Karnataka SSLC Question Paper 2025 Answer Key Hindustani 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 : 28-E Code No. : 28-E

—

Subject : HINDUSTANI 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. Hindustani music is called as 'Uttaraadi Sangeeta'
because this music system is developed in
(A) Karnataka only (B) North India
(C) All over India (D) South India
Ans. : (B) North India 1

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Nos.

2. In Hindustani music 'Vadi Swara' means it is a raag's
(A) Varjya swara (B) Pradhana swara
(C) Anuvadi swara (D) Samvadi swara
Ans. : (B) Pradhana swara 1

3. Durga raag is called Oudav-Oudav jaati raag. Because
the numbers of swaras in Arohana and Avarohana are
(A) 5-5 (B) 5-6
(C) 5-7 (D) 4-5
Ans. : (A) 5-5 1

4. Tabla is called as 'Avanaddha' (percussion) Instrument
because it is a
(A) Western Instrument
(B) Karnataka Music Instrument
(C) Skin Instrument
(D) Wind Instrument
Ans. : (C) Skin Instrument 1

5. Another name for 'Husi' in Hindustani taal is
(A) Taali (B) Sam
(C) Pettu (D) Khali
Ans. : (D) Khali 1

6. The small composition which moves in Drut gati after
elaboration of raag is
(A) Dhrupad
(B) Swarageeta
(C) Chhota khayal
(D) Taraana
Ans. (C) Chhota khayal 1

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Qn.
Value Points Total
Nos.
7. The birth place of Pandit Panchakshari Gawayi is
(A) Kadashettihalli (B) Gadag
(C) Kaginele (D) Kurandawada
Ans. : (A) Kadashettihalli 1
8. When Shuddha swara comes down from its particular
place it becomes
(A) Taara swara (B) Teevra swara
(C) Komal swara (D) Shuddha swara
Ans. : (C) Komal swara 1
II. Answer the following questions in a sentence each :
8×1=8
9. Why do we use a small dot on swaras in Swaralipi
system ?
Ans. :
We put small dot on swaras to recognise them as
Taara swara. 1
10. Write any two differences between the taals Dadra and
Keharwa.
Ans. :
There are 8 Matras in Taal Keharwa. There are
6 Matras in Taal Dadra. 1
11. Bhairav raag is called a Uttaranga pradhana raag.
Why ?
Ans. :
Because, raag Bhairav's Vadi swara Komal Dhaivat is
in Uttaranga. 1
12. Which Art is called audio based education ?
Ans. :
Music Art is called audio based education. 1
13. Name any two instruments which we use in both
Hindustani music and Karnataka music.
Ans. :
Violin, Taanpura, Flute. 1

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Nos.
14. Define the meaning of Khayal.
Ans. :
The meaning of Khayal is thinking and imagination. 1
15. Write one difference between Teevra swara and Komal
swara.
Ans. :
 When Shuddha swara comes up from its
Perticular place, it is called Teevra Swara. When
Shuddha swara comes down from its perticular
place it is called Komala swara.
 We put a small verticle line on swara to recognise
teevra swara.
We put a small Horizontal line under the swara to
recognise Komala swara. 1
16. Write any one difference between Arohana and
Avarohana of raag Brundavani sarang.
Ans. :
In raag Brundavani sarang we use Shuddha Nishada 1
swara in Aroha and Komala Nishad swara in Avaroha.

III. Answer the following questions in two to three
sentences each : 7 × 2 = 14

17. Write the reason for Pandit Vishnu Digambar Paluskar
to become blind.
Ans. :
Pandit Vishnu Digambar Paluskar become blind due to
the blasting of crackers during Diwali celebration. 2

18. Write two similarities between Raag Bhoop and Raag
Durga.
Ans. :
Durga and Bhoop Raagas both are Oudav-Oudav Jati.
All swaras are Shudha in raag Durga and Bhoop. 2

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Qn.
Value Points Total
Nos.

19. Classify the following raagas into Oudav-Oudav and
Oudav-Sampurna raagas :

Bibas, Malkauns, Patdeep, Bageshri.

