HINDUSTANI MUSIC (VOCAL/INSTRUMENTAL)
Hindustani Music (Vocal or Instrumental) Syllabus
(These syllabus may change from time to time. Please check with the relevant Public Service Commission websites for any changes in the syllabus)
General Theory
(i) Nada, Swara, Shruti, Raga, Mela ( Thata), Alankar, Tana, Gamak, Sthaya, Kaku, Margi-Deshi, RagalapRupkalap, Vadi, Samvadi, Anuvadi, Vivadi, Tala, Laya, Avirbhav, Tirobhav, Parmelpraveshak Raga, Sandhiprakash Raga, Vaggeyakara, Kalawant.
(ii) Vibration, Pitch, Intensity, Timbre, Just intonation, Equal tempered scale, forced Vibration, Free Vibration.
(iii) Notation of compositions in prescribed ragas.
(iv) Theoretical knowledge of prescribed ragas.
Theory of Indian Music
(i) Rudiments of staff Notation, Harmony, Melody, Polyphony.
(ii) Life and contribution of the following:
(a) Pt. V. N. Bhatkhande –His works and Notation System
(b) Pt. V.D Paluskar - His works and Notation System.
(iii) Maseetkhani and Vilambit Gat, Razakhani & Drut Gat, Krintan, Zamzama, Ghaseet, Jor Alap, Gitkiri, Meend, Sut, Kan
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Historical Study of the Musical Terms
i) Grama, Moorcchana, Jati Gayan, Gandharava, Gana, Nibaddha – Anibaddha gana, Prabandha, Alap, Alapti, Tala-Dasapranas.
ii) Life and contribution of Karnatak Musicians Trinity-Tyhagaraja, Muthuswamy Dikshitar, Shyama Sastri
iii) Life and contribution of Western Musicians - Bach, Beethoven, Mozart.
iv) Musical forms of Karnatak Music : Kriti, Pallavi, Tillana, Varnam, Padam, Javali. Comparison of Hindustani musical forms with their Karnatak counterparts.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
Life & Contribution of Musicians and Musicologists
1) Contribution of the following: Bharat, Matang, Abhinavgupt, Sharang Dev.
2) Life Sketch and Contributions of the following:
1. Jaidev 2. Amir Khusro 3. Raja Mansingh Tomar 4. Tansen 5. Sadarang-Adarang 6. S.N. Ratanjankar 7. Vilayat Hussain Khan 8. Allaudin Khan 9. Mushtaq Ali Khan 10. Ravi Shankar 11. Vilayat Khan
3) Notation of compositions in prescribed ragas.
4) Theoretical knowledge of prescribed ragas.
History of Indian Music
i) Vedic Music: Sama and stobhaksharas, the notes of Vedic music, Gramgeya gana, Aranyageya gana, Poorvarchicka, Uttararchicka, Udatta, Anudatta, Swarita, Vedic and Loukik scales, Panchvidha & Saptavidha sama, Vedic instruments
ii) Musical references in Ramayana, Mahabharata and Puranas (Harivansh & Vayu Puranas)
(iii) Works of the following: Ahobal, Ramamatya, Somnath, Lochan, Bhavbhatt, Vyankatmakhi.
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Applied Theory
i) Gharanas – Prominent Gharanas of Dhrupad (Dagar, Betia, Darbhanga) and Khayal (Gwalior, Agra, Delhi, Jaipur, Kirana) and their significant features regarding techniques.
ii) Gharanas of Instrumental music and their leading styles (Senia, Maihar, Gauripur)
iii) Detailed and Comparative study of the Ragas prescribed in Ist, IInd and IIIrd year.
iv) Study of Hindustani musical forms - : Dhrupad, Dhamar, Sadra, Khayal, Thumri, Tappa, Tarana, Chaturang, Trivat.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
General Theory
(i) Nada, Swara, Shruti, Raga, Mela ( Thata), Alankar, Tana, Gamak, Sthaya, Kaku, Margi-Deshi, RagalapRupkalap, Vadi, Samvadi, Anuvadi, Vivadi, Tala, Laya, Avirbhav, Tirobhav, Parmelpraveshak Raga, Sandhiprakash Raga, Vaggeyakara, Kalawant.
(ii) Vibration, Pitch, Intensity, Timbre, Just intonation, Equal tempered scale, forced Vibration, Free Vibration.
(iii) Notation of compositions in prescribed ragas.
(iv) Theoretical knowledge of prescribed ragas.
Theory of Indian Music
(i) Rudiments of staff Notation, Harmony, Melody, Polyphony.
(ii) Life and contribution of the following:
(a) Pt. V. N. Bhatkhande –His works and Notation System
(b) Pt. V.D Paluskar - His works and Notation System.
(iii) Maseetkhani and Vilambit Gat, Razakhani & Drut Gat, Krintan, Zamzama, Ghaseet, Jor Alap, Gitkiri, Meend, Sut, Kan
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Historical Study of the Musical Terms
i) Grama, Moorcchana, Jati Gayan, Gandharava, Gana, Nibaddha – Anibaddha gana, Prabandha, Alap, Alapti, Tala-Dasapranas.
ii) Life and contribution of Karnatak Musicians Trinity-Tyhagaraja, Muthuswamy Dikshitar, Shyama Sastri
iii) Life and contribution of Western Musicians - Bach, Beethoven, Mozart.
iv) Musical forms of Karnatak Music : Kriti, Pallavi, Tillana, Varnam, Padam, Javali. Comparison of Hindustani musical forms with their Karnatak counterparts.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
Life & Contribution of Musicians and Musicologists
1) Contribution of the following: Bharat, Matang, Abhinavgupt, Sharang Dev.
2) Life Sketch and Contributions of the following:
1. Jaidev 2. Amir Khusro 3. Raja Mansingh Tomar 4. Tansen 5. Sadarang-Adarang 6. S.N. Ratanjankar 7. Vilayat Hussain Khan 8. Allaudin Khan 9. Mushtaq Ali Khan 10. Ravi Shankar 11. Vilayat Khan
3) Notation of compositions in prescribed ragas.
4) Theoretical knowledge of prescribed ragas.
History of Indian Music
i) Vedic Music: Sama and stobhaksharas, the notes of Vedic music, Gramgeya gana, Aranyageya gana, Poorvarchicka, Uttararchicka, Udatta, Anudatta, Swarita, Vedic and Loukik scales, Panchvidha & Saptavidha sama, Vedic instruments
ii) Musical references in Ramayana, Mahabharata and Puranas (Harivansh & Vayu Puranas)
(iii) Works of the following: Ahobal, Ramamatya, Somnath, Lochan, Bhavbhatt, Vyankatmakhi.
