MUSIC
MUSIC SYLLABUS
(These syllabus may change from time to time. Please check with the relevant Public Service Commission websites for any changes in the syllabus)
Paper-II and Paper-III (A)
1. Technical -Terminology
Nada, Shruti, Swara, Grama0-Moorchana, jati, Raga, Tala, Tan, Gamak, Gandharva-Gaan, marga-Deshi, Giti, varna, Alankar, Melody, Harmony, Musical Scales, Musical intervals, Consonance-Dissonance, harmonics, Western and south Indian terminology and their explanation, Drone, Alpatva-Bahutva, Abirbhav-Triobhav, Uthan, Pushkar, TKayda, rela, rang, alggi, Ladi, Freshbandi, tala, Laya, Matra, Avartan, Vibhag, Sashabda Kriya, Nishabda Kriya, theka, Saral Gat, Adi Gat, Chakardar Gat, Farmaishi Gat and other varieties of agts, and Kayadas, upangs, bhashnag, Gita, Kriti, Kirtana, jatishwara, Pada, Swarjati, ragmalika, Tillana, Nyasa, Amsa, Prasa, Yati, Anupsara, Alapna, Nerval, Sangati and their terms, Gitinatya, Nritya-Natya, Baitalik, Varsha-Mangalm, Basantotsav, Gita-Bitana, Swara-Bitana, Akarmatrik Notation, Masitkhani and Rajakhani Gat
2. Applied Theory
Details and critical study of ragas, Classification of Ragas, i.e grama Raga, Vargikaran, Mela raga, Vargikaran, Raga-Ragini, vargikaran, Thata Raga Vargikaran, and Raganga vargikaran, time theory of Ragas, Application of melody and harmony in Indian Music, Placement of Shudddha and Vikrit Swaras on Shruties in Ancient medieval and modern period
Detailed knowledge of prevalebnttalas of Hindustani music, knowledge of tala Dashpranas and Marga and deshi taas of Ancient period, the original principles of making Tihai, chakradar Gat, Chakradar Paran, Comparative study of Hindustani and Karnataka tala syatem wih special refernce to ten pranas of talas, detailed study of different layakaris viz, Tigun, chaugun, Ada, Kuada, Viyada ad method to apply them in composition
Tagore’s treatment of Hindustani rags and raginis, element of Hindustani classical music , Karnataka music, Western music from other provinces , Folk music and kirtan of Bengal and their influence on Tagore’s treatment of Ragas
3. Composition forms and their evolution
Prabandha, Dhrupad Khyalm Dhamar, thumrim, Tappa, Tarana, Chaturang, Trivat, Vrindagana, Vrinda, vadan, javeli, Kriti, Tillana, Alap, varnam (Pad varnam and Tana Varnam), Padam, ragam, Tanam, Pallavi, Gita, Varna, Swarjaynti, Kalpita, Sangita, Ragamalika, Narvallu, Swara kalplana, (Manodharma Sangeet), tevaram, Divyaprabandham, Tiruppugazh
Main forms of arindra Sangeet
Akarmatrik notation system, knowledge of Devnagari Script
History of Music of Bengal
4. Gharanas and Gayaki
Origin and development of Gharanas in Hindustani Music and their contribution in preserving and promoting traditional Hindustani classical music. Merits and demerits of Gharanas system
Origin and development of Gharanas in Instrumental Music and Percussion and their contribution in promoting Indian classical music. Merits and demerits of Gharanas system
Study of traditions and specialties of different Gharanas in vocal instrumental and percussion group. Desirability and possibility of Gharanas in contemporary music
Guru shiahya parampara and different styles of singing and playing in Karnataka music
An Overall survey of Rabindranath Tagore’s musical creativity, tonal and rhythmic varieties of Tagore’s musical compositions including his own experimental varaitions. Periods and phase of Tagore’s musical composition (Chronological order may be maintained)
The Cultural atmosphere of Tagore’s family (Pathuriaghata and Jorasanko, Calcutta), Thematic variation of Tagore’s music Puja, Swadesh, Prem, Prakrirti, Vichitra, Anushthanik)
5. Contribution of Scholars to Indian Music and their textual tradition
Narad, Bharat, Dattil, Matanga, Sharangadeva, Nanyadeva and others. Lochan, Ramamatya, Pudarik, Vitthal, Somnath, Damodar, Mishra, Ahobal, Hridya Narain, deva, Vynkatmakhi, Srinivas, Pt. Bhatkhande, Pt. V.D.Paluskar, Pt. Omkarnath Thakur, K.C.D.Brahaspati, Dr. Premlata Sharma and others
Study of ancient medieval and modern treaties in Percussion instrument like, Bharat, Natyashatra, Sangeet Samaysar, Radha Govind Sangit Sar, Madrul Mosiiqui, Bhartiya Vadyon ka itihas, Sangeet Saastra, Bhartiya sangeetm mein taal aur roop, Abhinav Tala, MAnjri, Bhartiya sangeet Vadya and other traties, Contribution of varuiuos Scholars to Percussion instrument like Kudau Singh, Bhagvandas, raja Chatrapati Singh, Anoke Lala, Ahmadjan Thirakwa, Shamta Prasad, Kishan Maharaj and others ancient medieval and modern period
Tagore’s musical dramas and dance dramas e.g Valmiki, Pratibha, Kalmrigaya, Mayar Khela, Chitrangada, Chandalika, Shayama, and others dramas full of various songs i.e damas like Prayaschitta, visarjan, Saradotsava, raja, Phalguni, Tasr desh, Vasanta etc. Tagore;s musical creativity in Gitabitan, Part . I,II,III Swwarabitan Part-I-63 Sangeet-CChinta ( Vishva-Bharti)
Contribution of prominenet Karnataka Scholars, Composers ad performners and their meieval and modern period like, worjk such as Ramayana, Vyankatmakhi, Tyagraja, Muttu-Swami, Dikshitara, shayama Shastri, Gopal Krishna, Prof. Sambhamoorti, Papanasam Shivan, Vasantha Kumari, Subbulakshmi, Ramari, T.N.Krishan and others
6. Historical perspective of Music
A study off the Historical development of Hindustani music (Vocal, Instrumental Percussion), Karnataka Musical and Rabnindra Sangeet in ancient , medieval and modern period
Contribution of Western Scholars to Indian Music
7. Aesthetics
Its origin , expression and appreciation: Principles pf aesthetics and its relation to Indian Music
Rasa theory and its application to Indian Music
Relationship of Musical aesthetics and Rasa to Hindustani Music(Vocal, instrumental and Percussion), Karnataka Music and Rabnindra Sangeet
Interrelationship of fine arts with special reference to Rag-Ragini Paintings, Dhyan Ragas and others
Bibliography of Rabindra Nath Tagore
8. Instruments/Dance
Origin, evolution structure of various instruments and their well known exponents Hindustani (Vocal, instruments and Percussion), Karnataka music and Rabnindra Sangeet . Importance of Tanpura and its harmonics
Classification of instruments of Hindustani , Karnataka Music in ancient, medieval and modern period, Popular instrument used in Rabnindra Sangeet
Elementary knowledge of Indian dance like Kathak, Bhartanatyam, Kuchipudi, Oddisi, Kathakali etc
