Karnataka SSLC Question Paper 2025 Answer Key Carnatic Music

Government of Karnataka
Karnataka Secondary Education Examination Board

Question Paper
ANSWER KEY

A
CCE RF/RR/
PF/PR
PÜ®ÝìoPÜ ÍÝÇÝ ±ÜÄàûæ ÊÜáñÜᤠÊÜåèƯ|ì¿á ÊÜáívÜÈ,
ÊÜáÇæÉàÍÜÌÃÜí, ¸æíWÜÙÜãÃÜá – 560 003
KARNATAKA SCHOOL EXAMINATION AND ASSESSMENT BOARD,
MALLESHWARAM, BENGALURU – 560 003
ÊÜÞa…ì/H²ÅÇ… 2025 ÃÜ ±ÜÄàûæ - 1
MARCH/APRIL 2025 EXAMINATION - 1

ÊÜÞ¨ÜÄ EñܤÃÜWÜÙÜá
MODEL ANSWERS
ÓÜíPæàñÜ ÓÜíTæ : 29-E Code No. : 29-E

—
Subject : CARNATIC MUSIC — THEORY
( / English Medium )
ÍÝÇÝ A»Ü¦ì / ÍÝÇÝ ±Üâ®ÜÃÝÊÜ£ìñÜ A»Ü¦ì / TÝÓÜX A»Ü¦ì / TÝÓÜX ±Üâ®ÜÃÝÊÜ£ìñÜ A»Ü¦ì
Regular Fresh / Regular Repeater / Private Fresh / Private Repeater

©®ÝíPÜ 02. 04. 2025 ] [ WÜÄÐÜu AíPÜWÜÙÜá 40
Date : 02. 04. 2025 ] [ Max. Marks : 40

Qn.
Value Points Total
Nos.

I. Multiple Choice : 8×1=8

1. The origin of music is
(A) Rigveda (B) Yajurveda
(C) Samaveda (D) Atharvanaveda
Ans. : (C) Samaveda 1

CCE RF/RR/PF/PR(A)/101/1849 (MA) [ Turn over

29-E 2
Qn.
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Nos.
2. The number of swaras, in a sthayi in Carnatic music,
is
(A) eight (B) sixteen
(C) twelve (D) twenty-two
Ans. : (B) sixteen 1
3. The Raga, in which the Sarale varase are sung is
(A) Mayamalava gowla
(B) Malahari
(C) Mohana
(D) Madhyamavathi
Ans. : (A) Mayamalava gowla 1
4. A swara which differentiates between Dheera
Shankarabharana and Mechakalyani is
(A) Rishabha (B) Gandhara
(C) Nishada (D) Madhyama
Ans. : (D) Madhyama 1
5. There are seven aksharas in an avartha of Triputa tala
of Suladi Saptha talas, because the Jathi of Laghu of
this tala is
(A) Thishra (B) Chaturashra
(C) Khanda (D) Mishra
Ans. : (A) Thishra 1
6. Lakshana geethe is called by that name because the
Sahitya (lyrics) of this geethe
(A) is composed in Sapthatalas
(B) indicates Raga lakshana
(C) indicates the penname (ankitha) of
Vaggeyakaras
(D) indicates the Prakara (genre) of music
Ans. (B) indicates Raga lakshana 1
7. The birth place of Kanakadasa is
(A) Bagewadi (B) Belluru
(C) Balehonnuru (D) Bada
Ans. : (D) Bada 1

CCE RF/RR/PF/PR(A)/101/1849 (MA)

3 29-E
Qn.
Value Points Total
Nos.

8. As Nadaswara played by wind, the instrument is called
(A) Thatha instrument
(B) Sushira instrument
(C) Auspicious instrument
(D) Folk instrument
Ans. (B) Sushira instrument 1

