KSET 2020 Question Paper Music

Paper : II

Booklet SERIAL No.
Subject : Music
Subject Code : 40

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OMR Sheet No. : ____________________

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Time : 2 Hours Maximum Marks : 200
Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 100
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AívÝPÜꣿá®Üá° PܱݳXÓܸæàPÜá. You have to darken the circle as indicated below on the correct response
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14. PܮܰvÜ ÊÜáñÜᤠCíXÉàÐ… BÊÜ꣤WÜÙÜ ±ÜÅÍ氱ܣÅPæWÜÙÜÈÉ ¿ÞÊÜâ¨æà Äࣿá ÊÜÂñÝÂÓÜWÜÙÜá question booklet the question in English version shall be taken as
PÜívÜáŸí¨ÜÈÉ, CíXÉàÐ… BÊÜ꣤WÜÙÜÈÉÃÜáÊÜâ¨æà Aí£ÊÜáÊæí¨Üá ±ÜÄWÜ~ÓܸæàPÜá. final.
K – 4020 1 ±Üâ.£.®æãà./P.T.O.

ÓÜíXàñÜ
±æà±ÜÃ… – II

WÜÊÜá¯Ô : D ±Ü£ÅPæ¿áá ®ÜãÃÜá (100) ÊÜÓÜ᤯ÐÜu ÊÜÞ¨ÜÄ¿á ±ÜÅÍæ°WÜÙÜ®æã°ÙÜWæãíw¨Üáª, ±ÜÅ£Áãí¨Üá ±ÜÅÍæ°¿áã
GÃÜvÜá (2) AíPÜWÜÙÜ®Üá° Öæãí©¨æ. GÇÝÉ ±ÜÅÍæ°WÜÙÜ®Üã° PÜvÝx¿áÊÝX EñܤÄÓܸæàPÜá.
1. Ãܹàí¨ÜÅ ÓÜíXàñÜ ÃÜaÜ®æWÜÙÜÈÉ ÊÜááSÂÊÝX GÐÜár 4. D PæÙÜX®ÜÊÜâWÜÙÜÈÉ ÊÜáê¨ÜíWÜ¨Ü ÍæÅàÐÜuñæ¿á®Üá°
Ë»ÝWÜWÜÚÊæ ? ¿ÞÊÜâ¨Üá ÓÝÃÜáñܤ¨æ ?
(A) GÃÜvÜá (A) ÓæãWÜÓÜáWÜ ÊÜáê¨ÜíWÜ ñÜÇÝÊÜáá
(B) BÃÜá (B) ÓÜíXàñÜ WÝ®ÜÊÜáá
(C) ®ÝÆáR (C) ñÜíŸãÄ Ëáàq¨ÜÊÜ
(D) ÊÜáãÃÜá (D) ÊæãàPÜÒÊÜáá WÜƨÜ

2. D PæÙX
Ü ®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÂÜ ñæ¿á®Üá° ¯«ÜìÄÔ. 5. ÓÜíXàñÜ ÓÝÃÝÊÜáêñÜÊÜ®Üá° ŸÃæ¨ÜÊÜÃÜá ¿ÞÃÜá ?
(A) ˨ÝÂÃÜ|Â
i. Êæã¨ÜÆ ¸ÝÄWæ ±Üâ¨ÜáPæãRpær„ ÍæçÈ¿áÈÉ
±ÜÙܯ ÊÜááWæçì¿á ²ÇæÉ„ AÊÜÃÜá ÊÜáê¨ÜíWÜ (B) ÎÅà¯ÊÝÓÜ PÜË
ÊÝ¨Ü®Ü ÊÜÞw¨ÜÃÜá. (C) ÍÝÄká
ii. ÊÜáê¨ÜíWÜ Êݨܮ¨
Ü È
Ü É ±ÜÅ¥ÜÊáÜ ¸ÝÄWæ ÓÜíXàñÜ (D) ñÜáÆg
PÜÇݯ˜ ±ÜÅÍÜÔ¤¿á®Üá° ±Üvæ¨ÜÊÜÃÜá ±ÝÇÝ^p… 6. ÃÝWÝíWÜ & QÅ¿ÞíWÜ ÊÜ á ñÜ á ¤ E±ÝíWÜ W Ü Ù Ü á
ÊÜá~ I¿áÂÃ…. ¿ÞÊÜâ¨ÜÃÜ Ë»ÝXàPÜÃÜ|ÊÝX¨æ ?
i ii
(A) AíWÜ& AíX Ë»ÝXàPÜÃÜ|
(A) ÓÜÄ ÓÜÄ (B) g®ÜPÜ&g®Ü ˻ÝXàPÜÃÜ|
(B) ñܱÜâ³ ñܱÜâ³ (C) ÃÝWÜ&ÃÝX~ Ë»ÝXàPÜÃÜ|
(C) ÓÜÄ ñܱÜâ³
(D) ÃÝWÜ&ÊæàÆ Ë»ÝXàPÜÃÜ|
(D) ñܱÜâ³ ÓÜÄ
7. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ :
3. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ®Üá° ±ÜÄÎàÈÔ. i. ˨ÝÂÃÜ|ÂÃÜá ÊæáàÆPÝ¥Üì ÊÜÂÊÜÓ槿á®Üá°
a. XàñÜWæãà±ÝÆÊÜ®Üá° ŸÃæ¨ÜÊÜÃÜá g¿á¨æàÊÜ. ÓÜêÑrÔ¨ÜÃÜá.
b. PÝÊÜ PèñÜáPÜ¨Ü ÇæàSPÜÃÜá pæãào. ii. ÓÜ í ±Ü ä |ì Êæ á àÆPÝ¥Ü ì ÊÜ Â ÊÜ Ó æ § ¿ á®Ü á °
a b ÊæíPÜoÊÜáUO…ÃÜÊÜÃÜá ±ÜÄaÜÀáÔ¨ÜÃÜá.
(A) ñܱÜâ³ ñܱÜâ³ i ii
(B) ÓÜÄ ñܱÜâ³ (A) ñܱÜâ³ ñܱÜâ³
(C) ñܱÜâ³ ÓÜÄ (B) ÓÜÄ ñܱÜâ³
(D) ÓÜÄ ÓÜÄ (C) ÓÜÄ ÓÜÄ
(D) ñܱÜâ³ ÓÜÄ
Paper II 2 K – 4020

Music
Paper – II

Note : This paper contains hundred (100) objective type questions. Each question carries
two (2) marks. All questions are compulsory.
1. Rabindra Sangeeta compositions are 4. One of the following hails the greatness
mainly divided into of mridanga.
(A) Two (A) Sogasuga mridanga talamu
(B) Six (B) Sangeetha gyanamu
(C) Four (C) Tamburi meetidava
(D) Three (D) Mokshamu Galada

2. Evaluate the following statements : 5. Sangeetha saramrutha was written by
i. Pudukkottai style of Mridangam (A) Vidyaranya
playing was started by Palani (B) Srinivasa Kavi
Murgiah Pillai. (C) Shahji
ii. Palghat Mani Iyer was the first (D) Tulaja
mridangist to be awarded the sangita
kalanidhi. 6. Raganga - Kriyanga and Upanga are
i ii comes under the classification of
(A) True True (A) Anga – Angi classification
(B) False False (B) Janaka – Janya classification
(C) True False (C) Raga – Ragini classification
(D) False True (D) Raga – vela classification

3. Examine the statements : 7. Evaluate the following statements :
a. Jayadeva is the author of Geeta i. Vidyaranya created the melakartha
Gopala. system.
b. Tota is the author of Kavya ii. Venkatamakhin introduced the
Koutuka. sampoorna melakartha system.
a b i ii
(A) False False (A) False False
(B) True False (B) True False
(C) False True (C) True True
(D) True True (D) False True
K – 4020 3 Paper II