9. Folk Music
Influence of folk music on Indian classic music, Stylization of folk melodies into ragas
Popular folk tunes and folk dances of Hindustani, Karnataka and Rabnindra Sangeet, such as Basul, Bhatiyali, Lavani, Garba, Kajri, Chaity, Maand, Bhangra, Gidda, Jhoomar, Swang, Pandawani, Amar-Praner, Amnush acche Prane, Amar Sonar Bangla, Kirtanm Sarim rai Beshem Jhumarm, KArakattam, Kavadi attam, Ailluppatam, Maiyandi, Melam and other prominent folk forms
Analysis of the element of Hindustani folk music, Karnataka folk music or South Indian folk music, and Rabnindra Folk Sangeet or folk music of Bengal and the elements regarding their interrelationship
General study of the folk music of various regions of India like Uttar Pradesh, Rajasthan, Haryana, Punjab, Maharashtra, Bengal and South India
10. Music Teaching and Research Technologies
Guro Shishya Parampara, Sangeet Sampradya, Pradrashini and the instrumental systems of music teaching with reference to Hindustani Karnataka music and Rabnindra Sangeet
Utility of teaching aids like electronic equipments in music education with reference to Hindustani, Karnataka music and Rabnindra Sangeet
The methodological of music research, Preparing synopsis, data collection, fields work writings reports, findings bibliography, reference material etc, With reference to Hindustani, Karnataka music and Rabnindra Sangeet
Study of interrelation between textual and oral tradition
Paper-III(B) [Elective/Optional]
Elective-I
Aesthetics, Rasa
Elective-II
Gsharansa baj, Sampradyaa, Composers and Musicians
Elective-III
Interdisciplinary studies in Music such as Music and Philosophy, Music ad Religion Music and culture, Music and Social Science , Music and Science
Elective-IV
new trends of Indian Music in post independence Era
Elective-V
Research in Music and its new avenue, Music education
Elective-VI
Folk music, Music festivals temple Music
Paper-II and Paper-III (A)
1. Technical -Terminology
Nada, Shruti, Swara, Grama0-Moorchana, jati, Raga, Tala, Tan, Gamak, Gandharva-Gaan, marga-Deshi, Giti, varna, Alankar, Melody, Harmony, Musical Scales, Musical intervals, Consonance-Dissonance, harmonics, Western and south Indian terminology and their explanation, Drone, Alpatva-Bahutva, Abirbhav-Triobhav, Uthan, Pushkar, TKayda, rela, rang, alggi, Ladi, Freshbandi, tala, Laya, Matra, Avartan, Vibhag, Sashabda Kriya, Nishabda Kriya, theka, Saral Gat, Adi Gat, Chakardar Gat, Farmaishi Gat and other varieties of agts, and Kayadas, upangs, bhashnag, Gita, Kriti, Kirtana, jatishwara, Pada, Swarjati, ragmalika, Tillana, Nyasa, Amsa, Prasa, Yati, Anupsara, Alapna, Nerval, Sangati and their terms, Gitinatya, Nritya-Natya, Baitalik, Varsha-Mangalm, Basantotsav, Gita-Bitana, Swara-Bitana, Akarmatrik Notation, Masitkhani and Rajakhani Gat
2. Applied Theory
Details and critical study of ragas, Classification of Ragas, i.e grama Raga, Vargikaran, Mela raga, Vargikaran, Raga-Ragini, vargikaran, Thata Raga Vargikaran, and Raganga vargikaran, time theory of Ragas, Application of melody and harmony in Indian Music, Placement of Shudddha and Vikrit Swaras on Shruties in Ancient medieval and modern period
Detailed knowledge of prevalebnttalas of Hindustani music, knowledge of tala Dashpranas and Marga and deshi taas of Ancient period, the original principles of making Tihai, chakradar Gat, Chakradar Paran, Comparative study of Hindustani and Karnataka tala syatem wih special refernce to ten pranas of talas, detailed study of different layakaris viz, Tigun, chaugun, Ada, Kuada, Viyada ad method to apply them in composition
Tagore’s treatment of Hindustani rags and raginis, element of Hindustani classical music , Karnataka music, Western music from other provinces , Folk music and kirtan of Bengal and their influence on Tagore’s treatment of Ragas
3. Composition forms and their evolution
Prabandha, Dhrupad Khyalm Dhamar, thumrim, Tappa, Tarana, Chaturang, Trivat, Vrindagana, Vrinda, vadan, javeli, Kriti, Tillana, Alap, varnam (Pad varnam and Tana Varnam), Padam, ragam, Tanam, Pallavi, Gita, Varna, Swarjaynti, Kalpita, Sangita, Ragamalika, Narvallu, Swara kalplana, (Manodharma Sangeet), tevaram, Divyaprabandham, Tiruppugazh
Main forms of arindra Sangeet
Akarmatrik notation system, knowledge of Devnagari Script
History of Music of Bengal
4. Gharanas and Gayaki
Origin and development of Gharanas in Hindustani Music and their contribution in preserving and promoting traditional Hindustani classical music. Merits and demerits of Gharanas system
Origin and development of Gharanas in Instrumental Music and Percussion and their contribution in promoting Indian classical music. Merits and demerits of Gharanas system
Study of traditions and specialties of different Gharanas in vocal instrumental and percussion group. Desirability and possibility of Gharanas in contemporary music
Guru shiahya parampara and different styles of singing and playing in Karnataka music
An Overall survey of Rabindranath Tagore’s musical creativity, tonal and rhythmic varieties of Tagore’s musical compositions including his own experimental varaitions. Periods and phase of Tagore’s musical composition (Chronological order may be maintained)
The Cultural atmosphere of Tagore’s family (Pathuriaghata and Jorasanko, Calcutta), Thematic variation of Tagore’s music Puja, Swadesh, Prem, Prakrirti, Vichitra, Anushthanik)
5. Contribution of Scholars to Indian Music and their textual tradition
Narad, Bharat, Dattil, Matanga, Sharangadeva, Nanyadeva and others. Lochan, Ramamatya, Pudarik, Vitthal, Somnath, Damodar, Mishra, Ahobal, Hridya Narain, deva, Vynkatmakhi, Srinivas, Pt. Bhatkhande, Pt. V.D.Paluskar, Pt. Omkarnath Thakur, K.C.D.Brahaspati, Dr. Premlata Sharma and others
Study of ancient medieval and modern treaties in Percussion instrument like, Bharat, Natyashatra, Sangeet Samaysar, Radha Govind Sangit Sar, Madrul Mosiiqui, Bhartiya Vadyon ka itihas, Sangeet Saastra, Bhartiya sangeetm mein taal aur roop, Abhinav Tala, MAnjri, Bhartiya sangeet Vadya and other traties, Contribution of varuiuos Scholars to Percussion instrument like Kudau Singh, Bhagvandas, raja Chatrapati Singh, Anoke Lala, Ahmadjan Thirakwa, Shamta Prasad, Kishan Maharaj and others ancient medieval and modern period