II. Answer the following questions in a sentence each :
8×1=8

9. What is the reason for music to be associated with
Mathematics ?
Ans. :
Tala in music. 1

10. What is Mohana raga called as in Hindustani music
system ?
Ans. :
Bhoop. 1

11. Which swara represents Adhara shruthi ?
Ans. :
Shadja of Madhyasthayi. 1

12. What is the number of swaras in arohana and
avarohana of a Shadava raga ?
Ans. :
six. 1

13. Which tala starts with druta ?
Ans. :
Rupakatala. 1

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Qn.
Value Points Total
Nos.
14. Write a difference between Sarale and Janti Sarale.
Ans. :
The simple arrangement of the seven swaras in an
orderly way is called Saralevarase. Each swara comes
repeated is called Janti Varase.
.
Example : || S R G M P D N S ||
.
Sarale Varase : || S N D P M G R S ||
..
Jantivarase : || SS-RR-GG-MM|PP-DD|NN-SS ||
..
|| SS-NN-DD-PP|MM-GG|RR-SS || 1
15. What is the reason for Basavanna to have mentioned
his ankitha (penname) as Koodalasangamadeva in his
Vachanas ?
Ans. :
Basavanna mentions his Ankitha Koodalasangamadeva
in his Vachanas because his deity is
Koodalasangamadeva. 1
16. What is the reason for morsing (morching) to be called
a Ghana vadya ?
Ans. :
Morching instrument is called as Ghana Vadya
because in morching Nada is produced by Metal. 1
III. Answer the following questions in two to three
sentences each : 7 × 2 = 14
17. What is the reason for music to be related to Physics ?
Ans. :
Nada is associated with Physics. Nada is the origin of
music. So production of musical sound, swara
sthanas, Shruthi, structure of instruments etc. relate
physics. The devices which help to relay music are
Amplifier, sound systems, recording devices, radio,
Tape recorder etc. are purely related to physics. 2

CCE RF/RR/PF/PR(A)/101/1849 (MA)

5 29-E
Qn.
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Nos.
18. Write a difference between Pillari geethe and Sanchari
geethe.
Ans. :
Pillari geethe Sanchari geethe
 Pillari geethas are  Sanchari geethas
in Malahari Raga. are in different
 Pillari geethas are ragas.
simple devotional  They are simple
compositions with devotional
simple lyri cs. compositions with
 They begin with different ragas and
Ganapathi swara Sancharas.
Sthutis.  They begin with
 They are other Devatha
composed in Stuthis.
chaturash ra  They are in
Roopaka tal a and different Tal as.
Thishra Triputa
Tala. 2
19. Write a difference between Audava raga and Vakra
raga with an example each.
Ans. :
Audava raga Vakra raga
 Audava raga is a  Raga with
rag a having five disorder in the
swaras both in arrangement in
Arohana and Arohana or
Avarohana. Arorohana.
 Exa m ple : Moha na,  Exa mple : Vasantha,
Ha msa dh wani, Sriraga, Aananda
Hind ola. Bhairavi. 2

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29-E 6
Qn.
Value Points Total
Nos.

20. Write a difference between Ekatala and Jhampetala.

Ans. :

Ekataal Jhampe taal

 Ekataal 's Anga is  Jhampe taal's Angas
only one Laghu. are one Laghu, one

 Symbol : |O Anudhrutha and one

Dhrutha.

 Symbol : |O 2

21. Explain, how music is associated with Psychology, in
brief.

Ans. :

Music is a solution for many mental illnesses. Many
experiments are being done through music related to
Psychology. Discipline is cultivated when music is
practised regularly. Life become Joyful. 2

22. Classify the following instruments into Carnatic and
Hindustani musical instruments :

Sitar, Veene, Mrudanga, Shehnai, Pakhawaz,

Ghatam, Sarangi, Violin.

Ans. :

Carnatic Hindustani

Veena, Mrudanga Sitar, Shehnai,
Ghatam, Violin Pakaw aj, Sarangi . 2

CCE RF/RR/PF/PR(A)/101/1849 (MA)

7 29-E
Qn.
Value Points Total
Nos.
23. Classify the following compositions as Abhyasagana
and Sabhagana compositions :
Sarale varase, Varna, Keerthane, Alankara,
Datuvarase, Krithi, Tarasthayi varase, Vachana.
Ans. :
Abhyasagana Sabhagana

Sarale varase Varna
Datu varase Keertane
Th arastayi varase Krithi
Alankara Vachana 2
IV. Answer the following questions in brief :
24. Explain, the life history of Sri Tyagaraja, in brief.
Ans. :
 Sri Thyagaraja was born in 1767 A.C. in
Thiruvaruru to the couple Rama Bramha and
Seethamma.
 His Guru was Sonti Venkataramana Bhagavatar.
 He was Humble devotee of Sri Rama.
 He had memorised 24000 Shlokas of Ramayana at
the young age of five and used to sing melodiously.
 He composed number of Kruthis with the pen
name "Thyagaraja".
 He has composed number of new ragas.
 His musical Dramas are Prahalada Bhakthi Vijaya,
Nouka Charithre, Sitha Rama Vijaya (Geya
Natakas).
 He composed Ghana raga Pancharatnas, Lalgudi
Pancharatnas, Thiruvattiyur Pancharatna etc.
 He composed Sangathis to his Kruthis.
 He attained Sadgathi on the Pushya Panchami in
the year 1847 A.C.
 Thyagaraja Aaradhana is celebrated every year in
Thiruvayyar. 6

CCE RF/RR/PF/PR(A)/101/1849 (MA) [ Turn over

29-E 8
Qn.
Value Points Total
Nos.
25. Design and write the Swaralankara of Chaturashra
Jathi Rupakatala with swaralipi.
Ans. :
Raga : Maya Malava Gowla.
Tala : Rupaktala
Jathi : Chaturashra
Talanga : 1 Dhrutha + 1 laghu
Symbol : O |
Aksharas : 2 + 4 = 6
O |
|| S R | S R G M ||
|| R G | R G M P ||
|| G M | G M P D ||
|| M P | M P D N ||
.
|| P D | P D N S ||
. .
|| S N | S N D P ||
|| N D | N D P M ||
|| D P | D P M G ||
|| P M | P M G R ||
|| M G | M G R S || 4