8. ÓÜãPÜÒ$¾ÊÝ¨Ü Æ¿áŸ¨Üœ Öæãí©Pæ¿ááÙÜÛ 12. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ :
¸æãàÇݤ®…WÜÚWæ ±ÜÅԨܜÊÝ¨Ü ZÃÝ®Ü ¿ÞÊÜâ¨Üá ? i. C£¤àb®Ü ©®ÜWÙÜ ÈÜ É Qà¸æãàv…ì Ôí¥ÜÓçæ gÃ…WÜÙ®Ü áÜ °
(A) hæç±ÜâÃ… ËÓÜõñÜÊÝX ŸÙÜÓÜᣤ¨ÝªÃæ.
ii. »ÝÃÜ£à¿á ÓÜíXàñÜÊÜ®Üá° ÓÜêÑrÓÜÆá C¨Üá
(B) BWÜÅ AñÜáÂñܤÊÜáÊÝ¨Ü ÊÜÞWÜìÊÝX¨æ.
(C) ±Üq¿ÞÆ i ii
(D) WÝÌÈ¿áÃ… (A) ÓÜÄ ñܱÜâ³
(B) ÓÜÄ ÓÜÄ
9. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ : (C) ñܱÜâ³ ÓÜÄ
i. Êæ á àÇÝ±Ü ¨ Ü œ £¿áá BÃæ ã àÖÜ | ÊÜ á ñÜ á ¤ (D) ñܱÜâ³ ñܱÜâ³
AÊÜÃæãàÖÜ|WÜÙÜÈÉ ÓÜí±Üä|ì ÓÜÌÃÜWÜÙÜ®Üá° 13. hÝQàÃ… ÖÜáÓæç®… D PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨ÜPæR
Öæãí©ÃÜáÊÜâ¨Üá ÊÜÞñÜÅÊÜÆɨæ, ÓæàĨÜÊÜÃÜá ?
A¨Ü á I¨Ü á A¥Ü Ê Ý BÃÜ á ÓÜ Ì Ã Ü W Ü Ù Ü ® Ü ã ° (A) ¨æÖÜÈ ZÃÝ®Ü
Öæãí©ÃÜŸÖÜá¨Üá. (B) Ÿ®ÝÃÜÓ… ZÃÝ®Ü
ii. AÓÜí±Üä|ì ÊæáàÇݱܨܜ£¿á®Üá° (C) ±Üíhݸ… ZÃÝ®Ü
ÊæáàÇݱܨܜ£Ááí¨Üá ±ÜÄWÜ~ÓÜÇÝWÜáñܤ¨æ. (D) Ag‚ÃÜvÜ ZÃÝ®Ü
i ii 14. »ÝÃÜ £ à¿á ÓÜ í XàñÜ ¨ Ü È É ÓÝí±Ü Å ¨ÝÀáPÜ
(A) ÓÜÄ ñܱÜâ³ ÓÜ ¨ Ü ª Ä Êæ á ¿á (APèÔr P …) E±Ü P Ü Ã Ü | WÜ Ù Ü ® Ü á °
(B) ñܱÜâ³ ñܱÜâ³ ¯ÃÜíñÜÃÊ Ü ÝX BÁáRÊÞ
Ü wPæãÙÜÛÆá PÝÃÜ| H®Üá ?
(A) A®Ý¿ÞÓÜÊÝX ÍÜáÅ£ ÊÜÞvÜáÊÜâ¨Üá
(C) ÓÜÄ ÓÜÄ (B) ×ñÜPÜÃÜ ®Ý¨Ü
(D) ñܱÜâ³ ÓÜÄ (C) WÜÊÜáPÜ Eñݳ¨Ü®æ¿á ¯SÃÜñæ
(D) ±ÝÅbà®Ü ÓÜí±ÜŨݿá
10. A¼®ÜÊÜ WÜá±Ü¤ÃÜ ±ÜÅPÝÃÜ ®Ýo ÓÜíWÜÅÖÜ
(A) 14 15. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ :
(B) 15 i. ÍæçPÜÒ~PÜ A«Ý±ܮÜÊÜâ ŸÖÜÙÜ ËÓݤÃÜÊݨÜ
A«Ü¿á®Ü Ë»ÝWÜWÜÙÜá ÊÜáñÜá¤
(C) 11 ±ÝÅËà|ÂñæWÜÚí¨Ü PÜãwÃÜáñܤ¨æ.
(D) 13 ii. WÜáÃÜáWÜÙÜá ÊÜáñÜᤠÓÜíXàñÜ ÓÜíÓæ§WÜÙÜá
PæàÊÜÆ ±ÜŨÜÍÜìPÜÃÜ®Üá° ÓÜêÑrÓÜáÊÜñܤ
11. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊݨܨܪ®Üá° WÜáÃÜá£Ô. Pæàí©ÅàPÜêñÜÃÝX¨ÝªÃæ.
(A) ÐÜvÜj i ii
(A) ÓÜÄ ñܱÜâ³
(B) MáÐÜ»Ü
(B) ÓÜÄ ÓÜÄ
(C) WÝí«ÝÃÜ (C) ñܱÜâ³ ÓÜÄ
(D) ¯ÍÜ¨Ü (D) ñܱÜâ³ ñܱÜâ³
Paper II 4 K – 4020

8. A Gharana famous for Boltans, with 12. Evaluate the following statements :
delicate Rhythmic interaction. i. Keyboard synthesisers are widely
(A) Jaipur used now-a-days.
(B) Agra ii. This is the best way to create Indian
music.
(C) Patiyala
i ii
(D) Gwaliyar (A) True False
9. Evaluate the following statements : (B) True True
(C) False True
i. Melapadhati consists not only
(D) False False
sampurna swaras in Arohana and
Avarohana, it can also have five or 13. Zakir Hussain belongs to
six swaras. (A) Delhi Gharana
ii. Asampurna melapadhati is also (B) Banaras Gharana
considered as a melapadhati. (C) Punjab Gharana
i ii (D) Azarada Gharana
(A) True False 14. The continuing preference for traditional
(B) False False acoustic instruments in Indian music is
(C) True True due to
(A) Ease of tuning
(D) False True
(B) Pleasant tone
10. Natya sangraha according to Abhinava (C) Accuracy in gamaka production
gupta (D) Age old tradition
(A) 14
15. Evaluate the following statements :
(B) 15 i. Academic teaching has a wide variety
(C) 11 of disciplines and specialisations.
(D) 13 ii. Gurus and musical institutions are
oriented only on creating performers.
11. Choose the odd one. i ii
(A) Shadja (A) True False
(B) Rishabha (B) True True
(C) Gandhara (C) False True
(D) Nishada (D) False False

K – 4020 5 Paper II

16. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : 20. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ :
a. AÇÝÉ©¿Þ TÝ®… 1. ¶ÝÃÜáPݸݨ… a. ±ÝÇÝ^p… ÊÜá~ 1. ±Üâ¨ÜáPæãRpær„ ÍÝÇæ
ZÃÝ®Ü I¿áÂÃ…
b. ¶ÜQàÃ… ŸPÏ… 2. hæç±ÜâÃ… ZÃÝ®Ü b. ±ÜÙܯ ÓÜáŸÅÊÜá| 2. ñÝíhæãàÃ…
c. PÜÆáÉTÝ®…, 3. ±Üíhݸ… ²ÇæÉ„ Êæç¨Ü®ݥÜ
¸æçÃÜáTÝ®… ZÃÝ®Ü
I¿áÂÃ…ÃÜ ÎÐÜÂ
d. ÖÝi ËÇÝ¿áñ… 4. Ag‚ÃÜvÜ
c. ñÝíhæãàÃ… 3. ñÝíhæãàÃ… ÍæçÈ
TÝ®… ZÃÝ®Ü
(A) a – 4, b – 1, c – 3, d – 2 Êæç¨ÜÂ®Ý¥Ü I¿áÂÃ…
(B) a – 2, b – 3, c – 4, d – 1 d. q. Pæ. ÊÜáã£ì 4. ±ÝÇÝ^p… ÊÜá~
(C) a – 3, b – 4, c – 1, d – 2 I¿áÂÃ…ÃÜ WÜáÃÜá
(D) a – 1, b – 4, c – 2, d – 3 (A) a – 3, b – 1, c – 4, d – 2
(B) a – 2, b – 3, c – 1, d – 4
17. Ãܹàí¨ÜÅ ÓÜíXàñÜ¨Ü ±ÜÅԨܜÊÝ¨Ü ÓÝí±ÜŨÝÀáPÜ
(C) a – 1, b – 4, c – 2, d – 3
PÜÇÝ˨ÜÃÜá
(D) a – 4, b – 3, c – 1, d – 2
(A) A±ÜOÝì¨æàË ÊÜáñÜᤠAËá¿Þ pÝWæãàÃ…
(B) ÎÅà¨æàË ÊÜáñÜᤠԨæœàÍÜÌĨæàË 21. “A¼®ÜÊÜ WÜá±Ü¤” ¿ÞÊæÃÜvÜ®Üá° ÊÜiìԨݪÃæ ?
(C) XàñݨæàË ÊÜáñÜᤠÔàñݨæàË (A) ÊÜáívÜ±Ü ÊÜáñÜᤠE±ÜaÝÃÜ
(D) XÄhݨæàË ÊÜáñÜᤠ¯ÊÜáìÇݨæàË (B) ±ÜÅPÜê£ ÊÜáñÜᤠE±ÜaÝÃÜ
18. “ APÝR Pæ à ÙÜ Ê ÝÌ ” GíŸ ÊÜ a Ü ® Ü ¨ Ü ÊÜ á ãÆPÜ (C) ±ÜÅPÜê£ ÊÜáñÜᤠÊÜáívܱÜ
±ÜÅԨܜÃÝ¨Ü PÜÇÝ˨Ü/PÜÇÝË¨æ ¿ÞÃÜá ? (D) ÊÜáívÜ±Ü ÊÜáñÜᤠԩœWÜÙÜá
(A) WÜíWÜã¸ÝÀá ÖÝ®ÜWÜÇ…
22. Æ¿áÊÜ®Üá° ÖæàWæ ÊÝÂTݯÓÜÇÝX¨æ ?
(B) ÊÜáÈÉPÝgáì®… ÊÜá®ÜãÕÃ…
(C) ¸ÝƱܳ ÖÜáPæRàÄ (A) GÃÜvÜá QÅÁáWÜÙÜ ®ÜvÜá訆 ËÃÝÊÜá
(D) PÜáÊÜÞÃÜ WÜí«ÜÊÜì (B) WÜ~ñÜÍÝÓÜŒ¨Ü PÜÅÊÜáÃÜaÜ®æ
(C) ñÝÙܨÜÈÉ QÅÁáWÜÙÜ aÜÆ®æ
19. GÃÜvÜá Ë«Ü¨Ü ÓÜíXàñÜ bQñæÕ ¿ÞÊÜâÊÜâ ?
(D) ñÝÙÜ¨Ü »ÝWÜWÜÙÜá
(A) ÖÝvÜáÊÜ bQñæÕ, ®ÜêñÜ bQñæÕ
(B) WÜÅÖÜ|ÎàÆ ÓÜíXàñÜ bQñæÕ, ÓÜQÅ¿á ÓÜíXàñÜ 23. Pæã|¡PæãàÇ… Gí¨ÜÃæ
bQñæÕ (A) E±ÜPÜÃÜ|¨Ü ÓÜÊÜáÑr
(C) ÊÜáÃÜáPÜÚÓÜáÊÜ/ñÜvæñÜvæ¨Üá ŸÃÜáÊÜ ÊÜáñÜᤠ(B) hÝ®Ü±Ü¨Ü ®ÜêñÜÂ
¯ÃÜíñÜÃÜ bQñæÕ (C) Æ¿á¨ÜÈÉÃÜáÊÜ ÊÜ|ìWÜÙÜ «Ü̯àPÜÃÜ|
(D) ±ÜÅñæÂàPÜ ÊÜáñÜᤠÓÜÊÜáãÖÜ bQñæÕ (D) Jí¨Üá Ë«Ü¨Ü hÝ®Ü±Ü¨Ü Æ¿á