Tagore’s musical dramas and dance dramas e.g Valmiki, Pratibha, Kalmrigaya, Mayar Khela, Chitrangada, Chandalika, Shayama, and others dramas full of various songs i.e damas like Prayaschitta, visarjan, Saradotsava, raja, Phalguni, Tasr desh, Vasanta etc. Tagore;s musical creativity in Gitabitan, Part . I,II,III Swwarabitan Part-I-63 Sangeet-CChinta ( Vishva-Bharti)
Contribution of prominenet Karnataka Scholars, Composers ad performners and their meieval and modern period like, worjk such as Ramayana, Vyankatmakhi, Tyagraja, Muttu-Swami, Dikshitara, shayama Shastri, Gopal Krishna, Prof. Sambhamoorti, Papanasam Shivan, Vasantha Kumari, Subbulakshmi, Ramari, T.N.Krishan and others
6. Historical perspective of Music
A study off the Historical development of Hindustani music (Vocal, Instrumental Percussion), Karnataka Musical and Rabnindra Sangeet in ancient , medieval and modern period
Contribution of Western Scholars to Indian Music
7. Aesthetics
Its origin , expression and appreciation: Principles pf aesthetics and its relation to Indian Music
Rasa theory and its application to Indian Music
Relationship of Musical aesthetics and Rasa to Hindustani Music(Vocal, instrumental and Percussion), Karnataka Music and Rabnindra Sangeet
Interrelationship of fine arts with special reference to Rag-Ragini Paintings, Dhyan Ragas and others
Bibliography of Rabindra Nath Tagore
8. Instruments/Dance
Origin, evolution structure of various instruments and their well known exponents Hindustani (Vocal, instruments and Percussion), Karnataka music and Rabnindra Sangeet . Importance of Tanpura and its harmonics
Classification of instruments of Hindustani , Karnataka Music in ancient, medieval and modern period, Popular instrument used in Rabnindra Sangeet
Elementary knowledge of Indian dance like Kathak, Bhartanatyam, Kuchipudi, Oddisi, Kathakali etc
9. Folk Music
Influence of folk music on Indian classic music, Stylization of folk melodies into ragas
Popular folk tunes and folk dances of Hindustani, Karnataka and Rabnindra Sangeet, such as Basul, Bhatiyali, Lavani, Garba, Kajri, Chaity, Maand, Bhangra, Gidda, Jhoomar, Swang, Pandawani, Amar-Praner, Amnush acche Prane, Amar Sonar Bangla, Kirtanm Sarim rai Beshem Jhumarm, KArakattam, Kavadi attam, Ailluppatam, Maiyandi, Melam and other prominent folk forms
Analysis of the element of Hindustani folk music, Karnataka folk music or South Indian folk music, and Rabnindra Folk Sangeet or folk music of Bengal and the elements regarding their interrelationship
General study of the folk music of various regions of India like Uttar Pradesh, Rajasthan, Haryana, Punjab, Maharashtra, Bengal and South India
10. Music Teaching and Research Technologies
Guro Shishya Parampara, Sangeet Sampradya, Pradrashini and the instrumental systems of music teaching with reference to Hindustani Karnataka music and Rabnindra Sangeet
Utility of teaching aids like electronic equipments in music education with reference to Hindustani, Karnataka music and Rabnindra Sangeet
The methodological of music research, Preparing synopsis, data collection, fields work writings reports, findings bibliography, reference material etc, With reference to Hindustani, Karnataka music and Rabnindra Sangeet
Study of interrelation between textual and oral tradition
Paper-III(B) [Elective/Optional]
Elective-I
Aesthetics, Rasa
Elective-II
Gsharansa baj, Sampradyaa, Composers and Musicians
Elective-III
Interdisciplinary studies in Music such as Music and Philosophy, Music ad Religion Music and culture, Music and Social Science , Music and Science
Elective-IV
new trends of Indian Music in post independence Era
Elective-V
Research in Music and its new avenue, Music education
Elective-VI
Folk music, Music festivals temple Music
MUSIC MCQs
1. When World Music Day is celebrated ?
(A) 14th December (B) 1st October
(C) 21st June (D) 21st September
Ans: C
2. Which Shiksha Granth is not related to Samaveda ?
(A) Nardiya Shiksha (B) Yajyavalkya Shiksha
(C) Gautami Shiksha (D) Lomashi Shiksha
Ans: B
3. In which period Guru went to the student to impart education ?
(A) Vedic period (B) Puran period
(C) Mahabharat period (D) Ramayan period
Ans: C
4. Which instrument is the most grave one ?
(A) Veena (B) Sitar
(C) Sarod (D) Guitar
Ans: A
5. To which Rasa Raaga Peelu is close to ?
(A) Veera Rasa (B) Adbhut Rasa
(C) Karuna Rasa (D) Bhayanaka Rasa
Ans: C
6. How many ‘Gamakas’ are described in Sangeet Ratnakara ?
(A) 5 (B) 10
(C) 15 (D) 20
Ans: C
7. Which treatise has first mentioned the definition of Rasa ?
(A) Naradiya Shiksha (B) Natya Shashtra
(C) Sangeet Ratnakar (D) Brihaddeshi
Ans: B
8. How many Shudha Jaitis are derived from Madhyam Gram ?
(A) Four (B) Three
(C) Two (D) Five
Ans: B
9. ‘Virud’ is an Anga of which singing style ?
(A) Dhamar (B) Thumari
(C) Khyal (D) Prabandh
Ans: D
10. The ratio required for a Perfect Consonance is
(A) 3 : 4 (B) 4 : 5
(C) 5 : 6 (D) 5 : 8
Ans: A
11. Which of the following scale is not perfect according to Indian notes ?
(A) Diatonic scale (B) Natural scale
(C) Tempered scale (D) Equally tempered scale
Ans: D
12. Grantha published in respect of a scholar after his death is known as
(A) Reference Grantha (B) Commemoration Grantha
(C) Felicitation Grantha (D) Special Grantha
Ans: B
13. Which type of book is not placed in Reference section in Library ?
(A) Dictionary (B) Encyclopedia
(C) Manuscripts (D) General Book
Ans: D
14. Tijanbai of Chhattisgarh is famous for
(A) Bohag Bihu (B) Pandwani
(C) Tapali (D) Rauf
Ans: B
(A) 14th December (B) 1st October
(C) 21st June (D) 21st September
Ans: C
2. Which Shiksha Granth is not related to Samaveda ?
(A) Nardiya Shiksha (B) Yajyavalkya Shiksha
(C) Gautami Shiksha (D) Lomashi Shiksha
Ans: B
3. In which period Guru went to the student to impart education ?
(A) Vedic period (B) Puran period
(C) Mahabharat period (D) Ramayan period
Ans: C
4. Which instrument is the most grave one ?
(A) Veena (B) Sitar
(C) Sarod (D) Guitar
Ans: A
5. To which Rasa Raaga Peelu is close to ?
(A) Veera Rasa (B) Adbhut Rasa
(C) Karuna Rasa (D) Bhayanaka Rasa
Ans: C
6. How many ‘Gamakas’ are described in Sangeet Ratnakara ?
(A) 5 (B) 10
(C) 15 (D) 20
Ans: C
7. Which treatise has first mentioned the definition of Rasa ?
(A) Naradiya Shiksha (B) Natya Shashtra
(C) Sangeet Ratnakar (D) Brihaddeshi
Ans: B
8. How many Shudha Jaitis are derived from Madhyam Gram ?
(A) Four (B) Three
(C) Two (D) Five
Ans: B
9. ‘Virud’ is an Anga of which singing style ?