(iv) Notation of compositions in prescribed ragas.
(v) Theoretical knowledge of prescribed ragas.
Applied Theory
i) Gharanas – Prominent Gharanas of Dhrupad (Dagar, Betia, Darbhanga) and Khayal (Gwalior, Agra, Delhi, Jaipur, Kirana) and their significant features regarding techniques.
ii) Gharanas of Instrumental music and their leading styles (Senia, Maihar, Gauripur)
iii) Detailed and Comparative study of the Ragas prescribed in Ist, IInd and IIIrd year.
iv) Study of Hindustani musical forms - : Dhrupad, Dhamar, Sadra, Khayal, Thumri, Tappa, Tarana, Chaturang, Trivat.
(v) Notation of compositions in prescribed ragas.
(vi) Theoretical knowledge of prescribed ragas.
HINDUSTANI MUSIC (VOCAL/INSTRUMENTAL) MCQs
1. Which Shastra’s help is required to set a chhand into a ‘tala’ ?
(1) Pingal Shastra
(2) Kaku
(3) Dingal Shastra
(4) Swarit
Ans: 1
2. In a ‘tala’, where number of ‘matras’ are not placed equally in all the vibhagas but arranged in two different ways, is known as
(1) Sampadi
(2) Vishampadi
(3) Mishrapadi
(4) Ubhaypadi
Ans: 2
3. How many players or singers are required to render the musical composition ‘Quintet’ ?
(1) 4
(2) 5
(3) 10
(4) 15
Ans: 2
4. Match the following according to the similarity of notes and choose the correct code :
List – I List – II
a. Mohnam I. Malkauns
b. Hindolam II. Jogia
c. Shudha Saveri III. Bhupali
d. Saveri IV. Durga
Codes :
a b c d
(1) III I IV II
(2) II IV III I
(3) IV II I III
(4) I III II IV
Ans: 1
5. Which scholar elucidated the unequal interval of shruties through ‘Shruti Darpan’ ?
(1) Vyankatmakhi
(2) Ramamatya
(3) Acharya Brihaspati
(4) Bharat
Ans: 3
6. Match the following scholars according to their ideology related to ‘Rasa’ and choose the correct code :
List – I List – II
a. Bhatt Lollat I. Anumiti vad
b. Bhatt Shankuk II. Abhivyakti vad
c. Abhinavgupta III. Bhuktivad
d. Bhatt Nayak IV. Utpattivad
Codes :
a b c d
(1) III I IV II
(2) IV I II III
(3) II IV III I
(4) I III II IV
Ans: 2
7. Ledger lines are used
(1) to write notes, in addition to the clef
(2) to write key signature
(3) to write bar lines
(4) to write essential key signature
Ans: 1
8. Bharat has mentioned how many ‘Vyabhichari Bhavas’ ?
(1) 4
(2) 33
(3) 6
(4) 36
Ans: 2
9. According to Bharat, ‘Shanka’ and ‘Glaani’ are included under which ‘Bhava’ ?
(1) Sanchari
(2) Sthai
(3) Vibhav
(4) Anubhav
Ans: 1
10. Match the following according to ‘Shruti-Swara’ placement of Bhatkhande and Choose the correct code :
List – I List – II
a. Manda I. Komal Ni
b. Ratika II. Komal Ga
c. Rakta III. Komal Re
d. Ramya IV. Komal Dha
Codes :
a b c d
(1) III II IV I
(2) II IV I III
(3) III II I IV
(4) II III IV I
Ans: 1
11. Which Raga is not a ‘Ragang-Raga’ ?
(1) Bhairav
(2) Todi
(3) Nat
(4) Bhimpalasi
Ans: 4
12. Which two ‘ragas’ are commonly mentioned as male ragas by the four sects – Someshwar, Bharat, Kallinath and Hanumat in their Raga-Ragini classification ?
(1) Shri – Megh
(2) Malkauns – Basant
(3) Pancham – Natnarayan
(4) Natnarayan – Bhairav
Ans: 1
13. Choose the odd one :
(1) Kriti
(2) Padam
(3) Varnam
(4) Trivat
Ans: 4
14. Choose the odd one :
(1) Bade Ghulam Ali Khan
(2) Barkat Ali Khan
(3) Munavvar Ali Khan
(4) Sadiq Ali Khan
Ans: 4
15. ‘Murcchana’ consisting of ‘Antar-Kakli’ is named by Bharat as
(1) Sadharankrita
(2) Asadharana
(3) Mishra
(4) Khand
Ans: 1
16. Out of the following, select the ‘ragas’ having ‘Ma-Sa’ Vadi-Samvadi :
I. Khamaj
II. Bahar
III. Bhimpalasi
IV. Bihag
V. Miyan Malhar
(1) II, III, V
(2) I, III, IV, V
(3) I, II, IV
(4) V only
Ans: 1
17. If ‘shudha Ga-Ni’ of ‘Raga-Bhairav’ converts into komal ‘Ga-Ni, it will become raga
(1) Paraj
(2) Darbari Kanhda
(3) Ahir Bhairav
(4) Bhairvi
Ans: 4
18. Match the following and choose the correct code :
List – I List – II
a. Sangit Samaysar I. Somnath
b. Raga Vibodh II. Srinivas
c. Raga Tatvavibodh III. Ramamatya
d. Swaramelakalanidhi IV. Parshvadeva
Codes :