Paper II 6 K – 4020

16. Match the following : 20. Match the following :
a. Alladiya Khan 1. Farrukabad a. Palghat Mani 1. Pudukkottai
Gharana Iyer School
b. Fhakeer Baksh 2. Jaipur b. Palani 2. Disciple of
Gharana Subramania Tanjore
c. Kallukhan, Bairu 3. Punjab Pillai Vaidyanatha
Khan Gharana Iyer
d. Hajji Vilayat Khan 4. Azarada c. Tanjore 3. Tanjore style
Gharana Vaidyanatha
(A) a – 4, b – 1, c – 3, d – 2 Iyer
(B) a – 2, b – 3, c – 4, d – 1 d. T.K. Murthy 4. Guru of Palghat
(C) a – 3, b – 4, c – 1, d – 2 Mani Iyer
(D) a – 1, b – 4, c – 2, d – 3 (A) a – 3, b – 1, c – 4, d – 2
17. A famous traditional artiste of Rabindra (B) a – 2, b – 3, c – 1, d – 4
Sangeeta is (C) a – 1, b – 4, c – 2, d – 3
(A) Aparnadevi and Amiya Tagore (D) a – 4, b – 3, c – 1, d – 2
(B) Shridevi and Siddeshwaridevi 21. “Abinava gupta” Omits these two
(C) Geetadevi and Seetadevi (A) Mandapa and Upachara
(D) Girijadevi and Nirmaladevi (B) Prakriti and Upachara
18. An Artiste become famous through a (C) Prakriti and Mandapa
vachana “Akka Kelavva”. (D) Mandapa and Siddhis
(A) Gangubai Hangal
22. Laya is described as
(B) Mallikarjun Mansur
(A) The rest between two kriyas
(C) Balappa Hukkeri
(B) Mathematical permutation
(D) Kumar Gandharva
(C) Movement of kriyas in a tala
19. Two types of music therapy are (D) Parts of a tala
(A) Singing therapy, dance therapy
23. Konnakkol is
(B) Receptive music therapy, active
(A) An instrumental ensemble
music therapy
(B) A folk dance
(C) Intermittent and continuous therapy
(C) Vocalisation of rhythmic syllables
(D) Individual and group therapy
(D) A type of folk rhythm
K – 4020 7 Paper II

24. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° WÜáÃÜá£Ô : 29. Pæ Ù Ü X ®Ü Ê Ü â WÜ Ù Ü È É ñÜ ± ݳ X ÃÜ á ÊÜ hæ ã àw¿á®Ü á °
i. iàÊæ¿á®Üá° ñÜíŸãÄ¿áÈÉ ŸÙÜÓÇ
Ü ÝWÜáñܤ¨.æ WÜáÃÜá£Ô :
ii. C¨Ü Ã Ü ±Ü Ä OÝÊÜ á ÊÝX iàÊÜ Ó Ü Ì ÃÜ W Ü Ù Ü á (A) ÃÜÓÜãÆ®… ¸ÝÀá – PÜ¥ÜP… ®ÜêñÜÂ
ÖÜáqrPæãÙÜáÛñܤÊæ.
(B) ¶Ü¿Þh‚… TÝ®… – BWÜÅ
i ii
(A) ñܱÜâ³ ñܱÜâ³ (C) AŸáªÇ… ÖÜÈàÊÜå… g‚¶ÜÃ… TÝ®… – ÔñÝÃ…
(B) ÓÜÄ ñܱÜâ³ (D) ÍÜÃÜO… ÃÝ~ – ÓÜÃæãਅ
(C) ñܱÜâ³ ÓÜÄ
(D) ÓÜÄ ÓÜÄ 30. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ :
a. »Üor ®Ý¿áPÜ 1. A®ÜáËᣠÊݨÜ
25. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊݨܨܪ®Üá° WÜáÃÜá£Ô.
b. »Üor ÇæãÆÉo 2. A¼ÊÜÂQ¤ ÊݨÜ
(A) ±Ý¨ÜÊÜå…
(B) AÐÜr±Ü£ c. ÍÜíPÜáPÜ 3. »ÜáQ¤ ÊݨÜ
(C) g£ÓÜÌÃÜÊÜå… d. A¼®ÜÊÜWÜá±Ü¤ 4. Eñܳ£¤ ÊݨÜ
(D) QàñÜì®ÜÊÜå… (A) a – 2, b – 3, c – 4, d – 1
26. aèPÜ PÜÇÝ ÊÜ|ìÊÜå… ¿ÞÊÜ ±Ü¨ÜPæR ±Ü¿Þì¿á (B) a – 3, b – 4, c – 1, d – 2
±Ü¨ÜÊÝX¨æ ? (C) a – 1, b – 2, c – 4, d – 3
(A) ñÝ®Ü ÊÜ|ìÊÜå…
(D) a – 4, b – 1, c – 3, d – 2
(B) ËÆíŸ ÊÜ|ìÊÜå…
(C) ±Ý¨Ü ÊÜ|ìÊÜå… 31. PÜ Ç Ý¼gn (ÊÜ á ÁáÓæ ã ó) ±Ü Ù Ü ¯ ÎÅà GÊÜ å ….
(D) ¨ÝÃÜá ÊÜ|ìÊÜå… ÓÜáŸÅÊÜá| ²ÇæÉ„ ¿ÞÊÜ ÊÜÐì
Ü ¨ÜÈÉ g¯Ô¨ÜªÃáÜ ?
27. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊݨܨܪ®Üá° WÜáÃÜá£Ô. (A) 1908
(A) ÍÝÂÊÜÞ ÍÝÔŒ (B) 1903
(B) ÊÜááñÜá¤ÓÝÌËá ©àQÒñÜÃ… (C) 1904
(C) ñÝÂWÜÃÝg
(D) 1907
(D) ÓÝÌ£ £ÃÜá®ÝÙ…
32. WÜÅí¥ÜÓã
Ü b ÓÜãaÜÂíPÜ ¿ÞÊÜâ¨ÜÄí¨Ü PÜãwÃܸàæ PÜá ?
28. g¿á¨æàÊÜ ¿ÞÊÜ ÍÜñÜÊÜޮܨÜÊÜÃÝX¨ÜªÃÜá ?
(A) 12®æ¿á ÍÜñÜÊÜÞ®Ü (A) ÇæàSPÜ®Ü ÖæÓÜÃÜá, ±ÜÅPÜoOæ ËÊÜÃÜWÜÙÜá
(B) 10®æ¿á ÍÜñÜÊÜÞ®Ü (B) ÇæàSPÜ®Ü iàÊÜ®ÜaÜÄñæÅ
(C) 9®æ¿á ÍÜñÜÊÜÞ®Ü (C) ÓÜíÍæãà«Ü®Ý ±ÜíwñÜ®Ü iàÊÜ®ÜaÜÄñæÅ
(D) 14®æ¿á ÍÜñÜÊÜÞ®Ü
(D) ±ÜÅPÝÍÜPÜ®Ü iàÊÜ®ÜaÜÄñæÅ
Paper II 8 K – 4020

24. Evaluate the following statements : 29. Find the incorrect pair.
i. Jeeve is used in a tambura. (A) Rasoolan bai – Kathak dance
ii. This results in the creation of jiva (B) Fayaz Khan – Agra
swaras.
(C) Abdul Halim Zafer Khan – Sitar
i ii
(D) Sharan Rani – Sarod
(A) False False
(B) True False 30. Match the following :
(C) False True
a. Bhatta Nayaka 1. Anumiti vaada
(D) True True
b. Bhatta Lollata 2. Abhivyakti
25. Choose the odd one out. vaada
(A) Padam c. Shankuka 3. Bhukti vaada
(B) Ashtapati
d. Abhinavagupta 4. Utpatti vaada
(C) Jatiswaram
(A) a – 2, b – 3, c – 4, d – 1
(D) Keerthanam
(B) a – 3, b – 4, c – 1, d – 2
26. Chauka Kala varnam is another term for
(C) a – 1, b – 2, c – 4, d – 3
(A) Tāna varnam
(D) a – 4, b – 1, c – 3, d – 2
(B) Vilamba varnam
(C) Pada varnam 31. The Birth year of Mridangam Maestro
(D) Daru varnam Palani Sri M. Subramania Pillai was

27. Choose the odd one out. (A) 1908
(A) Shyama Shastry (B) 1903
(B) Muthuswami Deekshithar (C) 1904
(C) Tyagaraja (D) 1907
(D) Swathi Tirunal
32. Bibliographical index should consist of
28. Jayadeva lived in
(A) Name of Author, Publication details
(A) 12th century
(B) 10th century (B) Biography of the Author
(C) 9th century (C) Biography of the research scholar
(D) 14th century (D) Biography of the Publisher
K – 4020 9 Paper II

33. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : 37. PÝÆ Ô¨Ýœ í ñÜ Ê Ü ® Ü á ° _________ »ÝWÜ W Ü Ù ÝX
a. MARC 1. Pݲ, IJÅíp…, Ë»ÝXÓÜÇÝX¨æ.
ıæäÅvÜãÂÓ… (A) BÃÜá
b. µàv…¸ÝÂP… 2. ÓÝrqÔrPÇ
Ü … G®ÝÈÔÓ… (B) HÙÜá
ÊæáPݯÓÜÊÜå… (C) ®ÝÆáR
c. ¹¹ÉÁãàÊæáqÅ 3. Êæáή… ÄàvæàŸÇ… (D) Gíoá
PÝÂoÇÝXíW…
d. ıæäÅWÝŵ 4. SDI 38. ñÜvÜËÆɨæ ÃÝWÜÊÜ®Üá° WÜáÃÜá£ÓÜáÊÜ Ë«Ý®ÜÊÜ®Üá°
(A) a – 2, b – 3, c – 4, d – 1
H®æí¨Üá PÜÃæ¿ááñݤÃæ ?
(B) a – 3, b – 4, c – 2, d – 1 (A) ¥Ýp…
(C) a – 2, b – 1, c – 4, d – 3 (B) BÃæãàÖÜ
(D) a – 4, b – 3, c – 1, d – 2 (C) ±ÜPÜRvÜ
(D) ÓÜÌÃÜ
34. ÍÜ á Å£ ÓÜ ¨ æ ã àÈPÜ Ã … PÜ o RÃ… ¿ÞÊÜ ZÃÝ®Ü ¨ Ü
ÓÜíXàñÜPÝÃÜÃÜá BX¨ÝªÃæ ? 39. PÜ®ÝìoPÜ ÓÜíXàñܨÜÈÉ CÃÜáÊÜ £àÊÜÅ ÓÜÌÃÜWÜÙÜ ÓÜíTæÂ
(A) QÃÝOÝ ZÃÝ®Ü GÐÜár ?
(B) hæç±ÜâÃ… ZÃÝ®Ü (A) 7
(C) BWÜÅ ZÃÝ®Ü (B) 12
(D) ñÝ®æÕà®… ZÃÝ®Ü (C) 5
(D) 9
35. ÓÜíTæÂWÜÙÜ®Üá° ËË«Ü Ë«Ý®ÜWÜÙܮݰX ÓÜÄ¿Þ¨Ü
PÜÅÊÜá¨ÜÈÉ Ë»ÝXÓÜáÊÜ ±ÜÅQÅÁá¿á®Üá° H®æí¨Üá 40. ÊæáçÓÜãÃÜá ÓܨÝÎÊÜ ÃÝ¿áÃÜá ¿ÞÃÜ
PÜÃæ¿ááñݤÃæ ? BÓݧ®Ü¨ÜÈɨܪÃÜá ?
(A) PÝí¹®æàÍÜ®… (A) ÊÜááÊÜá¾w PÜêÐÜ¡ÃÝg Jvæ¿áÃ…
(B) ±æäŸݹÈq (B) ®ÝÆÌw PÜêÐÜ¡ÃÝg Jvæ¿áÃ…
(C) ±ÜÊÜááÂìpæàÍÜ®… (C) ÃÝg Jvæ¿áÃ…
(D) BÈjà¸ÝÅ (D) g¿áaÝÊÜáÃÝhæàí¨ÜÅ Jvæ¿áÃ…

36. ÓÜíXàñÜÊíæ ¨ÜÃæ XàñÜÊåÜ …, ÊݨÜÂÊÜå… ÊÜáñÜᤠ®ÜêñÂÜ ÊÜå… 41. ©à±Ü¤, PÜÃáÜ |, ÊÜáê¨Üá, ÊÜá«Ü ÊÜáñÜᤠ_________
Gí¨Üá ÊÝÂTÝ娆 ¯àw¨ÜÊÜÃÜá ¿ÞÃÜá ? ÍÜáÅ£¿á I¨Üá hÝ£WÜÙÝXÊæ.
(A) ±ÝÍÜÌì¨æàÊÜ (A) B¿áñÜ
(B) vÝ. GÊÜå…. ¸ÝÆÊÜááÃÜÚà PÜêÐÜ¡ (B) Ãè¨ÜÅ
(C) »ÜÃÜñÜ (C) ÍÝíñÜ
(D) ÊÜÞñÜíWÜ (D) ÖÝÓÜÂ
Paper II 10 K – 4020

33. Match the following : 37. Time theory is divided into _________
a. MARC 1. Copy, reprint, parts.
reproduce (A) six
b. Feedback 2. Statistical (B) seven
Mechanism analysis (C) four
c. Bibliometry 3. Machine (D) eight
readable
cataloguing 38. The way to identify a Raga immediately
is called
d. Reprography 4. SDI
(A) a – 2, b – 3, c – 4, d – 1 (A) Thaat
(B) a – 3, b – 4, c – 2, d – 1 (B) Aroha
(C) a – 2, b – 1, c – 4, d – 3 (C) Pakkada
(D) a – 4, b – 3, c – 1, d – 2 (D) Swara

34. Shruti Sadolikar Katkar is the 39. The number of thivra swaras in Karnatic
musician of music are
(A) Kirana Gharana (A) 7
(B) Jaipur Gharana (B) 12
(C) Agra Gharana (C) 5
(D) Tansen Gharana (D) 9

35. Process of splitting numbers into 40. Mysore Sadashiva Rao was in the court
different ways in proper order is called of
(A) Combination (A) Mummadi Krishnaraja Wodeyar
(B) Probability (B) Nalwadi Krishnaraja Wodeyar
(C) Permutation (C) Raja Wodeyar
(D) Algebra (D) Jayachamarajendra Wodeyar

36. The definition of music as geetam, 41. The 5 Jaatis of sruthis are Dipta, Karuna,
vadyam and nrutyam was given by Mrudu, Madhya and
(A) Parshvadeva (A) Ayata
(B) Dr. M. Balamurali Krishna (B) Roudra
(C) Bharata (C) Shanta
(D) Matanga (D) Hasya
K – 4020 11 Paper II

42. ÊÜÓÜíñÜ MáñÜáË®ÜÈÉ ÓÝÊÜÞ®ÜÂÊÝX ÖÝvÜáÊÜ ÃÝWÜ 46. ¹Ô¾ Ç ÝÉ TÝ®… ¿ÞÊÜ aÜ Æ ®Ü b ñÜ Å ¨Ý¨Ü  íñÜ
¿ÞÊÜâ¨Üá ? ÍÜÖÜ®Ý¿å… ®ÜáwԨܪÃÜá ?
(A) ®Üí¨Ü (A) ÃÜká®ÜPÜ ÃÜká®ÜPÜ ±Ý¿áÇ… ¸Ýhæ
(B) ®ÜÊÜÃÜíW…
(B) ŸÓÜíñ…
(C) WÜãíh… E£à Íܸݯà
(C) ÖÜËáàÃ…
(D) ¸æçgá ¸ÝÊÝÅ
(D) Pæà¨ÝÃ…
47. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ ÓÜñÝÂÓÜñÜÂñæ¿á®Üá° ¯«ÜìÄÔ :
43. ÓÜí±Üä|ì – LyÜÊÜ ÃÝWÜPæR Jí¨Üá E¨ÝÖÜÃÜOæ 1. ÊÝ¿å…È®…®Üá° Jí¨Üá PÜwxÀáí¨Ü
(A) ¹ÆÖÜÄ ¸ÝÄÓÜŸÖÜá¨Üá.
(B) Pæà¨ÝÃÜWèÙÜ 2. Jí¨Üá ÊÝ¿å…È®…®ÜÈÉÃÜáÊÜ ÓÜÄWæWÜÙÜ ÓÜíTæÂ
®ÝÆáR™.
(C) WÜÃÜávÜ«Ü̯
(A) 1 ñܱÜâ³ ÊÜáñÜᤠ2 ÓÜÄ
(D) PÜÇÝÂ| ÊÜÓÜíñÜ (B) 1 ñܱÜâ³ ÊÜáñÜᤠ2 ñܱÜâ³
(C) 1 ÓÜÄ ÊÜáñÜᤠ2 ñܱÜâ³
44. ÓÜíXàñܨÈ
Ü É CÇæQóP… E±ÜPÃÜ |
Ü ÖÝWÜã CÇæPÝó¯P…
(D) 1 ÓÜÄ ÊÜáñÜᤠ2 ÓÜÄ
E±Ü P Ü Ã Ü | WÜ Ù Ü ® Ü á ° ŸÙÜ Ó Ü Æ á ÊÜ á áS PÝÃÜ |
¿ÞÊÜâ¨Üá ? 48. SívÜ hÝ£ «ÜáÅÊÜ ñÝÙÜ __________ WÜÙÜ®Üá°
(A) hÝWÜ£PÜÊÝX ˨ÜáÂñ… ÍÜQ¤¿á Æ»ÜÂñæ Öæãí©ÃÜáñܤ¨æ.
(A) 18 QÅÁáWÜÙÜá
(B) D E±ÜPÜÃÜ|WÜÙÜ®Üá° ŸÙÜÓÜáÊÜâ¨Üá
(B) 17 QÅÁáWÜÙÜá
¶ÝÂÍÜ®æàŸÇ… ÖÝWÜã B«Üá¯PÜÊÝX¨æ
(C) 25 QÅÁáWÜÙÜá
(C) WÜ á |ÊÜ á or ¨ Ü APèÔr P … E±Ü P Ü Ã Ü | WÜ Ù Ü á (D) 20 QÅÁáWÜÙÜá
ÓÜáÆ»ÜÊÝX ƼÓÜáÊÜâ©ÆÉ
(D) ÓÜáƻܩí¨Ü Bí²ÉµPæàÍÜ®…, «Ü̯ÊÜáá¨ÜÅ| 49. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ÓÜÊÜáÊÜÆɨܪ®Üá° WÜáÃÜá£Ô.
ÊÜáñÜᤠwipæçÓæàÍÜ®…WÜÙÜÈÉ ŸÙÜPæ (A) ÊÜ|ìÊÜå…
(B) PÜê£
45. ÍÜíPÜÃÝ»ÜÃÜ|¨ÜÈÉ WÜêÖÜ»æà¨Ü¨Ü ŸÙÜPæ¿áá 5 (C) £ÇÝÉ®Ü
ŸêÖÜñ… ÃÝWÜWÜÙÜ®Üá° ¯àvÜáñܤ¨æ (D) BÇݱܮÜ
(A) QàÃÜ Ê Ý~, PÝíñÜ Ê Ü á ~, PÜ ® Ü P ÝíX, 50. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ :
WÜ|ÊÜáã£ì, MáÐܻܲſá a. ÊÜá¨ÜªÆÊÜå… 1. »ÜÃÜñÜ®ÝoÂÊÜå…
(B) SÃÜÖÜÃܲſá, ÖÜ®ÜáÊÜá ñæãàw, PÜÇÝÂ~, b. CvÜPÜR 2. PÜ¥ÜPÜRÚ
ÖÜÄPÝí»æãài, ®Üo»æçÃÜË c. ÊÜáê¨ÜíWÜÊÜå… 3. ÓÜ£÷à¿á
(C) QàÃÜ Ê Ý~, SÃÜ Ö Ü Ã Ü ² Å¿á, Pæ ã àÓÜ Æ , d. TæãàÇ… 4. Êæãàׯ¿áorÊÜå…
ÃÜñÝ°íX, Pݲ (A) a – 1, b – 2, c – 4, d – 3
(B) a – 2, b – 1, c – 3, d – 4
(D) ÖÜ ® Ü á ÊÜ á ñæ ã àw, Êæ ã àÖÜ ® Ü , ¹ÆÖÜ Ä ,
(C) a – 3, b – 2, c – 4, d – 1
PÝÊÜáÊܘì¯, ÊÜÞ¿ÞÊÜÞÙÜÊÜ WèÙÜ
(D) a – 2, b – 4, c – 1, d – 3
Paper II 12 K – 4020

