CBSE Class 12 Question Paper 2025 Hindustani Music

Series : 4YWZX SET – 4

 . - 
Roll No. Q. P. Code 80
 -   - 
-    
Candidates must write the Q.P. Code on
the title page of the answer-book.

  ( ) ()
HINDUSTANI MUSIC
(Melodic Instruments) (Theory)
{ZYm©[aV g‘¶ : 2 KÊQ>o A{YH$V‘ A§H$ : 30
Time allowed : 2 hours Maximum Marks : 30

●       -    7  
●       -  15   
● -        -    -  -   
●         , -          
●  -     15        -     10.15 
   10.15   10.30     -        
-      
● Please check that this question paper contains 7 printed pages.
● Please check that this question paper contains 15 questions.
● Q.P. Code given on the right hand side of the question paper should be written
on the title page of the answer-book by the candidate.
● Please write down the serial number of the question in the answer-book
at the given place before attempting it.
● 15 minutes time has been allotted to read this question paper. T he question
paper will be distributed at 10.15 a.m. From 10.15 a.m. to 10.30 a.m., the
candidates will read the question paper only and wi ll not write any answer on
the answer-book during this period. ~

80 704 Page 1 of 8 P.T.O.

  :
(i) - :       (  1    )
(ii) - :       (  2    )
(iii) - :       (  6    )

 -  81=8

1.           : 1
(A) 15 (B) 29
(C) 27 (D) 25

2.        ? 1
(A)  (B) 
(C)   (D) 
3.         ? 1
(A)  (B) 
(C)  (D) 
4.      : 1
I.    17  (frets)      
II.       12     
III.   10    
IV.          
   :
(A) I, II  III (B) II, III  IV
(C) I, II  IV (D) I, III  IV

5.      : 1
I.           
II.     -  
1
III.   
 22    
IV.          
   :
(A) I  II (B) II  III
(C) III  IV (D) I  III

80 Page 2 of 8 ~

General Instructions :
(i) Section-A : Attempt all questions. (Each question carries 1 mark.)
(ii) Section-B : Attempt all questions. (Each question carries 2 marks.)
(iii) Section-C : Attempt all questions. (Each question carries 6 marks.)

Section – A 81=8
1. The total number of swaras mentioned in sangeet parijat are : 1
(A) 15 (B) 29
(C) 27 (D) 25
2. Alauddin Khan was an exponent of which instruments ? 1
(A) Sarod (B) Guitar
(C) Saraswati Veena (D) Sitar
3. Which of the following is dependent on Varnas ? 1
(A) Alankar (B) Meend
(C) Murcchana (D) Kan
4. Choose the correct statements : 1
I. Ustad Vilayat Khan was associated with the sitar having 17 frets.
II. Maseetkhani Gat starts from 12th beat in Teentala.
III. Jhaptala has ten matras.
IV. In Roopak tala khali comes on 1 st beat.
Choose the correct option :
(A) I, II & III (B) II, III & IV
(C) I, II & IV (D) I, III & IV
5. Choose the correct statements : 1
I. Bhairav has andolan on komal rishabh & dhaivat.
II. The Jati of raga Bhairav is audav-shadav.
III. Chaugun of Jhaptala will come in 2½ beats.
IV. All the shudha swaras are used in Malkauns.
Choose the correct option :
(A) I & II (B) II & III
(C) III & IV (D) I & III
80 Page 3 of 8 ~ P.T.O.

6.         : 1
-I -II
1. _ _  I. 
2.    _  , _
   II.  
3.    III. 
4.  IV.  
   :
1 2 3 4
(A) III I II IV
(B) IV II I III
(C) II III I IV
(D) I IV III II

7.  I :   :      1
 II :      :  
   :
(A)  I  II     (B)  I  II    
(C)  I , II    (D)  I , II   

8.  I :    -     1
 II :        
   :
(A)  I  II     (B)  I  II    
(C)  I , II    (D)  I , II   

 –  5  2 = 10

9. (a)            : 2
, , 

(b)        

10. (a)            : 2
, , 

(b)             
80 Page 4 of 8 ~

6. Match List-I with List-II : 1
List-I List-II
1. GMD _ D_ P I. Bageshri
2. DMPDG, _ MGRS
_ II. Madhyam Gram
3. Three shruti pancham III. Bhairav
4. Ragvivekadhyaya IV. Sangeet Ratnakar