(A) Dhamar (B) Thumari
(C) Khyal (D) Prabandh
Ans: D
10. The ratio required for a Perfect Consonance is
(A) 3 : 4 (B) 4 : 5
(C) 5 : 6 (D) 5 : 8
Ans: A
11. Which of the following scale is not perfect according to Indian notes ?
(A) Diatonic scale (B) Natural scale
(C) Tempered scale (D) Equally tempered scale
Ans: D
12. Grantha published in respect of a scholar after his death is known as
(A) Reference Grantha (B) Commemoration Grantha
(C) Felicitation Grantha (D) Special Grantha
Ans: B
13. Which type of book is not placed in Reference section in Library ?
(A) Dictionary (B) Encyclopedia
(C) Manuscripts (D) General Book
Ans: D
14. Tijanbai of Chhattisgarh is famous for
(A) Bohag Bihu (B) Pandwani
(C) Tapali (D) Rauf
Ans: B
15. Yakshagana dance based on Kathanak is belong to
(A) Kerala (B) Karnataka
(C) Odissa (D) Bengal
Ans: B
16. Name of the author of ‘Encyclopedia of Music, Dance and Drama in India’ is
(A) G.H. Ranade (B) Sir Jons
(C) Pt. Nikhil Ghosh (D) P. Sambmurthy
Ans: All options are correct
17. In which Sampradaya Haveli Sangeet is sung ?
(A) Sakhi Sampradaya
(B) Radhaballabha Sampradaya
(C) Nimbark Sampradaya
(D) Ballabh Sampradaya
Ans: D
18. Match the following Ragas of Hindustani and Karnatak Music and select the correct
match from the code below :
a. Bhairav i. Gaman Priya
b. Poorvi ii. Shubh Pantu Varali
c. Marva iii. Kam Vardhini
d. Todi iv. Mayamalav Gaud
Codes :
a b c d
(A) ii i iv iii
(B) iii ii i iv
(C) i iv iii ii
(D) iv iii i ii
Ans: D
19. Which historic sequence is right ?
(A) (i) Dhruva (ii) Prabandh (iii) Khyal (iv) Dhrupad
(B) (i) Prabandh (ii) Khyal (iii) Dhrupad (iv) Dhruva
(C) (i) Dhruva (ii) Prabandh (iii) Dhrupad (iv) Khyal
(D) (i) Dhrupad (ii) Dhruva (iii) Prabandh (iv) Khyal
Ans: C
(A) Kerala (B) Karnataka
(C) Odissa (D) Bengal
Ans: B
16. Name of the author of ‘Encyclopedia of Music, Dance and Drama in India’ is
(A) G.H. Ranade (B) Sir Jons
(C) Pt. Nikhil Ghosh (D) P. Sambmurthy
Ans: All options are correct
17. In which Sampradaya Haveli Sangeet is sung ?
(A) Sakhi Sampradaya
(B) Radhaballabha Sampradaya
(C) Nimbark Sampradaya
(D) Ballabh Sampradaya
Ans: D
18. Match the following Ragas of Hindustani and Karnatak Music and select the correct
match from the code below :
a. Bhairav i. Gaman Priya
b. Poorvi ii. Shubh Pantu Varali
c. Marva iii. Kam Vardhini
d. Todi iv. Mayamalav Gaud
Codes :
a b c d
(A) ii i iv iii
(B) iii ii i iv
(C) i iv iii ii
(D) iv iii i ii
Ans: D
19. Which historic sequence is right ?
(A) (i) Dhruva (ii) Prabandh (iii) Khyal (iv) Dhrupad
(B) (i) Prabandh (ii) Khyal (iii) Dhrupad (iv) Dhruva
(C) (i) Dhruva (ii) Prabandh (iii) Dhrupad (iv) Khyal
(D) (i) Dhrupad (ii) Dhruva (iii) Prabandh (iv) Khyal
Ans: C
20. Match the following :
a. Shiva i. Bansuri
b. Saraswati ii. Mridanga
c. Krishan iii. Damru
d. Ganesh iv. Veena
Codes :
a b c d
(A) iii iv i ii
(B) iv iii i ii
(C) i ii iv iii
(D) iii ii i iv
Ans: A
21. Which treatise has first mentioned the definition of Raga ?
(A) Natyashastra (B) Sangeet Ratnakar
(C) Naradiya Shiksha (D) Brihaddeshi
Ans: D
22. In which medium the velocity of sound is the highest ?
(A) Air (B) Metal
(C) Wood (D) Water
Ans: A
23. Where is the old form of Dhrupad hearable ?
(A) Temples of Shaivyas
(B) Temples of Shaktas
(C) Vaishnav Temples of Pushti Marga (Haweli Sangeet)
(D) Temples of Bhairava
Ans: C
24. The importance of Indian Raagas is focused on
(A) Recreation (B) Acrobat
(C) Spiritualism (D) Rest
Ans: C
25. The first lakshanakara to formulate scheme of Melas.
(A) Venkatamakhi (B) Ahobala
(C) Somanatha (D) Vidyaranya
Ans: C
26. Khanda Jati Ata Tala is equivalent to
(A) Chautal (B) Ada Chautal
(C) Teen Taal (D) Rupak
Ans: B
a. Shiva i. Bansuri
b. Saraswati ii. Mridanga
c. Krishan iii. Damru
d. Ganesh iv. Veena
Codes :
a b c d
(A) iii iv i ii
(B) iv iii i ii
(C) i ii iv iii
(D) iii ii i iv
Ans: A
21. Which treatise has first mentioned the definition of Raga ?
(A) Natyashastra (B) Sangeet Ratnakar
(C) Naradiya Shiksha (D) Brihaddeshi
Ans: D
22. In which medium the velocity of sound is the highest ?
(A) Air (B) Metal
(C) Wood (D) Water
Ans: A
23. Where is the old form of Dhrupad hearable ?
(A) Temples of Shaivyas
(B) Temples of Shaktas
(C) Vaishnav Temples of Pushti Marga (Haweli Sangeet)