Ans. :

Oudav-Oudav Audav-Sampurna

Bibas Patadeep

Malkouns Bageshri 2

20. Write the Arohana and Avarohana swaras of raag
Bhairavi.

Ans. :

.
Arohana : Sa Re Ga Ma Pa Dha Ni Sa

.
Avarohana : Sa Ni Dha Pa Ma Ga Re Sa 2

21. Write the characteristics of Chhota Khayal.

Ans. :

 Chhota Khayal compositions are in Teentaal,
Jhaptaal, in Drut and Madhya layas.

 In Chhota Khayal there are two parts. They are
Sthayi and Antara. 2

22. Jhaptaal is different from Chowtaal. How ?

Ans. :

Jhaptaal is used in Chhota Khayal, Swarageeta and
light music. Chowtaal is used in only Dhrupad. 2

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Qn.
Value Points Total
Nos.
23. Write any two differences between Karnataka music
and Hindustani music.
Ans. :
Hindustani music Carnatic music
 In this system there  In this system there
are 12 swaras. are 16 swaras.
 Dhrupad, Teentaal,  Atataal, Aditaal,
Dadra are used here. Triputa taals are used
here.
 In Raaga classification  In Raaga classification
Raaga-Ragini system Janaka-Janya system
is there. is there.
 The compositions like  The compositions like
Thumari, Bhajan are Geeta, Jatiswara are
there in this system. there in this system. 2
IV. Answer the following questions in brief :
24. Write the Swarageeta of raag Khamaj with Swaralipi
system.
Ans. :
Sthayi

× 0 2 0 3 4

Sa Ga Ma Pa Ni Dha Pa Dha Ga Ma Ga –

Ma Ga Re Sa Ni Dha Sa – Ga Ma Ga –

Antara

× 0 2 0 3 4
. . .
Ga Ma Pa Ni Dha Ni Sa – Ni Dha Sa Sa
Sa Ni Dha Pa Ma Ga Re Sa Ni Dha Sa – 4

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Qn.
Value Points Total
Nos.

25. Explain the contributions of Purandaradasaru to
Karnataka music.

Ans. :

Purandaradasa's contribution to Karnataka music is
immeasurable. Shri Purandaradasa is respected as
'Karnataka Sangeeta Pitamaha' in world of Karnataka
music. He laid the foundation for the systematic study
of Karnataka music. Elementary lesson in
Maayamalava gowla and Adi taala were introduced in
Karnataka music by him.

He composed Keertanas, Padhas, Uga Bhogas, Sooladi
and others.

His compositions were composed in Kannada and few
in Sanskit. 6

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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 : 28-K CODE NO. : 28-K

ËÐÜ¿á : ×í¨ÜãÓݧ¯ ÓÜíXàñÜ — ÍÝÓÜŒ Ë»ÝWÜ
Subject : HINDUSTANI 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
ÓÜíTæÂ
I. ŸÖÜá&BÁáR ±ÜÅÍæ° (PÜÅÊÜÞûÜÃܨæãí©X®Ü ±ÜÅ£ ÓÜÄ¿ááñܤÃÜPæR
1 AíPÜ) : 8×1=8
1. ×í¨ÜãÓݧ¯ ÓÜíXàñÜÊÜ®Üá° EñܤÃÝ© ÓÜíXàñÜ Êæí¨Üá PÜÃæ¿ááÊÜÃÜá.
HPæí¨ÜÃæ, D ÓÜíXàñÜ ±ÜÅPÝÃÜÊÜâ
(A) PܬÝìoPܨÜÈÉ ÊÜÞñÜÅ ¸æÙæ¨ÜáŸí©¨æ
(B) EñܤÃÜ »ÝÃÜñܨÜÈÉ ¸æÙæ¨ÜáŸí©¨æ
(C) »ÝÃÜñܨݨÜÂíñÜ ¸æÙæ¨ÜáŸí©¨æ
(D) ¨Üü|»ÝÃÜñܨÜÈÉ ¸æÙæ¨ÜáŸí©¨æ
EñܤÃÜ : (B) EñܤÃÜ »ÝÃÜñܨÜÈÉ ¸æÙæ¨ÜáŸí©¨æ 1

