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UGC NET JUN 2006 : MUSIC PAPER II

48 pages, 250 questions, 2 questions with responses, 1 total responses,    0    0
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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. J 1 6 0 6 PAPER II MUSIC Time : 1 hours] Number of Pages in this Booklet : 48 [Maximum Marks : 100 Number of Questions in this Booklet : 50 U Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 1. U DU U S U U U U 2. This paper consists of fifty multiple-choice type of questions. 3. U U U, - S U 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) 4. 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) - S U (i) - S U U U U S U U- U S S U U (ii) U DU U U U - S DU 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) 2. - 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. 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 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 U 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. 5. 6. Read instructions given inside carefully. 7. Rough Work is to be done in the end of this booklet. 7. 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. 6. 8. 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. B C D U ( U U) U U 12. U U 10. Use only Blue/Black Ball point pen. 11. 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 / J 1606 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 / 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. Name of the Karnataki Mela corresponding to Hindustani Poorvi Thata ? (A) (B) Mayamelavagaula (C) 2. Kamavardhini Dhirashankarabharana (D) Subhapantuvarali Which Granthakarta has propounded the principle of Sarna Chatushtaya ? (A) 3. Kohal (D) Matang Three (B) Five (C) Seven (D) Twelve Violin (B) Sitar (C) Tanpura (D) Israj Dramatist (B) (C) Lyricist Violinist (D) Painter Alap, Tan, Sargam are used in which style of Gayaki ? (A) 7. (C) Lalgudi Jayaraman is a famous : (A) 6. Bharata Stringed instrument which is used for khyal singing : (A) 5. (B) How many Swaras have been used in Sama Gan ? (A) 4. Dattila Dhruvapad (B) Dhamar (C) Thumari (D) Khyal (C) Thata (D) Aroha From where is Raga evolved ? (A) J 1606 Swar (B) Nada 2 II S / / ( , S ) h l U -I 25 -II, -III, -IV, -V 25 (2) PART - I S / / h l 1. S (A) (B) (C) 2. (D) c h ? (A) 3. (C) (D) (B) (C) (D) (C) (D) l (A) 5. (B) S ? (A) 4. (B) h (A) (B) (C) 6. (D) , , ? (A) 7. (B) (C) (D) (C) (D) ? (A) J 1606 S (B) 3 P.T.O. 8. Misra Jathi Triputa tala takes _________ counts (A) 9. (B) 11 (C) Rupak tal (B) Teen tal (C) (D) 14 Jap tal (D) Eka tal Name of the karnataki equivalent raga for Bhupali of hindustani music is : (A) Sudha Saveri (B) Hindolam (C) 11. 07 Name of Karnataki Adi tala in Hindustani music : (A) 10. 09 Mohanakalyani (D) Mohanam Name of Hindustani Teevra Madyama in Karnataki music : (A) (B) Prati Madyama (C) 12. Chatusruti Madyana Sudha Madyama (D) Shadsmati Madyama Rabindranath Tagore s birth century was in (A) 13. 1945 (B) 1986 (C) 1961 (D) Which of the following statements is true about Tagore ? (A) He slept most of the day (B) He could not read or write (C) 14. He did not like the schools to which he went (D) He was ugly and short Match the following and pick up the right combination (a) Tagore s year of birth (i) 1941 (b) His year of measuring the nobel prize (ii) 1861 (c) His year of death (iii) 1913 (d) His year of receiving knighthood (iv) 1915 (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (ii) (iii) (i) (iv) (D) 15. 1975 (iv) (iv) (ii) (i) Atthya Tall (Chatashra Jaati) of Karnatak Music resembles to which Taal of Hindustani Music : (A) ADA Chavtala (B) Chautala (C) Sool Taal (D) Tivra Taala J 1606 4 8. ? (A) 9. L (B) (C) h (B) (C) (B) 1945 (B) 14 (D) (D) h (D) (C) 1986 1961 (D) 1975 - (B) - (C) S (D) L (a) (i) 1941 (b) S (ii) 1861 (c) (iii) 1913 (d) (iv) 1915 (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (ii) (iii) (i) (iv) (D) 15. (D) (C) (A) 14. 07 (A) 13. (C) S (A) 12. 11 S (A) 11. (B) S ? (A) 10. 09 (iv) (iv) (ii) (i) ( S ) S (A) J 1606 (B) (C) 5 (D) P.T.O. 16. Habibuddin hailed from : (A) (B) Punjab Baaj (C) 17. Delhi Baaj Ajrada Baaj (D) Lucknow Baaj Match the following (a) Ahmad Jan Thirakua (i) Delhi - Baaj (b) Godai Maharaj (ii) Farukhabad - Baaj (c) Karamatull Khan (iii) Banaras Baaj (d) Kallukhan (iv) All the four main styles (Baaj) (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (ii) (iii) (i) (iv) (C) (i) (ii) (iii) (iv) (D) 18. (b) (ii) (iv) (i) (iii) Match the following (a) Law of octave (i) Tempered Scale (b) Fixed Keys (ii) 240:480 (c) Octave Interval (iii) Orchestra Music (d) Oratario (iv) Pythagorian scale (a) (c) (d) (A) (iv) (ii) (i) (iii) (B) (iii) (ii) (i) (iv) (C) (iv) (i) (ii) (iii) (D) 19. (b) (i) (ii) (iv) (iii) Sequencily type questions mark the correct group from the following : (A) Sarangadev, Bharat, Jaidev, Matanga (B) Bharat, Matanga, Jaidev, Sarangdev (C) Matanga, Jaidev, Sarangadeva, Bharat (D) Jaidev, Bharat, Matanga, Sarangadev J 1606 6 16. g (A) 17. (B) (C) (i) (b) (ii) $ L (c) (iii) (d) (iv) (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (ii) (iii) (i) (iv) (C) (i) (ii) (iii) (iv) (D) (ii) (iv) (i) (iii) (a) (i) S (b) (ii) 240:480 (c) (iii) (d) (iv) S (a) (b) (c) (d) (A) (iv) (ii) (i) (iii) (B) (iii) (ii) (i) (iv) (C) (iv) (i) (ii) (iii) (D) 19. S (a) 18. (D) (i) (ii) (iv) (iii) (A) X , , , (B) , , , X , (C) , , X , (D) , , , X J 1606 7 P.T.O. Paraphrasing or Linked items : Read the passage below and tick the correct answer in each group of ABCD Music plays a pivotal role in moulding the personality and behaviour of mankind. The effect of Indian classical ragas with its multifaceted and multidimensional is phenomenal. The use of music as therapy is based on scientific and clinical approach. Music works like a sedative, which can act as a tranquilizer for the human being. The right type of music may cope up with anxiety stress and mental retardation, control high blood pressure, pulse rate and even acts upon the human organism and awaken and develop their proper functions to the extent of self realisation. Effects of music on physical body, mind, medicine, emotions, industry, group and animals has been based on scientific clinical approach. Music is not merely a subject of study limited to the four walls of a classroom but as a subject of helping the mankind to improve their lot by incorporating all sorts of knowledge and experience for attainments of good human beings. Apart from sound knowledge of music, a teacher must have some other qualities like ability to compose and improvise music and the style of its presentation for lucrative services, art activities, physical education, occupational therapy, leisure education, psycotherapy, play therapy, and extracurricular activities. 20. The role of music is important in mental and physical health. (B) Music has no place in mental and physical health. (C) Ragas can not cure the diseases. (D) Music was never used as a therapy. (A) The therapeutic use of music has always been there since the olden times. (B) The Ragas were never used for music therapy (C) Music can not be helpful in the overall development of mankind (D) 21. (A) There is no music for children J 1606 8 c h - , c - # S c , , , , m , c , , , l , L S L , Z - , , , m m c S S h c S S S S (C) m (D) (A) (B) (C) c Z (D) 21. (A) (B) 20. S J 1606 9 P.T.O. 22. There can not be a music for group and industry (D) Only the technical knowledge of ragas is sufficient for a music teacher (A) The right type of music can control the high/low blood pressure and balance the pulse rate (B) Music increases the anxiety and stress of mankind (C) There is no music to awaken and develop the proper functions of mankind (D) The therapeutic use of music is not based on scientific approach (A) Music as a therapy is based on scientific and clinical approach. (B) There is no music for leisure education (C) Music can not mould the personality of human being (D) 25. Music has no effect on human mind and animals (C) 24. A Music teacher must know the various uses of music like teaching the ragas as well as its therapeutic uses. (B) 23. (A) There is no music for group singing. Assertion (A) : Rag-Raginees have been associated with Gods and Goddesses in Indian music. Each of them has been depicted in emotional paintings and described in poetic language of Dhayn. Reason (R) : Indian music has its origin and development in religious background where Gods and Goddesses have been worshipped. Codes : (A) Both (A) and (R) are true (B) (A) is true but (R) is wrong (C) Both (A) and (R) false (D) (A) is true but (R) is not the correct answer J 1606 10 - l (D) (A) m / (B) m (C) m (D) h (A) h (B) (C) m Q (D) 24. m (C) 23. (A) (B) 22. S (A) - , - (R) 25. - (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1606 11 P.T.O. PART - II Hindustani Music (Vocal / Instrumental) 26. Who has compiled and edited the treatise Sahasras ? (A) K.C.D. Brihaspati (B) Sulochana Brihaspati (C) Premalata Sharma (D) Omkar Nath Thakur 27. Who was the father of Hirabai Badodekar ? (A) Abdul Aziz Khan (B) Abdul Karim Khan (C) Faiyaz Khan (D) Alladiya Khan 28. Which combination correctly represents the Bilawal Anga ? (A) Ga Pa, Dha Ni Sa (B) Ga Re, Ga Pa (C) Dha, Ga pa (D) Ma Ga, Ma Re, sa 29. Tilwada Tala best suited to : (A) Vilambit Khayl (C) Tappa 30. (B) (D) Who composed Raga Tilak Shyam ? (A) Allauddin Khan (B) (C) Ravishankar (D) Drut Khyal Sadra Bismillah Khan Villayat Khan 31. Who was in the court of Mansingh Tomar ? (A) Nayak Gopal (B) Nayak Baiju (C) Nayak Bakshu (D) Nayak Dhondhu 32. Who is the author of Pranav-Bharti ? (A) Omkar Nath Thakur (B) (C) Thakur Jaidev Singh (D) 33. 34. Which treatise was written by Ramamatya ? (A) Raga Lakshanam (B) Raga Vibodh (C) Swarmela Kalanidhi (D) Abhinav-Raga-Manjari Tit Kat / Gadi Gan belogns to which Tala ? 3 0 (A) (C) 35. KCD Brihaspati S. N. Ratanjankar Chautal Sooltal (B) (D) Tala Deepchandi is best suited to : (A) Dhruvpad (B) (C) Thumari (D) J 1606 Tivra None of these Khyal Tappa 12 PART - II S ( / ) 26. ? (A) (B) S (C) 27. . . . S (D) ? (A) (B) (C) 28. $ $ (D) S - S C ? (A) 29. (C) , (D) , , (B) (C) (D) g (B) (C) (D) (C) (D) ? (A) 32. , ? (A) 31. (B) (A) 30. , (B) ? (A) (B) . . . S (C) 33. (D) . . m ? (A) (B) (C) 34. S (D) 3 (A) 35. / 0 ? (B) (C) (C) (D) (A) J 1606 (B) 13 (D) P.T.O. 36. Which Raga originates with a mixture of Miyan Malhar and Sarang? (A) (B) Nat Malhar (C) 37. Jayant Malhar Miyan ki Sarang (D) Shuddha Sarang Sa Re Dha Sa symbolises which Raga ? (A) (B) Jaldhar Kedar (C) 38. Malhar Druga (D) Bilawal Which Raga uses combination of Re Pa swaras ? (A) (B) Kalyan (C) 39. Kamod Malhar (D) Chayanut Which audav Jati Raga belongs to BHAIRAV ? (A) (B) Jogia (C) 40. Ramkali Gunkali (D) Kalingra Ga Ma, Re, Sa, Ni, Pa belongs to which Raganga ? (A) (B) Kanhada (C) 41. Sarang Aswari (D) Kafi Which Raga is a morning Raga ? (A) (B) Sarang (C) 42. Bhatiyar Bhimplasi (D) Pooriya How many main Talas are in Karnataki Music ? (A) (B) Five (C) 43. Seven Thirty (D) Forty Match the following (a) Chords (i) Natya Shastra (b) Antar Gandhar (ii) Staff Notation (c) Soprano (iii) 1/2 beats (d) Quaver (iv) Range of sound (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iii) (ii) (i) (iv) (C) (ii) (iv) (iii) (i) (D) (iv) (iii) (ii) (i) J 1606 14 36. o - ? (A) 37. h (B) (C) (D) (C) (D) (C) (B) (B) (D) (B) (C) (D) (B) (C) (D) (C) (D) ? (A) 43. (D) ? (A) 42. , , , , S ? (A) 41. (C) - ? (A) 40. S ? (A) 39. (B) $ S ? (A) 38. (B) (a) (i) S (b) (ii) S (c) (iii) 1/2 (d) (iv) S (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iii) (ii) (i) (iv) (C) (ii) (iv) (iii) (i) (D) (iv) (iii) (ii) (i) J 1606 15 P.T.O. 44. Various musical forms have been in practice in Indian music. Choose the correct group as per their chronological evolution and practice. (A) Prabandha, Dhruva Gan, Dhrupad, Khyal. (B) Dhruva Gan, Khyal, Prabandha, Dhrupad. (C) Dhruva Gan, Prabandha, Dhrupad, Khyal. (D) Dhruva Gan, Khyal, Dhrupad, Prabandha. Paraphrasing or Linked items : Read the passage below and tick the correct answer in each group of (A) (B) (C) (D) Composition is an integral part of Indian music and can preserve the rich heritage of Indian music for the generations ahead. The changes occuring in the form of Rag and Tal from time to time have influenced the compositions directly. A composition has usually two parts Raga and Tala. When the prabandh form of song was prevalent, the compositions developed accordingly and had no scope for improvisational music. It was only with the emergence of Druvapad form that the rigid rules of the compositions were relaxed and four parts of Dhruvapad evolved Sthai, Antara, Sanehari and Abhog. Alap developed on important part of Dhruvapd for its elaboration. When khyal came into existence and evolved on the basis of Dhurvapad, much scope for the improvisation in Raga and Tala was there. Different embellishments and Alap, Laya, Layakari were important to be included into Khyal compositions. If we took at the poets of different composition we find that Swami Haridas, Tanse, Baiju, Bakshoo, Sadarang were remarkably known for Dhruvapad while Sadarang, Adarang, Manrang, Harang, Daraspriya, Saraspriya, Prempriya, Pranpiya, Nehrang and others of Khyal compositions. All these scholars known as vaggeykarr maintained the rules and laws of Ragas while composing a Bandish and rendered a rich tradition of Bandishes. Their compositions reflect the elements of all those changes occurred from time to time. Countrary to them some scholars in modern time composed such compositions which did not adhere and follow the rules of Ragas and as a result these compositions vanished. The adherence to follow the rules of a Raga is necessary to create raga and aesthetics as well as the individual talent is also important for the improvisation of compositions. 45. The tradition of Indian music can he preserved by composition. (B) Bandhish can not preserve the tradition of music. (C) There were no compositions in Prabandh Gayan. (D) There was similarity in the compositions of Dhruvapad and Prabandh. (A) The Prabandh form of music had improvisation in elaboration of the Raga. (B) There was no scope for improvisation in Prabandh form of music. (C) Alap was not essential part of Dhruvapad. (D) 46. (A) Dhruvapad and Prabandh included musical embellishments like Tan, Sargam and Boltan. J 1606 16 44. , (A) , , , (B) , , , (C) , , , (D) , , , S S h S M , , S - - S S S , S , , , , , , , , , , , , h S S M , , , m S m (C) (D) (A) S (B) S (C) (D) 46. (A) (B) 45. , J 1606 17 P.T.O. 47. The compositons of Adarang and Sadarang were not popular. (D) Khyal evolved on the pattern of Prabandh gayan. (A) The tradition of composition help us to know the changing pattern of Ragas. (B) The form of Ragas have not been changed from Prabandh to Khyal Gayan. (C) The compositions of Prabandh and Dhruvapad have the same elements. (D) There is no difference between a Scholar and a musician. (A) The adherence to the rules of a Rag with a combination of individual talent preserves the composition for generations ahead. (B) A scholar is not found to follow the rules of a raga. (C) The basic principles of a raga have no place in the formation of a composition (D) 50. Swami Haridas and Tansen were the chief pioneers of Dhruvapad form of Singing. (C) 49. Swami Haridas wrote compositions of Prabandh. (B) 48. (A) No new compositions have been made by present day musicians. Assertion (A) : New trends of music have evolved in all forms of 20th century music. As a result the artists emerging in classical, folk, background music, Natya Sangeet and light music have adopted a changed pattern in vocal and instrumental music. Reason (R) : These new trends of music have emerged just because of professional economic and profiency demands of present day music. Codes : (A) Both (A) and (R) are true (B) Both (A) true but (R) is not a correct answer (C) (A) is true but (R) is false (D) (A) is false but (R) is true J 1606 18 (A) S S M (B) S M (C) (D) m (A) (B) m (C) (D) 50. S (D) 49. S (C) 48. (A) (B) 47. S S (A) : S , - D , K , (R) : C (A) (A) (R) (B) (A) (R) (R) (C) (A) (R) (D) (A) (R) J 1606 19 P.T.O. PART - III Karnataki Music (Vocal, Instrumental, Percussion) 26. How many name of Swaras are there in Karnataki Music ? (A) 27. Guhadasa Venkateswara (B) (D) Ramadasa Gopala dasa Harikambogi Dheera Sankarabharanam Maechakalyani None of above 24 (B) 08 (C) 16 (D) 32 Ramalinga Swamy Aruna giri nadhar (B) (D) (D) Tamil text Manikkavachar Thayumanavar Dikshitar Tyagaraja (B) (D) Shyama Sastri Swati Tirunal Mayamalavagavla Chakravakam (B) (D) Kama Vardhani Hari Kamboji (B) (D) Tyagaraja None of the above Kovur Pancharatna is composed by : (A) (C) 35. Subha pantuvarali Shanmuga Priya (B) (D) Hindo lam Chandra Jyothi Name the raga for Sa ra gu mi pa dhanu, (A) (C) 34. (B) (D) None of these Who composed Abhayamba Nava Varana Kritis (A) (C) 33. (D) Tirupugazli is written by : (A) (C) 32. 16 Tisra gati of chaturasra jathi triputa tala takes _________counts (A) 31. (C) Raga name for Bana-ma (A) (C) 30. 7 Mudra used by Veena Kuppayyar (A) (C) 29. (B) Raga with Sudha Gandharam (A) (C) 28. 12 Dikshitar Pattanam Subramanya Iyer Sangita Sara Sangraham is a (A) J 1606 Sanskrit text (B) Telugu text 20 (C) Kannada text PART - III ( , , h l) 26. S ? (A) 27. 7 (C) 16 (B) h (C) (D) (C) (D) 16 (D) 32 (C) (D) S L (C) R (D) (D) (A) 29. (B) - (A) (B) (C) 30. (D) d d _________ (A) 31. 24 (B) 08 (C) M m (A) S (B) (C) 32. L (D) (A) 33. (B) S , , , , , , (A) 34. (B) h (A) (B) (C) 35. (D) (B) h (A) 28. 12 ^ (D) (A) J 1606 S (B) (C) 21 P.T.O. 36. Narayanathirthar composed : (A) (C) 37. (B) (D) Semmankudi Srinivasa Iyer Maha Vaidyanatha Iyer M. S. Gopalakrishnan Bala Muralikrishna Ariyakudi Ramanujam Iyengar None of the above (B) (D) T. V. Gopalkrishnan T. N. Krishnan Match the following. Use the code given below. (a) Utsava Sampradaya Krithi (b) Bhashanga Raga (c) Harikesa (d) Vivadi Mela Code: (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (ii) (i) (iv) (iii) (C) (i) (ii) (iii) (iv) (D) (iii) (iv) (i) (ii) 41. Thiruvaroor None of the above (B) (D) Thiruvayyar Thirupamburam A popular artist who is proficient in both vocal and Instrumental music (A) (C) 40. Krishnaleela tharangini Janaki Parinayan K. V. Narayan Swami is the disciple of (A) (C) 39. (B) (D) Birth place of Tyagaraja (A) (C) 38. Padam Ashtapadi (i) (ii) (iii) (iv) Kamboji Swati Tiruval Chalanatta Muthayya Bhagavtar Match the following. Use the code given below. (a) Gaula (b) Anuloman (c) Spuritam (d) Vikshepan Code: (a) (b) (c) (A) (i) (iii) (iv) (B) (ii) (iv) (i) (C) (iii) (i) (iv) (D) (i) (ii) (iv) J 1606 (i) (ii) (iii) (iv) Gamaka Pancharatna Kriti Kriya Pallavi (d) (ii) (iii) (ii) (iii) 22 36. (A) (C) 37. (C) (C) L L (B) (D) (C) l (B) (D) . . c c (B) (D) . . c . . c (d) (A) (B) (C) (D) (a) (iv) (ii) (i) (iii) (a) (b) (c) 41. L L l (A) 40. (D) c . . S c (A) 39. (B) S (A) 38. C (b) (iii) (i) (ii) (iv) (c) (ii) (iv) (iii) (i) (i) (ii) (iii) (iv) S L (d) (i) (iii) (iv) (ii) (d) S (A) (B) (C) (D) (a) (i) (ii) (iii) (i) (a) (b) (c) J 1606 (b) (iii) (iv) (i) (ii) (i) (ii) (iii) (iv) (c) (iv) (i) (iv) (iv) R (d) (ii) (iii) (ii) (iii) 23 P.T.O. 42. Match the following. Use the code given below. (a) Varnam (i) Decorative Anga (b) Chittaswaram (ii) Veena Kuppayyar (c) Swarajathi (iii) Arunachala Kavirayar (d) Daru (iv) Shyama Sastri Code: (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (ii) (iii) (C) (ii) (i) (iv) (iii) (D) 43. (b) (iii) (ii) (iv) (i) Match the following. Use the code given below. (a) Narada (i) Geyanatakam (b) Tiram (ii) Muvvalur Sabhapati Ayyer (c) Brinda gana (iii) Varjya Raga (d) Nirupanams (iv) Sagita Makaranda Code: (a) (c) (d) (A) (iv) (iii) (i) (ii) (B) (i) (ii) (iii) (iv) (C) (i) (iv) (ii) (iii) (D) 44. (b) (iv) (i) (iii) (ii) Assertion (A) : Alapanas preceding kritis should not be unduly long Reason (R) : Because the performer should reserve his skill to the main raga. Codes : (A) (A) is true (R) is false (B) Both (A) and (R) are false (C) Both (A) and (R) are true (D) (A) is false (R) is true J 1606 24 42. c (a) (i) (b) S (ii) (c) S (iii) L (d) L (iv) S (a) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (iv) (ii) (iii) (C) (ii) (i) (iv) (iii) (D) 43. (b) (iii) (ii) (iv) (i) (a) (i) (b) (ii) (c) (iii) (d) M (iv) (a) (b) (c) (d) (A) (iv) (iii) (i) (ii) (B) (i) (ii) (iii) (iv) (C) (i) (iv) (ii) (iii) (D) (iv) (i) (iii) (ii) S (A) : (R) : 44. (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1606 25 P.T.O. 45. Assertion (A) : Compositions in Khamas raga of tyagaraja take only the kaisiki nishadam Reason (R) : Because the North Indian Khamaj is seen in South Indian music only from the year 1870 onwards. Codes : (A) (B) (A) is true (R) is false (C) Both (A) and (R) are false (D) 46. Both (A) and (R) are true (A) is false (R) is true Assertion (A) : Arabhi and Devagandhari are Jany as ragas of the same mala and take the same Arohana and avarahava, but still differ from each other Reason (R) : Because Chauka Kala prayogas are the characteristic feature of Devagandhari whereas madyamakala prayogas are the essential feature of Arabhi. Codes : (A) (B) Both (A) and (R) true (C) (A) false (R) true (D) 47. (A) true (R) false Both (A) and (R) false Assertion (A) : It is meaningless to introduce Sangatis in Divyanama Kirtanas and Kshetrayya padas. Reason (R) : Because introduction of sangatis will detract the attention of the listener from the significance of the sahitya Codes : (A) Both (A) and (R) true (B) (A) false (R) true (C) (A) true (R) false (D) Both (A) and (R) false J 1606 26 S (A) : m (R) : 45. S S M 1870 (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : (R) : 46. (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : (R) : 47. o (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1606 27 P.T.O. 48. Arrange the following in order of the 72 mela karta scheme. Use the code given below. Codes : (i) Charukesi (ii) Mararanjini (iii) Harikamboji (iv) Sarasangi (iv) Agni Code: (a) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iii) (i) (ii) (iv) (C) (iv) (iii) (ii) (i) (D) 49. (b) (i) (ii) (iii) (iv) Arrange the following in correct order. Use the code given below (i) Veda (ii) Bana (iii) Ritu Code: (a) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iv) (i) (ii) (iii) (C) (i) (ii) (iv) (iii) (D) 50. (b) (iv) (ii) (i) (iii) Arrange the following in order of the Yatis. Use the code given below (i) Mridamgam (ii) Gopucham (iv) Dhamaru (iv) Srothovaham Code: (a) (b) (c) (d) (A) (ii) (iv) (iii) (i) (B) (ii) (i) (iv) (iii) (C) (iii) (iv) (ii) (i) (D) (i) (ii) (iii) (iv) J 1606 28 48. 72 h R c (i) L (ii) (iii) (iv) (iv) (a) (c) (d) (A) (ii) (i) (iv) (iii) (B) (iii) (i) (ii) (iv) (C) (iv) (iii) (ii) (i) (D) 49. (b) (i) (ii) (iii) (iv) R C (i) (ii) (iii) (a) (c) (d) (A) (ii) (iii) (iv) (i) (B) (iv) (i) (ii) (iii) (C) (i) (ii) (iv) (iii) (D) 50. (b) (iv) (ii) (i) (iii) R C (i) (ii) (iv) L (iv) (a) (b) (c) (d) (A) (ii) (iv) (iii) (i) (B) (ii) (i) (iv) (iii) (C) (iii) (iv) (ii) (i) (D) (i) (ii) (iii) (iv) J 1606 29 P.T.O. PART - IV RABINDRA SANGEET 26. Who did Tagore call my songs ? (A) (B) Dinendranath Tagore (C) 27. Debendranath Tagore Santidev Ghosh (D) Jyotirindnath Tagore Tagore composed most of his season songs on the season (A) 28. Summer (B) Spring (C) Autumn Glory glory Haleruja (B) Clementine (C) My love is like a red red rose (D) Auld lang Syne This song has two parallel tunes set by Tagore himself (A) Kanthe nilem gan (B) Amar rat pohalo (C) 30. Basante ki Shudhu kebal (D) Patri ese jethy meshe Which of the following sources influenced Tagore most in adopting foreign tunes for his early songs ? (A) Whitman s Leaves of Grass (B) Blakes Songs of Innocence (C) W.. worth and coleridges Lyrical Ballar (D) 31. Thomas Moore s Irish Melodies The song Amare ke nibi bhai figures in Tagore s play (A) Visarjan (B) Chittrangada (C) 32. Rathar Rashi (D) Raktakarabi Which book, published years after Tagore s death, contains most of his thoughts about music ? (A) Atma-Parichay (B) Jiban-Smriti (C) 33. The Rains The song Purano sei diner katha use the tune of this western song (A) 29. (D) Kalantar (D) Sangeet-Chinta Of the following tals , which one was created by Tagore ? (A) J 1606 Tin tal (B) Dadra (C) 30 Rupakda (D) Kaharba PART - IV 26. ? (A) (B) (C) 27. (D) (A) 28. c (B) (C) (C) $ (D) (B) S S (B) (C) (D) (A) (B) (C) (D) 31. (A) 32. (B) (C) (D) S (A) 33. (A) 30. (D) (A) 29. - (B) S (C) (D) - (C) M (D) (A) J 1606 (B) 31 P.T.O. 34. Tagore dedicated his book Gitanjali to (A) (B) Debendra Nath Sen (C) 35. Jagadish Chandra Basu Kazi Nazoul Islam (D) Indira Devi The tal of the song Sakala garba dura kari diba is (A) 36. Chowtal (B) Tin tal (C) Sur Phakta Gitagovindam (B) The Gita (C) Arthashastra (D) Rigveda Which of following songs has a tune from a Karnataki Bhajan? (A) Anandadhara bahicche bhubane (B) Jagate Anandajajane (C) Tomar anenda oi ela dvare (D) 38. Anandaloke Mangalalokee Rabindranath discouraged tan or Vistar by the singer of his song in his correspondence with (A) Sailajaranjan Majumdar (B) Santidel Ghosh (C) 39. Kazi Nazrul Islam (D) Dilip Kumar Ray A morning raga has been used to express the feeling of the end of the day or life inthis song (A) Dinashesher ranga mukul (B) Amar din phurala (C) 40. Jhamptal The song Ei Malin bastra chadte habe has an idea from the following source (A) 37. (D) Dinantabelay shesherphasal (D) Diner pare din je gela Assertion (A) : Tagore did not like the harmonium Reason (R) : Because the instrument misses out the Sruti notes of the voice. Codes : (A) (A) is true, but (R) is false (B) (A) is false, but (R) is true (C) Both (A) and (R) are true (D) Both (A) and (R) are false J 1606 32 34. S (A) (B) (C) 35. $ $ M S (D) (A) 36. (B) (B) (C) (C) S (D) (B) (C) m (D) S (A) (B) (C) 39. (D) (A) 38. S (A) 37. M S (D) (A) (B) (C) (D) S (A) : (R) : 40. l (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) J 1606 33 P.T.O. 41. Assertion (A) : Tagore composed his songs alomst all through his life Reason (R) : Because he had a short life Codes : (A) (A) is true, but (R) is false (B) (A) is false, but (R) is true (C) Both (A) and (R) are true (D) Both (A) and (R) are false 42. Assertion (A) : Tagores Janaganamana was composed for commemorating the Delhi Durbar of King George Reason (R) : Because he wanted to please the British Codes : (A) (A) is true, but (R) is false (B) (A) is false, but (R) true (C) Both (A) and (R) are false (D) Both (A) and (R) are true 43. Match the following and select the correct combination from the code : (a) Mallar (b) Bhairavi (c) Purabi (d) Behag Code: (a) (b) (A) (i) (ii) (B) (ii) (i) (C) (ii) (i) (D) (iii) (iv) 44. (i) (ii) (iii) (iv) (c) (iii) (iv) (iii) (ii) Morning Monsoon (the Rains) Night Evening (d) (iv) (iii) (iv) (i) Match the following and select the correct combination from the code below : (a) Shyama (b) Chitrangada (c) Valmiki Pratibha (d) Kaler Jatra Code: (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (i) (ii) (iv) (D) (iv) (iii) (i) (ii) J 1606 (i) (ii) (iii) (iv) Ramayana Imaginary Mahabharata Buddhistic myths 34 41. S (A) : (R) : - (A) (B) (A) (R) (C) (A) (R) (D) 42. (A) (R) (A) (R) S (A) : (R) : - V (A) (B) (A) (R) (C) (A) (R) (D) 43. (A) (R) (A) (R) C (d) (A) (B) (C) (D) (a) (i) (ii) (ii) (iii) (a) (b) (c) 44. (i) (ii) (iii) (iv) (b) (ii) (i) (i) (iv) (c) (iii) (iv) (iii) (ii) ( ) (d) (iv) (iii) (iv) (i) (i) (d) (A) (B) (C) (D) (a) (i) (ii) (iii) (iv) (d) (iv) (i) (iv) (ii) (a) (b) (c) J 1606 (b) (ii) (iii) (i) (iii) (c) (iii) (iv) (ii) (i) (ii) (iii) (iv) h 35 P.T.O. 45. Match the following and select the correct combination from the code below : (a) Uttiya (i) Chandalika (b) Dasarath (ii) Shyama (c) Prakriti (iii) Chitrangada (d) Madan (iv) Kal-Mrigaya Code: (a) (c) (d) (A) (iii) (i) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (i) (ii) (iii) (iv) (D) 46. (b) (ii) (iii) (iv) (i) Match the following and select the correct combination from the code below : (a) Gitimalya (i) Articles and correspondences (b) Sangeet Chinta (ii) Book of Poems (c) Svarabitan (iii) Notatrins (d) Balaka (iv) Songs Code: (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iii) (iv) (i) (ii) (C) (ii) (iv) (iii) (i) (D) 47. (b) (iv) (i) (iii) (ii) Place the following in order and select the correct combination from the code below (i) Ramprasadi (ii) Rabindra Sangeet (iii) Vaishnav Padavali (iv) Gitagovindam Code: (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (i) (ii) J 1606 36 45. (a) (i) (b) (ii) (c) (iii) (d) (iv) - (a) (c) (d) (A) (iii) (i) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (i) (ii) (iii) (iv) (D) 46. (b) (ii) (iii) (iv) (i) (a) (i) (b) (ii) S (c) S (iii) S (d) (iv) (a) (c) (d) (A) (i) (ii) (iii) (iv) (B) (iii) (iv) (i) (ii) (C) (ii) (iv) (iii) (i) (D) 47. (b) (iv) (i) (iii) (ii) R R (i) (ii) (iii) c (iv) (a) (b) (c) (d) (A) (ii) (iii) (i) (iv) (B) (iii) (ii) (i) (iv) (C) (ii) (i) (iii) (iv) (D) (iv) (iii) (i) (ii) J 1606 37 P.T.O. 48. Place the following in order and select the correct combination from the code below (i) Mukunda Das (ii) Nidhu Babu (iii) D. L. Ray (iv) Rabindranath Tagore Code: (a) (c) (d) (A) (ii) (i) (iii) (iv) (B) (ii) (iv) (iii) (i) (C) (i) (iii) (iv) (ii) (D) 49. (b) (iii) (i) (ii) (iv) Place the following in order and select the correct combination from the code below (i) Valmiki Pratibha (ii) Shyama (iii) Chitrangada Verse Drama (iv) Chitrangada Drance Drama Code: (a) (c) (d) (A) (ii) (iv) (i) (iii) (B) (ii) (iii) (iv) (i) (C) (iv) (iii) (i) (ii) (D) 50. (b) (i) (iii) (iv) (ii) Place the following in order and select the correct combination from the code below (i) Tagore songs on the summer (ii) Tagore songs on the Antumn (Sharatkal) (iii) Tagore songs on the Rains (iv) Tagore songs on the spring Code: (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (ii) (iii) (i) (iv) (C) (i) (iii) (iv) (ii) (D) (iv) (i) (ii) (iii) J 1606 38 48. R R (i) (ii) (iii) . . (iv) (a) (c) (d) (A) (ii) (i) (iii) (iv) (B) (ii) (iv) (iii) (i) (C) (i) (iii) (iv) (ii) (D) 49. (b) (iii) (i) (ii) (iv) R R (i) (ii) (iii) (iv) (a) (c) (d) (A) (ii) (iv) (i) (iii) (B) (ii) (iii) (iv) (i) (C) (iv) (iii) (i) (ii) (D) 50. (b) (i) (iii) (iv) (ii) R R (i) c (ii) (iii) (iv) - (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (ii) (iii) (i) (iv) (C) (i) (iii) (iv) (ii) (D) (iv) (i) (ii) (iii) J 1606 39 P.T.O. PART - V PERCUSSION 26. Which chapter is devoted to Taal in Bharat s Natyashastra (A) 27. SANGEET RATNAKAR SANGEET MAKARANDA Third (B) Fourth (C) Fifth (D) Sixth 90 (B) 100 (C) (D) 110 120 ABANMISTRI GIRISHCHANDRA (B) (D) YOG MAYASHUKLA SATYA NARAYAN VASHISHTHA Delhi (B) POORAB (C) PUNJAB (D) FARUKHABAD GYAN PRAKASH GHOSH NIKHIL GHOSH (B) (D) NAYAN JYOTI GHOSH SHYABALBOSE KHAYAL TAPPA (B) (D) THUMARI SAADARA PAUNGUN (B) AAD (C) KUAD (D) BIYAD Which BOL is produced by MUKTA-PRAHAR of all the four fingers jointly (A) 36. (B) (D) What is meant by 9/4 LAYAKARI ? (A) 35. NATYA SHASTRA SANGEET DAMODAR In which singing style PANJABI-TAAL is oftenly used (A) (C) 34. 33 Which TABLA PLAYER was equally good in SITAR also ? (A) (C) 33. (D) Which Baaj is founded by HAJI VILAYAT ALI ? (A) 32. 32 Who wrote the book Table KA UDGAM, VIKAS VA, VIDAN SHAILIYAN (A) (C) 31. (C) How many TAALAS are enumerated by SHARANGDEO (A) 30. 31 Which chapter is named as TAALADHYANA in SANGEET RATNAKARI (A) 29. (B) Which treatise is also called SAPTADHAYAYEE (A) (C) 28. 30 TAA (B) NAA (C) DIN (D) TIT It Sam is shown before its actual place, the situation is called : (A) J 1606 GAT (B) AAGAT (C) 40 ANAAGAT (D) NIRGAT PART - V l 26. S (A) 27. (C) 32 (D) 33 S (B) (C) (D) (C) (D) C (C) (B) 110 (D) 120 X (A) 30. 31 (A) 29. (B) # (A) 28. 30 90 (B) 100 S (A) (B) (C) 31. S (D) C S (A) 32. (D) L (B) (C) (D) (B) (C) (D) (B) (C) (D) (A) 36. (C) 9/4 (A) 35. (A) 34. (B) (A) 33. (B) (C) (D) (C) (D) (A) J 1606 (B) 41 P.T.O. 37. Which is related to VISARJITAM (A) 38. KAAL (B) MARG (C) KRIYA TABLA (B) PAKHAWAJ (C) CHANG (D) UPANG In which TAAL-VADYA BOLAS of both DAYAN and BAYAN are produced only on one PUDI out of two : (A) NAAL (B) KHOL (C) 40. DAMAROO OF JOGIES (D) MUDAKKA Match them : (a) PAVNGUN (i) 1-27/8 (b) AAD (ii) 2-9/4 (c) GUAD (iii) 3-3/4 (d) BIAD (iv) 4-3/2 Code: (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iv) (iii) (i) (ii) (C) (ii) (iv) (iii) (i) (D) 41. ANG Which TAAL-VADYA owns the BOLA DHUMKIT (A) 39. (D) (i) (iv) (iii) (ii) Match them : (a) KARAMATULLA KHAN (i) Delhi Baaj (b) ALLARAKHAK (ii) AJRADA BAAJ (c) HABIBUDDIN (iii) PUNJAB BAAJ (d) NANHE KHAN (iv) FARUKHABAD BAAJ Code: (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (i) (ii) (iii) (iv) (C) (iii) (iv) (ii) (i) (D) (iv) (iii) (ii) (i) J 1606 42 37. ? (A) 38. (C) R (D) (B) $ (C) (D) - l (A) 40. (B) l (A) 39. (B) (C) L (D) P (a) (i) 1-27/8 (b) (ii) 2-9/4 (c) (iii) 3-3/4 (d) (iv) 4-3/2 (a) (c) (d) (A) (iii) (iv) (ii) (i) (B) (iv) (iii) (i) (ii) (C) (ii) (iv) (iii) (i) (D) 41. (b) (i) (iv) (iii) (ii) S (a) (i) (b) (ii) (c) g (iii) (d) (iv) L (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (i) (ii) (iii) (iv) (C) (iii) (iv) (ii) (i) (D) (iv) (iii) (ii) (i) J 1606 43 P.T.O. 42. 43. Match them : (a) ZAQIR HUSSAIN (b) RAMJI MISHRA (c) KUMARLAL (d) LALJI GOKHLE Code: (a) (b) (c) (d) (A) (i) (ii) (iii) (iv) (B) (ii) (iv) (iii) (i) (C) (iii) (iv) (ii) (i) (D) (ii) (iii) (iv) (i) Match them : (a) PAGALDAS (b) MUNNE KHAN (c) BAFTIMIYAN (d) DILAVARKHAN Code: (a) (b) (c) (d) (A) (iii) (iv) (ii) (i) (B) (ii) (i) (iv) (iii) (C) (i) (ii) (iii) (iv) (D) (iv) (i) (ii) (iii) (i) (ii) (iii) (iv) (i) (ii) (iii) (iv) AHMADJAN THIRAKUA ALLA RAKHA ANAUKHELAL GUDAI MAHARAJ TABLA PAKHAWAJ NAKKARA DHOLAK 44. Arrange in a proper way : (A) Quada, Peshkar, Mukhada, Param Tukde etc. (B) Peshkar, Quada, Mukhada, Param Tukde etc. (C) Param Tukde, Peshkar, Quada, Mukhada etc. (D) Mukhada, Peshkar, Quada, Param Tukde etc. 45. Arrange chronologically : (A) BIRUMISHRA, RAMSAHAY, GUDAIMAHARAJ, KUMARLAL (B) GUDAIMAHARAJ, KUMARLAL, RAMSAHAY, BIRUMISHRA (C) RAMSAHAY, GUDAIMAHARAJ, BIRUMISHRA, KUMARLAL (D) KUMARLAL, BIRUMISHRA, GUDAIMAHARAJ, RAMSAHAY 46. Arrange in proper order (Sequence) : (A) DUNDUBHI, PUSHKAR, PAKHAWAJ, TABLA (B) TABLA, PAKHAWAJ, PUSHKAR, DUNDUBHI (C) DUNDUBHI, PUSHKAR, TABLA, PAKHAWAJ (D) PAKHAWAJ, TABLA, PUSHKAR, DUNDUBHI J 1606 44 42. (a) (b) d (c) (d) (A) (B) (C) (D) 43. (a) (i) (ii) (iii) (ii) (b) (ii) (iv) (iv) (iii) (c) (iii) (iii) (ii) (iv) (ii) (iii) (iv) (d) (iv) (i) (i) (i) (a) (b) (c) (d) (A) (B) (C) (D) (a) (iii) (ii) (i) (iv) (b) (iv) (i) (ii) (i) (i) (ii) (iii) (iv) (c) (ii) (iv) (iii) (ii) (i) P (d) (i) (iii) (iv) (iii) 44. R (A) , , , (B) , , , (C) , , , , (D) , , , 45. R R (A) L o , , , (B) , , , L o (C) , , L o , (D) , L o , , 46. R (A) , c , , (B) , , c , (C) , c , , (D) , , c , J 1606 45 P.T.O. 47. According to number of Matras (from low on ward) give a proper sequence of TAALS (A) (B) SAVARI TAAL, PUNJABI TAAL, SHIKHAR TAAL, GANESH TAAL (C) GANESH TAAL, SHIKHAR TAAL, PUNJABI TAAL, SAVARI TAAL, (D) 48. PUNJABI TAAL, SAVARI TAAL, SHIKHAR TAAL, GANESH TAAL SHIKHAR TAAL, PUNJABI TAAL, GANESH TAAL, SAVARI TAAL Assertion (A) : The knowledge of different singing styles is must for a Tabla accompanist. Only then he will be able to accompany properly. Otherwise in its absence he will only create obstacles while accompaning. Reason (R) : Vocal of instrumental music are complementary and different ones: Codes : (A) (B) (A) wrong (R) wrong (C) (A) right (R) wrong (D) 49. (A) right (R) right (A) wrong (R) right Assertion (A) : Layakari is the ornamentation of Laya . In the absence of Layakari, Laya may become victim of monotony. Different Layakaries hide the actual Laya for some moments and this hiding is also a means for promoting feanty of a thing Reason (R) : Laya is to run in its own way without any Layakary It is sufficient. Codes : (A) (B) (A) wrong (R) right (C) (A) wrong (R) right (D) 50. (A) right (R) wrong (A) wrong (R) wrong Assertion (A) : The Bolas of different styles (BAAJ) are like flowers of different shapes and smell. A bonquet prepared with different types of flowers look more beautiful and charming. Reason (R) : Composition variety is also a means to promote beauty. Codes : (A) (A) right (R) wrong (B) (A) wrong (R) right (C) (A) right (R) right (D) (A) wrong (R) wrong -oOo- J 1606 46 47. R (A) , , , (B) , , , (C) , , , (D) , , , S (A) : - (R) : 48. , (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : M m c ( ) h (R) : 49. 2 (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) S (A) : c c c (R) : 50. - h (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) -oOo- J 1606 47 P.T.O. Space For Rough Work J 1606 48

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