(D) Temples of Bhairava
Ans: C
24. The importance of Indian Raagas is focused on
(A) Recreation (B) Acrobat
(C) Spiritualism (D) Rest
Ans: C
25. The first lakshanakara to formulate scheme of Melas.
(A) Venkatamakhi (B) Ahobala
(C) Somanatha (D) Vidyaranya
Ans: C
26. Khanda Jati Ata Tala is equivalent to
(A) Chautal (B) Ada Chautal
(C) Teen Taal (D) Rupak
Ans: B
27. Sudha Saveri is similar to
(A) Durga (B) Jogia
(C) Jog (D) Vibhas
Ans: A
28. The Adhama Kutapa was also called as
(A) Vrinda Lakshana (B) Tata Kutapa
(C) Mukha Gitas (D) Kanishtaka
Ans: D
29. Pada varnas are popular in
(A) Classical dance (B) Music
(C) Nritya Nataka (D) Geya Nataka
Ans: A
30. Compositions of Tyagaraja are mostly written in
(A) Kannada (B) Telugu
(C) Sanskrit (D) Malayalam
Ans: B
31. Panchamukha Vadyam can be seen in
(A) Padmanabhaswamy Temple
(B) Tirupati Venkateswara
(C) Kumbakonam Kumbeswara Swami
(D) Chidambaram Nataraja Temple
Ans: D
32. Jalatarangam in ancient India was called as
(A) Mahati (B) Nakula
(C) Udaka Vadyam (D) Kastha Taranga
Ans: C
33. Blending of shruti and melody
(A) Gamaka (B) Kaku
(C) Sthayi (D) Anusvara
Ans: B
34. Samhita are found in
(A) Sama Veda (B) Yajur Veda
(C) Rig Veda (D) Atharva Veda
Ans: All options are correct
(A) Durga (B) Jogia
(C) Jog (D) Vibhas
Ans: A
28. The Adhama Kutapa was also called as
(A) Vrinda Lakshana (B) Tata Kutapa
(C) Mukha Gitas (D) Kanishtaka
Ans: D
29. Pada varnas are popular in
(A) Classical dance (B) Music
(C) Nritya Nataka (D) Geya Nataka
Ans: A
30. Compositions of Tyagaraja are mostly written in
(A) Kannada (B) Telugu
(C) Sanskrit (D) Malayalam
Ans: B
31. Panchamukha Vadyam can be seen in
(A) Padmanabhaswamy Temple
(B) Tirupati Venkateswara
(C) Kumbakonam Kumbeswara Swami
(D) Chidambaram Nataraja Temple
Ans: D
32. Jalatarangam in ancient India was called as
(A) Mahati (B) Nakula
(C) Udaka Vadyam (D) Kastha Taranga
Ans: C
33. Blending of shruti and melody
(A) Gamaka (B) Kaku
(C) Sthayi (D) Anusvara
Ans: B
34. Samhita are found in
(A) Sama Veda (B) Yajur Veda
(C) Rig Veda (D) Atharva Veda
Ans: All options are correct
35. Which nritya-natya was created by Rabindranath in support of Mahatma Gandhi’s ‘Harijan-Pratha Unmulan Andolan’ ?
(A) Shap Mochan (B) Chandalika
(C) Shyama (D) Natir Puja
Ans: B
36. Rabindranath composed the song ‘Joy hok tabo joy hok’ on the occasion of
(A) Felicitation of Bankim Chandra
(B) Felicitation of Jagdish Chandra Bose
(C) Felicitation of Chittaranjan Das
(D) Annual Session of Indian National Congress
Ans: B
37. Which category of Tagore song is related to ‘environment’ ?
(A) Puja (B) Vichitra
(C) Prem (D) Prakriti
Ans: D
38. In which year did Tagore renounce his ‘Knighthood’ ?
(A) 1918 (B) 1919
(C) 1929 (D) 1930
Ans: B
39. Which one of the following is not a Tagore’s creation ?
(A) Shyama (B) Rakta Kara bi
(C) Kal Mrigaya (D) Maya Mrigaya
Ans: D
40. According to ‘Aakarmatrik Swarlipi System’, the sign of repetition is like
(A) [ ] (B) ( )
(C) { } (D) || ||
Ans: C
41. The “Khalifa” of Lucknow Gharana
(A) Ud. Munne Khan (B) Ud. Aabid Hussain Khan
(C) Ud. Modoo Khan (D) Ud. Bakshoo Khan
Ans: B
42. Which Gharana Ud. Jahangir Khan belongs to ?
(A) Lucknow (B) Farukkhabad
(C) Delhi (D) Ajarana
Ans: A
(A) Shap Mochan (B) Chandalika
(C) Shyama (D) Natir Puja
Ans: B
36. Rabindranath composed the song ‘Joy hok tabo joy hok’ on the occasion of
(A) Felicitation of Bankim Chandra
(B) Felicitation of Jagdish Chandra Bose
(C) Felicitation of Chittaranjan Das
(D) Annual Session of Indian National Congress
Ans: B
37. Which category of Tagore song is related to ‘environment’ ?
(A) Puja (B) Vichitra
(C) Prem (D) Prakriti
Ans: D
38. In which year did Tagore renounce his ‘Knighthood’ ?
(A) 1918 (B) 1919
(C) 1929 (D) 1930
Ans: B
39. Which one of the following is not a Tagore’s creation ?
(A) Shyama (B) Rakta Kara bi
(C) Kal Mrigaya (D) Maya Mrigaya
Ans: D
40. According to ‘Aakarmatrik Swarlipi System’, the sign of repetition is like
(A) [ ] (B) ( )
(C) { } (D) || ||
Ans: C
41. The “Khalifa” of Lucknow Gharana
(A) Ud. Munne Khan (B) Ud. Aabid Hussain Khan
(C) Ud. Modoo Khan (D) Ud. Bakshoo Khan
Ans: B
42. Which Gharana Ud. Jahangir Khan belongs to ?
(A) Lucknow (B) Farukkhabad
(C) Delhi (D) Ajarana
Ans: A
43. A Tabla Vadak of National repute who is equally well versed in Sitar playing
(A) Pt. Nayan Ghose (B) Pt. Vikram Ghose
(C) Pt. Anindo Chatterjee (D) Pt. Kumar Bose
Ans: A
44. Name of an Artist belonging to Punjab Gharana.
(A) Sukhavinder Singh (B) Pt. Laxaman Seen
(C) Jagdev Singh (D) Pt. Mohan Lal
Ans: B
45. Who is writer of “Abhinav Taal Manjhari” ?
(A) Appa Tulsi Kashinath (B) Bhatkhande
(C) Swami Pagal Das (D) Bhagwan Das
Ans: A
46. Which taal is used to accompany Chaiti style of singing ?
(A) Jhaptaal (B) Kahrva
(C) Deepchandi (D) Jat
Ans: C
47. What name was given to a student who received training continuously for 48 years ?
(A) Aaditya (B) Basu
(C) Snatakotter (D) Snatak
Ans: A
48. The Tabla-Vadak of National repute who plays Tabla with left hand
(A) Pt. Swapan Chaudhari (B) Pt. Kumar Bose
(C) Pt. Anindo Chatterjee (D) Md. Akaram Khan
Ans: B
49. Which electronic instrument is not used by Tabla Vadak ?
(A) Lahra (Nagma) (B) Taanpura
(C) Tuner (D) Octopaid
Ans: D
50. “Dhama”, very likely to Tabla, is used in which State ?
(A) Punjab (B) Jammu & Kashmir
(C) Haryana (D) Himachal Pradesh
Ans: A
(A) Pt. Nayan Ghose (B) Pt. Vikram Ghose
(C) Pt. Anindo Chatterjee (D) Pt. Kumar Bose
Ans: A
44. Name of an Artist belonging to Punjab Gharana.
(A) Sukhavinder Singh (B) Pt. Laxaman Seen
(C) Jagdev Singh (D) Pt. Mohan Lal
Ans: B
45. Who is writer of “Abhinav Taal Manjhari” ?
(A) Appa Tulsi Kashinath (B) Bhatkhande
(C) Swami Pagal Das (D) Bhagwan Das
Ans: A
46. Which taal is used to accompany Chaiti style of singing ?
(A) Jhaptaal (B) Kahrva
(C) Deepchandi (D) Jat
Ans: C
47. What name was given to a student who received training continuously for 48 years ?
(A) Aaditya (B) Basu
(C) Snatakotter (D) Snatak
Ans: A
48. The Tabla-Vadak of National repute who plays Tabla with left hand
(A) Pt. Swapan Chaudhari (B) Pt. Kumar Bose
(C) Pt. Anindo Chatterjee (D) Md. Akaram Khan
Ans: B
49. Which electronic instrument is not used by Tabla Vadak ?
(A) Lahra (Nagma) (B) Taanpura
(C) Tuner (D) Octopaid
Ans: D
50. “Dhama”, very likely to Tabla, is used in which State ?