CCE RF/RR/PF/PR(A)/101/1846 (MA) [ Turn over

28-K 2
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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2. ×í¨ÜãÓݧ¯ ÓÜíXàñܨÜÈÉ ÊÝ©ÓÜÌÃÜ Gí¨ÜÃæ, A¨Üá ÃÝWܨÜ
(A) ÊÜgÂì ÓÜÌÃÜ (B) ±ÜÅ«Ý®Ü ÓÜÌÃÜ
(C) A®ÜáÊÝ© ÓÜÌÃÜ (D) ÓÜíÊÝ© ÓÜÌÃÜ
EñܤÃÜ : (B) ±ÜÅ«Ý®Ü ÓÜÌÃÜ 1
3. ¨ÜáWÝì ÃÝWÜÊÜ®Üá° LvÜÊÜ&LvÜÊÜ hÝ£¿á ÃÝWÜÊæí¨Üá
PÜÃæ¿áÆá PÝÃÜ|Êæà®æí¨ÜÃæ, D ÃÝWÜ¨Ü BÃæãàÖÜ| ÊÜáñÜá¤
AÊÜÃæãàÖÜ|¨ÜÈÉÃÜáÊÜ ÓÜÌÃÜWÜÙÜ ÓÜíTæÂ
(A) 5-5 (B) 5-6
(C) 5-7 (D) 4-5
EñܤÃÜ : (A) 5-5 1
4. ñÜŸÆÊܬÜá® AÊܬܨܜ ÊݨÜÂÊæí¨Üá PÜÃæ¿áÆá PÝÃÜ|Êæà¬æí¨ÜÃæ,
ñÜŸÆÊÜâ
(A) ±ÝÍÝcñÜ ÓÜíXàñÜ ÊݨÜÂÊÝX¨æ
(B) PÜ®ÝìoPÜ ÓÜíXàñÜ ÊݨÜÂÊÝX¨æ
(C) aÜÊÜáì ÊݨÜÂÊÝX¨æ
(D) ÓÜáÑÃÜ ÊݨÜÂÊÝX¨æ
EñܤÃÜ : (C) ñÜŸÆÊÜâ aÜÊÜáì ÊݨÜÂÊÝX¨æ 1
5. ×í¨ÜãÓݧ¯ ñÝÙܨÜÈÉ ÖÜáÔ Wæ CÃÜáÊÜ ÊÜáñæã¤í¨Üá ÖæÓÜÃÜá
(A) ñÝÈ (B) ÓÜÊÜå…
(C) ±æoár (D) TÝÈ
EñܤÃÜ : (D) TÝÈ 1
6. ÃÝWÜÊÜâ ËÓݤÃÜWæãívÜ ¬ÜíñÜÃÜ «Üêñ…WÜ£¿áÈÉ ÓÝWÜáÊÜ
QÃÜáÃÜaÜ®æÁáà
(A) «Üê¯Ü¨… (B) ÓÜÌÃÜXàñæ
(C) dæãàpÝ S¿ÞÇ… (D) ñÜÃÝ®Ü
EñܤÃÜ : (C) dæãàpÝ S¿ÞÇ… 1
7. ¯Üíwñ… ±ÜíaÝûÜÄ WÜÊÝÀáWÜÙÜá g¯Ô¨Ü ÓܧÙÜ
(A) PÝvÜÍæqr ÖÜÚÛ (B) WܨÜWÜ
(C) PÝX®æÇæ (D) PÜáÃÜí¨ÜÊÝvÜ
EñܤÃÜ : (A) PÝvÜÍæqr ÖÜÚÛ 1

CCE RF/RR/PF/PR(A)/101/1846 (MA)

