Signature and Name of Invigilator

1. (Signature) OMR Sheet No. : ..........................................................

(To be filled by the Candidate)
(Name)
Roll No.
2. (Signature)
(In figures as per admission card)
(Name) Roll No.
(In words)
J 0 9 6 1 8 PAPER - II
Time : 2 hours] KARNATAK MUSIC [Maximum Marks : 200
Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 100
Instructions for the Candidates ¬⁄UˡÊÊÁÕ¸ÿÙ¢ ∑§ Á‹∞ ÁŸŒ¸‡Ê
1. Write your roll number in the space provided on the top of
this page.
1. ß‚ ¬ÎDU ∑§ ™§¬⁄U ÁŸÿà SÕÊŸ ¬⁄U •¬ŸÊ ⁄UÙ‹U Ÿê’⁄U Á‹Áπ∞–
2. This paper consists of hundred multiple-choice type of 2. ß‚ ¬˝‡Ÿ-¬òÊ ◊¢ ‚ÊÒ ’„ÈÁfl∑§À¬Ëÿ ¬˝‡Ÿ „Ò¥–
questions. 3. ¬⁄UˡÊÊ ¬˝Ê⁄êU÷ „ÙŸ ¬⁄U, ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê •Ê¬∑§Ù Œ ŒË ¡ÊÿªË– ¬„‹U ¬UÊ°ø Á◊Ÿ≈U
3. At the commencement of examination, the question booklet •Ê¬∑§Ù ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê πÙ‹Ÿ ÃÕÊ ©‚∑§Ë ÁŸêŸÁ‹Áπà ¡Ê°ø ∑§ Á‹∞ ÁŒÿ
will be given to you. In the first 5 minutes, you are requested ¡Êÿ¢ª, Á¡‚∑§Ë ¡Ê°ø •Ê¬∑§Ù •fl‡ÿ ∑§⁄UŸË „Ò —
to open the booklet and compulsorily examine it as below :
(i) ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê πÙ‹Ÿ ∑§ Á‹∞ ¬ÈÁSÃ∑§Ê ¬⁄U ‹ªË ∑§Êª¡ ∑§Ë ‚Ë‹ ∑§Ê
(i) To have access to the Question Booklet, tear off the
paper seal on the edge of this cover page. Do not accept »§Ê«∏ ‹¢U– πÈ‹Ë „È߸ ÿÊ Á’ŸÊ S≈UË∑§⁄U-‚Ë‹U ∑§Ë ¬ÈÁSÃ∑§Ê SflË∑§Ê⁄U Ÿ ∑§⁄¢U–
a booklet without sticker-seal and do not accept an open (ii) ∑§fl⁄U ¬ÎDU ¬⁄U ¿U¬ ÁŸŒ¸‡ÊÊŸÈ‚Ê⁄U ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∑§ ¬ÎDU ÃÕÊ ¬˝‡ŸÙ¢ ∑§Ë
booklet. ‚¢ÅÿÊ ∑§Ù •ë¿UË Ã⁄U„ øÒ∑§ ∑§⁄U ‹¢U Á∑§ ÿ ¬Í⁄U „Ò¢U– ŒÙ·¬Íáʸ ¬ÈÁSÃ∑§Ê
(ii) Tally the number of pages and number of questions in Á¡Ÿ◊¢ ¬ÎDU/¬˝‡Ÿ ∑§◊ „Ù¢ ÿÊ ŒÈ’Ê⁄UÊ •Ê ªÿ „Ù¢ ÿÊ ‚ËÁ⁄Uÿ‹U ◊¢ Ÿ „Ù¢
the booklet with the information printed on the cover •ÕʸØ Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ë òÊÈÁ≈U¬Íáʸ ¬ÈÁSÃ∑§Ê SflË∑§Ê⁄U Ÿ ∑§⁄¢U ÃÕÊ