(A) Punjab (B) Jammu & Kashmir
(C) Haryana (D) Himachal Pradesh
Ans: A
51:-The author of Thiruppavai
A:-Adiyaarkunallar
B:-Aandal
C:-Arunagirinathar
D:-Abraham Pandithar
Ans: B
52:-Match the following musicians with their instruments :
1) Thirukkodikkavil Krishna Iyer i) Gottuvadhyam
2) Mahadeva Nattuvanar ii) Violin
3) Sakha Ramarao iii) Mridangam
4) Narayana Swami Appa iv) Clarinet
A:-ii iv i iii
B:-i ii iii iv
C:-iv i iii ii
D:-ii iii iv i
Ans: A
53:-The kriti "Baghumeerakanunaatho" in Sankarabharanam belongs to
A:-Kalahastisa pancharatnam
B:-Kovur Pancharatnam
C:-Lalgudi Pancharatnam
D:-Venkatesa Pancharatnam
Ans: D
54:-Maharaja Swati Tirunal was proficient in playing the
A:-Veena
B:-Swarabet
C:-Violin
D:-Flute
Ans: B
55:-The author of Karunamritha Sagaram is
A:-Chatura Kallinatha
B:-Simha Bhupala
C:-Abraham Pandithar
D:-Ahobala
Ans: C
56:-A wood wind instrument of European origin
A:-Flute
B:-Clarinet
C:-Magudi
D:-Nedunkuzhal
Ans: B
57:-The mekalarta which denotes Aditya-Ma
A:-Mechakalyani
B:-Vachaspati
C:-Jyotisvarupini
D:-Kosalam
Ans: D
58:-Associate the ragas with the musicians :
1) Narayana Gaula i) Sitaramayya
2) Beghada ii) Veena Kuppayyar
3) Sankarabharanam iii) Subramanya Iyer
4) Todi iv) Narasayya
A:-i ii iii iv
B:-ii iii iv i
C:-iii iv i iii
D:-iv i iii ii
Ans: B
59:-Match the following kritis with their ragas :
1) Jambupate i) Beghada
2) Sundarinanninadarilo ii) Natabhairavi
3) Rangapuravihara iii) Yamunakalyani
4) Sri Valli Devasenapate iv) Brindavana Saranga
A:-i ii iii iv
B:-iv iii ii i
C:-iii i iv ii
D:-ii iii iv i
Ans: C
60:-The Rishaba murchana of Gowri Manohari results in
A:-Natakapriya
B:-Kokilapriya
C:-Kharaharapriya
D:-Yagapriya
Ans: A
61:-The author of Pallaki Seva Prabandham
A:-Gopala Krishna Bharati
B:-Shahji Maharaja
C:-Kavi Kunjara Bharati
D:-Papanasa Mudaliar
Ans: B
62:-The term for "Gandhara" in ancient Tamil Music.
A:-Kural
B:-Taram
C:-Uzhai
D:-Kaikkilai
Ans: D
63:-The "Sangita Kalanidhi" title is given to musicians and instrumentalists by
A:-Tamil Isai Sangam
B:-Indian Institute of Fine Arts, Madras
C:-Madras Music Academy
D:-Madras State Sangita Nataka Sangam
Ans: C
64:-The term for "Tara Sthayi" in Ancient Tamil Music.
A:-Melivu
B:-Valivu
C:-Samam
D:-Alaku
Ans: B
65:-Viswa Mohan Bhatt is proficient in the
A:-Gayatri Veena
B:-Santoor
C:-Mohan Veena
D:-Shehanai
Ans: C
66:-The reciting of vedic chants to one note was called
A:-Gathika
B:-Archika
C:-Nasika
D:-Samika
Ans: B
67:-The author of "Sangeethopanishad Saaroddhaara" is
A:-Vidyaranya
B:-Simhabhupala
C:-Sudhakalasa
D:-Someswara
Ans: C
68:-The total number of Karanas or dance postures.
A:-108
B:-175
C:-100
D:-115
Ans: A
69:-Human voice is also referred to as
A:-Daru Vina
B:-Pradarsana Vina
C:-Gatra Vina
D:-Ekanta Vina
Ans: C
70:-Another name for Magudi
A:-Nagaswaram
B:-Bhujangaswaram
C:-Nagapani
D:-Nedumkuzhal
Ans: B
71:-The author of Thiruvasakam
A:-Thiruvalluvar
B:-Tirujnana Sambandhar
C:-Manickyavasakar
D:-Andal
Ans: C
72:-Pandit Panna Lal Ghosh was proficient in playing the
A:-Sarod
B:-Flute
C:-Violin
D:-Santoor
Ans: B
73:-The author of the Lakshana Grandha "Sangita Raja".
A:-Haripala
B:-Lochana Kavi
C:-Parsvadeva
D:-Maharana Kumbha
Ans: D
74:-Pandit Bhimsen Joshi belonged to one of these Gharanas.
A:-Gwalior
B:-Agra
C:-Kirana Gharana
D:-Patiala
Ans: C
75:-Kelucharan Mahapatra was proficient in
A:-Kathak
B:-Odissi
C:-Kathakali
D:-Manipuri
Ans: B
76:-A wind instrument which is used as a Upa tala Vadhya in Music concerts.
A:-Flute
B:-Saxophone
C:-Morsing
D:-Sankhu
Ans: C
77:-The composer who was the recipient of the title "Chowkam".
A:-Krishna Iyer
B:-Narasayya
C:-Vaidyanatha Iyer
D:-Virabhadrayya
Ans: D
78:-The term for 'Sruti' in Ancient Tamil music
A:-Isai
B:-Tiram
C:-Alaku
D:-Samam
Ans: C
79:-The name of Tisra Jati Jhampa tala is
A:-Sankha Tala
B:-Madhura Tala
C:-Kadamba Tala
D:-Sura Tala
Ans: C
80:-Match the following options :
1) Music Philately i) Writing music
2) Musical Theraupatics ii) Musical Stamps
3) Musical Notation iii) Music expressed in coins
4) Musical Numismatics iv) Curative value of music
A:-ii iv i iii
B:-iii iv i ii
C:-iv iii i ii
D:-i ii iii iv
Ans: A
81:-Match the following musicians with their instruments :
1) Karaikudi R. Mani i) Ghatam
2) Vikku Vinayaka Ram ii) Mridangam
3) Srirangam Kannan iii) Ghanjira
4) Hari Sankar iv) Morsing
A:-iii ii i iv
B:-iv iii ii i
C:-i ii iii iv
D:-ii i iv iii
Ans: D
82:-Match the following musicians with their titles :
1) Paidala Gurumurthi Sastri i) Pallavi
2) Pachimiriam Adiyappayya ii) Shadkala
3) Gopalayyar iii) Veyigita
4) Govinda Marar iv) Tana Varna Margadarsi
A:-iv iii ii i
B:-iii ii i iv
C:-iii iv i ii
D:-ii iv iii i
Ans: C
83:-Match the following options :
1) Ubhaya Vakra Raga i) Bhupalam
2) Janya Sampurna Raga ii) Ritigowla
3) Tri Anyaswara Bhashanga Raga iii) Bhairavi
4) Ubhaya Varja Raga iv) Hindusthan Kapi
A:-i ii iii iv
B:-iii ii i iv
C:-iv iii ii i
D:-ii iii iv i
Ans: D
84:-A tala vadhya without detachable parts and which is non-tuneable
A:-Mridangam
B:-Kanjira
C:-Ghatam
D:-Tavil
Ans: C
85:-Kudumiyamali inscriptions are found in
A:-Ettayapuram
B:-Pudukkottai
C:-Thiruppampuram
D:-Kumbhakkonam
Ans: B
86:-The composer of Vande Mataram
A:-Rabindranatha Tagore
B:-Surdas
C:-Bankim Chandra Chatterjee
D:-Swami Haridas
Ans: C
87:-The first musician to be honoured with the title "Bharat Ratna".
