1. Which of the following scholar has
written annotation on Natya Shastra?
(A) Vishnu Gupta
(B) Dattilam
(C) Abhinav Gupta
(D) Beejgupt
2. ‘Shudha Dhaiwat’ is placed on which shruti
according to the ancient musicologist?
(A) 20th
(B) 19th
(C) 17th
(D) 16th
3. Which musician is known as a
Vaggeykar, who possesses the following qualities?
(A) Gamak and Tan
(B) Mandra and Tar
(C) Laya and Taal
(D) Dhatu and Matu
4. Which of the following instrument
falls under the category of ‘Shushir Vadya’?
(A) Sitar
(B) Sarangi
(C) Tabla
(D) Harmonium
5. Which of the following Gharana is
originated from Patiala Gharana?
(A) Rampur
(B) Vishnupur
(C) Banaras
(D) Shyam Chaurasi
6. Ashraya Raga of Todi Thata is
(A) Gurjari Todi
(B) Miyanki Todi
(C) Bilaskhani Todi
(D) Bhupal Todi
7. According to modern ‘Shudha’ scale,
the frequency of ‘Pancham’ is
(A) 360
(B) 320
(C) 305
(D) 405
8. Which of the following ‘Thata-Raga’
pair is not correct?
(A) Kafi Kanda – Kafithata
(B) Abhogi Kanda – Kafithata
(C) Nayki Kanda – Kafithata
(D) Darbari Kanda – Kafithata
9. Swaras arranged in the order of –Tone,
Semi-Tone, Tone, Tone, Semi-Tone, Tone, Tone depicts the structure of which
Hindustani Thata?
(A) Kafi
(B) Todi
(C) Bhairavi
(D) Asawari
10. ‘Man Kutuhal’ is an important
‘Grantha’, which elucidate on which of the following musical form?
(A) Thumri
(B) Tappa
(C) Kajri
(D) Dhrupad
11. Rendering more than one melody at a
time is known as
(A) Counter Point Harmony
(B) Syncopation
(C) Slur
(D) Staccato
12. Which Thata of Hindustani Music is
equivalent to Kharharpriya of Karnatak Music
(A) Kafi
(B) Bhairav
(C) Todi
(D) Kalyan
13. Match the following:
List – I
List – II
a. Maharana
Kumbha
1. Rasa Kaumudi
b.
Nanyadev
2. Sangeet Raj
c. Shri
Kantha
3. Rag Tatva –Vivodh
d. Shri
Nivas
4. Bharat Bhashyam
Codes:
a b
c d
(A) 2 4 1 3
(B) 1 3 4 2
(C) 2 3 4 1
(D) 4 2 1 3
14. Who was the Guru of Pt. Ravishankar?
(A) Ustad Inayat Khan
(B) Ustad Allauddin Khan
(C) Ustad Haffiz Ali Khan
(D) Ustad Mushtaque Hussain Khan
15. Assertion (A): Expert musician
screate beauty in the mind of listeners by adding shadow of parallel ragas
while elaborating the ragas.
Reason (R): This act should be performed
only when a musician has sound knowledge of the intricacies of Ragas.
Codes:
(A) (A) is correct (R) is wrong.
(B) (A) is wrong (R) is correct.
(C) (A) and (R) both are wrong.
(D) (A) and (R) both are correct.
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