U (i) . (b) U (ii) U U (c) U (iii) . U (d) U (iv) . U (A) (B) (C) (D) D 1608 (a) (ii) (ii) (ii) (i) (b) (iv) (i) (iv) (ii) (c) (i) (iii) (iii) (iii) (d) (iii) (iv) (i) (iv) 15 P.T.O. 44. 45. Match the following : (a) Mihar Gharana (b) Etawa Gharana (c) Indor Gharana (d) Vishnupur Gharana Codes : (a) (b) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (iii) (i) (iv) (C) (ii) (iv) (i) (iii) (D) (iv) (ii) (i) (iii) Match the following : (a) Dhamar (b) Ektal (c) Rupak (d) Punjabi Codes : (a) (b) (c) (A) (iii) (ii) (iv) (B) (ii) (iii) (i) (C) (iv) (ii) (i) (D) (i) (iii) (iv) (i) (ii) (iii) (iv) Ustad Halim Zafer Khan Pt. Ravi Shankar Gopeshwer Bandyopadhyaya Ustad Vilayat Khan (i) (ii) (iii) (iv) Seven Matras Forteen Matras Twelve Matras Sixteen Matras (d) (i) (iv) (iii) (ii) Read the passage below and tick the correct answer in each group of (A), (B), (C) and (D) : This can be hoped that simplification of Music would be done in the coming years. And then, the dimensions for group teaching of music would open. India had expected that in all the universities music would be introduced as a course of general subject. And teaching of Indian music would become universal by being available for the public. Bhatkhandeji, who had dreamt of spreading Music as Bahu Janhitay , Bahu Jan Sukhay , his dream also would come true. In the establishment of school level Music Teaching, it must have been Bhatkhandeji s desire that if it is not possible for common people, then it will be certainly atleast available for a large section of society. In our country, Music Teaching has always been in Guru-shishya tradition, in which individual attention is expected. Only those who are endowed with genius are able to learn from competent Guru. In this System, one or two disciples can take advantage at a time. Bhatkhande ji thought that the teaching of fine arts, like painting, D 1608 16 44. (a) U U (i) . U (b) U U (ii) . U U (c) U U (iii) E U (d) c U U (iv) . U (A) (B) (C) (D) 45. (a) (i) (ii) (ii) (iv) (b) (iii) (iii) (iv) (ii) (c) (ii) (i) (i) (i) (d) (iv) (iv) (iii) (iii) (a) U (i) (b) (ii) (c) M (iii) U (d) (iv) U (A) (B) (C) (D) (a) (iii) (ii) (iv) (i) (b) (ii) (iii) (ii) (iii) (c) (iv) (i) (i) (iv) (d) (i) (iv) (iii) (ii) U U U U (A), (B), (C) (D) U Z U U U - U l M KR U U - U U U , , M U S , S U l S U U U U M - U L - c U U U Q M Q L h c U D 1608 17 P.T.O. craft, etc is becoming possible in schools and universities, then why it is not possible for Music. History is a witness that in ancient times teaching was done in Music in Takshila and Nalanda Universities of India. Thus, School and University level Music Teaching is not a new concept. Music should not be taught to all. (A) Bhatkhandeji was not in favour of school education. Bhatkhandeji did not consider school education proper. (C) Bhatkhandeji had a desire that music might be available to public. (D) Bhatkhandeji was opposed to music teaching. (A) Guru-Shishya tradition has been personal. (B) Guru-Shishya tradition is not respectable. (C) Through Guru-Shishya tradition good artists cannot be made. (D) In Guru-Shishya tradition, Gurus do not teach. (A) Institutional teaching of Music is an old concept. (B) Institutional teaching of Music is not correct. (C) Institutional teaching system of Music is not relevant. (D) 50. Music should be introduced only upto school education. (B) 49. Music should not be introduced in the universities. (D) 48. If Music is introduced as a subject in all the Universities, it will be