Choose the correct option :
1 2 3 4
(A) III I II IV
(B) IV II I III
(C) II III I IV
(D) I IV III II
7. Statement – I : Bhairav is a pratahkaleen sandhiprakash raga. 1
Statement – II : The Singing time of Raga Malkauns is morning.
Choose the correct option :
(A) Statement-I and II both are true.
(B) Statement-I and II both are false.
(C) Statement-I is true, but II is false.
(D) Statement-I is false, but II is true.
8. Statement – I : Re-Pa swaras are not used in Raga Malkauns. 1
Statement – II : Inayat Khan was the disciple of Vilayat Khan.
Choose the correct option :
(A) Statement-I and II both are true.
(B) Statement-I and II both are false.
(C) Statement-I is true, Statement II is false.
(D) Statement-I is false, Statement II is true.

Section – B 5  2 = 10
9. (a) Write short notes on any two of the following with examples : 2
Gamak, Meend, Kan
OR
(b) Give a brief account of Sangeet Ratnakar.

10. (a) Give a brief description of any two of the following with illustrations : 2
Alap, Taan, Sut
OR
(b) Describe the life sketch and contribution to music of Alauddin Khan.
80 Page 5 of 8 ~ P.T.O.

11. (a)            2

(b)            

12. (a)           2

(b)       

13. (a)          2

(b)            

 –  2  6 = 12

14. (a)              
  6

(b)               
   –  16     32    

15. (a)                   
 -           6

(b)                    
                  
              , ,
,                 
 
          60  (  )  
    , , ,       
_________

80 Page 6 of 8 ~

11. (a) Describe the salient features of time – theory of Ragas. 2
OR
(b) Describe the technique of tuning of the instrument which you have
opted for.

12. (a) Describe the life sketch of Mushtaq Ali Khan. 2
OR
(b) Give a brief account of Sangeet Parijat.

13. (a) Describe the salient features of Raga Bageshri. 2
OR
(b) Describe Roopak tala and write its Tigun in tala notation.

Section – C 2  6 = 12
14. (a) Write in notation a Maseetkhani gat with four todas in any one raga
of the prescribed syllabus. 6
OR
(b) Write Razakhani gat with bols in tala notation along with three
tanas with Tihai – one of 16 beats and two of 32 beats in Raga
Bhairav or Raga Bageshri.

15. (a) There are many artists who are performing the same instrument
that you have opted for. Critically analyse the style of any one artist
who inspires you in your chosen instrument. 6
OR
(b) Alap is very important in Raga delineation. It depicts the pure form
of Raga. Alap is played without the tala. It has inherent laya which
help in creating the atmosphere of a raga. In Alap, meend, kan,
gamak, krintan etc. are used according to the nature and demand of
the phraseology of the raga. This help in depicting aesthetical picture
of the raga.
After reading the above passage create Alap upto 60 swaras (in each
raga) along with signs of meend, kan, gamak, krintan etc. in all three
ragas of your syllabus.
___________

80 Page 7 of 8 ~ P.T.O.

80 704 Page 8 of 8 ~

Series : 4YWZX SET – 4

 . - 
Roll No. Q.P. Code 81
 -   - 
-    
Candidates must write the Q.P. Code on
the title page of the answer-book.

  ( ) ()
HINDUSTANI MUSIC
(Percussion Instruments) (Theory)
{ZYm©[aV g‘¶ : 2 KÊQ>o A{YH$V‘ A§H$ : 30
Time allowed : 2 hours Maximum Marks : 30

●       -    7  
●       -  15   
● -        -    -  -   
●         , -        
 
●  -     15        -     10.15 
   10.15   10.30     -       
 -      
● Please check that this question paper contains 7 printed pages.
● Please check that this question paper contains 15 questions.
● Q.P. Code given on the right hand side of the question paper should be
written on the title page of the answer-book by the candidate.
● Please write down the serial number of the question in the answer-
book at the given place before attempting it.
● 15 minute time has been allotted to read this question paper. The question
paper will be distributed at 10.15 a.m. From 10.15 a.m. to 10.30 a.m., the
candidates will read the question paper only and will not write any answer
on the answer-book during this period. ~

81 706 Page 1 of 8 P.T.O.