CCE RF/RR/PF/PR(A)/101/1849 (MA)

A
CCE RF/RR/
PF/PR
PÜ®ÝìoPÜ ÍÝÇÝ ±ÜÄàûæ ÊÜáñÜᤠÊÜåèƯ|ì¿á ÊÜáívÜÈ,
ÊÜáÇæÉàÍÜÌÃÜí, ¸æíWÜÙÜãÃÜá – 560 003
KARNATAKA SCHOOL EXAMINATION AND ASSESSMENT BOARD,
MALLESHWARAM, BENGALURU – 560 003
ÊÜÞa…ì/H²ÅÇ… 2025 ÃÜ ±ÜÄàûæ - 1
MARCH/APRIL 2025 EXAMINATION - 1

ÊÜÞ¨ÜÄ EñܤÃÜWÜÙÜá
MODEL ANSWERS
ÓÜíPæàñÜ ÓÜíTæ : 29-K CODE NO. : 29-K

ËÐÜ¿á : PÜ®ÝìoPÜ ÓÜíXàñÜ — ÍÝÓÜŒ Ë»ÝWÜ
Subject : CARNATIC MUSIC — THEORY
PܮܰvÜ ÊÜÞ«ÜÂÊÜá / Kannada Medium
ÍÝÇÝ A»Ü¦ì / ÍÝÇÝ ±Üâ®ÜÃÝÊÜ£ìñÜ A»Ü¦ì / TÝÓÜX A»Ü¦ì / TÝÓÜX ±Üâ®ÜÃÝÊÜ£ìñÜ A»Ü¦ì
Regular Fresh / Regular Repeater / Private Fresh / Private Repeater

©®ÝíPÜ 02. 04. 2025 ] [ WÜÄÐÜu AíPÜWÜÙÜá : 40
Date : 02. 04. 2025 ] [ Max. Marks : 40
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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I. ŸÖÜá&BÁáR ±ÜÅÍæ° (PÜÅÊÜÞûÜÃܨæãí©X®Ü ±ÜÅ£ ÓÜÄ¿ááñܤÃÜPæR
1 AíPÜ) : 8×1=8
1. ÓÜíXàñÜ¨Ü ÊÜáãÆ
(A) MáWæÌà¨Ü (B) ¿ágáÊæàì¨Ü
(C) ÓÝÊÜáÊæà¨Ü (D) A¥ÜÊÜì|Êæà¨Ü
EñܤÃÜ : (C) ÓÝÊÜáÊæà¨Ü
1

CCE RF/RR/PF/PR(A)/101/1848 (MA) [ Turn over

29-K 2
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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2. PÜ®ÝìoPÜ ÓÜíXàñܨÜÈÉ Jí¨Üá ÓݧÀá¿áÈÉ ŸÃÜáÊÜ ÓÜÌÃÜWÜÙÜ ÓÜíTæÂ
(A) Gíoá (B) ÖÜ©®ÝÃÜá
(C) ÖÜ®æ°ÃÜvÜá (D) C±Ü³ñæ¤ÃÜvÜá
EñܤÃÜ : (B) ÖÜ©®ÝÃÜá
1

3. ÓÜÃÜÙæ ÊÜÃÜÓæWÜÙÜ®Üá° ÖÝvÜáÊÜ ÃÝWÜ
(A) ÊÜÞ¿ÞÊÜÞÙÜÊÜWèÙÜ (B) ÊÜáÆÖÜÄ
(C) ÊæãàÖÜ®Ü (D) ÊÜá«ÜÂÊÜÞÊÜ£
EñܤÃÜ : (A) ÊÜÞ¿ÞÊÜÞÙÜÊÜWèÙÜ
1

4. ˜àÃÜÍÜíPÜÃÝ»ÜÃÜ| ÊÜáñÜᤠÊæáàaÜPÜÇÝÂ~ ÃÝWÜWÜÙÜ ®ÜvÜáË®Ü
ÊÜÂñÝÂÓÜÊÜ®Üá° ÓÜãbÓÜáÊÜ ÓÜÌÃÜ

(A) ÄÐÜ»Ü (B) WÝí«ÝÃÜ
(C) ¯ÐÝ¨Ü (D) ÊÜá«ÜÂÊÜá
EñܤÃÜ : (D) ÊÜá«ÜÂÊÜá
1

5. ÓÜáÙÝ© Óܱܤ ñÝÙÜWÜÙÜÈÉ ŸÃÜáÊÜ £Å±ÜâoñÝÙÜ¨Ü Jí¨Üá BÊÜñÜìPæR
HÙÜá AûÜÃÜWÜÙÜá ŸÃÜáñܤÊæ. HPæí¨ÜÃæ D ñÝÙÜ¨Ü ÆZá訆 hÝ£