page. Faulty booklets due to pages/questions missing
or duplicate or not in serial order or any other
©‚Ë ‚◊ÿ ©‚ ‹Uı≈UÊ∑§⁄U ©‚∑§ SÕÊŸ ¬⁄U ŒÍ‚⁄UË ‚„Ë ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ‹
discrepancy should be got replaced immediately by a ‹¢– U ß‚∑§ Á‹∞ •Ê¬∑§Ù ¬Ê°ø Á◊Ÿ≈U ÁŒÿ ¡Êÿ¢ª– ©‚∑§ ’ÊŒ Ÿ ÃÙ
correct booklet from the invigilator within the period •Ê¬∑§Ë ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê flʬ‚ ‹Ë ¡ÊÿªË •ı⁄U Ÿ „Ë •Ê¬∑§Ù •ÁÃÁ⁄UQ§
of 5 minutes. Afterwards, neither the Question Booklet ‚◊ÿ ÁŒÿÊ ¡ÊÿªÊ–
will be replaced nor any extra time will be given. (iii) ß‚ ¡Ê°ø ∑§ ’ÊŒ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∑§Ê Ÿ¥’⁄U OMR ¬òÊ∑§ ¬⁄U •¢Á∑§Ã ∑§⁄¢U
(iii) After this verification is over, the Test Booklet Number •Uı⁄U OMR ¬òÊ∑§ ∑§Ê Ÿ¥’⁄U ß‚ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ¬⁄U •¢Á∑§Ã ∑§⁄U Œ¢–
should be entered on the OMR Sheet and the OMR Sheet
Number should be entered on this Test Booklet. 4. ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ Á‹∞ øÊ⁄U ©ûÊ⁄U Áfl∑§À¬ (1), (2), (3) ÃÕÊ (4) ÁŒÿ ªÿ „Ò¢–
4. Each item has four alternative responses marked (1), (2), (3) •Ê¬∑§Ù ‚„Ë ©ûÊ⁄U ∑§ flÎûÊ ∑§Ù ¬Ÿ ‚ ÷⁄U∑§⁄U ∑§Ê‹Ê ∑§⁄UŸÊ „Ò ¡Ò‚Ê Á∑§ ŸËø
and (4). You have to darken the circle as indicated below on ÁŒπÊÿÊ ªÿÊ „Ò–
the correct response against each item. ©ŒÊ„⁄UáÊ — ¡’Á∑§ (3) ‚„Ë ©ûÊ⁄U „Ò–
Example : where (3) is the correct response. 5. ¬˝‡ŸÊ¥ ∑§ ©ûÊ⁄U ∑§fl‹ ¬˝‡Ÿ ¬ÈÁSÃ∑§Ê ∑§ •ãŒ⁄U ÁŒÿ ªÿ OMRU ¬òÊ∑§ ¬⁄U „Ë
5. Your responses to the items are to be indicated in the OMR •¥Á∑§Ã ∑§⁄UŸ „Ò¥– ÿÁŒ •Ê¬ OMRU ¬òÊ∑§ ¬⁄U ÁŒÿ ªÿ flÎûÊ ∑§ •‹ÊflÊ Á∑§‚Ë
Sheet given inside the Booklet only. If you mark your
response at any place other than in the circle in the OMR
•ãÿ SÕÊŸ ¬⁄U ©ûÊ⁄U ÁøqÊ¢Á∑§Ã ∑§⁄UÃ „Ò¥, ÃÙ ©‚∑§Ê ◊ÍÀUÿÊ¢∑§Ÿ Ÿ„Ë¢ „٪ʖ
Sheet, it will not be evaluated. 6. •ãŒ⁄U ÁŒÿ ªÿ ÁŸŒ¸‡ÊÙ¢ ∑§Ù äÿÊŸ¬Ífl¸∑§ ¬…∏¢U–