  :
(i) - :       (  1    )
(ii) - :       (  2    )
(iii) - :       (  6    )

 –  81=8
1.        ? 1
(A) 4 (B) 2 (C) 3 (D) 6
2. .         ? 1
(A)  (B)  (C)  (D) 
3. .       ? 1
(A) .   (B) .   
(C) .   (D) .  
4. -I  -II      1
-I -II
(a)  (i) 
(b)    (ii) 7 
(c)  (iii) 
(d)    (iv) 10 
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (ii) (i) (iv) (iii)
(C) (iii) (ii) (i) (iv)
(D) (iv) (ii) (iii) (i)

5. 10       1
(a)  (b) 
(c)  (d) 
          
(A) (a)  (b) (B) (b)  (c)
(C) (c)  (d) (D) (d)  (a)

81 Page 2 of 8 ~

General Instructions :
(i) Section-A : Attempt all questions. (Each question carries 1 mark.)
(ii) Section-B : Attempt all questions. (Each question carries 2 marks.)
(iii) Section-C : Attempt all questions. (Each question carries 6 marks.)

SECTION – A 8×1=8
1. How many division are there in Chartala ? 1
(A) 4 (B) 2 (C) 3 (D) 6

2. Pt. Ram Sahai belongs to which Gharana ? 1
(A) Delhi (B) Lucknow (C) Banaras (D) Punjab

3. Who was the Guru of Pt. Kishan Maharaj ? 1
(A) Pt. Kanthe Maharaj (B) Pt. Anokhalal Mishra
(C) Pt. Bhagat Ji (D) Pt. Baijnath Mishra

4. Match List – I with List – II : 1
List – I List – II
(a) Tevra (i) Tabla
(b) Ustad Zakir Hussain (ii) 7 beats
(c) Sooltala (iii) Pakhawaj
(d) Raja Chhatrapati Singh (iv) 10 beats
(a) (b) (c) (d)
(A) (i) (ii) (iii) (iv)
(B) (ii) (i) (iv) (iii)
(C) (iii) (ii) (i) (iv)
(D) (iv) (ii) (iii) (i)

5. Choose the Tala of 10 beats – 1
(a) Aditala (b) Sooltala
(c) Jhaptala (d) Rupak
Choose the correct answer from the options given below :
(A) (a) & (b) (B) (b) & (c)
(C) (c) & (d) (D) (d) & (a)

81 Page 3 of 8 ~ P.T.O.

6.              1
(a)  (b) 
(c)  (d) 
          
(A) (a), (b), (c), (d) (B) (d), (a), (c), (b)
(C) (a), (c), (b), (d) (D) (b), (d), (a), (c)

7.  I :   4     1
 II :       
    
(A)  I  II    
(B)  I  II    
(C)  I  ,  II   
(D)  I  ,  II   

8.  I :   ‘’        1
 II :           
    
(A)  I  II    
(B)  I  II    
(C)  I  ,  II   
(D)  I  ,  II   

 –  5 × 2 = 10
9. (a)      ,        2

(b)      ,       

10. (a) 10              2

(b)         
81 Page 4 of 8 ~

6. Choose the correct option according to the increasing number of divisions
(Vibhag) of Talas : 1
(a) Teentala (b) Ektala
(c) Sooltala (d) Tevra
Choose the correct answer from options given below :
(A) (a), (b), (c), (d) (B) (d), (a), (c), (b)
(C) (a), (c), (b), (d) (D) (b), (d), (a), (c)

7. Statement I : Four divisions are there in Ektala. 1
Statement II : Teentala is played on Tabla.
Choose the correct option :
(A) Statement I and II both are true.
(B) Statement I and II both are false.
(C) Statement I is true, but II is false.
(D) Statement I is false, but II is true.

8. Statement I : Delhi Gharana is known for ‘Gat’ playing. 1
Statement II : The entire palm is used in this Gharana.
Choose the correct option :
(A) Statement I and II both are true.
(B) Statement I and II both are false.
(C) Statement I is true, but II is false.
(D) Statement I is false, but II is true.

SECTION – B 5 × 2 = 10
9. (a) Give the brief introduction of Teentala and write its Dugun in Tala
Notation. 2
OR
(b) Give the brief introduction of Aditala and write its Tigun in Tala
Notation.