A:-Pandit Bhimsen Joshi
B:-Smt. M. S. Subbalakshmi
C:-Pandit Ravi Shankar
D:-Lata Mangeshkar
Ans: B
88:-The propounder of the "Ten Thaats".
A:-Mirza Ghalib
B:-Amir Khusrau
C:-Vishnu Narayan Bhatkhande
D:-Swami Haridas
Ans: C
89:-The Sruti value for Pramana Sruti is
A:-25/24
B:-256/243
C:-81/80
D:-16/15
Ans: C
90:-The aksharakala of Plutadruta virama is
A:-12 Aksharakala
B:-14 Aksharakala
C:-16 Aksharakala
D:-15 Aksharakala
Ans: D
91:-The composer of the Svarsthana Varna "Sarigadani" in Todi raga, Adi tala is
A:-Muthuswami Dikshitar
B:-Melattur Veerabhadrayya
C:-Ramaswami Dikshitar
D:-Maha Vaidyanatha Iyer
Ans: C
92:-The Navarasa Ragamalika Varnam "Angayaarkanni" is a composition of
A:-Dr. M. Balamurali Krishna
B:-Tachur Singaracharulu
C:-Chitravina Ravi Kiran
D:-Lalgudi Jayaraman
Ans: D
93:-The great violinist who used to perform on the seven stringed Violin.
A:-Pudukkottai Narayanaswami Ayyar
B:-Papa Venkataramaiah
C:-Mysore Chowdiah
D:-Dwaram Venkaraswami Naidu
Ans: C
94:-Who established the Kalakshetra ?
A:-D. K. Pattammal
B:-T. Brinda
C:-M. S. Subbalakshmi
D:-Rukmani Devi Arundale
Ans: D
95:-Name of the earliest stringed instrument played with a bow.
A:-Violin
B:-Viola
C:-Ravanahasta
D:-Sarangi
Ans: C
96:-The term for "orchestra" in Ancient Tamil Music
A:-Kutapa
B:-Sangita Mela
C:-Palliyam
D:-Vadya Brinda
Ans: C
97:-Instruments made of stone are called
A:-Membranophones
B:-Lithophones
C:-Idiophones
D:-Chordophones
Ans: B
98:-Azhagar Kuravanji was composed by
A:-Gopala Krishna Bharati
B:-Kavi Kunjara Bharati
C:-Mayuram Vedanayaka Pillai
D:-Arunachala Kavirayar
Ans: B
99:-The father of Kavadi Chindu is
A:-Appar
B:-Ramalinga Adigal
C:-Annamalai Reddiar
D:-Ponniah Pillai
Ans: C
100:-Tevaram were sung in temples by the
A:-Azhvars
B:-Oduvars
C:-Nayanmars
D:-Vaidikas
Ans: B
A:-Adiyaarkunallar
B:-Aandal
C:-Arunagirinathar
D:-Abraham Pandithar
Ans: B
52:-Match the following musicians with their instruments :
1) Thirukkodikkavil Krishna Iyer i) Gottuvadhyam
2) Mahadeva Nattuvanar ii) Violin
3) Sakha Ramarao iii) Mridangam
4) Narayana Swami Appa iv) Clarinet
A:-ii iv i iii
B:-i ii iii iv
C:-iv i iii ii
D:-ii iii iv i
Ans: A
53:-The kriti "Baghumeerakanunaatho" in Sankarabharanam belongs to
A:-Kalahastisa pancharatnam
B:-Kovur Pancharatnam
C:-Lalgudi Pancharatnam
D:-Venkatesa Pancharatnam
Ans: D
54:-Maharaja Swati Tirunal was proficient in playing the
A:-Veena
B:-Swarabet
C:-Violin
D:-Flute
Ans: B
55:-The author of Karunamritha Sagaram is
A:-Chatura Kallinatha
B:-Simha Bhupala
C:-Abraham Pandithar
D:-Ahobala
Ans: C
56:-A wood wind instrument of European origin
A:-Flute
B:-Clarinet
C:-Magudi
D:-Nedunkuzhal
Ans: B
57:-The mekalarta which denotes Aditya-Ma
A:-Mechakalyani
B:-Vachaspati
C:-Jyotisvarupini
D:-Kosalam
Ans: D
58:-Associate the ragas with the musicians :
1) Narayana Gaula i) Sitaramayya
2) Beghada ii) Veena Kuppayyar
3) Sankarabharanam iii) Subramanya Iyer
4) Todi iv) Narasayya
A:-i ii iii iv
B:-ii iii iv i
C:-iii iv i iii
D:-iv i iii ii
Ans: B
59:-Match the following kritis with their ragas :
1) Jambupate i) Beghada
2) Sundarinanninadarilo ii) Natabhairavi
3) Rangapuravihara iii) Yamunakalyani
4) Sri Valli Devasenapate iv) Brindavana Saranga
A:-i ii iii iv
B:-iv iii ii i
C:-iii i iv ii
D:-ii iii iv i
Ans: C
60:-The Rishaba murchana of Gowri Manohari results in
A:-Natakapriya
B:-Kokilapriya
C:-Kharaharapriya
D:-Yagapriya
Ans: A
61:-The author of Pallaki Seva Prabandham
A:-Gopala Krishna Bharati
B:-Shahji Maharaja
C:-Kavi Kunjara Bharati
D:-Papanasa Mudaliar
Ans: B
62:-The term for "Gandhara" in ancient Tamil Music.
A:-Kural
B:-Taram
C:-Uzhai
D:-Kaikkilai
Ans: D
63:-The "Sangita Kalanidhi" title is given to musicians and instrumentalists by
A:-Tamil Isai Sangam
B:-Indian Institute of Fine Arts, Madras
C:-Madras Music Academy
D:-Madras State Sangita Nataka Sangam
Ans: C
64:-The term for "Tara Sthayi" in Ancient Tamil Music.