(A) £ÍÜÅ (B) aÜñÜáÃÜÍÜÅ

(C) SívÜ (D) ËáÍÜÅ

EñܤÃÜ : (A) £ÍÜÅ
1

CCE RF/RR/PF/PR(A)/101/1848 (MA)

3 29-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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6. ÆûÜ|Xàñæ¿á®Üá° B ÖæÓÜįí¨Ü PÜÃæ¿áÆá PÝÃÜ|Êæà®æí¨ÜÃæ, D
Xàñæ¿á ÓÝ×ñÜÂÊÜâ

(A) ÓܱܤñÝÙÜWÜÙÜÈÉ ÃÜbñÜÊÝX¨æ

(B) ÃÝWÜÆûÜ|ÊÜ®Üá° ÓÜãbÓÜáñܤ¨æ

(C) ÊÝWæYà¿áPÝÃÜÃÜ AíQñÜÊÜ®Üá° ÓÜãbÓÜáñܤ¨æ

(D) ÓÜíXàñÜ¨Ü ±ÜÅPÝÃÜÊÜ®Üá° ÓÜãbÓÜáñܤ¨æ

EñܤÃÜ : (B) ÃÝWÜÆûÜ|ÊÜ®Üá° ÓÜãbÓÜáñܤ¨æ 1

7. PÜ®ÜPܨÝÓÜÃÜ g®Ü¾ÓܧÙÜ

(A) ¸ÝWæàÊÝw (B) ¸æÙÜãÛÃÜá

(C) ¸ÝÙæ Öæã®Üã°ÃÜá (D) ¸ÝvÜ

EñܤÃÜ : (D) ¸ÝvÜ 1

8. ®Ý¨ÜÓÜÌÃÜÊÜâ WÝÚÀáí¨Ü ®Üáw¿ááÊÜâ¨ÜÄí¨Ü D ÊݨÜÂÊÜ®Üá°

(A) ñÜñÜ ÊݨÜÂÊæ®Üá°ÊÜÃÜá

(B) ÓÜáÑÃÜ ÊݨÜÂÊæ®Üá°ÊÜÃÜá

(C) ÊÜáíWÜÙÜ ÊݨÜÂÊæ®Üá°ÊÜÃÜá

(D) hÝ®Ü±Ü¨Ü ÊݨÜÂÊæ®Üá°ÊÜÃÜá

EñܤÃÜ : (B) ÓÜáÑÃÜ ÊݨÜÂÊæ®Üá°ÊÜÃÜá 1

CCE RF/RR/PF/PR(A)/101/1848 (MA) [ Turn over

29-K 4
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
II. Jí¨æãí¨Üá ÊÝPܨÜÈÉ EñܤÄÓÜáÊÜâ¨Üá : 8×1=8

9. ÓÜíXàñÜÊÜâ WÜ~ñÜÍÝÓÜŒ¨æãí©Wæ ÓÜíŸí«Ü Öæãí©ÃÜÆá
PÝÃÜ|Êæà®Üá

EñܤÃÜ :

ÓÜíXàñܨÜÈÉÃÜáÊÜ ñÝÙÜ 1

10. ×í¨ÜãÓݤ¯ ÓÜíXàñÜ ±Ü¨Üœ£¿áÈÉ ÊæãàÖÜ®Ü ÃÝWÜÊÜ®Üá° H®æí¨Üá
PÜÃæ¿ááñݤÃæ

EñܤÃÜ :

»Üã±… 1

11. B«ÝÃÜ ÍÜáÅ£¿á®Üá° ÓÜãbÓÜáÊÜ ÓÜÌÃÜ ¿ÞÊÜâ¨Üá

EñܤÃÜ :

ÊÜá«ÜÂÓݧÀá¿á ÐÜvÜj 1

12. ÐÝvÜÊÜ ÃÝWÜ¨Ü BÃæãàÖÜ| ÊÜáñÜᤠAÊÜÃæãàÖÜ|WÜÙÜÈÉ ŸÃÜáÊÜ
ÓÜÌÃÜWÜÙÜ ÓÜíTæ GÐÜár

EñܤÃÜ :

BÃÜá
1

CCE RF/RR/PF/PR(A)/101/1848 (MA)

5 29-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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13. ¨ÜáÅñÜ©í¨Ü ±ÝÅÃÜí»ÜÊÝWÜáÊÜ ñÝÙÜ ¿ÞÊÜâ¨Üá

EñܤÃÜ :
ÃÜã±ÜPÜ ñÝÙÜ
1

14. ÓÜÃÜÙæ ÊÜáñÜᤠgíq ÊÜÃÜÓæWÜÙÜ ®ÜvÜá訆 Jí¨Üá ÊÜÂñÝÂÓÜÊÜ®Üá°
ŸÃæÀáÄ.