42. A raga usually sung/played during spring 46. Bismilla Khan played Shahanai during
season the entire film
(A) Nand (A) Jhanaka Jhanaka Payal Baje
(B) Basant (B) Navarang
(C) Hameer (C) Gunj Uthi Shabani
(D) Kedar (D) Baiju Bavra

43. An example of a sampoorna – audava 47. Evaluate the following statements.
raga is 1. Violin can be played with a stick.
(A) Bilahari 2. The number of strings on a violin is
(B) Kedaragowla always 4.
(A) 1 is false and 2 is true
(C) Garudadhwani
(B) 1 is false and 2 is false
(D) Kalyana Vasantha
(C) 1 is true and 2 is false
44. The main reason for the usage of electric (D) 1 is true and 2 is true
and electronic equipment in music is
48. Khanda Jati Dhruva Taala consists of
(A) Universal availability of electricity
(A) 18 kriyas
(B) It is fashionable and modern to use
(B) 17 kriyas
these equipments
(C) 25 kriyas
(C) Quality acoustic instruments are not
(D) 20 kriyas
easily available
(D) Ease of amplification, use in 49. Choose the odd one out.
recording and digitisation (A) Varnam
(B) Kriti
45. Grahabedha is applied on
(C) Tillana
Shankarabharana, it yields 5 other
(D) Alapana
major ragas
(A) Keeravani, Kanthamani, Kanakangi, 50. Match the following :
Ganamurthi, Rishabha Priya a. Maddalam 1. Bharatanatyam
(B) Kharaharapriya, Hanuma Todi, b. Idakka 2. Kathakali
Kalyani, Harikambhoji, Nata c. Mridangam 3. Sattriya
Bhairavi d. Khol 4. Mohiniyattam
(C) Keeravani, Kharaharapriya, Kosala, (A) a – 1, b – 2, c – 4, d – 3
Ratnangi, Kaapi (B) a – 2, b – 1, c – 3, d – 4
(D) Hanuma Todi, Mohana, Bilahari, (C) a – 3, b – 2, c – 4, d – 1
Kamavardhini, Mayamalava Gowla (D) a – 2, b – 4, c – 1, d – 3
K – 4020 13 Paper II

51. Jí¨Ü á ÓÜ Ì ÃÜ ¨ Ü Êæ á à騆 AƳ ËÃÝÊÜ á ÊÜ ® Ü á ° 57. ÃÜÔPܲſá¨Ü PÜo±Ü¿Þw ÓÜíTæÂ
__________ Gí¨Üá PÜÃæ¿ááñݤÃæ. (A) 27
(A) ±ÜíaÜÊÜá
(B) 74
(B) ËÊÝ©
(C) A±Ü®ÝÂÓÜ (C) 72
(D) £Ãæãà»ÝÊÜ (D) 47

52. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ÓÜÊÜáÊÜÆɨܪ®Üá° WÜáÃÜá£Ô. 58. ×í¨Ü ã Óݧ ¯ ¿áÈÉ Ã Ü á ÊÜ ÃÜ ã ±Ü P Ü ñ ÝÙÜ ¨ Ü Jí¨Ü á
(A) 7 ñÝÙÜWÜÙÜá
BÊÜñÜì®Ü¨ÜÈÉ GÐÜár G~PæWÜÚÃÜáñܤÊæ ?
(B) 35 ñÝÙÜWÜÙÜá
(C) 175 ñÝÙÜWÜÙÜá (A) 6
(D) 108 ñÝÙÜWÜÙÜá (B) 7
(C) 3
53. ÊÜáê¨ÜíWÜ¨Ü GÃÜvÜã Ÿ©WÜÚWæ GÐÜár ±Ü¨ÜÃÜWÜÙÜÈÉ
aÜÊÜáìÊÜ®Üá° PÜqrÃÜáñݤÃæ ? (D) 9
(A) GvÜ -3, ŸÆ -3
(B) GvÜ -1, ŸÆ -2 59. wíwÊÜáÊÜâ ±ÜÅÓÜá¤ñÜ ©®Ü¨ÜÈÉ _________ BX¨æ.
(C) GvÜ -2, ŸÆ -4 (A) ÊÜáê¨ÜíWÜ
(D) GvÜ -2, ŸÆ -3 (B) WæàñÜá
54. ËÊÝ© ÃÝWÜÊÜ®Üá° BÁáR ÊÜÞw : (C) væãàÈR
(A) ÐÜ|á¾S²Å¿á (D) ñÜËÇ…
(B) PæãàQƲſá
(C) SÃÜÖÜÃܲſá 60. ÍÜá¨Üœ ÊÜáñÜᤠ£àÊÜÅ ÊÜá«ÜÂÊÜáWÜÙÜ®Üá° _________
(D) »ÝÊܲſá ÃÝWܨÜÈÉ ŸÙÜÓÜÇÝWÜáñܤ¨æ.
55. ±Ü¨Ü¾»ÜãÐÜ|©í¨Ü AÆíPÜêñÜÃÝ¨Ü (A) ±ÜäËì
PÜ®ÝìoPܨÜÊÜÃÜá (B) ¿áÊÜá®…
(A) ÓæÊÜá¾íWÜáw ÎÅà¯ÊÝÓ… I¿áÂÃ… (C) ÓæãÖܯ
(B) BÃ….Pæ. ÎÅàPÝíñÜ®…
(D) ÊÜÞÊÜì
(C) GÊÜå…. ¸ÝÆÊÜááÃÜÚàPÜêÐÜ¡
(D) ®ævÜá®ÜáÄ PÜêÐÜ¡ÊÜáã£ì 61. £à®… ñÝÙÜÊÜâ PÜ®ÝìoP… ÊÜÂÊÜÓ槿á _________ Wæ
56. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊݨܨܪ®Üá° WÜáÃÜá£Ô. ÓÜÊÜÞ®ÜÊÝX¨æ.
(A) «ÜáÅÊÜ ñÝÙÜ (A) B©ñÝÙÜ (2 PÝÇæç)
(B) ÊÜáñÜ ñÝÙÜ (B) ËáÍÜÅ aݱÜâ ñÝÙÜ
(C) HPÜ ñÝÙÜ
(C) SívÜ £Å±Üâo ñÝÙÜ
(D) aÜaÜñÜá³o ñÝÙÜ
(D) ÃÜã±ÜPÜ ñÝÙÜ
Paper II 14 K – 4020

51. Short halt on a note is called 57. Katapayadi Sankhya of Rasikapriya
(A) Panchama (A) 27
(B) Vivadi
(B) 74
(C) Apanyasa
(C) 72
(D) Tirobhava
(D) 47
52. Choose the odd one out.
(A) 7 talas 58. Rupak tala in Hindustani has how many
(B) 35 talas counts per cycle ?
(C) 175 talas (A) 6
(D) 108 talas
(B) 7
53. How many layers of skin are tied on (C) 3
either side of the Mridanga ? (D) 9
(A) Left-3, Right-3
(B) Left-1, Right-2 59. Dindima is our present day
(C) Left-2, Right-4 (A) Mridanga
(D) Left-2, Right-3
(B) Gethu
54. Choose the Vivadi raga. (C) Dholki
(A) Shanmukhapriya (D) Tavil
(B) Kokilapriya
(C) Kharaharapriya 60. Shuddha and Teevra madhyama is used
(D) Bhavapriya in the raga
55. _________ is a padmabhushana awardee (A) Poorvi
from Karnataka. (B) Yaman
(A) Semmangudi Srinivasa Iyer (C) Sohani
(B) R.K. Srikanthan
(D) Marwa
(C) M. Balamuralikrishna
(D) Nedunuri Krishnamurthy 61. Teen taal is equivalent to the following
56. Pick the odd one out. taala in Karnatak system.
(A) Dhruva tala (A) Aditala (2 KaLai)
(B) Matya tala (B) Misra Chaapu Tala
(C) Eka tala (C) Khanda Triputa Tala
(D) Chachatputa tala
(D) Rupaka Tala
K – 4020 15 Paper II