a b c d
(1) IV I II III
(2) I II III IV
(3) II III IV I
(4) III IV I II
Ans: 1
19. Raga Deshkar belongs to which Thata ?
(1) Purvi
(2) Bilawal
(3) Marwa
(4) Khamaj
Ans: 2
20. What is the name of 5th chapter of Sangit Samaysar ?
(1) Ragadhyay
(2) Prabandha adhyay
(3) Vadyadhyay
(4) Taladhyay
Ans: 2
21. What is the name of 2nd string of sitar ?
(1) Baj ka Tar
(2) Jodi ka tar
(3) Chikari ka tar
(4) Pancham ka tar
Ans: 2
22. Which one is not Marga Taal ?
(1) Chachatput
(2) Sampakkestak
(3) Udghatta
(4) Singhavikram
Ans: 4
23. Pen name of Firoz Khan is
(1) Adarang
(2) Dilrang
(3) Surrang
(4) Chaturang
Ans: 1
24. Which instrument has frets ?
(1) Tanpura
(2) Esraj
(3) Sarod
(4) Ektara
Ans: 2
25. Alauddin Sangit Academy is situated at :
(1) Lucknow
(2) Amritsar
(3) Bhopal
(4) Kolkata
Ans: 3
26. Which one is the name of a note of Vedic Sangit ?
(1) Chyut Sadja
(2) Shadji
(3) Krusta
(4) Prithula
Ans: 3
27. Which one of the following tala is appropriate to accompany withVilambit Khayal ?
(1) Tilwada
(2) Teevra
(3) Choutal
(4) Dadra
Ans: 1
28. Who was the father of Ustad Nasir Aminuddin Dagar ?
(1) Ziauddin Dagar
(2) Moinuddin Dagar
(3) Nasiruddin Dagar
(4) Fahimuddin Dagar
Ans: 3
29. In which raga of the following ‘Ni’ is not used ?
(1) Bhairav
(2) Bangal Bhairav
(3) Bairagi Bhairav
(4) Ramkali
Ans: 2
30. Choose the odd one of the following :
(1) Sitar
(2) Guitar
(3) Sarangi
(4) Tanpura
Ans: 4
31. Razakhani baj was introduced by
(1) Raza Ali Khan
(2) Rajras Khan
(3) Ghulam Raza Khan
(4) Masit Khan
Ans: 3
32. How many strings were there in ‘Alapini Veena’ ?
(1) 2
(2) 3
(3) 9
(4) 1
Ans: 1
33. Who is the Khayal singer of the following ?
(1) Begum Akhtar
(2) Nikhil Banerjee
(3) Nasir Ahmed Khan
(4) Zahoor Ahmed Khan
Ans: 3
34. In N. S, D. N––. GR phrase, if you consider the S as P and repeat the same phrase which raga will be revealed ?
(1) Hamir
(2) Chhayanat
(3) Kamod
(4) Kedar
Ans: 1
35. Which swara of Karnatak Music is equal to Shuddha Gandhar of Hindustani music ?
(1) Sadharan Gandhar
(2) Chaturshruti Rishabh
(3) Trishruti Rishabh
(4) Antar Gandhar
Ans: 4
36. Difference in Anibaddha and Nibaddha is because of
(1) Gamak
(2) Taal
(3) Meend
(4) Sthaya
Ans: 2
37. Name of the commentary on Sangeet Ratnakar in ‘Braj-Bhasha’ is :
(1) Setu
(2) Rasikpriya
(3) Hetu
(4) Sangeet Sudhakar
Ans: 1
38. Total number of texts written by Bhavbhatta are
(1) Four
(2) Five
(3) Three
(4) Nine
Ans: 3
39. Which note is changed in Raga Bhimpalasi to obtain Raga Patdeep ?
(1) Rishabh
(2) Gandhar
(3) Nishad
(4) Dhaiwat
Ans: 3
40. ‘Parivadini’ is the variety of :
(1) Tatta
(2) Avnadh
(3) Sushir
(4) Ghana
Ans: 1
41. What is ‘Chatushkal’ ?
(1) High speed
(2) Slow speed
(3) Gamak variety
(4) Taan variety
Ans: 2
42. Choose the correct code :
Assertion (A) : Miyan Malhar, Bahar and Basant are seasonal Ragas.
Reason (R) : Seasonal Ragas can be performed anytime during the respective seson.
Codes :
(1) (A) is true and (R) is false
(2) Both (A) and (R) are false
(3) (A) is false and (R) is true
(4) Both (A) and (R) are true
Ans: 4
43. ‘Kalopanta’ is a Murcchana of :
(1) Madhyam Grama
(2) Desi Grama
(3) Pancham Grama
(4) Margi Grama
Ans: 1
44. Choose the odd group :
(1) Todi – Multani
(2) Darbari – Adana
(3) Bhupali – Deshkar
(4) Shuddha Kalyan – Shuddha Sarang
Ans: 4
45. ‘Jatra’ belongs to which State ?
(1) Punjab
(2) Rajasthan
(3) Bengal
(4) Kerala
Ans: 3
46. Choose the correct chronological order of texts :
(1) Sangeet Raj, Sangeet Suddhakar, Anup Sangeet Vilas
(2) Anup Sangeet Vilas, Sangeet Raj, Sangeet Suddhakar
(3) Sangeet Suddhakar, Sangeet Raj, Anup Sangeet Vilas
(4) Sangeet Raj, Anup Sangeet Vilas, Sangeet Suddhakar
Ans: 3
47. Ustad Natthan Khan belonged to which Gharana ?
(1) Patiala
(2) Agra
(3) Jaipur
(4) Delhi
Ans: 2
48. ‘R G R S’ belongs to which Ang ?
(1) Todi
(2) Kalyan
(3) Purvi
(4) Kafi
Ans: 1
49. Match the following and choose the correct code :
List – I List – II
a. Ali Akbar Khan i. Violon
b. Kishan Maharaj ii. Sitar
c. Vilayat Khan iii. Sarod
d. V.G. Jog iv. Tabla
Codes :
a b c d
(1) i iii iv ii
(2) iv ii i iii
(3) ii i iii iv
(4) iii iv ii i
Ans: 4
50. Which Raga does not belongs to Khamaj Thata ?
(1) Jhinjhoti
(2) Pilu
(3) Tilang
(4) Tilak Kamod
Ans: 2
(1) Pingal Shastra
(2) Kaku
(3) Dingal Shastra
(4) Swarit
Ans: 1
2. In a ‘tala’, where number of ‘matras’ are not placed equally in all the vibhagas but arranged in two different ways, is known as
(1) Sampadi
(2) Vishampadi
(3) Mishrapadi
(4) Ubhaypadi
Ans: 2
3. How many players or singers are required to render the musical composition ‘Quintet’ ?
(1) 4
(2) 5
(3) 10
(4) 15
Ans: 2
4. Match the following according to the similarity of notes and choose the correct code :
List – I List – II
a. Mohnam I. Malkauns
b. Hindolam II. Jogia
c. Shudha Saveri III. Bhupali
d. Saveri IV. Durga
Codes :