EñܤÃÜ :

ÓÜÌÃÜWÜÙÜ ÓÜÃÜÙÜ ÖÝWÜã ËË«Ü PÜÅÊÜ៨ܜ hæãàvÜOæÁáà ÓÜÃÜÙæ
ÊÜÃÜÓæ.

±ÜÅ£Áãí¨Üá ÓÜÌÃÜWÜÙÜá hæãàw¿ÞX ŸÃÜáÊÜâ¨Üá & gíq ÊÜÃÜÓæ.

E¨Ý.
.
ÓÜÃÜÙæ ÊÜÃÜÓæ & || ÓÜ Ä WÜ ÊÜá ±Ü ¨Ü ¯ ÓÜ ||
.
|| ÓÜ ¯ ¨Ü ±Ü ÊÜá WÜ Ä ÓÜ ||

..
gíq ÊÜÃÜÓæ & ||ÓÜÓÜ&ÄÄ&WÜWÜ&ÊÜáÊÜá&±Ü±Ü&¨Ü¨Ü&¯¯&ÓÜÓÜ||
..
||ÓÜÓÜ&¯¯&¨Ü¨Ü&±Ü±Ü|ÊÜáÊÜá&WÜWÜ&ÄÄ&ÓÜÓÜ||
1

15. ŸÓÜÊÜ|¡®ÜÊÜÃÜá ñÜÊÜá¾ ÊÜaÜ®ÜWÜÙÜÈÉ PÜãvÜÆÓÜíWÜÊÜá¨æàÊÜ GíŸ
AíQñÜÊÜ®Üá° ŸÙÜÓÜÆá PÝÃÜ|Êæà®Üá

EñܤÃÜ :

CCE RF/RR/PF/PR(A)/101/1848 (MA) [ Turn over

29-K 6
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
ŸÓÜÊÜ|¡®ÜÊÜÃÜ BÃݫܨæçÊÜ PÜãvÜÆÓÜíWÜÊÜá¨æàÊÜ B¨ÜªÄí¨Ü
AÊÜÃÜá ñÜÊÜá¾ ÊÜaÜ®ÜWÜÙÜÈÉ PÜãvÜÆÓÜíWÜÊÜá¨æàÊÜ GíŸ AíQñÜÊÜ®Üá°
ŸÙÜÔ¨ÜÃÜá. 1

16. ÊæãàbìíW… ÊݨÜÂÊÜ®Üá° Z®ÜÊݨÜÂÊæí¨Üá PÜÃæ¿áÆá
PÝÃÜ|Êæà®Üá

EñܤÃÜ :

ÇæãàÖÜ©í¨Ü ®Ý¨æãàñܳ£¤ BWÜáÊÜâ¨ÜÄí¨Ü ÊæãàbìíW… ÊݨÜÂÊÜ®Üá°

Z®ÜÊݨÜÂÊæ®Üá°ÊÜÃÜá. 1

III. GÃÜvÜÄí¨Ü ÊÜáãÃÜá ÊÝPÜÂWÜÙÜÈÉ EñܤÄÓÜáÊÜâ¨Üá : 7 × 2 = 14

17. ÓÜíXàñÜÊÜâ »èñÜÍÝÓÜŒ¨æãí©Wæ ¯PÜo ÓÜíŸí«ÜÊÜ®Üá° Öæãí©ÃÜÆá
PÝÃÜ|Êæà®Üá
EñܤÃÜ :

®Ý¨ÜÊÜâ »èñÜÍÝÓÜŒPæR ÓÜíŸí«Ü±Üor ËÐÜ¿á. ÓÜíXàñÜPæR ®Ý¨ÜÊæà

ÊÜáãÆ. ×àWÝX ®Ý¨æãàñܳ£¤, ÓÜÌÃÜÓݧ®ÜWÜÙÜá, ÓݧÀáÓÜÌÃÜ¨Ü ÓÜãûÜ$¾

ÍÜáÅ£WÜÙÜá, ÊݨÜÂWÜÙÜ ÃÜaÜ®æ, ÊݨÜÂWÜÙÜ ®Ý¨Ü¨Ü WÜá|ÊÜáor CÊæà

ÊÜááíñÝ¨Ü ËÐÜ¿áWÜÙÜá »èñÜÍÝÓÜŒPÜãR ÊÜáñÜᤠÓÜíXàñÜPÜãR ÖÝÓÜá

ÖæãPÝRX¨æ. C¨ÜÆɨæ ÓÜíXàñÜ ±ÜÅÓÝÃÜ PÝ¿áìPæR ®æÃÜÊÝWÜáÊÜ

«Ü̯ÊÜ«ÜìPÜ ¿áíñÜÅ, «Ü̯ ÊÜáá¨ÜÅ| ¿áíñÜÅ, ÃæàwÁãà,
CCE RF/RR/PF/PR(A)/101/1848 (MA)