62. ÊÜ á ê¨Ü í WÜ , ñÜ Ÿ Æ, Tæ ã àÇ… ÊÜ á áíñÝ¨Ü 67. »ÝñÜVívæ ÓÜÌÃÜ È² ÊÜÂÊÜÓ槿áÈÉ PæãàÊÜáÆ ÓÜÌÃܨÜ
ÊݨæãÂà±ÜPÜÃÜ|WÜÙÜÈÉ ËÎÐÜrÊÝX ŸÙÜPæ¿ÞWÜáÊÜ bÖæ° ¿ÞÊÜâ¨Üá ?
“PܱÜâ³ ±Üqr”¿áá H®Ü®Üá° EÇæÉàUÓÜáñܤ¨æ ? (A) –
(A) ÊÜáãdÜì®Ü (B) .
(B) ±ÜâÐÜRÃÜ (C) |
(C) ÊÜÞgì®Ü (D) X
(D) ÓÝÆWÜ ÓÜãvÜ
68. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊݨܨܪ®Üá° WÜáÃÜá£Ô.
63. PæÙÜX®ÜÊÜâWÜÙÜÈÉ AÓÜÊÜáÊݨܨܪ®Üá° WÜáÃÜá£Ô. (A) XpÝÃ…
(A) ¸æãÅàÊܱÜÃÝÊÜá (B) PÝÉÄ®æp…
(B) ŸíoáÄ࣠(C) ©ÆáÅŸ
(C) £Ú¿áÇæàÃÜá (D) ÊÜÞÂívæãÈ®…
(D) ÊÜá®ÜÓÜá ¯Æ³
69. PÜ®ÝìoPÜ ñÝÙÜÊݨÜ HPÜÊÜÂQ¤¿áÈÉ ŸÙÜPæ¿ÞWÜáÊÜ
64. ÓÜáÙÝ© Gí¨ÜÃæ ‘±ÜÃÜ®…’±Ü¨ÜÊÜâ H®Ü®Üá° ÓÜãbÓÜáñܤ¨æ ?
(A) ±Üâ®ÜÃÝÊÜ£ìÓÜáÊÜ (A) ÊæãàÃÜ ÊÜááíbñÜÊÝ¨Ü ÃæãàÈíW… Ë®ÝÂÓÜWÙÜ áÜ
(B) ÓÝí±ÜŨÝÀáPÜ (B) PÜꣿáÈÉ ®ÜáwÓÜƳvÜáÊÜ Aí£ÊÜá ®Ý¨ÜWÜÙÜá
(C) B«Üá¯PÜ (C) £àÊÜÅ pæí±æä
(D) ñÝÙÜ (D) ÊæãoPÝ¨Ü ÊÜááPݤ¿á

65. ____________ E±ÜPÜÃÜ|ÊÜ®Üá° ±ÜÄÊÜ£ìÔ 70. ÃÜkáÈÉ A¥ÜÊÝ ÃÜkáÆÉÄ¿á®Üá° Cí¨Üá _________
SíiÃÜ Ê Ü ® Ý° X st Öæ W Ü Y Ú Pæ ±Ü â ¨Ü á Pæ ã Rpæ r $ ç Gí¨Üá PÜÃæ¿ááñݤÃæ.
ÊÜá®Üá³íw¿á ²ÇæÉ$ç AÊÜÃܨݪX¨æ. (A) Ôí¸ÝÇ…WÜÙÜá
(A) ÊæãàÔìíW… (B) SíiàÃÜ
(B) yæãàÆP… (C) WæãoárÊݨÜÂ
(C) væ±… (D) ÊæãàÔìíW…
(D) ñÜŸÆ
71. ñæÊÜá¾íWÜá ¿ÞÊÜ ÃÝg嬆 hÝ®Ü±Ü¨Ü ÓÜíXàñܨÜ
66. ÓÜíXàñ… ¸æãà«… ŸÃæ¨ÜÊÜÃÜá ¿ÞÃÜá ? ÃÜã±ÜÊÝX¨æ ?
(A) ÍÜÃÜaÜí¨ÜÅ ±ÜÃÜíg±æ (A) Bí«ÜÅ ±ÜŨæàÍÜ
(B) Ë. BÃ…. ±ÜoÊÜ«Üì®… (B) ñÜËáÙÜá ®ÝvÜá
(C) AÖæãàŸÇ… (C) PÜ®ÝìoPÜ
(D) ®ÝÃܨ… (D) ÊÜáÖÝÃÝÐÜó

Paper II 16 K – 4020

62. The characteristic “Black Patch” used in 67. Under Bhatkhande swara lipi system
instruments like Mridanga, Tabla, Khol symbol for komala swara is
etc. are referred to as (A) –
(A) Moorchana (B) .
(B) Pushkara (C) |
(C) Maarjana
(D) X
(D) Saalaga Sooda
68. Choose the odd one.
63. Choose the odd one.
(A) Guitar
(A) Brovaparama
(B) Clarinet
(B) Banturithi
(C) Dilruba
(C) Teliyaleru
(D) Mandolin
(D) Manasu nilpa
69. ‘Paran’ is a term used in Karnatak
64. Suladi means
percussion solo to refer to
(A) Repetitive
(A) Rolling patterns before mora
(B) Traditional
(C) Modern (B) Ending strokes played for a kriti

(D) Tala (C) Fast tempo
(D) Short ending
65. Pudukkottai Manpundia Pillai is credited
to have modified _______ instrument 70. Jhalli or Jhallari is now known as
and made it into Khanjira. (A) Cymbals
(A) Morsing (B) Khanjira
(B) Dholak (C) Gottuvadya
(C) Dep (D) Morsing
(D) Tabla
71. Temmangu is a folk musical form in the
66. Sangeet bodh was authored by state of
(A) Sharachandra Paranjape (A) Andhra Pradesh
(B) V. R. Patawardhan
(B) Tamil Nadu
(C) Ahobal
(C) Karnataka
(D) Narad
(D) Maharashtra
K – 4020 17 Paper II

72. ¸ÝÆíñÝűÜâ ÃÜg¯àPÝíñÜ ÃÝÊ… ¿ÞÊÜâ¨Ü®Üá° 76. MáÑ ÓÝÌ£¿áÊÜ Ã Ü ÊÜ Þ WÜ ì ¨Ü Í Ü ì ®Ü ¨ Ü ® Ü á ÓÝÃÜ
ÓÜíPÜÆ®Ü ÊÜÞw¨ÝªÃæ ? ‘±ÜâÐÜRÃÜ’ ÊÜ®Üá° ÃÜã±ÜâWæãÚst ¨æàÊÜÇæãàPܨÜ
ÊÝÓÜá¤Îȳ ¿ÞÃÜá ?
(A) gÊÜÚWÜÙÜá
(A) ËÍÝÌËáñÜÅ
(B) PÜ®ÜPܨÝÓÜÃÜ QàñÜì®æWÜÙÜá
(B) PæãàÖÜÆ
(C) PæÒàñÜſᠱܨÜWÜÙÜá (C) ËÍÜÌPÜÊÜáì
(D) ÓÝÃÜíWܱÝ~ ±Ü¨ÜWÜÙÜá (D) »ÜÃÜñÜ

73. ¨ÝÃæãài HÃÜÊÜá¾ ¿ÞÊÜâ¨ÜPæR ±ÜÅԨܜ ? 77. ÊÜáU ÖÜê¨Ü¿áÊÜå…, D »ÝÐÜÂÊÜ®Üá° ¿ÞÃÜ PÜꣿá
ÊæáàÇæ ŸÃæ¿áÇÝX¨æ ?
(A) ÇÝÊÜ~
(A) ÊæíPÜo ÊÜáU
(B) ŸáÃÜÅPÜ¥Ý
(B) ÎÅàPÝíñÜ ÊÜáU
(C) PæãàÃÜÊÝ~ (C) WæãàËí¨Ü ÊÜáU
(D) ÖÝÆQR (D) ÓÜÃÜÔg ÊÜáU

74. »ÝÃÜ£à¿á ÓÜíXàñ… PÝ C£ÖÝÓ… ÇæàSPÜ ¿ÞÃÜá ? 78. ¨Ü á Å±Ü ¨ Ü , C¨Ü Ã Ü Aí£ÊÜ á »ÝWÜ Ê Ü ® Ü á ° H®æ í ¨Ü á
(A) BaÝ¿áì ŸêÖÜÓܳ£
PÜÃæ¿ááñݤÃæ ?
(A) ÓݧÀá
(B) BÃ…. Ô. ÊæáÖݤ
(B) dÜpÝÌíW…
(C) ±ÜÅ©à±… PÜáÊÜÞÃ… ©àQÒñ… (C) A»æãàW…
(D) sÝPÜãÃ… hæç¨æàÊ… Ôí[… (D) AíñÜÃÜ

75. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : 79. ÆWÝ®… WÝí«ÝÃ…®Üá° BËÐÜRÄÔ¨ÜÊÃ
Ü áÜ ¿ÞÃÜá ?
a. ŸíoáÄ࣠PæãàÆá 1. ÓÜÊÜá (A) ÊÜáÈÉPÝgáì®Ü ÊÜá®ÜãÕÃ…
(B) PÜáÊÜÞÃÜ WÜí«ÜÊÜì
b. ÊæãàPÜÒÊÜáá WÜÆ¨Ü 2. A£àñÜ
(C) ÃÝÊÜÞÍÜÅ¿á ÃÜkÞ
c. ÓÜÃæãàg ¨ÜÙÜ ®æà£Å 3. A®ÜWÜñÜ
(D) ±Üíwñ… gÓ…ÃÝh…
d. aævæ Ÿá©œ ÊÜá®ÜáÃÜ 4. ÊÜá«Ý©
80. ±ÝÅbà®Ü ñÜËáÙ… ±Ü®…&±ÜÇæç ÊÜÂÊÜÓ槿áá
(A) a – 3, b – 4, c – 1, d – 2
(A) ÃÝWÜ ÊÜÂÊÜÓæ§
(B) a – 2, b – 3, c – 4, d – 1
(B) ñÝÙÜ ÊÜÂÊÜÓæ§
(C) a – 4, b – 2, c – 1, d – 3 (C) XàñÜ ÊÜÂÊÜÓæ§
(D) a – 3, b – 1, c – 4, d – 2 (D) ÊݨÜ ÊÜÂÊÜÓæ§

Paper II 18 K – 4020

72. Balantrapu Rajanikantha Rao has 76. He was the celestial architect who
compiled designed the ‘Pushkara’ as per the
(A) Javalis instructions of Sage Svati.
(B) Kanakadasa Keerthanas (A) Viswamitra
(C) Kshetrayya Padams (B) Kohala
(D) Sarangapani Padams (C) Vishwakarma
(D) Bharata
73. Daroji Eramma is famous for
(A) Lawani 77. Makhi Hrudayam, a commentary was
(B) Burrakatha written on the text of
(C) Korawani (A) Venkata makhi
(D) Halakki (B) Srikantha Makhi
(C) Govinda Makhi
74. Author of Bharatiya Sangeet Ka Itihas
(D) Sarasija Makhi
(A) Acharya Brahaspati
(B) R. C. Mehta 78. Terminal part of Drupad is known as
(C) Pradeep Kumar Dixit (A) Sthayi
(D) Thakur Jaidev Singh (B) Chatwang
(C) Abhog
75. Match the following :
(D) Antara
a. Bantureeti kolu 1. Sama
b. Mokshamu 2. Ateeta 79. Lagan gandhar invented by
Galada (A) Mallikarjun Mansur
c. Saroja Dala 3. Anagata (B) Kumar Gandharva
Netri (C) Ramashraya Jha
d. Chede Buddhi 4. Madhyadi (D) Pt. Jas Raj
Manura
80. Ancient Tamil Pan-palai system is
(A) a – 3, b – 4, c – 1, d – 2
(A) Raga system
(B) a – 2, b – 3, c – 4, d – 1
(B) Tala system
(C) a – 4, b – 2, c – 1, d – 3
(C) Geetha system
(D) a – 3, b – 1, c – 4, d – 2
(D) Vadya system
K – 4020 19 Paper II

81. PæÙÜX®Ü ÊÝPÜÂWÜÙÜ®Üá° WÜÊÜá¯Ô : 85. PÜ®ÝìoPÜ ÓÜíXàñܨÜÈÉ __________ aݱÜâ
ÊÝPÜ (A) : Êæãàׯ¿áorÊÜå… ®ÜêñÜÂÍæçÈ¿áá ñÝÙÜWÜÚÊæ.
Êæãàw ÊÜÞvÜáÊÜÊÜÙÜ ®ÜêñÜÂÊÝX¨Ü᪠C¨ÜÃÜ ÊÜáãÆ (A) 4 (B) 7
PæàÃÜÙÜ. (C) 3 (D) 16
ÊÝPÜ (R) : ÊÜáÖÝÃÝg ÓÝÌ£ £ÃÜá®ÝÙ…ÃÜÊÜÃÜá
Ðæ ã àÐÜ P Ü ÊÜ á ñÜ á ¤ ÓÜ í ÁãàgPÜ Ã ÝX ¯àw¨Ü 86. ¸ÝÙܱܳ ÖÜáPæRàÄ GÈÉ¿á ±ÜÅԨܜÊÝ¨Ü hݮܱܨÜ
PæãvÜáWæWÜÚí¨ÝX D ÍæçÈ¿áá ±ÜÅÔ©œ¿á®Üá° ÖÝvÜáWÝÃÜÃÝX¨ÝªÃæ ?
±Üv橨æ.
(A) ŸíWÝÆ
(A) ÊÝPÜ A ÊÜáñÜᤠR ÓÜÄ¿ÞX¨æ ÊÜáñÜᤠR
(B) PÜ®ÝìoPÜ
ÊÝPÜÂÊÜâ A ÊÝPÜ嬆 ËÊÜÃÜOæ¿ÞX¨æ
(C) ñÜËáÙÜá®ÝvÜá
(B) ÊÝPÜ A ÊÜáñÜᤠR ÓÜÄ¿ÞX¨æ B¨ÜÃæ ÊÝPÜ A
(D) Bí«ÜÅ
PÜáÄñÜá ÊÝPÜ R ¯àw¨Ü ËÊÜÃÜOæ ñܱÜâ³
(C) ÊÝPÜ A ÓÜÄ ÊÜáñÜᤠÊÝPÜ R ñܱÜâ³ 87. ÍÝÂÊÜÞ ÍÝÔ÷¿áÊÜÃÜ ÓÜÌÃÜ hÝ£WÜÙÜá ¿ÞÊÜ
(D) ÊÝPÜ A ñܱÜâ³ B¨ÜÃæ ÊÝPÜ R ÓÜÄ ÃÝWÜWÜÙÜÈÉÊæ ?
(A) »æçÃÜË, ñæãàw, ¿á¨ÜáPÜáÆ PÝí»æãài
82. Xàñæ¿á GÃÜvÜá ÊæçË«ÜÂñæWÜÙÜá ¿ÞÊÜâ¨Üá ?
(A) »ÜWÜÊÜ©Yàñæ ÊÜáñÜᤠAÐÜrÊÜPÜÅ Xàñæ (B) »æçÃÜË, PÝí»æãài, ñæãàw
(B) ÓÜíaÝÄ Xàñæ ÊÜáñÜᤠÆPÜÒ| Xàñæ (C) ñæãàw, ÍÜíPÜÃÝ»ÜÃÜ|, ®Ýo
(C) »ÝÊÜ Xàñæ ÊÜáñÜᤠhÝ®Ü±Ü¨Ü Xàñæ (D) PÜÇÝÂ~, B®Üí¨Ü»æçÃÜË, ÓèÃÝÐÜó
(D) ®ÝÃÜ¨Ü Xàñæ ÊÜáñÜᤠ»ÝÃÜñÜ Xàñæ
88. ÓÜíXàñÜÊâÜ ¿ÞÊÜ ÆÈñÜ PÜÇW
æ ÙÜ Ü ÓÜËá¾ÍÅÜ |ÊÝX¨æ ?
83. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : (A) WÝ¿á®Ü, ÊݨÜÂ, ®ÝoÂ
a. ÃækãàÊÜáÅ ñÝÙÜ 1. 16 ÊÜÞñÝÅWÜÙÜá (B) ®ÝoÂ, bñÜÅPÜÇæ, ÎƳPÜÇæ
b. TæàÊÜár ñÝÙÜ 2. 15 ÊÜÞñÝÅWÜÙÜá (C) ÊÜÞÎì¿áÇ… Bp…Õì, ®ÝoÂ, WÝ¿á®Ü
c. gp… ñÝÙÜ 3. 12 ÊÜÞñÝÅWÜÙÜá (D) WÝ¿á®Ü, ÊݨÜÂ, Êæà¨Ü
d. ÓÝÊÜÄ ñÝÙÜ 4. 14 ÊÜÞñÝÅWÜÙÜá
(A) a – 1, b – 4, c – 2, d – 3 89. ÊÜáê¨ÜíWÜ¨Ü ²ñÝÊÜáÖÜ ¿ÞÃÜá ?
(B) a – 2, b – 1, c – 3, d – 4 (A) ¨ÝÓ… ÓÝÌËáWÜÇ…
(C) a – 4, b – 3, c – 1, d – 2 (B) ®ÝÃÝ¿á|ÓÝÌËá A±Ü³
(D) a – 3, b – 2, c – 4, d – 1 (C) AÙÜWÜ®Üí¹¿á ²ÇæÉ$ç
(D) ±ÝÇÝ^p… ÊÜá~ I¿áÂÃ…
84. ÓÜíaÝÃܨÜÈÉ ±ÝÅÃÜí¼PÜ ÓÜÌÃÜ ÊÜáñÜᤠPæã®æ¿á
ÓÜ Ì Ã Ü W Ü Ù Ü á Jí¨æ à BX¨Ü ª à æ A¨Ü ® Ü á ° H®æ í ¨Ü á 90. ®æÃÜÊÜÇ… ¿ÞÊÜâ¨ÜÃÜ ËÓܤÃÜOæ¿ÞX¨æ ?
PÜÃæ¿ááñݤÃæ ? (A) ÓÜÌÃÜ Ë®ÝÂÓÜ
(A) AíÓÜ ÓÜÌÃÜ
(B) ÓÝ×ñÜ ˮÝÂÓÜ
(B) ÓݧÀá ÓÜÌÃÜ
(C) Æ¿á Ë®ÝÂÓÜ
(C) ®ÝÂÓÜ ÓÜÌÃÜ
(D) WÜÅÖÜ ÓÜÌÃÜ (D) AÆíPÝÃÜ Ë®ÝÂÓÜ