a b c d
(1) III I IV II
(2) II IV III I
(3) IV II I III
(4) I III II IV
Ans: 1
5. Which scholar elucidated the unequal interval of shruties through ‘Shruti Darpan’ ?
(1) Vyankatmakhi
(2) Ramamatya
(3) Acharya Brihaspati
(4) Bharat
Ans: 3
6. Match the following scholars according to their ideology related to ‘Rasa’ and choose the correct code :
List – I List – II
a. Bhatt Lollat I. Anumiti vad
b. Bhatt Shankuk II. Abhivyakti vad
c. Abhinavgupta III. Bhuktivad
d. Bhatt Nayak IV. Utpattivad
Codes :
a b c d
(1) III I IV II
(2) IV I II III
(3) II IV III I
(4) I III II IV
Ans: 2
7. Ledger lines are used
(1) to write notes, in addition to the clef
(2) to write key signature
(3) to write bar lines
(4) to write essential key signature
Ans: 1
8. Bharat has mentioned how many ‘Vyabhichari Bhavas’ ?
(1) 4
(2) 33
(3) 6
(4) 36
Ans: 2
9. According to Bharat, ‘Shanka’ and ‘Glaani’ are included under which ‘Bhava’ ?
(1) Sanchari
(2) Sthai
(3) Vibhav
(4) Anubhav
Ans: 1
10. Match the following according to ‘Shruti-Swara’ placement of Bhatkhande and Choose the correct code :
List – I List – II
a. Manda I. Komal Ni
b. Ratika II. Komal Ga
c. Rakta III. Komal Re
d. Ramya IV. Komal Dha
Codes :
a b c d
(1) III II IV I
(2) II IV I III
(3) III II I IV
(4) II III IV I
Ans: 1
11. Which Raga is not a ‘Ragang-Raga’ ?
(1) Bhairav
(2) Todi
(3) Nat
(4) Bhimpalasi
Ans: 4
12. Which two ‘ragas’ are commonly mentioned as male ragas by the four sects – Someshwar, Bharat, Kallinath and Hanumat in their Raga-Ragini classification ?
(1) Shri – Megh
(2) Malkauns – Basant
(3) Pancham – Natnarayan
(4) Natnarayan – Bhairav
Ans: 1
13. Choose the odd one :
(1) Kriti
(2) Padam
(3) Varnam
(4) Trivat
Ans: 4
14. Choose the odd one :
(1) Bade Ghulam Ali Khan
(2) Barkat Ali Khan
(3) Munavvar Ali Khan
(4) Sadiq Ali Khan
Ans: 4
15. ‘Murcchana’ consisting of ‘Antar-Kakli’ is named by Bharat as
(1) Sadharankrita
(2) Asadharana
(3) Mishra
(4) Khand
Ans: 1
16. Out of the following, select the ‘ragas’ having ‘Ma-Sa’ Vadi-Samvadi :
I. Khamaj
II. Bahar
III. Bhimpalasi
IV. Bihag
V. Miyan Malhar
(1) II, III, V
(2) I, III, IV, V
(3) I, II, IV
(4) V only
Ans: 1
17. If ‘shudha Ga-Ni’ of ‘Raga-Bhairav’ converts into komal ‘Ga-Ni, it will become raga
(1) Paraj
(2) Darbari Kanhda
(3) Ahir Bhairav
(4) Bhairvi
Ans: 4
18. Match the following and choose the correct code :
List – I List – II
a. Sangit Samaysar I. Somnath
b. Raga Vibodh II. Srinivas
c. Raga Tatvavibodh III. Ramamatya
d. Swaramelakalanidhi IV. Parshvadeva
Codes :
a b c d
(1) IV I II III
(2) I II III IV
(3) II III IV I
(4) III IV I II
Ans: 1
19. Raga Deshkar belongs to which Thata ?
(1) Purvi
(2) Bilawal
(3) Marwa
(4) Khamaj
Ans: 2
20. What is the name of 5th chapter of Sangit Samaysar ?
(1) Ragadhyay
(2) Prabandha adhyay
(3) Vadyadhyay
(4) Taladhyay
Ans: 2
21. What is the name of 2nd string of sitar ?
(1) Baj ka Tar
(2) Jodi ka tar
(3) Chikari ka tar
(4) Pancham ka tar
Ans: 2
22. Which one is not Marga Taal ?
(1) Chachatput
(2) Sampakkestak
(3) Udghatta
(4) Singhavikram
Ans: 4
23. Pen name of Firoz Khan is
(1) Adarang
(2) Dilrang
(3) Surrang
(4) Chaturang
Ans: 1
24. Which instrument has frets ?
(1) Tanpura
(2) Esraj
(3) Sarod
(4) Ektara
Ans: 2
25. Alauddin Sangit Academy is situated at :
(1) Lucknow
(2) Amritsar
(3) Bhopal
(4) Kolkata
Ans: 3
26. Which one is the name of a note of Vedic Sangit ?
(1) Chyut Sadja
(2) Shadji
(3) Krusta
(4) Prithula
Ans: 3
27. Which one of the following tala is appropriate to accompany withVilambit Khayal ?
(1) Tilwada
(2) Teevra
(3) Choutal
(4) Dadra
Ans: 1
28. Who was the father of Ustad Nasir Aminuddin Dagar ?
(1) Ziauddin Dagar
(2) Moinuddin Dagar
(3) Nasiruddin Dagar
(4) Fahimuddin Dagar
Ans: 3
29. In which raga of the following ‘Ni’ is not used ?
(1) Bhairav
(2) Bangal Bhairav
(3) Bairagi Bhairav
(4) Ramkali
Ans: 2
30. Choose the odd one of the following :
(1) Sitar
(2) Guitar
(3) Sarangi
(4) Tanpura
Ans: 4
31. Razakhani baj was introduced by
(1) Raza Ali Khan
(2) Rajras Khan
(3) Ghulam Raza Khan
(4) Masit Khan
Ans: 3
32. How many strings were there in ‘Alapini Veena’ ?
(1) 2
(2) 3
(3) 9
(4) 1
Ans: 1
33. Who is the Khayal singer of the following ?
(1) Begum Akhtar
(2) Nikhil Banerjee
(3) Nasir Ahmed Khan
(4) Zahoor Ahmed Khan
Ans: 3
34. In N. S, D. N––. GR phrase, if you consider the S as P and repeat the same phrase which raga will be revealed ?
(1) Hamir
(2) Chhayanat
(3) Kamod
(4) Kedar
Ans: 1
35. Which swara of Karnatak Music is equal to Shuddha Gandhar of Hindustani music ?
(1) Sadharan Gandhar
(2) Chaturshruti Rishabh
(3) Trishruti Rishabh
(4) Antar Gandhar
Ans: 4
36. Difference in Anibaddha and Nibaddha is because of
(1) Gamak
(2) Taal
(3) Meend
(4) Sthaya
Ans: 2
37. Name of the commentary on Sangeet Ratnakar in ‘Braj-Bhasha’ is :
(1) Setu
(2) Rasikpriya
(3) Hetu
(4) Sangeet Sudhakar
Ans: 1
38. Total number of texts written by Bhavbhatta are
(1) Four
(2) Five
(3) Three
(4) Nine
Ans: 3
39. Which note is changed in Raga Bhimpalasi to obtain Raga Patdeep ?
(1) Rishabh
(2) Gandhar
(3) Nishad
(4) Dhaiwat
Ans: 3
40. ‘Parivadini’ is the variety of :
(1) Tatta
(2) Avnadh
(3) Sushir
(4) Ghana
Ans: 1
41. What is ‘Chatushkal’ ?
(1) High speed
(2) Slow speed
(3) Gamak variety
(4) Taan variety
Ans: 2
42. Choose the correct code :
Assertion (A) : Miyan Malhar, Bahar and Basant are seasonal Ragas.