3 28-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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8. ÍÜá¨Üœ ÓÜÌÃÜÊÜâ ñܬܮ ­¿áñÜ Óݧ¬Ü A¥ÜÊÝ ¯ÜÅÊÜÞ|©í¨Ü
PæÙÜXÚ¨ÝWÜ,
(A) ñÝÃÜ ÓÜÌÃÜ G¯ÔPæãÙÜáÛñܤ¨æ
(B) £àÊÜÅ ÓÜÌÃÜÊÝWÜáñܤ¨æ
(C) PæãàÊÜáÆ ÓÜÌÃÜ EípÝWÜáñܤ¨æ
(D) ÍÜá¨Üœ ÓÜÌÃÜÊÝXÁáà EÚ¿ááñܤ¨æ
EñܤÃÜ : (C) PæãàÊÜáÆ ÓÜÌÃÜ EípÝWÜáñܤ¨æ 1
II. Jí¨æãí¨Üá ÊÝPܨÜÈÉ EñܤÄÓÜáÊÜâ¨Üá : 8×1=8

9. ÓÜÌÃÜÈ° ¯Ü¨Üœ£¿áÈÉ ÓÜÌÃÜWÜÙÜ ÊæáàÇæ aÜáPæR CvÜÆá PÝÃÜ|Êæà¬Üá
EñܤÃÜ :
ÓÜÌÃÜÊÜ®Üá° ñÝÃÜÓܱܤPÜ¨Ü ÓÜÌÃÜ Gí¨Üá WÜáÃÜá£ÓÜÆá ÓÜÌÃÜȲ
¯Ü¨Üœ£¿áÈÉ ÓÜÌÃÜWÜÙÜ ÊæáàÇæ ÓÜ|¡ aÜáPæR CvÜÇÝWÜáÊÜâ¨Üá. 1
10. ¨Ý¨ÜÃÝ ÖÝWÜã PæÖÜÃÜÊÝ ñÝÙÜWÜÙÜÈÉ®Ü ¿ÞÊÜâ¨Ý¨ÜÃÜã Jí¨Üá
ÊÜÂñÝÂÓÜÊܬÜá® ŸÃæÀáÄ.
EñܤÃÜ :
¨Ý¨ÜÃÝ ñÝÙܨÜÈÉ 06 ÊÜÞñæÅWÜÚÊæ PæÖÜÃÜÊÝ ñÝÙܨÜÈÉ Joár
08 ÊÜÞñæÅWÜÚÊæ. 1
11. »æçÃÜÊÜ ÃÝWÜÊÜ®Üá° EñܤÃÝíWÜ ±ÜÅ«Ý®Ü ÃÝWÜÊæí¨Üá PÜÃæ¿ááÊÜ ÃÜá
HPæ
EñܤÃÜ :
»æçÃÜÊÜ ÃÝWÜ¨Ü ÊÝ© ÓÜÌÃÜ PæãàÊÜáÆ ¨æçÊÜñÜÊÜâ EñܤÃÝíWÜ
ÓÜÌÃÜÊÝX¨æ. 1
12. ÍÜÅÊÜ| ÓÝ«ÜPÜ Ë¨æ Gí¨Üá PÜÃæ¿áƳvÜáÊÜ PÜÇæ ¿ÞÊÜâ¨Üá
EñܤÃÜ :
ÍÜÅÊÜ| ÓÝ«ÜPÜ Ë¨æ Gí¨Üá PÜÃæ¿áƳvÜáÊÜ PÜÇæ ÓÜíXàñÜ. 1
13. ×í¨ÜãÓݧ¯ ÊÜáñÜᤠPÜ®ÝìoPÜ ÓÜíXàñÜ GÃÜvÜá ±ÜÅPÝÃÜWÜÙÜÈÉ
ŸÙÜÓÜŸÖÜá¨Ý¨Ü ¿ÞÊÜâ¨Ý¨ÜÃæãí¨Üá ÊݨÜÂÊÜ®Üá° ÖæÓÜÄÔ.
EñܤÃÜ :
ñݮܱÜäÃÜ, ²qàÆá, PæãÙÜÆá. 1