Paper II 20 K – 4020

81. Consider the following statements : 85. Karnatak music has ________ chaapu
Statement (A) : Mohiniyattam is the talas.
dance of the enchantress and originates (A) 4 (B) 7
from Kerala. (C) 3 (D) 16
Statement (R) : Maharaja Swathi
Thirunal’s contribution as patron and 86. Balappa Hukkeri is a famous folk singer of
composer has popularised the style. (A) Bengal
(A) Both A and R are true and R is the (B) Karnataka
explanation of A (C) Tamil Nadu
(B) Both A and R are true but R is not (D) Andhra
the correct explanation of A
87. Swarajathis of Shyama shastry are in
(C) A is true and R is false
these ragas.
(D) A is false but R is true (A) Bhairavi, Todi, Yadukula
82. Geetha has two varieties Kambhoji
(B) Bhairavi, Kambhoji, Todi
(A) Bhagavad Geetha, Astavakra geetha
(C) Todi, Shankarabharana, Nata
(B) Sanchari Geetha, Lakshana geetha
(D) Kalyani, Anandabhairavi,
(C) Bhava Geetha, Janapada Geetha
Sourastra
(D) Narada Geetha, Bharata Geetha
88. Music is the combination of these fine
83. Match the following : arts
a. Jhomra tala 1. 16 matras (A) Vocal, Instrumental, Dance
b. Khemta tala 2. 15 matras (B) Dance, Painting, Sculpture
c. Jat tala 3. 12 matras (C) Martial arts, Dance, Vocal
d. Sawari tala 4. 14 matras (D) Vocal, Instrumental, Veda
(A) a – 1, b – 4, c – 2, d – 3
89. The father of Mridangam is
(B) a – 2, b – 1, c – 3, d – 4
(A) Das Swamigal
(C) a – 4, b – 3, c – 1, d – 2
(B) Narayanaswamy Appa
(D) a – 3, b – 2, c – 4, d – 1
(C) Azaganambia Pillai
84. In a sanchara, if the starting and ending (D) Palghat Mani Iyer
swaras are the same, it is known as
90. Neraval is an elaboration of
(A) Amsa swara
(A) Swara Vinyasa
(B) Sthayi swara
(B) Sahitya Vinyasa
(C) Nyasa swara (C) Laya Vinyasa
(D) Graha swara (D) Alankara Vinyasa

K – 4020 21 Paper II

91. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° ÓÜÄ¿ÞX hæãàwÔ : 95. XàñÜ WÝ¿á®Ü¨È
Ü É ÆPÜÒ|¨Ü ÊÜáãÆÊÜÂQ¤ ¿ÞÃÜá ?
a. ÐÜvÜj 1. PÝPÜÈ ¯ÐÜ¨Ü (A) ñÝ®æÕà®…
b. ÓÝ«ÝÃÜ| 2. aÜñÜáÍÜáÅ£ ¨æçÊÜñÜ (B) ±Üíwñ… Ë. G®…. »ÝñÜVívæ
(C) vÝ. ±ÜÆáÓÜRÃ…
WÝí«ÝÃÜ
(D) ÊÜÞñÜíWÜ
c. AíñÜÃÜ 3. ÍÜá¨Üœ ÊÜÞ«ÜÂÊÜá
WÝí«ÝÃÜ 96. ÓÜÌÃÜ Gí¨ÜÃæ
d. ±ÜÅ£ ÊÜÞ«ÜÂÊÜá 4. ÍÜá¨Üœ ¨æçÊÜñÜ (A) HÙÜá ñÝÙÜWÜÙÜ Æ¿á
(A) a – 4, b – 2, c – 3, d – 1 (B) ÓÜíXàñÜ¨Ü ÓÜÌÃÜ
(C) WÝ¿á®Ü ÍæçÈ
(B) a – 1, b – 3, c – 4, d – 2
(D) ÊÜá®ÜÔÕ®Ü PÜƳ®æ
(C) a – 3, b – 4, c – 2, d – 1
(D) a – 4, b – 3, c – 1, d – 2 97. ®ÜÊÜÓÜí˜ ñÝÙÜWÜÙÜá
(A) ÖÜ Ä PÜ ¥ æ ±Ü Å ¨Ü Í Ü ì ®Ü ¨ Ü Êæ à Ùæ 9 ¸ÝÄ
92. ±ÜÅŸí«Ü¨Ü AíWÜWÜÙÜá ¿ÞÊÜâÊÜâ ? ®ÜáwÓÜƳvÜáÊÜí¥Ü¨Üáª
(A) ÊæáƱÝPÜ, E¨ÜY†ÖÜ, «ÜáÅÊÜ, A»æãàWÜ (B) ®ÜÊÃ Ü Ý£Å PÝƨÜÈÉ ®ÜáwÓÜƳváÜ ÊÜ 9 ñÝÙÜWÙÜ Ü
ÓÜÊÜáãÖÜ
(B) QÅ¿á, PÜÆ, ÊÜÞWÜì, AíWÜ, ±ÜÅñÜÂíWÜ
(C) ¿áPÜ Ò W Ý®Ü ¨ Ü È É ŸÙÜ P æ ¿ ÞWÜ á ÊÜ ñÝÙÜ W Ü Ù Ü
(C) ±ÜÆÉË, A®Üá±ÜÆÉË, aÜÃÜ| ÓÜÊÜáãÖÜ
(D) bñæ¤àÍÜÌÃÜ, GoárWÜvæàÍÜÌÃÜ (D) ±Ü Å £Áãí¨Ü á ©QR W ÝX ¨æ à ÊÜ Ó Ý§ ® Ü W Ü Ù Ü È É
E±ÜÁãàXÓÜƳvÜáÊÜ ñÝÙÜWÜÙÜ ÓÜÊÜáãÖÜ
93. Pæ Ù Ü X ®Ü hæ ã àw¿áÈÉ AÓÜ Ê Ü á ÊÝ¨Ü ¨ Ü ª ®Ü á °
WÜáÃÜá£Ô. 98. ÓÜíXàñÜ ÓÜí±ÜÅ¨Ý¿á ±ÜŨÜÎ쯿á®Üá° ¿ÞÊÜ
CÓÜË¿áÈÉ ±ÜÅPÜqÓÜÇÝXñÜᤠ?
(A) BË»ÝìÊÜ & £Ãæãà»ÝÊÜ
(A) 1908 (B) 1904
(B) AƳñÜÌ & ŸÖÜáñÜÌ (C) 1909 (D) 1910
(C) ÊÝ© & ÓÜíÊÝ©
99. ÃÝWÜ ¨ Ü È ÉÃÜ á ÊÜ ÊÜ á áS ÓÜ Ì Ã Ü Ê Ü ® Ü á ° H®æ í ¨Ü á
(D) AÊÜÃæãàÖÜ & ±ÜPÜRvÜ
PÜÃæ¿ááñݤÃæ ?
94. Jí¨Üá ÃÝWܨÜÈÉÃÜáÊÜ HPÜ ±ÜÅPÝÃÜ¨Ü ÓÜÌÃÜÊÜ®Üá° (A) ÓÜíÊÝ© (B) AíÍÜ
H®æí¨Üá PÜÃæ¿ááñݤÃæ ? (C) A®ÜáÊÝ© (D) ËÊÝ©

(A) AaÜÆ ÓÜÌÃÜ 100. ¨ÜáűܨܨÜÈÉ Wæ㟨Ýì¯ ÍæçÈ¿áá ¿ÞÊÜâ¨Ü®Üá°
(B) PæãàÊÜáÆ ÓÜÌÃÜ A®ÜáÓÜÄÓÜáñܤ¨æ ?
(C) ÍÜá¨Üœ ÓÜÌÃÜ (A) ¸æçh…° (B) ÃÝÊÜÞªÓ…
(D) £àÊÜÅ ÓÜÌÃÜ (C) ñÝ®æÕà®… (D) ¸ÝSá

Paper II 22 K – 4020

91. Match the following : 95. Originator of lakshana of geet singing is
a. Shadja 1. Kakali nishada (A) Tansen
b. Sadharana 2. Chatushruti (B) Pt. V.N. Bhatkhande
Gandhara Daivata (C) Dr. Paluskar
c. Antara 3. Shuddha (D) Matanga
Gandhara Madhyama
d. Prati 4. Shuddha 96. Swara is a
Madhyama Daivata (A) Rhythm of seven beats
(A) a – 4, b – 2, c – 3, d – 1 (B) Musical note
(B) a – 1, b – 3, c – 4, d – 2 (C) Style of singing
(D) Mind’s imagery
(C) a – 3, b – 4, c – 2, d – 1
(D) a – 4, b – 3, c – 1, d – 2 97. Navasandhi talas are
(A) Played 9 times during a Harikatha
92. The angas of the Prabandha are
performance
(A) Melapaka, Udgraha, Dhruva,
(B) Set of 9 talas played during
Abhoga Navratri
(B) Kriya, Kala, Marga, Anga, (C) Set of talas used in Yakshagana
Pratyanga
(D) Set of talas used in temples for each
(C) Pallavi, Anupallavi, Charana of the directions
(D) Chitteswara, Ettugadeswara
98. Sangeetha sampradaya pradarshini was
93. Odd pair in the following list is published in the year
(A) Avirbhava – Tirobhava (A) 1908 (B) 1904
(B) Alpatwa – Bahutwa (C) 1909 (D) 1910
(C) Vaadi – Samvadi
(D) Avaroha – Pakkada 99. Main swara in the raga is called
(A) Samvadi (B) Amsha
94. A steady note in a raga is called (C) Anuvadi (D) Vivadi
(A) Achala swara
(B) Komala swara 100. In Drupad, Gobardaani variety follows
(C) Shuddha swara (A) Baijn (B) Ramdas
(D) Teevra swara (C) Tansen (D) Bakhu

K – 4020 23 Paper II

bñÜᤠŸÃÜÖÜPÝRX ÓܧÙÜ
Space for Rough Work

Paper II 24 K – 4020