Reason (R) : Seasonal Ragas can be performed anytime during the respective seson.
Codes :
(1) (A) is true and (R) is false
(2) Both (A) and (R) are false
(3) (A) is false and (R) is true
(4) Both (A) and (R) are true
Ans: 4
43. ‘Kalopanta’ is a Murcchana of :
(1) Madhyam Grama
(2) Desi Grama
(3) Pancham Grama
(4) Margi Grama
Ans: 1
44. Choose the odd group :
(1) Todi – Multani
(2) Darbari – Adana
(3) Bhupali – Deshkar
(4) Shuddha Kalyan – Shuddha Sarang
Ans: 4
45. ‘Jatra’ belongs to which State ?
(1) Punjab
(2) Rajasthan
(3) Bengal
(4) Kerala
Ans: 3
46. Choose the correct chronological order of texts :
(1) Sangeet Raj, Sangeet Suddhakar, Anup Sangeet Vilas
(2) Anup Sangeet Vilas, Sangeet Raj, Sangeet Suddhakar
(3) Sangeet Suddhakar, Sangeet Raj, Anup Sangeet Vilas
(4) Sangeet Raj, Anup Sangeet Vilas, Sangeet Suddhakar
Ans: 3
47. Ustad Natthan Khan belonged to which Gharana ?
(1) Patiala
(2) Agra
(3) Jaipur
(4) Delhi
Ans: 2
48. ‘R G R S’ belongs to which Ang ?
(1) Todi
(2) Kalyan
(3) Purvi
(4) Kafi
Ans: 1
49. Match the following and choose the correct code :
List – I List – II
a. Ali Akbar Khan i. Violon
b. Kishan Maharaj ii. Sitar
c. Vilayat Khan iii. Sarod
d. V.G. Jog iv. Tabla
Codes :
a b c d
(1) i iii iv ii
(2) iv ii i iii
(3) ii i iii iv
(4) iii iv ii i
Ans: 4
50. Which Raga does not belongs to Khamaj Thata ?
(1) Jhinjhoti
(2) Pilu
(3) Tilang
(4) Tilak Kamod
Ans: 2
51. In which form of the following, ‘Dhruva-Giti’ was used ?
(1) Jati Gayan
(2) Brinda Vadan
(3) Prabandha
(4) Nātyā
Ans: 4
52. Match the following :
List – I List – II
a. Purvi i. Gamanashrama
b. Marwa ii. Harikambhoji
c. Asawari iii. Kamavardhini
d. Khamaj iv. Nata Bhairavi
Codes :
a b c d
(1) iii i iv ii
(2) i iii ii iv
(3) ii iv iii i
(4) iv ii i iii
Ans: 1
53. Pt. Omkarnath Thakur belongs to which Gharana ?
(1) Delhi
(2) Jaipur
(3) Gwalior
(4) Agra
Ans: 3
54. Which musician of the following received the title ‘Aftab-e-Mousiqi’ ?
(1) Bade Gulam Ali Khan
(2) Faiyaz Khan
(3) V layat Hussain Khan
(4) Amir Khan
Ans: 2
55. Who is the author of ‘Anup Sangeet Ratnakar’ ?
(1) Lochan
(2) Somnath
(3) Someshwar
(4) Bhava Bhatta
Ans: 4
56. Which of the following group is not correctly matched ?
(1) Manji Khan – Bhurji Khan
(2) Allabande – Jakiruddin
(3) Rajan Misra – Sajan Misra
(4) Abdul Karim – Abdul Wahid
Ans: 4
57. Choose the correct code :
Assertion (A) : Imdad Khani Gharana is also known as Etawa Gharana.
Reason (R) : ‘Etawa’ of Uttar Pradesh was the residence of Imdad Khan and his family.
Codes :
(1) Both (A) and (R) are correct.
(2) Both (A) and (R) are wrong.
(3) (A) is correct but (R) is wrong.
(4) (A) is wrong but (R) is correct.
Ans: 1
58. Following phrases belongs to which raga ?
R G M G R S D P G, R G P M G
(1) Shuddha Bilawal
(2) Sarparda Bilawal
(3) Nat Bilawal
(4) Devgiri Bilawal
Ans: 4
59. ‘Chikari’ is the name of :
(1) Geeti
(2) Tala
(3) Prabandha
(4) String
Ans: 4
60. Kaukabh Khan and his brother Karamatullah Khan are credited with popularising the instrument in Bengal is
(1) Tabla
(2) Sarod
(3) Sitār
(4) Esraj
Ans: 2
61. ‘Prasadiki’ is a variety of
(1) Rupak
(2) Dhruva
(3) Chaiti
(4) Khayal
Ans: 2
62. Which is the feature of Ancient Jati Gayan ?
(1) Kala
(2) Marg
(3) Praveshika
(4) Graha
Ans: 4
63. Which is the Saam Swara ?
(1) Geetak
(2) Varna
(3) Udatta
(4) Richa
Ans: 3
64. Who is the author of ‘Sangeet-Raj’ ?
(1) Maharana Kumbha
(2) Ahobal
(3) Bhav Bhatt
(4) Vidyaranya
Ans: 1
65. Who established the notes on the length of wire for the first time ?
(1) Ramamatya
(2) Bhatkhande
(3) Bharat
(4) Ahobal
Ans: 4
66. Choose the correct order of sequencing of the following texts according to the time period :
(1) Raga-Tatva Vibodh, Sangeet Samayasar, Dattilam
(2) Dattilam, Sangeet Samayasar, Raga-Tatva Vibodh
(3) Raga-Tatva Vibodh, Dattilam, Sangeet Samayasar
(4) Sangeet Samayasar, Raga-Tatwa Vibodh, Dattilam
Ans: 2
67. Which state does ‘Laiharoba’ belongs to ?
(1) Manipur
(2) Tripura
(3) Kerala
(4) Maharashtra
Ans: 1
68. “Dover Lane Music Festival” is held at :
(1) Mumbai
(2) Chennai
(3) Kolkata
(4) Banaras
Ans: 3
69. Choose the correct code :
Assertion (A) : Avirbhav and Tirobhav enhances the Aesthetical character of a Raga.