10. (a) Write any one Tala of 10 beats in Dugun Laya with Tala Notation
System. 2
OR
(b) Write Ektala in Dugun Laya with Tala Notation.
81 Page 5 of 8 ~ P.T.O.

11. (a)         2

(b) ‘’     

12. (a)            2

(b)         

13. (a)        2

(b)       

 –  2 × 6 = 12
14. (a)              6

(b)              

15. (a)                    
         ‘’     ,
      ,          
‘’       ,         
               
                6

(b)                ? 
  ,          
 
__________

81 Page 6 of 8 ~

11. (a) Explain Aad Laya with example. 2
OR
(b) Explain ‘Uthan’ in detail.

12. (a) Explain about Layakari with example in brief. 2
OR
(b) Briefly describe about the origin of Tabla.

13. (a) Compare Ektala and Chartala. 2
OR
(b) Compare Sooltala and Jhaptala.

SECTION – C 2 × 6 = 12
14. (a) Write one Peshkar with 3 Paltas and Tihai in Teentala with Tala
Notation System. 6
OR
(b) Write one Rela with 3 Paltas & Tihai in Tevra Tala with Tala
Notation System.

15. (a) From time to time, artists of various Gharana have brought glory to
their Gharana with their efficiency. Famous artists of Punjab
Gharana, Ustad Alla Rakha Khan gave a new structure of Peshkar,
which later on has been adopted by various artists. Whereas in the
field of Pakhawaj playing, Guru Purushottam Das paid special
attention to the bol of ‘Dhumkit’ due to which the tradition of
Pakhawaj playing got enriched.
After reading the above passage, describe about the salient features
of any two Gharanas of Tabla or Pakhawaj and also describe about
the contribution of main artists belonging to these Gharanas. 6
OR
(b) Which percussion artists of the present times impresses you the most
of the instrument that you have opted for ? Critically describe the
style of the artists, besides your syllabus, in your own words.

81 Page 7 of 8 ~ P.T.O.

81 706 Page 8 of 8 ~

SET-4
Series WXY4Z प्रश्‍न-पत्र‍कोड
Q.P. Code 79
रोि न.ं परीक्षार्थी प्रश्न-पत्र कोड को उत्तर-पस्ु तिका के
Roll No. मख
ु -पृष्ठ पर अवश्य स्िखें ।
Candidates must write the Q.P. Code
on the title page of the answer-book.

• कृ पया जााँच कर िें स्क इस प्रश्न-पत्र में मस्ु िि पृष्ठ 11 हैं ।
• प्रश्न-पत्र में दास्हने हार्थ की ओर स्दए गए प्रश्न-पत्र कोड को परीक्षार्थी उत्तर-पस्ु तिका के मुख-पृष्ठ पर स्िखें ।
• कृ पया जााँच कर िें स्क इस प्रश्न-पत्र में 15 प्रश्न हैं ।
• कृपया‍ प्रश्‍न‍ का‍ उत्तर‍ हिखना‍ शुरू‍ करने‍ से‍ पििे, उत्तर-पुहस्तका‍ में यथा‍ स्थान‍ पर‍ प्रश्‍न‍ का‍
क्रमांक‍अवश्य‍हिखें‍।
• इस प्रश्न-पत्र को पढ़ने के स्िए 15 स्मनट का समय स्दया गया है । प्रश्न-पत्र का स्विरण पवू ााह्न में 10.15 बजे
स्कया जाएगा । 10.15 बजे से 10.30 बजे िक परीक्षार्थी के वि प्रश्न-पत्र को पढ़ेंगे और इस अवस्ि के
दौरान वे उत्तर-पस्ु तिका पर कोई उत्तर नहीं स्िखेंगे ।
• Please check that this question paper contains 11 printed pages.
• Q.P. Code given on the right hand side of the question paper should be
written on the title page of the answer-book by the candidate.
• Please check that this question paper contains 15 questions.
• Please write down the Serial Number of the question in the
answer-book at the given place before attempting it.
• 15 minute time has been allotted to read this question paper. The question
paper will be distributed at 10.15 a.m. From 10.15 a.m. to 10.30 a.m., the
candidates will read the question paper only and will not write any answer on
the answer-book during this period.