CCE RF/RR/PF/PR(A)/101/1846 (MA) [ Turn over

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±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
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14. S¿ÞÆ ±Ü¨Ü¨Ü A¥ÜìÊÜ®Üá° ÊÝÂTݯÔ.
EñܤÃÜ :
S¿ÞÆ GíŸ ¯Ü¨ÜÊÜâ ÁãàbÓÜá, bí£ÓÜá, PÜȱÓÜá GíŸ
A¥ÜìÊÜ®Üá° PæãvÜáñܤ¨æ. 1
15. £àÊÜÅ ÓÜÌÃÜ ÊÜáñÜᤠPæãàÊÜáÆ ÓÜÌÃÜQRÃÜáÊÜ Jí¨Üá ÊÜÂñÝÂÓÜÊ Ü®Üá°
ŸÃæÀáÄ.
EñܤÃÜ :
 £àÊÜÅ ÓÜÌÃÜ¨Ü ÊæáàÇæ bPÜR ÆíŸ WæÃæ¿á®Üá° GÙæ¿áÇÝWÜáñܤ¨æ.

PæãàÊÜáÆ ÓÜÌÃÜ¨Ü PæÙÜWæ bPÜR AvÜx WæÃæ¿á®Üá° GÙæ¿áÇÝWÜáñܤ¨æ.
 ÍÜá¨Üœ ÍÜÌÃÜÊÜâ ñܬܮ ­¿áËáñÜ Óݧ¬ÜQRíñÜ Öæbc¬Ü ¯ÜÅÊÜÞ|¨ÜÈÉ

®Üáw¨ÝWÜ £àÊÜÅ ÓÜÌÃÜÊÝWÜáñܤ¨æ A¨æà Ä࣠PÜwÊæá
±ÜÅÊÜÞ|¨ÜÈÉ ®Üáw¨ÝWÜ PæãàÊÜáÆ ÓÜÌÃÜÊÝWÜáñܤÊæ.
¿ÞÊÜâ¨Ý¨ÜÃÜã Jí¨Üá EñܤÃÜÊÜ®Üá° ÊÜåèÆÂÊÜÞ±ÜPÜÃÜá ±ÜÄWÜ~ÓÜáÊÜâ¨Üá 1
16. Ÿêí¨ÝÊÜ­ ÓÝÃÜíWÜ ÃÝWÜ¨Ü BÃæãàÖÜ| ÊÜáñÜᤠAÊÜÃæãàÖÜ|¨ÜÈÉ
PÜívÜáŸÃÜáÊÜ ¿ÞÊÜâ¨Ý¨ÜÃÜã Jí¨Üá ÊÜÂñÝÂÓÜÊܬÜá® ŸÃæÀáÄ.
EñܤÃÜ :
Ÿêí¨ÝÊÜ­ ÓÝÃÜíWÜ ÃÝWÜ¨Ü BÃæãàÖÜ|¨ÜÈÉ ÍÜá¨Üœ ­ÐݨÜ
±ÜÅÁãàWÜÊݨÜÃæ, AÊÜÃæãàÖÜ|¨ÜÈÉ PæãàÊÜáÆ ¯ÐݨÜ
±ÜÅÁãàWÜÊÝWÜáñܤ¨æ.
1
III. GÃÜvÜÄí¨Ü ÊÜáãÃÜá ÊÝPÜÂWÜÙÜÈÉ EñܤÄÓÜáÊÜâ¨Üá : 7 × 2 = 14
17. ¯ÜíwñÜ ËÐÜá¡©WÜíŸÃÜ ¯ÜÆáÓÜRÃ…ÃÜÊÜÃÜá ¨ÜêÑr×à¬ÜÃÝWÜÆá
PÝÃÜ|ÊÜ®Üá° £ÚÔ.
EñܤÃÜ :
©à¯ÝÊÜÚ ÖÜŸº¨ÜÈÉ ¶ÜÆáÓÜRÃ…ÃÜÊÜÃÜá ±ÜpÝQWÜÙÜ®Üá° ÖÜaÜácÊÜ
ÓÜí¨Ü»Üì¨ÜÈÉ ÔwÊÜᩪ®Ü BPÜÔ¾PÜ Óæã#àoPæR AÊÜÃÜ GÃÜvÜã
PÜ|á¡WÜÙÜá ¨ÜêÑr×à®ÜÊݨÜÊÜâ. 2