Reason (R) : An artiste have ample scope to express Bhav in a raga, according to imagination.
Codes :
(1) (A) and (R) both are incorrect.
(2) (A) and (R) both are correct.
(3) (A) is incorrect and (R) is correct.
(4) (R) is incorrect and (A) is correct.
Ans: 2
70. Variation in frequency determines :
(1) Laya
(2) Pitch
(3) Magnitude
(4) Timbre
Ans: 2
71. ‘Archik’, ‘Gathik’ and ‘Saamik’ contains how many ‘swaras’ respectively ?
(1) 1, 2, 3
(2) 3, 4, 5
(3) 3, 5, 7
(4) 7, 5, 3
Ans: 1
72. According to Bharat, how many ‘Jatis’ were mentioned as ‘Vikrit’ out of 18 ‘Jatis’ ?
(1) 9
(2) 11
(3) 12
(4) 5
Ans: 2
73. In the same scale ragas, the change of ‘Vadi-swara’ leads to which consequent change ?
(1) Aroha-Avroha
(2) Laya
(3) Rag-Jati
(4) Rag-Swaroop
Ans: 4
74. Identify the ‘Raga-Lakshanas’ commonly used in Jog and Jog-Kauns both :
(A) Ma-Sa Vadi-Samvadi
(B) Use of two Gandhars
(C) Ga-Sa Sangati
(D) Use of Pa Dha Ni phrase
(1) B C D
(2) A B C
(3) A B D
(4) A B C D
Ans: 2
75. How many ‘Shruties’ are there in a ‘Madhyam-Gram’ ‘Dhaiwat’ ?
(1) 2
(2) 3
(3) 4
(4) 5
Ans: 3
76. Choose the correct code :
Assertion (A) : Equally-tempered-scale came into existence for the ‘Fixed key instruments’
Reason (R) : Scale divided into 12 equal intervals is appropriate to produce Harmony from different notes.
Codes :
(1) Both (A) and (R) are true and (R) is correct explanation.
(2) Both (A) and (R) are true but, (R) is not the correct explanation.
(3) (A) is true, but (R) is false.
(4) (A) is false, but (R) is true.
Ans: 1
77. According to Natya-Shastra, ‘Geet’ is an important component of ‘Natak’, which is followed by :
(1) Nritta and Nritya
(2) Lakshan and Lakshya
(3) Costume and Jewellary
(4) Vadan and Nritya
Ans: 4
78. Concept of ‘Mela’ is accepted by the North-Indian musicians by which name ?
(1) Raga
(2) Raganga
(3) Saptak
(4) Thata
Ans: 4
79. Match the following :
List – I List – II
a. Manipur i. Garba
b. Punjab ii. Raibeshe
c. Bengal iii. Bhangda
d. Gujarat iv. Rasalila
Codes :
a b c d
(1) i iv iii ii
(2) iv iii ii i
(3) ii i iv iii
(4) iii ii i iv
Ans: 2
80. Barmahi is the folksong of –
(1) Gujarat
(2) Assam
(3) Kerala
(4) Rajasthan
Ans: 2
81. In which ‘Purana’, ‘Raga Vargikarana’ is found ?
(1) Vayu Purana
(2) Markandeya Purana
(3) Brihadharma Purana
(4) Bhagvat Purana
Ans: 3
82. Choose odd one of the following :
(1) Nadaswaram
(2) Gosinga
(3) Clarionet
(4) Hudukka
Ans: 4
83. Which of the following are Tatta Vadya ?
(a) Shatatantri (b) Murli
(c) Panchajanya (d) Pichchora
(1) (a) and (d)
(2) (a) and (b)
(3) (c) and (d)
(4) (b) and (c)
Ans: 1
84. Choose the correct sequence :
(1) Raga, Naad, Shruti, Swara
(2) Shruti, Naad, Raga, Swara
(3) Naad, Shruti, Swara, Raga
(4) Swara, Naad, Shruti, Raga
Ans: 2
85. Match the following :
a. Madhav Sangeet Mahavidyalaya i. Lucknow
b. Music College of Baroda ii. Mumbai
c. Bhatkhande Sangeet Vidyapeeth iii. Gwalior
d. Gandharva Sangeet Mahavidyalaya iv. Baroda
Codes :
a b c d
(1) i ii iv iii
(2) ii i iii iv
(3) iv iii ii i
(4) iii iv i ii
Ans: 4
86. Another name of the instrument ‘Anandlahari’ is –
(1) Dotara
(2) Khamak
(3) Sarinda
(4) Mandolin
Ans: 2
87. Choose the correct code :
Assertion (A) : Sadra is always performed in Madhyalaya.
Reason (R) : Jhaptala is appropriate for Madhyalaya.
Codes :
(1) (A) is incorrect but (R) is correct.
(2) Both (A) and (R) are incorrect.
(3) Both (A) and (R) are correct.
(4) (A) is correct and (R) is incorrect.
Ans: 3
88. Which of the following gives the meaning of the term ‘Research’ ?
(1) Reporting
(2) Collection of Data
(3) Methods of Study
(4) Repeated Search
Ans: 4
89. Classification of Rag-Ragini system was introduced in which period ?
(1) Modern period
(2) Medieval period
(3) Ancient period
(4) Vedic period
Ans: 3
90. Number of notes mentioned by Bharat
(1) Seven
(2) Eight
(3) Nine
(4) Ten
Ans: 3
91. Which of the following terms convey the actual counterpart of the Indian musical term ‘Laya’ ?
(1) Time
(2) Frequency
(3) Tempo
(4) Beat
Ans: 3
92. Identify from the following the basis of ‘Ten Thata Paddhati’ as introduced by Pt. Bhatkhande
(1) Ten swaras
(2) Eleven swaras
(3) Twelve swaras
(4) Nine swaras
Ans: 3
93. The song of Gotipua dance is based on the philosophy of –
(1) Lasya
(2) Bhakti
(3) Shringar
(4) Veer
Ans: 2
94. Choose the correct order according to the origin of the following instruments :
(1) Puskar, Dundubhi, Pakhawaj, Mridanga
(2) Pakhawaj, Dundubhi, Puskar, Mridanga
(3) Dundubhi, Pakhawaj, Puskar, Mridanga
(4) Dundubhi, Puskar, Pakhawaj, Mridanga
Ans: 4
95. Which of the following taal is meant for only Pakhawaj ?
(1) Jhaptal
(2) Ektal
(3) Sultal
(4) Til wada
Ans: 3
96. Who is not the Surbahar player of the following ?
(1) Sajjad Mohammad
(2) Gulam Mohammad
(3) Gulam Mustafa
(4) Wahid Khan
Ans: 3
97. Which is the forth chapter of Sangeet Ratnakar ?
(1) Swaradhadhyaya
(2) Prakirnadyaya
(3) Prabandhadhyaya
(4) Taladhyaya
Ans: 3
98. Choose the correct code :
Assertion (A) : Pakhwaj accompanies Dhrupad and Dholak accompanies Dhamar.