easily available to the public. (C) 47. (A) (B) 46. Historical evidence of Institution Teaching System of Music is not available. Assertion (A) : On the basis of proposal of 13th May, 1954, Sangeet Natak Academy has been established in 1955 by the Ministry of Education in New Delhi with a view to protect Music, theatre and other performing Arts. Reason (R) : On the basis of proposal of 13th May 1952, Sangeet Natak Academy has been established in 1953 by the Ministry of Education in New Delhi with a view to protect Music, theatre and other performing Arts. (A) (A) is correct but (R) is wrong (B) (A) is wrong but (R) is correct (C) (A) is correct and (R) is correct (D) (A) is wrong and (R) is wrong D 1608 18 , , l l U U l l U (A) U l U l U (C) U U U (D) U U (A) L - c U U Q U (B) L - c U U (C) L - c U U U U (D) L - c U U L (A) S U U (B) S U (C) S (D) 50. l (B) 49. l (D) 48. l M U (C) 47. (A) (B) 46. S S (A) : 13 1954 S U U m U , U U U S 1955 (R) : 13 1952 S U U m U , U U U S 1953 (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) D 1608 19 P.T.O. PART - III Karnatic Music - Vocal Instrumental, Percussion 26. The ancient name for Mattakokila Veena was : (A) (B) Rudra Veena (C) 27. Tanjore Veena Vipanchi Veena (D) Mahati Veena Who in the following was a popular musicologist ? (A) (B) Doreswamy Iyengar (C) 28. Madhurai Mani Iyer P. Sambamurthy (D) M. Balamuralikrishna The composer who composed Lalgudi Pancharatna Krutis is : (A) (B) Sri. Shamashastry (C) 29. Mahavaidyanatha Iyer Muttuswamy Dikshitar (D) Tyagaraj In which year M. S. Subbalakshmi was awarded Rashtrapati award ? (A) 30. (C) 1956 (D) 1958 100 (B) (C) 1100 10 (D) 101 45 (B) 35 (C) 75 (D) 108 Kanakadasa has composed his compositions in the following language : (A) 33. 1952 How many total numbers of talas are derived by implementing jati bheda in sapta talas in Karnatak Music ? (A) 32. (B) Matyatala consists of following angas : (A) 31. 1950 Telugu (B) Kannada (C) Tamil (D) 72 melas are broadly divided into 2 divisions such as : (A) Shuddha and Bhinna (B) Janya and Janaka (C) Raganga and Upanga (D) Poorvanga and Uttaranga D 1608 20 Malayalam - III ( , ) 26. (A) (B) L (C) 27. U (D) h S ? (A) (B) US U (C) 28. U U . (D) . U c U U U U (A) (B) S (C) 29. l U S U (D) U . . U C ? (A) 30. (C) 1956 (D) 1958 100 (B) 1100 (C) 10 (D) 101 45 (B) 35 (C) 75 (D) 108 (C) (D) U ? (A) 33. 1952 # U ? (A) 32. (B) U ? (A) 31. 1950 (B) U U (A) h U (B) U (C) U U (D) Z U U D 1608 21 P.T.O. 34. The only tala which has an anudatta among sapta talas is : (A) (B) Matya tala (C) 35. Dhruva tala Jhampe tala (D) Attatala The signature of Annamacharya is : (A) (B) Sreenivasa (C) 36. Venkatesha Varada Venkatesha (D) Sreenivasa Varada The last Kruti of Muttuswamy Dikshitar was : (A) (B) Meenakshi (C) 37. Kamakshi Vishalakshi (D) Kamalakshi Ancient Vrindagana was popularly known as : (A) (B) Vrindageetha (C) 38. Brindagana Vadyavrinda (D) Kutupa Sri Tyagaraja s tomb is situated at the place called : (A) (B) Tiruvananthapuram (C) 39. Tiruvannamalai Tirucchi (D) Tiruvayur The name of the second chakra in mela nomenclature in Karnatak music is : (A) 40. Nethra (B) Rushi (C) Dikh Raga Hindola is popularly known in Hindustani Music as : (A) Bhairavi (B) Chandra Kouns (C) Mala Kouns (D) Poorvi D 1608 22 (D) Ruthu 34. # , (A) (B) K (C) 35. (D) ^ ? (A) (B) (C) 36. U U U (D) U S U U U ? (A) (B) (C) 37. (D) h ? (A) (B) (C) 38. l (D) U (B) L U U U ? (A) (C) 39. L L L M U U h U R ? (A) 40. (D) (B) (C) (D) U S h ? (A) U (B) (C) (D) D 