A:-Melivu
B:-Valivu
C:-Samam
D:-Alaku
Ans: B
65:-Viswa Mohan Bhatt is proficient in the
A:-Gayatri Veena
B:-Santoor
C:-Mohan Veena
D:-Shehanai
Ans: C
66:-The reciting of vedic chants to one note was called
A:-Gathika
B:-Archika
C:-Nasika
D:-Samika
Ans: B
67:-The author of "Sangeethopanishad Saaroddhaara" is
A:-Vidyaranya
B:-Simhabhupala
C:-Sudhakalasa
D:-Someswara
Ans: C
68:-The total number of Karanas or dance postures.
A:-108
B:-175
C:-100
D:-115
Ans: A
69:-Human voice is also referred to as
A:-Daru Vina
B:-Pradarsana Vina
C:-Gatra Vina
D:-Ekanta Vina
Ans: C
70:-Another name for Magudi
A:-Nagaswaram
B:-Bhujangaswaram
C:-Nagapani
D:-Nedumkuzhal
Ans: B
71:-The author of Thiruvasakam
A:-Thiruvalluvar
B:-Tirujnana Sambandhar
C:-Manickyavasakar
D:-Andal
Ans: C
72:-Pandit Panna Lal Ghosh was proficient in playing the
A:-Sarod
B:-Flute
C:-Violin
D:-Santoor
Ans: B
73:-The author of the Lakshana Grandha "Sangita Raja".
A:-Haripala
B:-Lochana Kavi
C:-Parsvadeva
D:-Maharana Kumbha
Ans: D
74:-Pandit Bhimsen Joshi belonged to one of these Gharanas.
A:-Gwalior
B:-Agra
C:-Kirana Gharana
D:-Patiala
Ans: C
75:-Kelucharan Mahapatra was proficient in
A:-Kathak
B:-Odissi
C:-Kathakali
D:-Manipuri
Ans: B
76:-A wind instrument which is used as a Upa tala Vadhya in Music concerts.
A:-Flute
B:-Saxophone
C:-Morsing
D:-Sankhu
Ans: C
77:-The composer who was the recipient of the title "Chowkam".
A:-Krishna Iyer
B:-Narasayya
C:-Vaidyanatha Iyer
D:-Virabhadrayya
Ans: D
78:-The term for 'Sruti' in Ancient Tamil music
A:-Isai
B:-Tiram
C:-Alaku
D:-Samam
Ans: C
79:-The name of Tisra Jati Jhampa tala is
A:-Sankha Tala
B:-Madhura Tala
C:-Kadamba Tala
D:-Sura Tala
Ans: C
80:-Match the following options :
1) Music Philately i) Writing music
2) Musical Theraupatics ii) Musical Stamps
3) Musical Notation iii) Music expressed in coins
4) Musical Numismatics iv) Curative value of music
A:-ii iv i iii
B:-iii iv i ii
C:-iv iii i ii
D:-i ii iii iv
Ans: A
81:-Match the following musicians with their instruments :
1) Karaikudi R. Mani i) Ghatam
2) Vikku Vinayaka Ram ii) Mridangam
3) Srirangam Kannan iii) Ghanjira
4) Hari Sankar iv) Morsing
A:-iii ii i iv
B:-iv iii ii i
C:-i ii iii iv
D:-ii i iv iii
Ans: D
82:-Match the following musicians with their titles :
1) Paidala Gurumurthi Sastri i) Pallavi
2) Pachimiriam Adiyappayya ii) Shadkala
3) Gopalayyar iii) Veyigita
4) Govinda Marar iv) Tana Varna Margadarsi
A:-iv iii ii i
B:-iii ii i iv
C:-iii iv i ii
D:-ii iv iii i
Ans: C
83:-Match the following options :
1) Ubhaya Vakra Raga i) Bhupalam
2) Janya Sampurna Raga ii) Ritigowla
3) Tri Anyaswara Bhashanga Raga iii) Bhairavi
4) Ubhaya Varja Raga iv) Hindusthan Kapi
A:-i ii iii iv
B:-iii ii i iv
C:-iv iii ii i
D:-ii iii iv i
Ans: D
84:-A tala vadhya without detachable parts and which is non-tuneable
A:-Mridangam
B:-Kanjira
C:-Ghatam
D:-Tavil
Ans: C
85:-Kudumiyamali inscriptions are found in
A:-Ettayapuram
B:-Pudukkottai
C:-Thiruppampuram
D:-Kumbhakkonam
Ans: B
86:-The composer of Vande Mataram
A:-Rabindranatha Tagore
B:-Surdas
C:-Bankim Chandra Chatterjee
D:-Swami Haridas
Ans: C
87:-The first musician to be honoured with the title "Bharat Ratna".
A:-Pandit Bhimsen Joshi
B:-Smt. M. S. Subbalakshmi
C:-Pandit Ravi Shankar
D:-Lata Mangeshkar
Ans: B
88:-The propounder of the "Ten Thaats".
A:-Mirza Ghalib
B:-Amir Khusrau
C:-Vishnu Narayan Bhatkhande
D:-Swami Haridas
Ans: C
89:-The Sruti value for Pramana Sruti is
A:-25/24
B:-256/243
C:-81/80
D:-16/15
Ans: C
90:-The aksharakala of Plutadruta virama is
A:-12 Aksharakala
B:-14 Aksharakala
C:-16 Aksharakala
D:-15 Aksharakala
Ans: D
91:-The composer of the Svarsthana Varna "Sarigadani" in Todi raga, Adi tala is
A:-Muthuswami Dikshitar
B:-Melattur Veerabhadrayya
C:-Ramaswami Dikshitar
D:-Maha Vaidyanatha Iyer
Ans: C
92:-The Navarasa Ragamalika Varnam "Angayaarkanni" is a composition of
A:-Dr. M. Balamurali Krishna
B:-Tachur Singaracharulu
C:-Chitravina Ravi Kiran
D:-Lalgudi Jayaraman
Ans: D
93:-The great violinist who used to perform on the seven stringed Violin.
A:-Pudukkottai Narayanaswami Ayyar
B:-Papa Venkataramaiah
C:-Mysore Chowdiah
D:-Dwaram Venkaraswami Naidu
Ans: C
94:-Who established the Kalakshetra ?
A:-D. K. Pattammal
B:-T. Brinda
C:-M. S. Subbalakshmi
D:-Rukmani Devi Arundale
Ans: D
95:-Name of the earliest stringed instrument played with a bow.
A:-Violin
B:-Viola
C:-Ravanahasta
D:-Sarangi
Ans: C
96:-The term for "orchestra" in Ancient Tamil Music
A:-Kutapa
B:-Sangita Mela
C:-Palliyam
D:-Vadya Brinda
Ans: C
97:-Instruments made of stone are called
A:-Membranophones
B:-Lithophones
C:-Idiophones
D:-Chordophones
Ans: B
98:-Azhagar Kuravanji was composed by
A:-Gopala Krishna Bharati
B:-Kavi Kunjara Bharati
C:-Mayuram Vedanayaka Pillai
D:-Arunachala Kavirayar
Ans: B
99:-The father of Kavadi Chindu is
A:-Appar
B:-Ramalinga Adigal
C:-Annamalai Reddiar
D:-Ponniah Pillai
Ans: C
100:-Tevaram were sung in temples by the
A:-Azhvars
B:-Oduvars
C:-Nayanmars
D:-Vaidikas
Ans: B