CCE RF/RR/PF/PR(A)/101/1846 (MA)

5 28-K
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18. ¨ÜáWÝì ÊÜáñÜᤠ»Üã±Ü ÃÝWÜWÜÙÜÈÉ®Ü ¿ÞÊÜâ¨Ý¨ÜÃÜã GÃÜvÜá
ÓÝÊÜáÂñæWÜÙܬÜá® ŸÃæÀáÄ.
EñܤÃÜ :
¨ÜáWÝì ÊÜáñÜᤠ»Üã±Ü ÃÝWÜWÜÙæÃÜvÜã LvÜÊÜ&LvÜÊÜ hÝ£¿á
ÃÝWÜWÜÙÝXÊæ.
¨ÜáWÝì ÊÜáñÜᤠ»Üã±Ü ÃÝWÜWÜÙæÃÜvÜã ÃÝWÜWÜÙÜÈÉ GÇÝÉ ÓÜÌÃÜWÜÙÜá
ÍÜá¨Üœ ÓÜÌÃÜWÜÙÝXÊæ. 2
19. D PæÙÜWæ PæãqrÃÜáÊÜ ÃÝWÜWÜÙÜ®Üá° LvÜÊÜ&LvÜÊÜ ÊÜáñÜá¤
LvÜÊÜ&ÓÜí¯Üä|ì ÃÝWÜWÜÙÝX ÊÜXàìPÜÄÔ ŸÃæÀáÄ
¨ÜáWÝì, ¨æàÓ…, ¯Üp…©à¯…, ¸ÝWæàÎÅà.
EñܤÃÜ :
LvÜÊÜ&LvÜÊÜ ÃÝWÜ LvÜÊÜ&ÓÜí±Üä|ì ÃÝWÜ
¹¸ÝÓÜ ±Üo©à±Ü
ÊÜÞÇ…Pè¬…Õ ¸ÝWæàÎÅà 2
20. »æçÃÜË ÃÝWÜ¨Ü BÃæãàÖÜ| ÊÜáñÜᤠAÊÜÃæãàÖÜ| ÓÜÌÃÜWÜÙÜ®Üá°
ŸÃæÀáÄ.
EñܤÃÜ :
.
BÃæãàÖÜ| ÓÜ Ãæ– WÜ– ÊÜá ±Ü «Ü– ¯– ÓÜ
.
AÊÜÃæãàÖÜ| ÓÜ ¯– «Ü– ±Ü ÊÜá WÜ– Ãæ– ÓÜ 2
21. dæãàpÝ S¿ÞÇ…¬Ü ÆûÜ|WÜÙܬÜá® ÓÜíü¯Ü¤ÊÝX ËÊÜÄÔ.
EñܤÃÜ :
 dæãàpÝ S¿ÞÆ ÃÜaÜ®æ¿áá ¨Üêñ… ÊÜáñÜᤠÊÜá«ÜÂÆ¿á

£à®ÜñÝÆ, HPÜñÝÆ, ÃÜká±ÜñÝƨÜÈÉ CÃÜáÊÜâ¨Üá.
 C¨ÜÃÜÈÉ ÓݧÀá ÊÜáñÜᤠAíñÜÃÝ GÃÜvÜá »ÝWÜWÜÚÃÜáñܤÊæ. 2

CCE RF/RR/PF/PR(A)/101/1846 (MA) [ Turn over

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±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
22. ÃÜká±Ý¤ÆÊÜâ aèñÝÆQRíñÜ ¼®Ü°ÊÝX¨æ. ÖæàWæ
EñܤÃÜ :
ÃÜká±Ý¤ÆÊÜ®Üá° dæãàpÝS¿ÞÇ…, ÓÜÌÃÜXàñæ ÊÜááíñݨÜ
XàñܯÜÅPÝÃܨÜÈÉ ÖÝWÜã ÆZá ÓÜíXàñܨÜÈÉ ŸÙÜPæ ÊÜÞvÜÇÝWÜáñܤ¨æ.
aèñÝÆÊÜâ PæàÊÜÆ ¨ÜáÅ¯Ü¨Ü WÝ¿á¬ÜPæR ŸÙÜÓÜÇÝWÜáñܤ¨æ. 2
23. ×í¨ÜãÓݧ¯ ÓÜíXàñÜ ÊÜáñÜᤠPÜ®ÝìoPÜ ÓÜíXàñÜQRÃÜáÊÜ
¿ÞÊÜâ¨Ý¨ÜÃÜã GÃÜvÜá ÊÜÂñÝÂÓÜWÜÙܬÜá® ŸÃæÀáÄ.
EñܤÃÜ :
×í¨ÜãÓݧ¯ ÓÜíXàñÜ PÜ®ÝìoPÜ ÓÜíXàñÜ
 Jí¨Üá ÓܱܤPܨÜÈÉ 12 ÓÜÌÃÜWÜÙÜ  D ±ÜÅPÝÃܨÜÈÉ 16 ÓÜÌÃÜWÜÙÜ
ŸÙÜPæ CÃÜáñܤ¨æ. ŸÙÜPæ CÃÜáñܤ¨æ.
 ÃÜká¯Ý¤Æ, £à¬…ñÝÆ  AoñÝÙÜ, B©ñÝÙÜ £ÍÜÅhÝ£
¨Ý¨ÜÃÝ ñÝÆWÜÙÜ ŸÙÜPæ £Å¯Üâo ñÝÙÜWÜÙÜ ŸÙÜPæ CÃÜáñܤ¨æ.
CÃÜáñܤ¨æ.
 ÃÝWÜ Ë»Üg®æ¿áÈÉ ÃÝWÜ&ÃÝX~  ÃÝWÜ Ë»Üg®æ¿áÈÉ g®ÜPÜ
ÊÜáñÜᤠ¥Ýp… ¯Ü¨Üœ£WÜÙܬÜá® ÊÜáñÜᤠg¬Ü ¯Ü¨Üœ£¿á¬Üá®
Öæãí©¨æ. Öæãí©¨æ.
 «Üáůܨ… «ÜÊÜÞÃ…, ñÜÃݬÝ,  Xàñæ, g£ÓÜÌÃÜ, ÓÜÌÃÜgñæ,
TÝÂÇ…, sÜáËáÅ, »Üg¬… QàñÜì®æ, ±Ü¨Ü ÊÜááíñݨÜ
ÃÜaÜ®æWÜÙÜ Ÿí©àÐ… CÃÜáñܤ¨æ. ÓÜíXàñÜ ÃÜaÜ®æWÜÚÊæ.
Êæáà騆 AíÍÜWÜÙÜÈÉ GÃÜvÜá AíÍÜWÜÙÜ®Üá° ÊÜåèÆÂÊÜޱܮÜPæR
±ÜÄWÜ~ÓÜáÊÜâ¨Üá 2

CCE RF/RR/PF/PR(A)/101/1846 (MA)

7 28-K
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
IV. PæÙÜX®Ü ±ÜÅÍæ°WÜÚWæ ÓÜíü±Ü¤ÊÝX EñܤÄÓÜáÊÜâ¨Üá :
24. SÊÜÞh… ÃÝWÜ¨Ü ÓÜÌÃÜXàñæ¿á¬Üá® ÓÜÌÃÜÈ° ¯Ü¨Üœ£¿áíñæ
È°Ÿ¨ÜœWæãÚÔ.
EñܤÃÜ
ÓݧÀá
× 0 2 0 3 4

ÓÜ WÜ ÊÜá ±Ü ¯ «Ü ±Ü «Ü WÜ ÊÜá WÜ
ÊÜá WÜ ÄÓÜ ¯. «Ü. ÓÜ WÜ ÊÜá WÜ
AíñÜÃÝ
× 0 2 0 3 4
. . .
WÜ ÊÜá ±Ü ¯ «Ü ¯ ÓÜ ¯ «Ü ÓÜ ÓÜ
.
ÓÜ ¯ «Ü ±Ü ÊÜá WÜ Ä ÓÜ ¯. «Ü. ÓÜ 4
25. ±ÜâÃÜí¨ÜÃܨÝÓÜÃÜá PÜ®ÝìoPÜ ÓÜíXàñÜPæR ¯àw¨Ü PæãvÜáWæWÜÙÜ®Üá°
ËÊÜÄÔ.
EñܤÃÜ :
 »ÝÃÜ£à¿á ÓÜíXàñÜ¨Ü C£ÖÝÓܨÜÈÉ ±ÜâÃÜí¨ÜÃܨÝÓÜÃÜ Óݧ®Ü
ÊÜáÖÜñŲ̈Üáª. AÊÜÃÜ®Üá° PÜ®ÝìoPÜ ÓÜíXàñÜ ²ñÝÊÜáÖÜÃæí¨Üá
PÜÃæ¿áÇÝX¨æ.
 PܬÝìoPÜ ÓÜíXàñÜPæR Ÿá¬Ý©¿á¬Üá® ÖÝQ¨ÜÃÜá.
A»ÝÂÓÜWݬÜÊܬÜá® PÜÅÊÜ៨ܜWæãÚÓÜáÊÜÃÜá.
 g®ÜÓÝÊÜÞ®ÜÂÄWæ »ÜQ¤ ÓÜíXàñÜ¨Ü ÊÜáãÆPÜ ÊæãàûܨÜ
ÊÜÞWÜìÊÜ®Üá° ñæãàÄÔ¨ÜÃÜá.
CCE RF/RR/PF/PR(A)/101/1846 (MA) [ Turn over

28-K 8
±ÜÅÍæ° ±ÜÅÍÝ°®ÜáÓÝÃÜ ÊÜåèÆÂÊÜÞ±Ü®Ü AíPÜWÜÙÜá
ÓÜíTæÂ
 ¨ÝÓÜÃÜá ñÜÊÜá¾ ±Ü¨ÜWÜÙÜÈÉ ÓÜÌÃÜ, ÃÝWÜWÜÙÜ ÖæÓÜÃÜá, ÊÜáãdÜì®æ
hÝ£, ¯ÜÅŸí«ÜXàñæ ÊÜáñÜᤠA¬æàPÜ ÊݨÜÂWÜÙÜ EÇæÉàS
ÊÜÞw¨ÝªÃæ.
 ±ÜâÃÜí¨ÜÃܨÝÓÜÃÜá ñÜÊÜá¾ ÖÜÆÊÝÃÜá ÃÜaÜ®æWÜÙÜÈÉ Êæà|á,
ËàOæ, ÊÜáê¨ÜíWÜ, ÍÜíS, »æàÄ, ¨Üáí¨Üá¼ ÊÜááíñݨÜ
ÊݨÜÂWÜÙÜ®Üá° EÇæÉàUԨݪÃæ.
 AÊÜÃÜ Pæç¿áÈɨܪ ñÜíŸãÄ ÊÜáñÜᤠbqPæ AÊÜÃÜá ÍÜê£ ÊÜáñÜá¤
ñÝÙÜPæR ¯àw¨Ü ±ÝÅÊÜááSÂñæ ¹í¹ÓÜáñܤÊæ.
 ±ÜâÃÜí¨ÜÃܨÝÓÜÃÜá ñÜÊÜá¾ ÃÜaÜ®æWÜÙÜ®Üá° PÜ®ÝìoPÜ ÓÜíXàñÜ
ÃÝWÜWÜÙÜÈÉ ÃÜbԨݪÃæ. 6

CCE RF/RR/PF/PR(A)/101/1846 (MA)

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