6. Read instructions given inside carefully. 7. ∑§ìÊÊ ∑§Ê◊ (Rough Work) ß‚ ¬ÈÁSÃ∑§Ê ∑§ •ÁãÃ◊ ¬ÎDU ¬⁄U ∑§⁄¢U–
7. Rough Work is to be done in the end of this booklet. 8. ÿÁŒ •Ê¬ OMR ¬òÊ∑§ ¬⁄U ÁŸÿà SÕÊŸ ∑§ •‹ÊflÊ •¬ŸÊ ŸÊ◊, ⁄UÊ‹ Ÿê’⁄U,
8. If you write your Name, Roll Number, Phone Number or »§ÊŸ Ÿê’⁄U ÿÊ ∑§Ê߸ ÷Ë ∞‚Ê Áøq Á¡‚‚ •Ê¬∑§Ë ¬„øÊŸ „Ê ‚∑§, •¥Á∑§Ã ∑§⁄UÃ
put any mark on any part of the OMR Sheet, except for the
space allotted for the relevant entries, which may disclose
„Ò¥ •ÕflÊ •÷Œ˝ ÷Ê·Ê ∑§Ê ¬˝ÿÊª ∑§⁄UÃ „Ò¥, ÿÊ ∑§Ê߸ •ãÿ •ŸÈÁøà ‚ÊœŸ ∑§Ê
your identity, or use abusive language or employ any other ¬˝ÿÊª ∑§⁄UÃ „Ò¥, ¡Ò‚ Á∑§ •¥Á∑§Ã Á∑§ÿ ªÿ ©ûÊ⁄U ∑§Ê Á◊≈UÊŸÊ ÿÊ ‚»§Œ SÿÊ„Ë ‚
unfair means, such as change of response by scratching or ’Œ‹ŸÊ ÃÊ ¬⁄UˡÊÊ ∑§ Á‹ÿ •ÿÊÇÿ ÉÊÊÁ·Ã Á∑§ÿ ¡Ê ‚∑§Ã „Ò¥–
using white fluid, you will render yourself liable to 9. •Ê¬∑§Ù ¬⁄UˡÊÊ ‚◊Ê# „ÙŸ §¬⁄U ◊Í‹ OMR ¬òÊ∑§ ÁŸ⁄UˡÊ∑§ ◊„ÙŒÿ ∑§Ù ‹Uı≈UÊŸÊ
disqualification. •Êfl‡ÿ∑§ „Ò •ı⁄U ¬⁄UˡÊÊ ‚◊ÊÁ# ∑§ ’ÊŒ ©‚ •¬Ÿ ‚ÊÕ ¬⁄UˡÊÊ ÷flŸ ‚ ’Ê„⁄U
9. You have to return the original OMR Sheet to the invigilators Ÿ ‹∑§⁄U ¡Êÿ¢– „Ê‹Ê¥Á∑§ •Ê¬ ¬⁄UˡÊÊ ‚◊ÊÁ# ¬⁄U ◊Í‹ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê •¬Ÿ ‚ÊÕ
at the end of the examination compulsorily and must not ‹ ¡Ê ‚∑§Ã „Ò¥–
carry it with you outside the Examination Hall. You are
however, allowed to carry original question booklet on 10. ∑§fl‹ ŸË‹/∑§Ê‹ ’Ê‹U åflÊßZ≈U ¬Ÿ ∑§Ê „Ë ¬˝ÿÊª ∑§⁄¢U–
conclusion of examination. 11. Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ê ‚¢ªáÊ∑§ (∑Ò§‹∑ȧ‹≈U⁄U) UÿÊ ‹Êª ≈U’‹ •ÊÁŒ ∑§Ê
10. Use only Blue/Black Ball point pen. ¬˝ÿÙª flÁ¡¸Ã „Ò–
11. Use of any calculator or log table etc., is prohibited. 12. ª‹Ã ©ûÊ⁄UÊ¥ ∑§ Á‹∞ ∑§Ê߸ Ÿ∑§Ê⁄UÊà◊∑§ •¥∑§ Ÿ„Ë¥ „Ò¥–
12. There are no negative marks for incorrect answers.
13. ÿÁŒ •¥ª˝¡Ë ÿÊ Á„¥ŒË Áflfl⁄UáÊ ◊¥ ∑§Ê߸ Áfl‚¥ªÁà „Ê, ÃÊ •¥ª˝¡Ë Áflfl⁄UáÊ •¥ÁÃ◊
13. In case of any discrepancy in the English and Hindi versions,
English version will be taken as final. ◊ÊŸÊ ¡Ê∞ªÊ–

J-09618 !J-09618-PAPER-II! 1 P.T.O.

 KARNATAK MUSIC
PAPER - II

Note : This paper contains hundred (100) objective type questions of two (2) marks each. All
questions are compulsory.

1. Not an arohana Vakra raga :

(1) Nabhomani (2) Nalinakanti
(3) Devamritavarshini (4) Suddhasimantini

2. Kshobhini :
(1) A drum
(2) Second sruti of Nishada given by Bharata
(3) Another name of Panchamukha Vadyam
(4) Name of a Talam

3. Languages used by Muthuswami Dikshitar in his kriti ‘Venkatachalapate’ in Kapi ragam :

(1) Sanskrit, Telugu, Kannada (2) Sanskrit, Telugu
(3) Sanskrit, Telugu, Tamil (4) Sanskrit

4. A Janya of 28th mela :

(1) Balahamsa (2) Devamanohari
(3) Atana (4) Nilambari

5. Muthuswami Dikshitar “Mayetvam yÂhi” is composed in the raga :

(1) ChÂya tarangini (2) Kapi narayani
(3) Narayana gowla (4) Shuddha tarangini

6. The raga ‘Bhinna Shadjam’ derived from the mela :

(1) Dhenuka (2) Hanumatodi (3) Natakapriya (4) Natabhairavi

7. Match the following :

List - I List - II
(a) Kalopanata (i) Variety of Nirgita
(b) Gandhari (ii) Gitaka
(c) Asravana (iii) Jati
(d) Prakari (iv) Murchana
Code :
(a) (b) (c) (d)
(1) (iv) (ii) (i) (iii)
(2) (iii) (iv) (ii) (i)
(3) (iv) (iii) (i) (ii)
(4) (iii) (ii) (i) (iv)

J-09618 !J-09618-PAPER-II! 2 Paper-II

 ∑§áÊʸ≈U∑§ ‚¥ªËÃ
¬˝‡Ÿ¬òÊ - II
ÁŸŒ¸‡Ê — ß‚ ¬˝‡Ÿ-¬òÊ ◊¥ ‚ÊÒ (100) ’„È-Áfl∑§À¬UËÿ ¬˝‡Ÿ „Ò¥– ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ ŒÙ (2) •¢∑§ „Ò¥– ‚÷Ë ¬˝‡Ÿ •ÁŸflÊÿ¸ „¥Ò–
1. •Ê⁄UÊ„áÊ fl∑˝§ ⁄Uʪ Ÿ„Ë¥ „Ò —
(1) Ÿ÷Ê◊ÁáÊ (2) ŸÁ‹Ÿ∑§Ê¥ÁÃ
(3) ŒflÊ◊ÎÃflÁ·¸áÊË (4) ‡ÊÈh‚Ë◊ÁãÃÁŸ
2. ˇÊÊÁ÷ŸË —
(1) ∞∑§ •flŸh flÊl
(2) ÷⁄Uà mÊ⁄UÊ ÁŸœÊ¸Á⁄Uà ÁŸ·ÊŒ ∑§Ë ŒÍ‚⁄UË üÊÈÁÃ
(3) ¬¥ø◊Èπ flÊl ∑§Ê ŒÍ‚⁄UÊ ŸÊ◊
(4) ∞∑§ ÃÊ‹ ∑§Ê ŸÊ◊

3. ◊ÈûÊÈSflÊ◊Ë ŒËÁˇÊÃ⁄U mÊ⁄UÊ ⁄UÁøà ∑§Ê¬Ë ⁄Uʪ ◊¥ “fl¥∑§≈UÊø‹¬Ã” ⁄UøŸÊ ◊¥ Á∑§‚ ÷Ê·Ê ∑§Ê ©¬ÿÊª Á∑§ÿÊ ªÿÊ „Ò?
(1) ‚¥S∑ΧÃ, Ã‹ÈªÈ, ∑§ãŸ«∏ (2) ‚¥S∑ΧÃ, Ã‹ÈªÈ
(3) ‚¥S∑ΧÃ, Ã‹ÈªÈ, ÃÁ◊‹ (4) ‚¥S∑ΧÃ

4. 28 ◊‹∑§Ãʸ ∑§Ê ¡ãÿ —

(1) ’‹„ê‚ (2) Œfl◊ŸÊ„⁄UË
(3) •∆UÊŸÊ (4) ŸË‹Êê’⁄UË
5. ◊ÈûÊÈSflÊ◊Ë ŒËÁˇÊÃ⁄U ∑§Ë ⁄UøŸÊ ◊Êÿàfl◊ ÿÊÁ„ Á∑§‚ ⁄Uʪ ◊¥ ⁄UÁøà „Ò?
(1) ¿UÊÿÊ Ã⁄¥UÁªŸË (2) ∑§Ê¬Ë ŸÊ⁄UÊÿáÊË
(3) ŸÊ⁄UÊÿáÊ ªÊÒ‹Ê (4) ‡ÊÈh Ã⁄¥UÁªŸË

6. ⁄Uʪ “Á÷㟠·«∏¡◊” Á∑§‚ ◊‹ ‚ Á‹ÿÊ ªÿÊ „Ò?

(1) œŸÈ∑§Ê (2) „ŸÈ◊ÊÃÊÁ«∏ (3) ŸÊ≈U∑§Á¬˝ÿÊ (4) Ÿ≈U÷Ò⁄UflË
7. ÁŸêŸÁ‹Áπà ∑§Ê ‚È◊Á‹Ã ∑§ËÁ¡∞ —
‚ÍøË - I ‚ÍøË - II
(a) ∑§‹Ê¬ŸÊ≈UÊ (i) ŸÁª¸ÃÊ ∑§Ê ¬˝∑§Ê⁄U
(b) ªÊ¥œÊ⁄UË (ii) ªËÃ∑§Ê
(c) •üÊflŸÊ (iii) ¡ÊÁÃ
(d) ¬˝∑§Ê⁄UË (iv) ◊Íø¸Ÿ
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (ii) (i) (iii)
(2) (iii) (iv) (ii) (i)
(3) (iv) (iii) (i) (ii)
(4) (iii) (ii) (i) (iv)

J-09618 !J-09618-PAPER-II! 3 Paper-II

8. Aesthetics as perfect sensuous perception was expounded by :
(1) Kant (2) Baumgarten (3) Hegel (4) Aristotle

9. “Budubudike” an instrument resembles to :

(1) Karatala (2) Chitike (3) Panchi (4) Damaru

10. One of the section in the SÂmagana Sung during sacrifices :

(1) Panika (2) Pratipada (3) Upadrava (4) Chandaka

11. Echoes in a concert hall can be eliminated by using :

(1) Glass (2) Steel (3) Marble (4) Perforated tiles

12. Chachatputa tala has symbols :

' ' '

(1) 8 8I8 (2) 8 8I8 (3) 8 II 8 (4) 8I8 I

13. A raga similar to Revati in Hindustani music :

(1) Sri (2) Ahir bhairav
(3) Sohni (4) Bairagi Bhairav

14. Match the following :

List - I List - II
(a) Chordophones (i) Xylophones
(b) Aerophones (ii) Geta beri
(c) Membranophones (iii) Bhuri
(d) Idiophones (iv) Balasaraswati
Code :
(a) (b) (c) (d)
(1) (iv) (iii) (ii) (i)
(2) (iii) (iv) (i) (ii)
(3) (ii) (iii) (iv) (i)
(4) (iv) (ii) (iii) (i)

15. The “Sharabhanandana” tala takes the following number of aksharakalas :

(1) 128 (2) 79 (3) 24 (4) 86

16. ‘Gana Vidyadhurandhara’ in Nata raga is an example of :

(1) Javali (2) Daru (3) Samarya gita (4) Saptatala gita

J-09618 !J-09618-PAPER-II! 4 Paper-II

8. “‚ÊÒãŒÿ¸ ‡ÊÊSòÊ ‚fl¸üÊc∆U ߥUãŒ˝Ëÿ ‚¥’ÁœÃ ’Êœ” ∑§ ∑§ÕŸ ∑§ ¬˝Áìʌ∑§ —
(1) ∑§Êã≈U (2) ’◊ªÊ≈¸UŸ (3) „˪‹ (4) •Á⁄U‚≈UÊ≈U‹

9. ““’È«UÈ’ÈÁ«U∑§” ’ÊŒ˜ÿ ‚◊ÊŸ „Ò —

(1) ∑§⁄UÃÊ‹Ê (2) ÁøÁ≈U∑§ (3) ¬¥øË (4) «U◊M§

10. ÿôÊ⁄UËÁà ∑§ ŒÊÒ⁄UÊŸ ªÊÿ ¡ÊŸ flÊ‹ ‚Ê◊ªÊŸ ∑§Ê ∞∑§ •¥ª „Ò —
(1) ