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UGC NET DEC 2009 : MUSIC PAPER II

32 pages, 250 questions, 6 questions with responses, 6 total responses,

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Signature and Name of Invigilator OMR Sheet No. : ......................................... (To be filled by the Candidate) 1. (Signature) __________________________ Roll No. (Name) ____________________________ 2. (Signature) __________________________ (In figures as per admission card) Roll N o.____________________________ (In words) (Name) ____________________________ D-1609 Time : 1 1/4 hours] Test Booklet No. PAPER-II [Maximum Marks : 100 MUSIC Number of Pages in this Booklet : 32 Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. This paper consists of fifty multiple-choice type of questions. 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) To have access to the Question Booklet, tear off the paper seal 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. 4. 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 : B C A 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. 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 and OMR Answer sheet 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. Negative Marking :- For each incorrect answer, 0.5 marks shall be deducted. D-0109 D-1609 Number of Questions in this Booklet : 50 1. 2. - 3. , - - : (i) - - (ii) - / - - (iii) - OMR OMR - 4. (A), (B), (C) (D) B C A D : (C) 5. I - , 6. 7. (Rough Work) 8. - , 9. - OMR - 10. / 11. ( ) 12. : 0.5 P.T.O. 1 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 the 25 questions in PART-I, which are compulsory. They should select any one of 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 introduced Flute to Classical Music ? (A) Hari Prasad Chaurasiya (B) Devendra Murdeshwar (C) Pannalal Ghosh (D) Ragunath Seth 2. Sitarist who played Sur-Bahar also (A) Pt. Ravi Shankar (C) Halim Jafar Khan 3. Santoor belongs to (A) Kashmir (B) Punjab (B) Nikhil Banerjee (D) Imrat Khan (C) Haryana 4. For which instrument Gopal Krishna was famous ? (A) Vichitra Veena (B) Rudra Veena (C) Sitar (D) Saroda 5. Who plays Mohan Veena ? (A) Shashi Mohan Bhatt (C) Krishna Mohan Bhatt (D) Rajasthan (B) Vishwa Mohan Bhatt (D) Atik Mohan Bhatt 6. Who was the author of famous book Rag-Tarangini based on Hindustani music ? (A) Ameer Khusro (B) Sharang Deo (C) Lochan (D) Sultan Hussain Shirkee 7. Which of the following belong to Kalyan Thata ? (A) Bhatiyar (B) Chandra Kant (C) Pooriya (D) Maligaura 8. Who is a thumri artist of the following ? (A) Gangabai Hangal (B) Heera Bai Barodkar (C) Girija Devi (D) Kishori Amonkar 9. Who is the violin player ? (A) Annapurna Devi (C) N. Rajam (B) Sharan Rani (D) Shanno Khurana 10. To which gharana Abdul Baheed Khan Saheb belonged ? (A) Delhi (B) Gwalior (C) Kirana Paper-II 2 (D) Jaipur D-1609 II / / ( , ) : -I 25 -II, III, -IV, -V 25 (2) I / / / 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. ? (A) (B) (C) (D) (A) . (B) (C) (D) ? (A) (B) (C) ? (A) (B) (C) (D) (A) (B) (C) (D) ? (A) (B) (C) (D) ? (A) (B) (C) (D) ? (A) (B) (C) (D) ? (A) (B) (C) . (D) ? (A) (B) (C) D-1609 3 (D) (D) Paper-II 11. The accompanying instrument used in South-Indian music concert : (A) Khanjira (B) Harmonium (C) Nadaswaram (D) Saxophone 12. The signature of Muthuswamy Dikshitar (A) Shri Vasudeva (B) Shama Krishna (C) Guruguha (D) Gurupada 13. Raga Shankarabharana has the prefix name. (A) Mecha (B) Hari (C) Maya (D) Dheera 14. Match the following. Use the code given below : List-I List-II (a) Kshetragna (i) Keertana (b) Mysore Sadashiva Rao (ii) Pada (c) Lalgudi Jayaraman (iii) Kruti (d) Badrachala Ramdas (iv) Tillana Codes : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (i) (ii) (iv) (D) (iv) (ii) (iii) (i) 15. Assertion and Reason : Assertion (A) : Papanashashivam has composed Panchalinga Krutis. Reason (R) : Muttuswamy Dikshitar has also composed Panchalinga Krutis. (A) (A) is false but (R) is true. (B) (A) is true but (R) is false. (C) Both (A) and (R) are true. (D) Both (A) and (R) are false. 16. Find out the Tagore song tuned in Vrindavani Sarang and set to Teevra tala : (A) Jay taba vichitra ananda (B) Timirmay nivid nisha (C) Biras din biral kaj (D) Amar prane gabhir gopan 17. Find out the Tagore-song based on the theme of Varsha-Abhisar (tryst during the rains) (A) Aji jhader rate tomar abhisar (B) Tumi kon pathe je ele (C) Viraha madhur holo (D) Eso neepa-vane Paper-II 4 D-1609 11. - ? (A) (B) (C) (D) 12. (A) (C) (B) (D) (A) (C) (B) (D) 13. 14. : -I -II (a) (i) (b) (ii) (c) (iii) (d) (iv) : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (ii) (iii) (iv) (i) (C) (iii) (i) (ii) (iv) (D) (iv) (ii) (iii) (i) 15. : (A) : (R) : (A) (A) , (R) (B) (A) , (R) (C) (A) (R) (D) (A) (R) 16. : (A) (B) (C) (D) 17. - : (A) (B) (C) (D) - D-1609 5 Paper-II 18. Find out the Tagore-song addressed to Nataraj and applied in the drama Tapati : (A) Nrityer tale tale Nataraj (B) Pralay nachan nachle yakhan he Nataraj (C) Dui hate kaler mandiraye. (D) He mor devata 19. Man-in-the universe is the idea of the Tagore-song (A) Ak sh hote k sh pathe (B) Oi mah m nav ase (C) He sakha mama (D) Tomari gehe 20. Find out the Tagore-song starting with the tonal arrangement/array : / / / / / / ? (A) (B) (C) (D) Naba vasanter daner dali Ekada tumi priye Tomar geeti jagalo smriti Kichhu bolbo bole esechhilem 21. Who was awarded Padma-Bhushan ? (A) Allarakha Khan (B) Karamatulla Khan (C) Habibudhin (D) Ahamed Jan Thirakua 22. Number of beats in Aada Chartaal : (A) 12 (C) 14 23. 24. 25. (B) 13 (D) 15 Which fraction denotes Sava Gun ? 1 (A) 4 (B) 5 (C) 4 (D) Match the following : (a) Tabla (b) Pakhawaj (c) Nakkara (d) Dholak Codes : (a) (b) (c) (d) (A) (iii) (ii) (i) (iv) (B) (iv) (i) (ii) (iii) (C) (ii) (iii) (iv) (i) (D) (i) (ii) (iii) (iv) (i) (ii) (iii) (iv) Tabla/Pakhawaj is generally tuned in (A) Shadaja (C) Madhyama Paper-II 3 4 7 4 Paran Laggi Thap Quada (B) Gandhar (D) Panchama 6 D-1609 18. 19. 20. 21. 22. 23. 24. 25. - ? (A) (B) (C) (D) - - - ? (A) (B) (C) (D) / / / / / / ? (A) (B) (C) (D) - ? (A) (B) (C) (D) (A) 12 (B) 13 (C) 14 (D) 15 ? 1 3 (A) 4 (B) 4 5 7 (C) 4 (D) 4 : (a) (i) (b) (ii) (c) (iii) (d) (iv) : (a) (b) (c) (d) (A) (iii) (ii) (i) (iv) (B) (iv) (i) (ii) (iii) (C) (ii) (iii) (iv) (i) (D) (i) (ii) (iii) (iv) / : ? (A) (B) (C) (D) D-1609 7 Paper-II PART II Hindustani Music (Vocal / Instrument) 26. Hindustani Classical Music is face to face training. (A) Wrong (B) Correct (C) Perhaps (D) None of the above 27. Music cannot be fully notated. (A) not required (C) perhaps (B) it is wrong (D) it is correct 28. That cannot be sung and played upon. (A) it is wrong (B) perhaps (C) it is correct (D) none of the above 29. For becoming a performing artist, only practice is required. (A) it is wrong (B) it is correct (C) perhaps (D) none of the above 30. Which are the two Achal Swars ? (A) Sa, Ga (C) Sa, Pa (B) Ni, Ri (D) Gha, Ni 31. Best accompanying instrument for vocal music is (A) Sitar (B) Sarod (C) Sarangi (D) Flute 32. Pakhawaj is used with musical style of (A) Khyal (B) Tappa (C) Dhrupad (D) Thumri 33. The most prevalent instrument is (A) Dundabhi (C) Israj (B) Bheri (D) Tabla 34. Ras nishpati in music can be achieved only by usage of notes. (A) it is wrong (B) it is correct (C) perhaps (D) none of the above 35. Kishori Amongkar is an expert in vocal music style of (A) Thumri (B) Dhrupad (C) Khyal (D) Tappa 36. Who has made use the most of new experiments of Indian and Western instrumental music ? (A) Vilayat Khan (B) Ali Akbar (C) Ravi Shankar (D) Nikhil Banerji Paper-II 8 D-1609 II ( / ) 26. (A) (C) (B) (D) 27. (A) (B) (C) (D) 28. (A) (C) (B) (D) 29. (A) (B) (C) (D) 30. ? (A) (C) (B) (D) 31. ? (A) (B) (C) (D) 32. ? (A) (B) (C) (D) 33. ? (A) (C) (B) (D) 34. (A) (B) (C) (D) 35. ? (A) (B) (C) (D) 36. ? (A) (B) (C) (D) D-1609 9 Paper-II 37. Santoor player of Hindustani Music is (A) Hariprasad Chaurasia (B) Shiv Kumar Sharma (C) Budhaditya Mukerji (D) Vishwa Mohan Bhatt 38. The propagation of Music has increased because of university education in music. (A) it is correct (B) it is wrong (C) to some extent (D) perhaps 39. Two types of lists are given below. Match the items given in List-I with the items given in List-II, and select the correct answer with the help of codes given below : List-I List-II (a) These Ragas are mixed in Ahir Bhirav (i) Jog (b) In which Raga both the Gandhars are used (ii) Kafi + Bhairav (c) Which Raga takes shape by making Re and (iii) Madhuvanti Dha komal in Raga Bhupali (d) Which Raga evolves by converting Komal (iv) Vibhas Rishab Dhewat of Raga Multani into Shudh Codes : (a) (b) (c) (d) (A) (ii) (i) (iv) (iii) (B) (i) (ii) (iii) (iv) (C) (iii) (i) (ii) (iv) (D) (iv) (iii) (i) (ii) 40. Two types of lists are given below. Match the items given in List-I with the items given in List-II, and select the correct answer with the help of codes given below : List-I List-II (a) Natyashastra (i) Matang (b) Vrihad deshi (ii) Ahobal (c) Sangit Parijat (iii) Bharat (d) Sangit Makrand (iv) Narad Codes : (a) (b) (c) (d) (A) (ii) (i) (iii) (iv) (B) (iii) (i) (ii) (iv) (C) (iv) (iii) (ii) (i) (D) (i) (iv) (iii) (ii) 41. Raga, in which two Madhyams are used ? (A) Nat Bhairav (B) Bilaskhani Todi (C) Jaunpuri (D) Bhatiyar 42. The singing style prevalent more in the modern period is (A) Dhrupad (B) Dhamar (C) Tirwat (D) Khyal 43. Lyakari and Bol Bant is used the most in vocal style of (A) Thumri (B) Bhajan (C) Dhrupad (D) Chaturang Paper-II 10 D-1609 37. 38. 39. ? (A) (B) (C) (D) - (A) (B) (C) (D) : -I -II (a) (i) (b) ? (ii) + (c) ? (iii) (d) - (iv) ? : (A) (B) (C) (D) : -I -II (a) (i) (b) (ii) (c) (iii) (d) (iv) : 40. (A) (B) (C) (D) 41. 42. 43. (a) (b) (c) (d) (ii) (i) (iv) (iii) (i) (ii) (iii) (iv) (iii) (i) (ii) (iv) (iv) (iii) (i) (ii) (a) (b) (c) (d) (ii) (i) (iii) (iv) (iii) (i) (ii) (iv) (iv) (iii) (ii) (i) (i) (iv) (iii) (ii) ? (A) (B) (C) (D) ? (A) (B) (C) (D) ? (A) (B) (C) (D) D-1609 11 Paper-II 44. By combining Shudha and Komal Teevra the number of notes formed are (A) Seven (B) Eight (C) Twelve (D) Eleven 45. The Tal, mostly used in Vilambit Khyal (A) Char Tal (B) Dadra (C) Ek Tal (D) Deepchandi 46. Assertion (A) : Out of two aspects of music practical and musicology, first the practical aspect originates. Only after its development, the aspect of musicology evolves. Reason (R) : Though the practical aspect of music is prominent, it cannot be properly systemized without musicology aspect. (A) (A) is correct but (R) is wrong. (B) (A) is wrong but (R) is correct. (C) Both (A) and (R) are correct. (D) Both (A) and (R) are wrong. 47. Assertion (A) : The tunes of folk songs generally depict the heart beats of simple and illiterate people living in villages. Folk songs are accompanied by notes demonstrating sweet, melodious and delicate feelings. Reason (R) : Folk songs, by their ability, have been highly successful in expressing the scenario of the area. (A) (A) is correct but (R) is wrong. (B) (A) is wrong but (R) is correct. (C) Both (A) and (R) are wrong. (D) Both (A) and (R) are correct 48. Shrimati Sulochana Brihaspati belongs to Gharana tradition of (A) Kirana Gharana (B) Jaipur Gharana (C) Rampur Gharana (D) Delhi Gharana 49. According to sequence order from Nad to Saptak, mark the correct order of development : (A) Nad, Shruti, Dhwani, Saptak, Swar (B) Saptak, Shruti, Swar, Dhwani, Nad. (C) Dhwani, Shruti, Swar, Saptak, Nad. (D) Dhwani, Nad, Shruti, Swar, Saptak 50. Which part is not used in Dhrupad Gayaki ? (A) Aalap (B) Meend (C) Gamak (D) Tan Paper-II 12 D-1609 44. ? (A) (B) (C) (D) 45. ? (A) (B) (C) (D) 46. (A) : - , (R) : (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) 47. (A) : : - , (R) : - (A) (A) , (R) (B) (A) , (R) (C) (A) (R) (D) (A) (R) 48. ? (A) (B) (C) (D) 49. : (A) , , , , (B) , , , , (C) , , , , (D) , , , , 50. ? (A) (B) (C) (D) D-1609 13 Paper-II PART III Karnatic Music Vocal Instrumental, Percussion 26. South-Indian composer among the trinities. (A) Tallapakam Annamacharya (B) Patnam Subramanya Iyer (C) Shamashastry (D) Muttair Bhagavatar 27. The first charana of Sree Raga pancharatna starts with the word (A) Bhagavata (B) Nee Menu (C) Samagana (D) Parama Bhagavata 28. The correspondent raga of Mohana in Hindustani Music (A) Bilaval (B) Malakouns (C) Bhoopali (D) Sindhu 29. Astapadi of Jayadeva is (A) Champu Kavya (C) Suladi (B) Dwidhatu Prabandha (D) None of the above 30. The 2nd Chakra in 72 melakarta scheme (A) Nethra (B) Indu (C) Agni (D) Bana 31. Khanda Chaputala kruti (A) Mamava Meenakshi (C) Nidhichala (B) Meevalla gunadosha (D) Durmarga Kriya is an important element of (A) Talas of Tirupagazh (C) Madhyadi Tala (B) Talas of Tiruppavaih (D) Taladosha Pranas 32. 33. A place popularly known for Thyagaraja Aradhana (A) Madhurai (B) Thirucchi (C) Tanjore (D) Thiruvayyur 34. Kshetragna s padas depict the rasa (A) Bheebatsa (C) Adbhuta (B) Roudra (D) Shrungara 35. Anuloma in a pallavi is the change in speed in (A) Sahitya (B) Tala (C) Both the above (D) None of the above 36. A famous musician who was disciple of Chembai Vaidyanatha Iyer (A) M.S. Subbalakshmi (B) M.L. Vasanthakumari (C) M. Balamurali Krishna (D) K.J. Yesudas Paper-II 14 D-1609 III ( , ) 26. - ? (A) (B) (C) (D) 27. : (A) (B) (C) (D) 28. (A) (C) (B) (D) (A) (C) (B) (D) 72 2 (A) (C) (B) (D) (A) (C) (B) (D) ? (A) (C) (B) (D) 29. 30. 31. 32. 33. : (A) (B) (C) (D) 34. ? (A) (C) (B) (D) 35. ? (A) (B) (C) (D) 36. : (A) . . (B) . . (C) . (D) . . D-1609 15 Paper-II 37. Kudumiyamalai inscription is found in (A) Suchindram (B) Vellore (C) Hampi (D) Pudukkottai 38. The folk form of South Indian Music (A) Garbha (C) Noutanki (B) Vrittanama (D) Kavadi Attam 39. A musician who was also a Harikatha performer (A) Swati Tirunal (B) Ariyakkudi Ramanuja Iyengar (C) Annamacharya (D) Muttaih Bhagavatar 40. The composition, Sudhamayi is in the raga (A) Amrutavarshini (B) Hamsanada (C) Sree (D) Hari Kambhoji 41. Thyagaraja s famous opera (A) Nouka Geetham (C) Nouka Katham 42. 43. (B) Nouka Charitram (D) Nouka Prasangam Match the following. Use the code given below : List-I List-II (a) Yakshagana (i) Tamil Nadu (b) Burrakatha (ii) Karnataka (c) Kathakali (iii) Andhra Pradesh (d) Bhagavathmela (iv) Kerala Codes : (a) (b) (c) (d) (A) (iii) (i) (ii) (iv) (B) (iv) (ii) (i) (iii) (C) (ii) (iii) (iv) (i) (D) (ii) (iv) (i) (iii) Write the correct sequence of the following compositions according to their evolution : (i) Kriti (ii) Prabandha (iii) Devaranama (iv) Dhruvageetha Codes : (A) (i) (iii) (ii) (iv) (B) (iv) (ii) (iii) (i) (C) (iii) (i) (iv) (ii) (D) (ii) (iv) (iii) (i) Paper-II 16 D-1609 37. 38. ? (A) (C) (B) (D) - (A) (C) (B) (D) 39. : (A) (B) (C) (D) 40. ? (A) (C) (B) (D) : (A) (C) (B) (D) 41. -I -II : -I -II (a) (i) (b) (ii) (c) (iii) (d) (iv) : 42. (A) (B) (C) (D) 43. (a) (b) (c) (d) (iii) (i) (ii) (iv) (iv) (ii) (i) (iii) (ii) (iii) (iv) (i) (ii) (iv) (i) (iii) : (i) (ii) (iii) (iv) : (A) (B) (C) (D) D-1609 (i) (iii) (ii) (iv) (iv) (ii) (iii) (i) (iii) (i) (iv) (ii) (ii) (iv) (iii) (i) 17 Paper-II 44. Arrange the following in the order of 72 melakarta scheme. (a) Senapathi (b) Kokilapriya (c) Rupavathi (d) Hanuma Todi Codes : (A) (b) (c) (d) (a) (B) (a) (d) (b) (c) (C) (d) (a) (c) (b) (D) (c) (b) (d) (a) 45. The text Sangita Sampradaya Pradarshini is written by (A) Subbarama Dikshitar (B) Ramaswamy Dikshitar (C) Rama Matya (D) Venkatamakhi 46. Suladis are composed by (A) Purandaradasa (C) Akkamahadevi (B) Sadashiva Brahmendra (D) Margadarshi Shesha Iyengar 47. Arrange the following janya ragas in the order of their parent scales : (i) Bilahari (ii) Saveri (iii) Dhanyasi (iv) Sree Ranjani Codes : (A) (i) (iii) (iv) (ii) (B) (ii) (iv) (i) (iii) (C) (iii) (ii) (i) (iv) (D) (iii) (ii) (iv) (i) 48. Assertion and Reason : Assertion (A) : Purandaradasa composed Devaranamas. Reason (R) : He also composed Ugabhogas. (A) (A) is True (R) is False (B) (A) is True (R) is True (C) (A) is False (R) is True (D) (A) is False (R) is False 49. Assertion and Reason : Assertion (A) : Manodharma sangita is an important part of South Indian music Reason (R) : Varnam is a branch of Manodharma sangita. (A) Both (A) and (R) are true. (B) Both (A) and (R) are false. (C) (A) is true but (R) is false (D) (A) is false but (R) is true. 50. The first Shuddhamela of Samagana was (A) Ma ri ga sa ni dha pa (B) Ma ga ri sa dha ni pa (C) Ma sa ri ga ni dha pa (D) Ma ga sa ri pa dha ni Paper-II 18 D-1609 44. 72 : (a) (b) (c) (d) : (A) (B) (C) (D) 45. 46. 47. 49. 50. (c) (d) (a) (b) (d) (b) (c) (d) (a) (c) (b) (a) ? (A) (B) (C) (D) ? (A) (B) (C) (D) : (i) (ii) (iii) (iv) : (A) (B) (C) (D) 48. (b) (a) (d) (c) (i) (iii) (iv) (ii) (ii) (iv) (i) (iii) (iii) (ii) (i) (iv) (iii) (ii) (iv) (i) : (A) : (R) : (A) (A) , (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) : (A) : - (R) : (A) (A) (R) (B) (A) (R) (C) (A) , (R) (D) (A) , (R) : (A) (B) (C) (D) D-1609 19 Paper-II PART IV Rabindra Sangeet 26. The tune of the song Ami sansare mana diyechhinu is (A) Baul (B) Kirtan (C) Bhairab (D) Jhumur 27. Janani, tomar, karun, charankhani is set to 18-beat (A) Navapancha tal (B) Navatal (C) Shashthital (D) Rupakda tal . 28. The author of the book Shatgan is (A) Rabindranath himself (B) Bankim Chandra Chattopadhyay (C) Swarnakumari Debi (D) Sarala Devi 29. Jana gana mana was composed by Rabindranath in the year (A) 1900 (B) 1905 (C) 1911 (D) 1940 30. Rabindranath s first and foremost lecture demonstration on music is titled (A) Sangiter Mukti (B) Sangit and Kabita (C) Katha and Sur (D) Sangit and Bhab 31. The book Sur O Sangati is co-authored by Rabindranath and (A) Atul Prasad (B) Mahatma Gandhi (C) Professor Dhurjati Prasad Mukhopadhyay (D) Nidhu Babu 32. Identify the raga of the song Amar Matha Nata Kare. (A) Yaman Kalyan (B) Kalyan (C) Yaman (D) Bhupali 33. The language of the lyrics of Bhanusinher Padabali is (A) Bengali (B) Sanskrit (C) Hindi (D) Maithili 34. The origin and function of Music is written by (A) Herbert Spencer (B) Edmund Spencer (C) Ratan Devi (D) Sir William Jones 35. Shreematee is the heroine of which Rabindranath s drama (A) Natir Puja (B) Phalguni (C) Guru (D) Bisarjan Paper-II 20 D-1609 IV 26. (A) (C) (B) (D) 27. 18 ? (A) (B) (C) (D) 28. (A) (B) (C) (D) : 29. ? (A) 1900 (B) 1905 (C) 1911 (D) 1940 30. ? (A) (B) (C) (D) 31. - (A) (B) (C) (D) 32. 33. : (A) (C) (B) (D) (A) (C) (B) (D) ? 34. (A) (C) 35. (B) (D) ? (A) (C) D-1609 (B) (D) 21 Paper-II 36. Title of Rabindranath s Hibbert Lecture in Oxford is (A) The Crisis of Civilization (B) Creative Trinity (C) The Religion of Man (D) Fruit Gathering 37. The song Dhire bandhu dhire, sung by the blind Baul in Rabindranath s drama Phalguni has in its tune (A) 5 swaras (B) 6 swaras (C) 7 swaras (D) 12 swaras 38. Rabindranath derived the theme of his devotional song Tumi amader pita (Thou art our Father) from (A) Sukla yajur veda (B) The Ramayana (C) The Gita (D) Manu Sanhita 39. Rabindranath won the Nobel Prize for his book (A) Gitanjali in English (B) Gitanjali in Bengali (C) Gora (D) Dakghar 40. Rabindranath dedicated his drama Taser Desh to (A) Vishnu Narayan Bhatkhande (B) Kazi Nazrul Islam (C) Subhash Chandra Basu (D) Rajanikanta Sen 41. Alap-Alochana is Rabindranath s dialogue with (A) Romain Rolland (B) Albert Einstein (C) Dilip Kumar Roy (D) Ananda Kumarswamy 42. Identify the very starting song of Prem (Love) category. (A) Chitta pipasita re (B) Amare karo tomar vina (C) Se amar gopan katha (D) Tumi kon kananer phul 43. The thematic influence of Kalidasa s Meghadutam is found in Rabindranath s song (A) Amar priyar chhaya akashe aj bhase (B) Ogo badhu sundari (C) Aj bari jhare (D) Samukhe Shanti-Parabar Paper-II 22 D-1609 36. (A) (B) (C) (D) 37. , ? (A) 5 (B) 6 (C) 7 (D) 12 38. : (A) (B) (C) (D) 39. ? (A) (B) (C) (D) 40. ? (A) (B) (C) (D) 41. - ? (A) (C) (B) (D) 42. : (A) (B) (C) (D) 43. ? (A) (B) (C) (D) - D-1609 23 Paper-II 44. The Rajput chronicle inspired Rabindranath to write the song (A) Jwal jwal chita dwigun dwigun (B) Aguner parashmani (C) Ore agun amar bhai (D) Nil digante oi phuler agun laglo 45. Music of different nations has a common psychological foundation. was the topic of Tagore s discussion with (A) Herbert George Wells (B) A.H. Stapleton (C) Dr. Yorktotter (D) Marguerite Wilkinson 46. The title of the anthology of Tagore s congregation addresses is (A) Santiniketan (B) Sriniketan (C) Bhashandhara (D) Puja O Prarthana 47. For opening the Department of Music in the University of Calcutta Rabindranath recommended to the-then D.P.I. the name of (A) Gopeshwar Banerjee (B) Dilipkumar Ray (C) Vishnu Narayan Bhatkhande (D) Fhaiyaz Khan 48. The introductory (Bhumika) song of Tagore s Gitabitan is (A) Pratham yuger uday-digangane (B) Kanna-hasir dol-dolano (C) Surer Guru (D) Akash bhara surya-tara 49. All the twelve notes are aesthetically/artistically applied by Tagore in his song (A) Amar praner pare chole gelo ke (B) He nirupama (C) Gagane gagane apanar mone (D) Tumi kon kananer phul 50. Guru is the shortened form of the drama (A) Achalayatan (B) Rakta Karabi (C) Dakghar (D) Prayashchitta Paper-II 24 D-1609 44. ? (A) (B) (C) (D) 45. ? (A) (B) . . (C) . (D) 46. ? (A) (B) (C) (D) 47. , . . . ? (A) (B) (C) (D) 48. ( ) : (A) - (B) - - (C) (D) 49. / ? (A) (B) (C) (D) 50. ? (A) (B) (C) (D) D-1609 25 Paper-II PART V Percussion Instruments 26. Beats in Shikar Taal (A) 11 (C) 15 (B) 13 (D) 17 27. Durdur falls under which class of instruments ? (A) Tat Vadya (B) Ghan Vadya (C) Sushir Vadya (D) Avanaddha Vadya 28. Khali falls on which beat in Roopak Taal ? (A) 1 (B) 4 (C) 5 (D) 6 29. Ahmed Jaan Thirkua belonged to (A) Delhi Gharana (C) Ajrada Gharana (B) Punjab Gharana (D) Farrukhabad Gharana Bafati Miyan was famous for (A) Tabla (C) Dholak (B) Pakhawaj (D) Nakkara Who mastered Na Dhin Dhin Na ? (A) Gudai Maharaj (C) Anokhe Lal (B) Kishan Maharaj (D) Kumar Lal 30. 31. 32. Arrange the following Musicologists in chronological order : (i) Sharang Dev (ii) Bharat (iii) K.C.D. Brihaspati (iv) Bhatkhande Codes : (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iii) (i) (iv) (ii) (D) (iv) (iii) (ii) (i) 33. Who has written Taalkosh ? (A) Aban-E-Mistry (C) Harishchandra Srivastava (B) Yogmaya Shukla (D) Girish Chandra Srivastava 34. Tabla Ka Udgam, Vikas Avam Vadan Shailiyan is written by (A) Satya Narayan Vashishtha (B) Girish Chandra Srivastava (C) Yogmaya Shukla (D) Aban E. Mistri 35. Khali falls on which beat in Sawari Taal ? (A) 7 (B) 8 (C) 9 (D) 10 Paper-II 26 D-1609 V 26. (A) 11 (C) 15 (B) 13 (D) 17 27. ? (A) (C) (B) (D) 28. ? (A) 1 (C) 5 (B) 4 (D) 6 29. ? (A) (C) (B) (D) 30. ? (A) (C) (B) (D) 31. ? (A) (C) (B) (D) 32. : (i) (ii) (iii) . . . (iv) : (A) (i) (ii) (iii) (iv) (B) (ii) (i) (iv) (iii) (C) (iii) (i) (iv) (ii) (D) (iv) (iii) (ii) (i) 33. ? (A) - - (C) 34. , ? (A) (B) (C) (D) . 35. ? (A) 7 (B) 8 (C) 9 (D) 10 D-1609 (B) (D) 27 Paper-II 36. Who is called Sangat-Samrat ? (A) Habibuddin (C) Ahmed Jan Thirakua (B) Nanhe Khan (D) Munne Khan 37. Allarakha belonged to which Gharana ? (A) Delhi (B) Punjab (C) Azarada (D) Farrukhabad 38. Match the following : (a) Karamat Ulla Khan (i) (b) Masit Khan (ii) (c) Gudai Maharaj (iii) (d) Zakir Hussain (iv) Codes : (a) (b) (c) (d) (A) (ii) (iii) (iv) (i) (B) (i) (ii) (iii) (iv) (C) (iv) (iii) (ii) (i) (D) (i) (iv) (ii) (iii) 39. Match the following : (a) Nikhil Ghosh (i) (b) Karamatulla Khan (ii) (c) Gudia Maharaj (iii) (d) Alla Rakkha Khan (iv) Codes : (a) (b) (c) (d) (A) (i) (iv) (ii) (iii) (B) (ii) (iv) (iii) (i) (C) (iv) (ii) (iii) (i) (D) (iii) (i) (iv) (ii) Farrukhabad Gharana Banaras Gharana Punjab Gharana Delhi Gharana Nayan Kumarlal Zakir Hussain Sabir Khan 40. On Tabla/Pakhawaj Pudi, Syahi is made of (A) Coal powder (B) Wood powder (C) Iron ore powder (D) None of these 41. Number of Margi Taalas are (A) 3 (C) 7 42. (B) 5 (D) 9 Which fraction denotes Savagun Laykari ? 1 (A) 4 (B) 5 (C) 4 (D) Paper-II 28 3 4 7 4 D-1609 36. - ? (A) (C) ? 37. (A) (C) 38. 39. (B) (D) : (a) (b) (c) (d) : (a) (b) (c) (A) (ii) (iii) (iv) (B) (i) (ii) (iii) (C) (iv) (iii) (ii) (D) (i) (iv) (ii) : (a) (b) (c) (d) : (a) (b) (c) (A) (i) (iv) (ii) (B) (ii) (iv) (iii) (C) (iv) (ii) (iii) (D) (iii) (i) (iv) (B) (D) (i) (ii) (iii) (iv) (i) (ii) (iii) (iv) (d) (i) (iv) (i) (iii) (d) (iii) (i) (i) (ii) 40. / ? (A) (B) (C) (D) 41. (A) (C) 42. 3 7 ? 1 (A) 4 5 (C) 4 D-1609 (B) 5 (D) 9 3 (B) 4 7 (D) 4 29 Paper-II 43. Match the following : (a) Dhrupad (i) (b) Khayal (ii) (c) Thumari (iii) (d) Tappa (iv) Codes : (a) (b) (c) (d) (A) (iv) (iii) (ii) (i) (B) (i) (ii) (iii) (iv) (C) (ii) (i) (iii) (iv) (D) (iii) (ii) (i) (iv) Punjabi Deep Chandi Teen Taal Chaar Taal 44. Writer of Bhartiya Sangeet Vadya (A) Bhagwat Sharan Sharma (B) Satya Narayan Vashishtha (C) Lalmani Mishra (D) Girish Chandra Srivastava 45. Which Taal is used with Sadara ? (A) Char Taal (C) Sool Taal 46. 47. (B) Dhamar (D) Teevra Tilwada Taal is played with which style ? (A) Dhrupad (B) Khayal (Vilambit) (C) Thumari (D) Tappa 1 Theka of which taal has got Dhin & Tin coving 12 beats ? (A) (C) Kheta Jhumara (B) Dhumali (D) Ada char taal 48. Number of beats in Ek Taal (Chatashra Jaati) of Karnataka Sangeet. (A) 4 (B) 8 (C) 12 (D) 16 49. Form of ATH Taal in Karnataka Music system (A) 1 (B) 10 (C) 101 (D) 1100 50. Assertion (A) : Maximum expansion of Quada is possible. Reason (R) : Because Quada has identical Bolas systematically arranged according to the Taal Form. (A) (A) is True (R) is False (B) (A) is False (R) is True (C) (A) is True (R) is True (D) (A) is False (R) is False _______________ Paper-II 30 D-1609 : (a) (b) (c) (d) : 43. (A) (B) (C) (D) (i) (ii) (iii) (iv) (a) (b) (c) (d) (iv) (iii) (ii) (i) (i) (ii) (iii) (iv) (ii) (i) (iii) (iv) (iii) (ii) (i) (iv) 44. (A) (B) (C) (D) 45. ? (A) (B) (C) (D) 46. ? (A) (B) ( ) (C) (D) 47. 1 12 ? (A) (B) (C) (D) 48. ( ) (A) 4 (B) 8 (C) 12 (D) 16 49. (A) 1 (C) 101 50. (B) 10 (D) 1100 (A) : (R) : (A) (A) (R) (B) (A) (R) (C) (A) (R) (D) (A) (R) _______________ D-1609 31 Paper-II Space For Rough Work Paper-II 32 D-1609

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Additional Info : Ugc Net December 2009 Question Paper -Music ( Paper II )
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