Reason (R) : Instruments used for accompaniment must be according the nature of that particular musical form.
Codes :
(1) (A) and (R) both are correct.
(2) (A) and (R) both are wrong.
(3) (A) is correct but (R) is wrong.
(4) (A) is wrong but (R) is correct.
Ans: 4
99. The following phrase belongs to which raga ? R |M P, G M R S
(1) Hamir
(2) Kamod
(3) Suddha Sarang
(4) Shyam Kalyan
Ans: 4
100. Inayat Hussain Khan of Sahaswan Gharana was a disciple of
(1) Hassu Khan
(2) Natthan Peer Bux
(3) Vilayat Hussain Khan
(4) Mehbub Khan
Ans: 1
(1) Jati Gayan
(2) Brinda Vadan
(3) Prabandha
(4) Nātyā
Ans: 4
52. Match the following :
List – I List – II
a. Purvi i. Gamanashrama
b. Marwa ii. Harikambhoji
c. Asawari iii. Kamavardhini
d. Khamaj iv. Nata Bhairavi
Codes :
a b c d
(1) iii i iv ii
(2) i iii ii iv
(3) ii iv iii i
(4) iv ii i iii
Ans: 1
53. Pt. Omkarnath Thakur belongs to which Gharana ?
(1) Delhi
(2) Jaipur
(3) Gwalior
(4) Agra
Ans: 3
54. Which musician of the following received the title ‘Aftab-e-Mousiqi’ ?
(1) Bade Gulam Ali Khan
(2) Faiyaz Khan
(3) V layat Hussain Khan
(4) Amir Khan
Ans: 2
55. Who is the author of ‘Anup Sangeet Ratnakar’ ?
(1) Lochan
(2) Somnath
(3) Someshwar
(4) Bhava Bhatta
Ans: 4
56. Which of the following group is not correctly matched ?
(1) Manji Khan – Bhurji Khan
(2) Allabande – Jakiruddin
(3) Rajan Misra – Sajan Misra
(4) Abdul Karim – Abdul Wahid
Ans: 4
57. Choose the correct code :
Assertion (A) : Imdad Khani Gharana is also known as Etawa Gharana.
Reason (R) : ‘Etawa’ of Uttar Pradesh was the residence of Imdad Khan and his family.
Codes :
(1) Both (A) and (R) are correct.
(2) Both (A) and (R) are wrong.
(3) (A) is correct but (R) is wrong.
(4) (A) is wrong but (R) is correct.
Ans: 1
58. Following phrases belongs to which raga ?
R G M G R S D P G, R G P M G
(1) Shuddha Bilawal
(2) Sarparda Bilawal
(3) Nat Bilawal
(4) Devgiri Bilawal
Ans: 4
59. ‘Chikari’ is the name of :
(1) Geeti
(2) Tala
(3) Prabandha
(4) String
Ans: 4
60. Kaukabh Khan and his brother Karamatullah Khan are credited with popularising the instrument in Bengal is
(1) Tabla
(2) Sarod
(3) Sitār
(4) Esraj
Ans: 2
61. ‘Prasadiki’ is a variety of
(1) Rupak
(2) Dhruva
(3) Chaiti
(4) Khayal
Ans: 2
62. Which is the feature of Ancient Jati Gayan ?
(1) Kala
(2) Marg
(3) Praveshika
(4) Graha
Ans: 4
63. Which is the Saam Swara ?
(1) Geetak
(2) Varna
(3) Udatta
(4) Richa
Ans: 3
64. Who is the author of ‘Sangeet-Raj’ ?
(1) Maharana Kumbha
(2) Ahobal
(3) Bhav Bhatt
(4) Vidyaranya
Ans: 1
65. Who established the notes on the length of wire for the first time ?
(1) Ramamatya
(2) Bhatkhande
(3) Bharat
(4) Ahobal
Ans: 4
66. Choose the correct order of sequencing of the following texts according to the time period :
(1) Raga-Tatva Vibodh, Sangeet Samayasar, Dattilam
(2) Dattilam, Sangeet Samayasar, Raga-Tatva Vibodh
(3) Raga-Tatva Vibodh, Dattilam, Sangeet Samayasar
(4) Sangeet Samayasar, Raga-Tatwa Vibodh, Dattilam
Ans: 2
67. Which state does ‘Laiharoba’ belongs to ?
(1) Manipur
(2) Tripura
(3) Kerala
(4) Maharashtra
Ans: 1
68. “Dover Lane Music Festival” is held at :
(1) Mumbai
(2) Chennai
(3) Kolkata
(4) Banaras
Ans: 3
69. Choose the correct code :
Assertion (A) : Avirbhav and Tirobhav enhances the Aesthetical character of a Raga.
Reason (R) : An artiste have ample scope to express Bhav in a raga, according to imagination.
Codes :
(1) (A) and (R) both are incorrect.
(2) (A) and (R) both are correct.
(3) (A) is incorrect and (R) is correct.
(4) (R) is incorrect and (A) is correct.
Ans: 2
70. Variation in frequency determines :
(1) Laya
(2) Pitch
(3) Magnitude
(4) Timbre
Ans: 2
71. ‘Archik’, ‘Gathik’ and ‘Saamik’ contains how many ‘swaras’ respectively ?