1608 23 P.T.O. 41. Swati Tirunal was awarded doctorate degree for his text : (A) (B) Kalpadruma (C) 42. Sangita dhruma Sangeetha Kalpadhruma (D) Kalpasangeethadhruma Muvvagopala is the signature of : (A) (B) Balamurali Krishna (C) 43. Annamacharya Gopaladasa (D) Kshetragna By replacing pratimadyama in the place of shuddhamadhyama in the raga chakravaka, we get the following raga : (A) (B) Ramamanohari (C) 44. Kamavardhini Hemavathi (D) Simhendra madhyama The guru of Dr. M. L. Vasantha Kumari was : (A) (B) Palghat Mani Iyer (C) 45. Chembai Vaidyanatha Iyer G. N. Balasubramanyam (D) Viswanatha Iyer Match the following and select the correct combination from the code below : (a) Muttuswamy Dikshitar (i) Kudalasangamadeva (b) Swati Tirunal (ii) Swarajathi (c) Basavanna (iii) Royal Composer (d) Shamashastry (iv) Navagraha Krutis Codes : (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iv) (iii) (i) (ii) (D) (iii) (iv) (i) (ii) D 1608 24 41. S L U U U U ? (A) (B) (C) 42. (D) ? (A) (B) U c (C) 43. (D) U R h S U , U (A) (B) U U (C) 44. (D) U U U . . U L (A) (B) U U (C) 45. l U . . (D) U U (a) S U (i) U (b) S L (ii) S U (c) (iii) U (d) S (iv) U (a) (b) (c) (d) (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iv) (iii) (i) (ii) (D) (iii) (iv) (i) (ii) D 1608 25 P.T.O. 46. In South India folk music the raga mostly used is : (A) (B) Reetigowla (C) 47. Dwijavanthi Kuranji (D) Bhairavi Match the following and select the correct combination from the code below. Match the following in increasing number of Aksharakalas : (a) Sankeernajathi Dhruvatala (i) 10 (b) Misrajathi Attatala (ii) 8 (c) Khandajothi Jhampetala (iii) 29 (d) Chatursajathi Matyatala (iv) 18 Code : (a) (c) (d) (A) (iii) (i) (ii) (iv) (B) (iii) (iv) (ii) (i) (C) (ii) (iii) (i) (iv) (D) 48. (b) (iv) (ii) (i) (iii) Assertion (A) : Purandaradasa is called as the father of Karnatak Music. Reason (R) : Because he gave a new and scientific outlook to South Indian music by simplifying the ancient music system. Code : (A) (B) Both (A) and (R) are false (C) Both (A) and (R) are true (D) 49. (A) is true and (R) is false (A) is false and (R) is true Swati Tirunal has composed the following Samudaya Krutis : (A) (B) Navagraha Krutis (C) 50. Panchalinga Krutis Navavarna Krutis (D) Navaratri Krutis The commentary text written on Sangita Ratnakara is : (A) Sangita Sara (B) Sangeetha Saramruta (C) Sangita Sudhakar (D) Sangraha Chudamani D 1608 26 46. U Q (A) (B) U (C) 47. m U (D) U U U U (a) (i) 10 (b) ^ (ii) 8 (c) U (iii) 29 (d) U (iv) 18 U (a) (b) (c) (d) (A) (iii) (i) (ii) (iv) (B) (iii) (iv) (ii) (i) (C) (ii) (iii) (i) (iv) (D) (iv) (ii) (i) (iii) S (A) : U U U (R) : 48. U U U U U U (A) (B) (A) U (R) (C) (A) U (R) (D) 49. (A) U (R) (A) U (R) S L U (A) (B) (C) 50. (D) U U U U (A) U (B) U (C) U (D) U D 1608 27 P.T.O. PART - IV RABINDRA SANGEET 26. Who wrote the Notation of Tagores Music ? (A) (B) Asit Haldar (C) 27. Kongali Charan Sen Nandalal Bose (D) Prabhat Mukhopadhyaya Identify Tagores song for children : (A) (B) Tumi to sye jabey chale (C) 28. Tomar surer dhara Tomar holo suru (D) Ha Re Re Re Re Re Identify Tagores song based on South Indian Music : (A) (B) Baje karuna sura (C) 29. Badalo dinero prathama Purano sey diner kath (D) Aji je rajani jay Which song were originally a poetry ? (A) (B) Khanchar pakhi chilo (C) 30. Krishnakali ami taree boli Tobu mone rekho (D) Naha mata naha kanya Which poetry was originally a song ? (A) Bahiro pathe bibagi hiya (B) Parakashi chalo eso ghore (C) Aji