7 29-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ

pæà±…ÃæPÝvÜìÃ… CÊæà ÊÜááíñÝ¨Ü ÓÝ«Ü®ÜWÜÙÜá »èñÜÍÝÓÜŒPæR

ÓÜíŸí˜ÔÃÜáÊÜâ¨Ü®Üá° WÜÊÜá¯ÓܸæàPÜá. C¨ÜQRíñÜ ÖæaÝcX

ÓÜíXàñÜÊÜ®Üá° «Ü̯ ÊÜáá©ÅÓÜáÊÜ ÓÜárwÁãà A¥ÜÊÝ «Ü̯ ÊÜáá¨ÜÅ|

PæãsÜwWÜÙÜá, ±ÜÅ£«Ü̯¿áá ŸÃܨÜíñÜÖÜ ÓÜíXàñÜ ÓÜ»ÝíWÜ|WÜÙÜá,

WÝÅÊæãà¶æäà®… CÊÜâWÜÙæÆÉÊÜä »èñÜÍÝÓÜŒPæR ÓÜíŸí«Ü±Üor

ËÐÜ¿áWÜÙæà BXÊæ. 2

18. ²ÙÝÛÄXàñæ ÊÜáñÜᤠÓÜíaÝÄ XàñæWÜÙÜ ®ÜvÜá訆 Jí¨Üá
ÊÜÂñÝÂÓÜÊÜ®Üá° ŸÃæÀáÄ.
EñܤÃÜ :
²ÙÝÛÄXàñæ ÓÜíaÝÄXàñæ
 ²ÙÝÛÄ XàñæWÜÙÜá ÊÜáÆÖÜÄ  ÓÜíaÝÄ XàñæWÜÙÜá ËË«Ü
ÃÝWܨÜÈÉÊæ. ÃÝWÜWÜÙÜÈÉÃÜáñܤÊæ.
 ²ÙÝÛÄ XàñæWÜÙÜá ÓÜÃÜÙÜ  ËË«Ü ÃÝWÜWÜÙÜ ÊÜáñÜᤠËË«Ü
ÓÝ×ñÜ嬆 »ÜQ¤±ÜÅ«Ý®ÜÊݨÜ, ÓÜÌÃÜWÜÙÜ ÓÜíaÝÃÜ ÖÝWÜã
ÓÜÃÜÙÜ ÓÜÌÃÜ ÓÜíaÝÃÜ¨Ü ÃÜaÜ®æ. ÓÜÃÜÙÜ ÓÝ×ñÜ嬆 ¨æàÊÜñÝÓÜᤣ¿ÞX
ÃÜáñܤ¨æ.
 WÜ|±Ü£ ÓÜᤣÀáí¨Ü ±ÝÅÃÜí»Ü  ËË«Ü ¨æàÊÜñÝÓÜᤣ¿á
ÊÝWÜáÊÜ XàñæWÜÙÜá ÓÝ×ñÜÂËÃÜáñܤ¨æ.
 aÜñÜáÃÜÍÜÅhÝ£ ÃÜã±ÜPÜ ñÝÙÜ  ËË«Ü ñÝÙÜWÜÙÜÈÉÃÜáñܤÊæ.
ÖÝWÜã £ÍÜÅhÝ£ £Å±Üâo
ñÝÙÜWÜÚí¨Ü JÙÜWæãíwÃÜáñܤ¨æ. 2

CCE RF/RR/PF/PR(A)/101/1848 (MA) [ Turn over

29-K 8
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ

19. LvÜÊÜ ÊÜáñÜᤠÊÜPÜÅÃÝWÜWÜÙÜ ®ÜvÜá訆 Jí¨Üá ÊÜÂñÝÂÓÜÊÜ®Üá°
Jí¨æãí¨Üá E¨ÝÖÜÃÜOæÁãí©Wæ ŸÃæÀáÄ.

EñܤÃÜ :

LvÜÊÜÃÝWÜ ÊÜPÜÅÃÝWÜ

 LvÜÊÜÃÝWÜWÜÙÜ BÃæãàÖÜ| A¥ÜÊÝ  ÃÝWÜ¨Ü BÃæãàÖÜ| A¥ÜÊÝ
AÊÜÃæãàÖÜ|WÜÙÜÈÉ I¨Üá AÊÜÃæãàÖÜ|WÜÙÜÈÉ ÓÜÌÃÜWÜÙÜá
ÓÜÌÃÜWÜÚÃÜáñܤÊæ. ÊÜPÜÅÊÝXÃÜáñܤÊæ.