(1) 1, 2, 3
(2) 3, 4, 5
(3) 3, 5, 7
(4) 7, 5, 3
Ans: 1
72. According to Bharat, how many ‘Jatis’ were mentioned as ‘Vikrit’ out of 18 ‘Jatis’ ?
(1) 9
(2) 11
(3) 12
(4) 5
Ans: 2
73. In the same scale ragas, the change of ‘Vadi-swara’ leads to which consequent change ?
(1) Aroha-Avroha
(2) Laya
(3) Rag-Jati
(4) Rag-Swaroop
Ans: 4
74. Identify the ‘Raga-Lakshanas’ commonly used in Jog and Jog-Kauns both :
(A) Ma-Sa Vadi-Samvadi
(B) Use of two Gandhars
(C) Ga-Sa Sangati
(D) Use of Pa Dha Ni phrase
(1) B C D
(2) A B C
(3) A B D
(4) A B C D
Ans: 2
75. How many ‘Shruties’ are there in a ‘Madhyam-Gram’ ‘Dhaiwat’ ?
(1) 2
(2) 3
(3) 4
(4) 5
Ans: 3
76. Choose the correct code :
Assertion (A) : Equally-tempered-scale came into existence for the ‘Fixed key instruments’
Reason (R) : Scale divided into 12 equal intervals is appropriate to produce Harmony from different notes.
Codes :
(1) Both (A) and (R) are true and (R) is correct explanation.
(2) Both (A) and (R) are true but, (R) is not the correct explanation.
(3) (A) is true, but (R) is false.
(4) (A) is false, but (R) is true.
Ans: 1
77. According to Natya-Shastra, ‘Geet’ is an important component of ‘Natak’, which is followed by :
(1) Nritta and Nritya
(2) Lakshan and Lakshya
(3) Costume and Jewellary
(4) Vadan and Nritya
Ans: 4
78. Concept of ‘Mela’ is accepted by the North-Indian musicians by which name ?
(1) Raga
(2) Raganga
(3) Saptak
(4) Thata
Ans: 4
79. Match the following :
List – I List – II
a. Manipur i. Garba
b. Punjab ii. Raibeshe
c. Bengal iii. Bhangda
d. Gujarat iv. Rasalila
Codes :
a b c d
(1) i iv iii ii
(2) iv iii ii i
(3) ii i iv iii
(4) iii ii i iv
Ans: 2
80. Barmahi is the folksong of –
(1) Gujarat
(2) Assam
(3) Kerala
(4) Rajasthan
Ans: 2
81. In which ‘Purana’, ‘Raga Vargikarana’ is found ?
(1) Vayu Purana
(2) Markandeya Purana
(3) Brihadharma Purana
(4) Bhagvat Purana
Ans: 3
82. Choose odd one of the following :
(1) Nadaswaram
(2) Gosinga
(3) Clarionet
(4) Hudukka
Ans: 4
83. Which of the following are Tatta Vadya ?
(a) Shatatantri (b) Murli
(c) Panchajanya (d) Pichchora
(1) (a) and (d)
(2) (a) and (b)
(3) (c) and (d)
(4) (b) and (c)
Ans: 1
84. Choose the correct sequence :
(1) Raga, Naad, Shruti, Swara
(2) Shruti, Naad, Raga, Swara
(3) Naad, Shruti, Swara, Raga
(4) Swara, Naad, Shruti, Raga
Ans: 2
85. Match the following :
a. Madhav Sangeet Mahavidyalaya i. Lucknow
b. Music College of Baroda ii. Mumbai
c. Bhatkhande Sangeet Vidyapeeth iii. Gwalior
d. Gandharva Sangeet Mahavidyalaya iv. Baroda
Codes :
a b c d
(1) i ii iv iii
(2) ii i iii iv
(3) iv iii ii i
(4) iii iv i ii
Ans: 4
86. Another name of the instrument ‘Anandlahari’ is –
(1) Dotara
(2) Khamak
(3) Sarinda
(4) Mandolin
Ans: 2
87. Choose the correct code :
Assertion (A) : Sadra is always performed in Madhyalaya.
Reason (R) : Jhaptala is appropriate for Madhyalaya.
Codes :
(1) (A) is incorrect but (R) is correct.
(2) Both (A) and (R) are incorrect.
(3) Both (A) and (R) are correct.
(4) (A) is correct and (R) is incorrect.
Ans: 3
88. Which of the following gives the meaning of the term ‘Research’ ?
(1) Reporting
(2) Collection of Data
(3) Methods of Study
(4) Repeated Search
Ans: 4
89. Classification of Rag-Ragini system was introduced in which period ?
(1) Modern period
(2) Medieval period
(3) Ancient period
(4) Vedic period
Ans: 3
90. Number of notes mentioned by Bharat
(1) Seven
(2) Eight
(3) Nine
(4) Ten
Ans: 3
91. Which of the following terms convey the actual counterpart of the Indian musical term ‘Laya’ ?
(1) Time
(2) Frequency
(3) Tempo
(4) Beat
Ans: 3
92. Identify from the following the basis of ‘Ten Thata Paddhati’ as introduced by Pt. Bhatkhande
(1) Ten swaras
(2) Eleven swaras
(3) Twelve swaras
(4) Nine swaras
Ans: 3
93. The song of Gotipua dance is based on the philosophy of –
(1) Lasya
(2) Bhakti
(3) Shringar
(4) Veer
Ans: 2
94. Choose the correct order according to the origin of the following instruments :
(1) Puskar, Dundubhi, Pakhawaj, Mridanga
(2) Pakhawaj, Dundubhi, Puskar, Mridanga
(3) Dundubhi, Pakhawaj, Puskar, Mridanga
(4) Dundubhi, Puskar, Pakhawaj, Mridanga
Ans: 4
95. Which of the following taal is meant for only Pakhawaj ?
(1) Jhaptal
(2) Ektal
(3) Sultal
(4) Til wada
Ans: 3
96. Who is not the Surbahar player of the following ?
(1) Sajjad Mohammad
(2) Gulam Mohammad
(3) Gulam Mustafa
(4) Wahid Khan
Ans: 3
97. Which is the forth chapter of Sangeet Ratnakar ?
(1) Swaradhadhyaya
(2) Prakirnadyaya
(3) Prabandhadhyaya
(4) Taladhyaya
Ans: 3
98. Choose the correct code :
Assertion (A) : Pakhwaj accompanies Dhrupad and Dholak accompanies Dhamar.
Reason (R) : Instruments used for accompaniment must be according the nature of that particular musical form.
Codes :
(1) (A) and (R) both are correct.
(2) (A) and (R) both are wrong.
(3) (A) is correct but (R) is wrong.
(4) (A) is wrong but (R) is correct.
Ans: 4
99. The following phrase belongs to which raga ? R |M P, G M R S
(1) Hamir
(2) Kamod
(3) Suddha Sarang
(4) Shyam Kalyan
Ans: 4
100. Inayat Hussain Khan of Sahaswan Gharana was a disciple of
(1) Hassu Khan
(2) Natthan Peer Bux
(3) Vilayat Hussain Khan
(4) Mehbub Khan
Ans: 1