ea nirala kunje (D) Tumi jate bhar D 1608 28 - IV 26. U U S U ? (A) (B) U (C) 27. U (D) U U ? (A) (B) (C) 28. U U U U U L (D) U U U U U U U U U U ? (A) (B) L U (C) 29. U U U (D) U M ? (A) (B) U U (C) 30. c U U (D) ? (A) U (B) U U (C) U (D) D 1608 29 P.T.O. 31. Rabindranath composed music of one of the following song : (A) (B) Hashite khelite aasini (C) 32. Bandey Mataram Moder garav moder asha (D) Ganga sindhu narmada Identify the Patriotic Song of Tagore : (A) (B) Bidhir bandhan katbe tumi (C) 33. Tumi ushera sonaro bindu Se kon pagal (D) Pakhi bole champa What is the name of the tal used in Rabindra Sangeet in the Rhythm 312121259 Matra ? (A) (B) Trital (C) 34. Rupakra Navtal (D) Jhampak How many Lyrical Dramas composed by Tagore ? (A) 35. 1 (B) 2 (C) 3 How many patriotic songs were composed by Tagore ? (A) (B) more than 20 (C) 36. more than 10 more than 30 (D) more than 50 Which song was written by Tagore in the year 1905 ? (A) Aaj Shraboner purnimate (B) Amar praner pore (C) O amar desher mati (D) Jadi jantem D 1608 30 (D) 4 31. U M ? (A) (B) (C) 32. U U U (D) U U Q ? (A) (B) U U (C) 33. U U (D) U 312121259 U ? (A) (B) (C) 34. M (D) U U U ? (A) 35. 1 (B) 2 (C) 3 4 U U m U Q U ? (A) 10 (B) 20 (C) 36. (D) 30 (D) 50 U U 1905 ? (A) U (B) U U U (C) U U U (D) D 1608 31 P.T.O. 37. Identify the song of Rainy season : (A) (B) Ami chinigo chini tomare (C) 38. Amar nayano bhulare ele Basante Basante tomay (D) Aaj Brishti sesher hawa Identify the Book on Tagores Music : (A) (B) Jogajog (C) 39. Gora Gitabitaner jagat (D) Chaturanga Identify the first song written by Rabindranath : (A) (B) Bal golap more Bal (C) 40. Boli o amar golapabala Jawl jawl chita dwigum dwigum (D) Ami tomaro sange Rabindranath got the Nobel Prize in : (A) 41. 1896 (B) 1910 (C) 1913 (D) 1940 Tagore wrote the song Jana Gana Mana as : (A) (B) Seasonal song (C) 42. Patriotic song Brahma sangeet (D) For the reception of George fifth Whose singing Rabindranath enjoyed most ? (A) Sahana Devi (B) Santidev Ghose (C) Sailaja Ranjan Majumdar (D) Anadi Kumar Dastidar D 1608 32 37. ? (A) (B) U (C) 38. U U (D) C U S U U U ? (A) (B) (C) 39. U U (D) U U ? (A) (B) U (C) 40. U m m (D) U U $ ? (A) 41. 1896 (B) 1910 (C) 1913 (D) 1940 U U ? (A) (B) (C) 42. Q r (D) S U U U ? (A) (B) (C) U U (D) U S U D 1608 33 P.T.O. 43. Amaro Parano Jaha Chai is a song belongs to the category : (A) 44. Prem (C) Patriotic (D) Vichitra Rupakra (B) Jhampak (C) Aratheka (D) Chowtal About 3000 (D) About 4000 How many songs were composed by Tagore ? (A) 46. (B) What is the tal of the song E Moha Abaron ? (A) 45. Puja About 1000 (B) About 2000 (C) Identify the song written by Tagore and tuned by Jyotirindranath Tagore : (A) (B) More Rabe Kina (C) 47. Na Swajani Na Alo Aamar Alo (D) Sakalo garbo dur kori diba Assertion (A) : Tagore had a solid background of North Indian music. Reason (R) : Because his compositions are mainly based on classical sangeet. (A) (A) is true but (R) is false (B) (R) is true but (A) is false (C) Both (A) and (R) are true (D) Both (A) and (R) are false D 1608 34 43. U U ? (A) 44. (C) Q (D) L (B) (C) U (D) (C) 3000 (D) 4000 U U M ? (A) 46. (B) U ? (A) 45. 1000 (B) 2000 U U U S U h ? (A) (B) U U (C) U (D) U U (A) : U U U U U U (R) : 47. U S U U (A) (A) , U (R) (B) (R) , U (A) (C) (A) U (R) (D) (A) U (R) D 1608 35 P.T.O. 48. Match the following and select the correct combination from below : (a) Tal (i) Speed of Song (b) Tan (ii) Time Division (c) Tuk (iii) Singing Technique (d) Laya (iv) Part of a Song Codes : (a) (c) (d) (A) (ii) (iii) (iv) (i) (B) (i) (ii) (iii) (iv) (C) (iii) (iv) (i) (ii) (D) 49. (b) (ii) (iv) (iii) (i) Assertion (A) : Tagore had a solid knowledge of folk songs of Bengal. Reason (R) : Because many of his compositions are full of folk element. (A) (B) (R) is true but (A) is false (C) Both (A) and (R) are true (D) 50. (A) is true but (R) is false Both (A) and (R) are false Rabindranath composed only one song in one Rag identify : (A) D 1608 Sahana (B) Kedara (C) 36 Malakaouns (D) Paraj 48. U U U (a) (i) (b) (ii) (c) (iii) (d) (iv) U (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (i) (ii) (iii) (iv) (C) (iii) (iv) (i) (ii) (D) (ii) (iv) (iii) (i) (A) : U U U (R) : 49. U U (A) (B) (R) , U (A) (C) (A) U (R) (D) 50. (A) , U (R) (A) U (R) U U U U ? (A) D 1608 (B) U (C) 37 (D) U P.T.O. PART - V PERCUSSION INSTRUMENTS 26. Which dhatu has formed the word Tal ? (A) 27. Tal (B) Tol (C) Tola Tabala (B) Pakhawaj (C) Mridangam (D) Ghatam Which form of singing is sung in Chartal ? (A) Saragam (B) Khyal (C) 29. Dhrupad (D) Thumary Number of Marg Tallas : (A) 30. 4 (B) 5 (C) 6 (D) 7 (C) Ektal (D) Punjabi 18 (D) 10 (C) 5 (D) 8 (C) Punjab (D) Ajarada (C) Nakkara (D) Dholak In which Tal Tappa is sung ? (A) 31. Trital (B) Jhapatal Trace Tabala Wadak from among the following : (A) Kanthe Maharaj (B) Tansen (C) 32. Pannalal (D) Biraju Maharaj How many matras are there in Matt tala ? (A) 33. (B) 15 (C) 3 (B) 2 Which Baaj belongs to Ustad Allarakha ? (A) 35. 16 How many Tal Systems are prevailing in India ? (A) 34. Toda Which instrument was related to Nana Panse ? (A) 28. (D) Delhi (B) Purab Which instrument Dhumkit belongs to ? (A) D 1608 Tabala (B) Pakhawaj 38 - V h l 26. ? (A) 27. (B) (C) (B) (C) (D) U U ? (A) U (B) (C) 29. (D) U U ? (A) 30. 4 (B) 5 (C) 6 (D) 7 (C) (D) U U ? (A) 31. (B) (A) U U (B) (C) 32. (D) U U ? (A) 33. (B) 15 (C) 18 (D) 10 3 (B) (C) 5 (D) 8 U (C) (D) U (C) U 2 . U ? (A) 35. 16 U h ? (A) 34. U l ? (A) 28. (D) (B) U l ? (A) D 1608 (B) 39 (D) U P.T.O. 36. Which Instrument is played by Kishan Maharaj ? (A) (B) Pakhawaj (C) 37. Tabala Nakkara (D) None of these Match the following : (a) Quada (i) Farsh bandi (b) Peshkar (ii) Palat (c) Paran (iii) Chakradar (d) Tihai (iv) Stuti Codes : (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iv) (i) (ii) (iii) (D) 38. (b) (ii) (iii) (iv) (i) Match the following : (a) Karamat Ulla (i) Lucknow (b) Jahangir Khan (ii) Allahabad (c) Munne Khan (iii) Kolkatta (d) Lalaji Shrivasatav (iv) Indore Codes : (a) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) 39. (b) (i) (ii) (iii) (iv) In which tal Thumary is sung ? (A) Teen tal (B) Jhapatal (C) Depchandi (D) Punjabi D 1608 40 36. U l ? (A) (B) (C) 37. U (D) (a) (i) (b) U (ii) U (c) U (iii) R U (d) (iv) S U (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iv) (i) (ii) (iii) (D) 38. (b) (ii) (iii) (iv) (i) (a) U (i) (b) U (ii) (c) (iii) (d) S (iv) U U (a) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (ii) (i) (iv) (C) (iv) (iii) (ii) (i) (D) 39. (b) (i) (ii) (iii) (iv) U U ? (A) (B) (C) (D) D 1608 41 P.T.O. 40. Who is related to whom ? (a) Gudai Maharaj (i) Kumarlal (b) Allarakha (ii) Sabir Khan (c) Karamtulla (iii) Jakir Hussain (d) Ahamadjan Thirakava (iv) Lalaji Gokhale Codes : (a) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (i) (iii) (iv) (C) (iii) (iv) (ii) (i) (D) 41. (b) (iv) (iii) (ii) (i) Which rhythmic Instrument is played with Havalisangeet : (A) (B) Pakhawaj (C) 42. Tabala Nakkara (D) Dholak Which instrument belongs to Pagaldas : (A) (B) Pakhawaj (C) 43. Tabala Mridangam (D) Kanjari Make the proper pairs : (a) Bafati Miya (i) Nakkara (b) Dilavarkha (ii) Dholak (c) Nana Panse (iii) Tabala (d) Anokhenlal (iv) Pakhawaj Codes : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) (iii) (ii) (iv) (i) D 1608 42 40. ? (a) U (i) U (b) U (ii) U (c) U (iii) U (d) U (iv) U (a) (c) (d) (A) (i) (iii) (ii) (iv) (B) (ii) (i) (iii) (iv) (C) (iii) (iv) (ii) (i) (D) 41. (b) (iv) (iii) (ii) (i) l ? (A) (B) (C) 42. U (D) U l ? (A) (B) (C) 43. (D) U Q (a) (i) U (b) U (ii) U (c) (iii) (d) (iv) U (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) (iii) (ii) (iv) (i) D 1608 43 P.T.O. 44. Who is famous for which rendering ? (a) Anokheylal (i) Sangat (b) Allarakha (ii) Na Dhin Dhin Na (c) Ahamadjan Thirakva (iii) Gat (d) Habibuddin (iv) Uni talas Codes : (a) (c) (d) (A) (ii) (iv) (iii) (i) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) 45. (b) (iv) (ii) (i) (iii) Write the following chronologically : (A) (B) Tabala, Pakhawaj, Dhundubhi, Pushkar (C) Pushkar, Dhundubhi, Pakhawaj, Tabala (D) 46. Dhundubhi, Pushkar, Pakhawaj, Tabala Pakhawaj, Tabala, Pushkar, Dhundubhi Assertion (A) : Rela is also a kind of Quada which has possibility to be played in drut laya. Hence easy bolas are taken into it. At the last rela is converted in to raw . Reason (R) : Complicated bols are difficult to be played in drut laya and there is no possibility of being converted into raw . Code : (A) (A) right (R) wrong (B) (A) wrong (R) right (C) (A) and (R) both right (D) (A) and (R) both wrong D 1608 44 44. h ? (a) (i) (b) U (ii) (c) U (iii) (d) g (iv) U (a) (c) (d) (A) (ii) (iv) (iii) (i) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) 45. (b) (iv) (ii) (i) (iii) R U (A) , c U, , (B) , , , c U (C) c U, , , (D) , , c U, S (A) : U U U U U U (R) : 46. C U U U # U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) D 1608 45 P.T.O. 47. Which sequence is correct for Ektal, Rupak, Triput, Mathtal of South Indian Music ? (A) (B) 10, 1, 101, 100 (C) 101, 100, 1, 10 (D) 48. 1, 10, 100, 101 100, 101, 10, 1 Assertion (A) : Generally Pakhawaj is played with temple music. Its depth is its reason. Reason (R) : Depth is essentially required for Spiritualism. Code : (A) (B) (A) wrong (R) right (C) (A) and (R) both right (D) 49. (A) right (R) wrong (A) and (R) both wrong Assertion (A) : Tal is the discipline of Music. Hence a musical composition without any tal is not appreciable. Reason (R) : Tal creates complicacy in music and this complicacy mars the beauty of music. Code : (A) (B) (A) wrong (R) right (C) (A) and (R) both right (D) 50. (A) right (R) wrong (A) and (R) both wrong Assertion (A) : The different BAAJAS spread the fragrance of different flowers. Reason (R) : It never happens so. Code : (A) (A) and (R) both right (B) (A) and (R) both wrong (C) (A) right (R) wrong (D) (A) wrong (R) right -oOo- D 1608 46 47. U - , M , U U S M R U ? (A) 1, 10, 100, 101 (B) 10, 1, 101, 100 (C) 101, 100, 1, 10 (D) 100, 101, 10, 1 S (A) : U U (R) : 48. U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : U U (R) : 49. C U C U U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : - c U U U (R) : 50. U (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) -oOo- D 1608 47 P.T.O. Space For Rough Work D 1608 48

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Additional Info : Ugc Net December 2008 Question Paper -Music ( Paper II )
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