 E¨Ý. : ÖÜíÓÜ«Ü̯, ÊæãàÖÜ®Ü,  E¨Ý. : ÊÜÓÜíñÜ, ÎÅàÃÝWÜ,

×í¨æãàÙÜ ÊÜááíñݨÜÊÜâ. B®Üí¨Ü»æçÃÜË ÊÜááíñݨÜáÊÜâ. 2

20. HPÜñÝÙÜ ÊÜáñÜᤠÃÜkáí±æñÝÙÜWÜÙÜ ®ÜvÜá訆 Jí¨Üá ÊÜÂñÝÂÓÜÊÜ®Üá°
ŸÃæÀáÄ.

EñܤÃÜ :

HPÜñÝÙÜ ÃÜkáí±æñÝÙÜ

 HPÜñÝÙÜ¨Ü AíWÜWÜÙÜá Jí¨Üá ÆZá  ÃÜkáí±æ ñÝÙÜ¨Ü AíWÜWÜÙÜá Jí¨Üá

ÊÜÞñÜÅ ÆZá, Jí¨Üá A®Üá¨ÜáÅñÜ ÖÝWÜã
Jí¨Üá ¨ÜáÅñÜ

 bÖæ° & |  bÖæ° & | O
2

CCE RF/RR/PF/PR(A)/101/1848 (MA)

9 29-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ

21. ÓÜíXàñÜÊÜâ ÊÜá®æãàËþݮܨæãí©Wæ ÖæàWæ ÓÜíŸí«ÜÊÜ®Üá°
Öæãí©¨æ GíŸá¨Ü®Üá° ÓÜíü±Ü¤ÊÝX ËÊÜÄÔ.

EñܤÃÜ :

ÓÜíXàñÜÊÜâ ÊÜá®ÜÔÕWæ ®æÊÜᾩ¿á®Üá° ¯àvÜáÊÜ ÆÈñÜ PÜÇæWÜÙÜÈÉ
Jí¨ÝX¨æ. ÊÜÞ®ÜÔPÜ JñܤvÜWÜÙÜ®Üá° ÓÜíXàñÜ¨Ü ÊÜáãÆPÜ
±ÜÄÖÜÄÓÜáÊÜ ±ÜÅÁãàWÜWÜÙÜá ÊÜá®æãàËþݮܨÜÈÉ C£¤àaæWæ A˜PÜ
±ÜÅÊÜÞ|¨ÜÈÉ ®Üvæ¿áᣤ¨æ. ÊÜÞ®ÜÔPÜ ¸æÙÜÊÜ~Wæ¿áá ±ÜâÑrPÜÃÜÊݨÝWÜ,
ÎÓÜá¤, ÓÜíXàñÜ A»ÝÂÔWÜÙÜÈÉ ñÝ®ÝXÁáà H±ÜìvÜáÊÜâ¨Üá.
iàÊÜ®ÜÊÜâ ÓÜáSÊÜá¿áÊÝWÜáÊÜâ¨Üá. 2

22. D PæÙÜX®Ü ÓÜíXàñÜ ÊݨÜÂWÜÙÜ®Üá° PÜ®ÝìoPÜ ÊÜáñÜᤠ×í¨ÜãÓݧ¯
ÊݨÜÂWÜÙÝX ÊÜXàìPÜÄÔ ŸÃæÀáÄ

ÔñÝÃ…, ËàOæ, ÊÜáê¨ÜíWÜ, ÍÜÖܮݿå…, ±ÜPÜÊÝh…, Zoí,
ÓÝÃÜíX, ²qàÆá.

EñܤÃÜ :

PÜ®ÝìoPÜ ÓÜíXàñÜ ±Ü¨Üœ£ ×í¨ÜãÓݧ¯ ÓÜíXàñÜ ±Ü¨Üœ£

 ËàOæ, ÊÜáê¨ÜíWÜ, Zoí,  ÔñÝÃ…, ÍÜÖܮݿå…, ±ÜPÜÊÝh…,
²qàÆá. ÓÝÃÜíX 2

CCE RF/RR/PF/PR(A)/101/1848 (MA) [ Turn over

29-K 10
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ

23. D PæÙÜX®Ü ÃÜaÜ®æWÜÙÜ®Üá° A»ÝÂÓÜWÝ®Ü ÖÝWÜã ÓÜ»ÝWÝ®Ü
ÃÜaÜ®æWÜÙÝX ÊÜXàìPÜÄÔ ŸÃæÀáÄ

ÓÜÃÜÙæ ÊÜÃÜÓæ, ÊÜ|ì, QàñÜì®æ, AÆíPÝÃÜ, ¨ÝoáÊÜÃÜÓæ, PÜê£,
ñÝÃÜÓݧÀá ÊÜÃÜÓæ, ÊÜaÜ®Ü.