‍‍संगीत‍हिन्‍दुस्‍तानी‍(गायन)‍(सैद्धाहन्तक)
MUSIC HINDUSTANI (Vocal) (Theory)
निर्धारित समय : 2 घण्टे अनर्कतम अंक : 30
Time allowed : 2 hours Maximum Marks : 30

79 # 1 P.T.O.

सामान्‍य‍निर्देश‍:
(i) खण्‍ड‍अ‍:‍सभी‍प्रश्िों के उत्ति दीनिए । प्रत्येक प्रश्ि 1 अक
ं कध है ।
(ii) खण्‍ड‍ब‍:‍सभी‍प्रश्िों के उत्ति दीनिए । प्रत्येक प्रश्ि 2 अक
ं कध है ।
(iii) खण्‍ड‍स‍:‍सभी‍प्रश्िों के उत्ति दीनिए । प्रत्येक प्रश्ि 6 अंक कध है ।
खण्‍ड‍अ‍ 81=8

1. राग मािकौंस में कौन-से तवर वस्जाि हैं ?
(A) म – प (B) रे – ि
(C) रे – प (D) ग – ि

2. िानपरु े के स्किने प्रकार हैं ?
(A) परुु ष िानपरु ा (B) तत्री िानपरु ा
(C) तत्री और परुु ष िानपरु ा (D) के वि िार सप्िक के तवरों का िानपरु ा >

3. राग भैरव में कौन-से तवर कोमि होिे हैं ?
(A) रे – ग (B) ग–ि
(C) रे – ि (D) ग – स्न

4. सही कर्थन को चस्ु नए :
i. सगं ीि पाररजाि में 122 रागों का वणान है ।
ii. राग भैरव में रे – प तवर वस्जाि हैं ।
iii. रूपक िाि में साि मात्राएाँ होिी हैं ।
iv. षडज ग्राम की छ: मर्चू छा नाएं होिी हैं ।
सही स्वकल्प चस्ु नए :
(A) ii, iii (B) i, iii
(C) ii, iv (D) iii, iv

79 # 2

General Instructions :
(i) Section A : Attempt all questions. Each question carries 1 mark.

(ii) Section B : Attempt all questions. Each question carries 2 marks.

(iii) Section C : Attempt all questions. Each question carries 6 marks.

SECTION A 81=8

1. Which Swaras are not used in Raga Malkauns ?

(A) Ma – Pa (B) Re – Dha

(C) Re – Pa (D) Ga – Dha

2. How many types of Tanpuras are there ?

(A) Male Tanpura (B) Female Tanpura

(C) Male and female Tanpura (D) Only Taar Saptak Swaras Tanpura

3. Which Komal Swaras are used in Raga Bhairava ?

(A) Re – Ga (B) Ga – Dha

(C) Re – Dha (D) Ga – Ni

4. Choose the correct statement :

i. 122 Ragas have been described in Sangeet Parijat.

ii. Re – Pa Swaras are omitted in Raga Bhairava.

iii. There are Seven Matras in Rupak Taal.

iv. There are Six Murchanas of Shadaj Gram.

Choose the correct option :
(A) ii, iii (B) i, iii
(C) ii, iv (D) iii, iv

79 # 3 P.T.O.

5. सही कर्थनों को चस्ु नए :
i. राग मािकौंस की जास्ि औडव-सम्पणू ा है ।
ii. राग भैरव का गायन समय प्राि: काि है ।
iii. फै याज खां का संबंि आगरा घराने से र्था ।
iv. झपिाि में चार स्वभाग होिे हैं ।
सही स्वकल्प चस्ु नए :
(A) i, ii, iv

(B) i, iii, iv

(C) i, ii, iii

(D) ii, iii, iv

6. सचू ी I को सचू ी II से स्मिान कीस्जए :
सूची‍I सूची‍II
1. िानपरु ा (i) 17वीं शिाब्दी
2. ि – प, ग – म, रे – स (ii) 14 मात्राएाँ
3. संगीि पाररजाि (iii) जोडी िार
4. िमार िाि (iv) राग भैरव

सही स्वकल्प चस्ु नए :
(A) 1-(iii), 2-(iv), 3-(i), 4-(ii)

(B) 1-(iv), 2-(ii), 3-(iii), 4-(i)