EñܤÃÜ :

A»ÝÂÓÜWÝ®Ü ÃÜaÜ®æ ÓÜ»ÝWÝ®Ü ÃÜaÜ®æ

ÓÜÃÜÙæ ÊÜÃÜÓæ, ¨ÝoáÊÜÃÜÓæ, ÊÜ|ì, QàñÜì®æ, PÜê£,
ñÝÃÜÓݧÀá ÊÜÃÜÓæ, AÆíPÝÃÜ ÊÜaÜ®ÜWÜÙÜá. 2

IV. PæÙÜX®Ü ±ÜÅÍæ°WÜÚWæ ÓÜíü±Ü¤ÊÝX EñܤÄÓÜáÊÜâ¨Üá :
24. ÎÅà ñÝÂWÜÃÝgÃÜ iàÊÜ®Ü aÜÄñæÅ¿á®Üá° ÓÜíü±Ü¤ÊÝX ËÊÜÄÔ.
EñܤÃÜ :
 ñÝÂWÜÃÝgÃÜá QÅ.ÍÜ. 1767 ÃÜÈÉ £ÃÜáÊÝÃÜãÄ®ÜÈÉ
ÃÝÊÜáŸÅÖܾ ÊÜáñÜᤠÔàñÜÊÜá¾ ¨Üí±Ü£WÜÚWæ ÊÜÃܱÜâñÜÅ®ÝX
g¯Ô¨ÜÃÜá.
 Óæãít ÊæíPÜoÃÜÊÜá| »ÝWÜÊÜñÜÃÜá CÊÜÃÜ WÜáÃÜáWÜÙÜá.
 ÎÅàÃÝÊÜá®Ü ±ÜÃÜÊÜá »ÜPܤÃÜá.
 ñÜÊÜá¾ I¨Ü®æ¿á ÊÜ¿áÔÕ®ÜÇæÉà ÊÝȾàQ ÃÝÊÜÞ¿á|¨Ü 24
ÓÝËÃÜ ÍæãÉàPÜWÜÙÜ®Üá° PÜísܱÝsÜ ÊÜÞw ÓÜáÊÜá«ÜáÃÜÊÝX
ÖÝvÜᣤ¨ÜªÃÜá.

CCE RF/RR/PF/PR(A)/101/1848 (MA)

11 29-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
 ñÝÂWÜÃÝg GíŸ AíQñܨæãvÜ®æ ÖÜÆÊÝÃÜá PÜê£WÜÙÜ®Üá°
ÃÜbԨݪÃæ.

 A®æàPÜ ÖæãÓÜ ÃÝWÜWÜÙÜ®Üá° ÃÜã²Ô¨ÝªÃæ.
 ±ÜÅÖÝÉ¨Ü »ÜQ¤ Ëg¿á, ®èPÝaÜÄñæÅ, ÔàñÝÃÝÊÜá Ëg¿á &
GíŸ Wæà¿á®ÝoPÜ ÃÜaÜ®æ.
 Z®ÜÃÝWÜ ±ÜíaÜÃÜñÜ°, ÇÝÆáYw ±ÜíaÜÃÜñÜ°, £ÃÜáÊæäqr¿áãÃÜá
±ÜíaÜÃÜñÜ° CñÝ© ±ÜíaÜÃÜñÜ° PÜê£WÜÙÜ®Üá° ÃÜbԨݪÃæ.
 PÜê£WÜÚWæ ÓÜíWÜ£WÜÙÜ®Üá° AÙÜÊÜwst Qà£ì CÊÜÄWæ
ÓÜÆáÉñܤ¨æ.
 1847 ÃÜ ±ÜâÐÜÂÊÜÞÓÜ¨Ü ±ÜíaÜËá¿áí¨Üá ÎÅàÃÝÊÜá®Ü
±Ý¨ÝÃÜËí¨ÜÊÜ®Üá° ÓæàĨÜÃÜá.
 Cí©WÜã ñÝÂWÜÃÝgÃÜ BÃÝ«Ü®æ¿á®Üá° £ÃÜáÊÝ¿áãÄ®ÜÈÉ
Ëgêí»ÜOæÀáí¨Ü BaÜÄÓÜÇÝWÜᣤ¨æ. 6

25. aÜñÜáÃÜÍÜÅhÝ£ ÃÜã±ÜPÜñÝÙÜ¨Ü ÓÜÌÃÝÆíPÝÃÜÊÜ®Üá° ÓÜÌÃÜȲÁãí©Wæ
Ë®ÝÂÓÜWæãÚÔ ŸÃæÀáÄ.
EñܤÃÜ :
ñÝÙÜ ÃÜã±ÜPÜ ñÝÙÜ
hÝ£ aÜñÜáÃÜÍÜÅhÝ£
ñÝÙÝíWÜ 1 ¨ÜáÅñÜ + 1 ÆZá

bÖæ° O + I

AûÜÃÜWÜÙÜá 2+4=6

CCE RF/RR/PF/PR(A)/101/1848 (MA) [ Turn over

29-K 12
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
O |
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4

CCE RF/RR/PF/PR(A)/101/1848 (MA)

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