(C) 1-(i), 2-(ii), 3-(iv), 4-(iii)

(D) 1-(iii), 2-(i), 3-(ii), 4-(iv)

79 # 4

5. Choose the correct statements :

i. Jati of Raag Malkauns is Audav-Sampurna.

ii. Singing time of Raga Bhairava is early in the morning.

iii. Faiyaz Khan belonged to Agra Gharana.

iv. There are four vibhagas in Jhaptaal.
Choose the correct option :

(A) i, ii, iv

(B) i, iii, iv

(C) i, ii, iii

(D) ii, iii, iv

6. Match List I with List II :
List I List II

1. Tanpura (i) 17th century

2. Dha – Pa, Ga – Ma, Re – Sa (ii) 14 Matras

3. Sangeet Parijat (iii) Pair strings (Jodi Taar)

4. Dhamar Taal (iv) Raga Bhairava

Choose the correct option :

(A) 1-(iii), 2-(iv), 3-(i), 4-(ii)

(B) 1-(iv), 2-(ii), 3-(iii), 4-(i)

(C) 1-(i), 2-(ii), 3-(iv), 4-(iii)

(D) 1-(iii), 2-(i), 3-(ii), 4-(iv)

79 # 5 P.T.O.

7. कथि I : कोमि िैवि का प्रयोग राग मािकौंस िर्था राग भैरव में होिा है ।
कथि II : राग बागेश्री के आरोह में ‘रे ’ और ‘ि’ तवर वस्जाि हैं ।
सही स्वकल्प चस्ु नए :
(A) कर्थन I और कर्थन II दोनों सही हैं ।
(B) कर्थन I और कर्थन II दोनों ग़िि हैं ।
(C) कर्थन I सही है, परंिु कर्थन II ग़िि है ।
(D) कर्थन I ग़िि है, परंिु कर्थन II सही है ।

8. कथि I : राग भैरव की जास्ि सपं णू ा-सपं णू ा हैं ।
कथि II : िानपरु े के स्नचिे भाग को स्िज कहिे हैं ।
सही स्वकल्प चस्ु नए :
(A) कर्थन I ग़िि है, परंिु कर्थन II सही है ।
(B) कर्थन I और कर्थन II दोनों सही हैं ।
(C) कर्थन I सही है, परंिु कर्थन II ग़िि है ।
(D) कर्थन I और कर्थन II दोनों ग़िि हैं ।

खण्‍ड‍ब 52=10

9. (H$) िमार िाि अर्थवा झपिाि को उसके ठाह एवं स्िगनु के सार्थ िाि स्िस्पबद्ध कीस्जए ।
अथवा‍
(I) राग बागेश्री की स्वशेषिाओ ं का वणान कीस्जए ।

79 # 6

7. Statement I : Komal Dhaivat is used in Raga Malkauns and Raga
Bhairava.
Statement II : ‘Re’ and ‘Dha’ Swaras are varjit (omitted) in Aroha in
Raga Bageshri.

Choose the correct option :

(A) Both Statements I and II are correct.

(B) Both Statements I and II are incorrect.

(C) Statement I is correct, but Statement II is incorrect.

(D) Statement I is incorrect, but Statement II is correct.

8. Statement I : Jati of Raga Bhairava is Sampurna-Sampurna.
Statement II : The lower part of Tanpura is called bridge.

Choose the correct option :

(A) Statement I is incorrect, but Statement II is correct.

(B) Both Statements I and II are correct.

(C) Statement I is correct, but Statement II is incorrect.

(D) Both Statements I and II are incorrect.

SECTION B 52=10

9. (a) Write Dhamar Tala or Jhaptaal with its Thah and Tigun in Tala
Notation.

OR

(b) Describe the specialities of Raga Bageshri.

79 # 7 P.T.O.

10. (H$) स्नम्नस्िस्खि में से स्कन्हीं र्दो का संक्षेप में वणान कीस्जए :
(i) मर्चू छा ना
(ii) आिाप
(iii) ग्राम
अथवा‍
(I) िानपरु े को स्मिाने की स्वस्ि का वणान कीस्जए ।

11. (H$) “रागों के समय स्सद्धांि” का संक्षेप में वणान कीस्जए ।
अथवा
(I) राग भैरव का 50 तवरों िक स्वतिार कीस्जए ।
12. (H$) संगीि पाररजाि का संस्क्षप्ि स्ववरण दीस्जए ।
अथवा
(I) उतिाद बडे गि ु ाम अिी खााँ का भारिीय संगीि में क्या योगदान है ? स्िस्खए ।
13. (H$) संगीि रत्नाकर में ‘साि अध्यायों’ का संस्क्षप्ि स्ववरण कीस्जए ।
अथवा
(I) स्नम्नस्िस्खि में से स्कन्हीं र्दो‍को पररभास्षि कीस्जए :
(i) कण
(ii) मींड
(iii) गमक
(iv) अिक ं ार
खण्‍ड‍स‍ 26=12

14. (H$) अपने स्निााररि पाठ्यक्रम में स्दए गए स्कसी एक राग में स्विंस्बि ख्याि के तर्थाई और अंिरा को
दो िानों सस्हि स्िस्पबद्ध कीस्जए ।
अथवा
(I) अपने स्निााररि पाठ्यक्रम में स्दए गए स्कसी एक राग में िमार को तवरस्िस्पबद्ध कीस्जए ।

79 # 8

10. (a) Briefly describe any two of the following :
(i) Murcchana
(ii) Alap
(iii) Gram

OR
(b) Describe the process of tuning the Tanpura.

11. (a) Give a brief account of “The Time Theory of Ragas”.
OR
(b) Elaborate Raga Bhairava upto 50 Swaras.

12. (a) Give a brief description of Sangeet Parijat.
OR
(b) Write the contribution of Ustad Bade Ghulam Ali Khan to Indian
music.

13. (a) Give a brief description of ‘Seven Chapters’ in Sangeet Ratnakar ?
OR
(b) Define any two of the following :
(i) Kan
(ii) Meend
(iii) Gamak
(iv) Alankar

SECTION C 26=12

14. (a) Write the Notation of Sthai and Antara of Vilambit Khayal in any
one Raga from your prescribed syllabus along with two Tanas.
OR
(b) Write the Notation of Dhamar in any one Raga from your prescribed
syllabus.

79 # 9 P.T.O.

15. (H$) ख्याि गायकी में राग का प्रदशान आिाप के सार्थ शुरू होिा है । ित्पश्चाि् बस्ं दशें – बडा
(स्विंस्बि) ख्याि िर्था िुि ख्याि और उनका स्वतिार िानों िर्था बडि द्वारा स्कया जािा है ।
इसस्िए राग के स्वतिार के समय राग के प्रत्येक पहिू को ध्यान में रख कर ही स्वतिार स्कया जाना
चास्हए । आिाप और िान दोनों का ही महत्त्व है; आिाप, िाि से मक्ु ि है और िानों का प्रदशान
िाि के सार्थ होिा है ।
उपयाक्ु ि गद्ांश को पढ़ने के पश्चाि् अपने स्निााररि पाठ्यक्रम के अपनी पसंद के स्कन्हीं दो रागों
में, प्रत्येक राग में एक आिाप (20 तवरों िक) को मींड, कण, खटका, गमक आस्द के स्चह्नों
सस्हि स्िस्खए िर्था 32 मात्राओ ं की स्वस्भन्न प्रकार की कोई दो िानें स्िस्खए ।
अथवा
(I) आप िमार अर्थवा ख्याि के स्कस विामान किाकार को सबसे अस्िक सनु ना पसदं करिे हैं ?
उनकी शैिी का आिोचनात्मक स्वश्िेषण अपने शब्दों में कीस्जए ।

79 # 10

15. (a) In Khayal, Raga delineation begins from Alap followed by the
compositions – Vilambit khayal and Drut khayal and its elaborations
through Tanas and extempore Badat. Therefore, when a raga is to be
developed one has to take all the aspects into account for the proper
development of the raga. Alap and Tana both have importance;
whereas Alap is free from Tala and Tanas are performed with Tala.
After reading the above passage, create one Alap of 20 Swaras with
signs of Meend, Kan, Khatka, Gamak, etc. and two tanas of 32 beats
each in different varieties of tanas in any two ragas of your choice
from the prescribed syllabus.
OR
(b) Which contemporary artiste of Dhamar or Khayal do you like to
listen the most ? Critically analyse his/her style in your own words.

79 # 11 P.T.O.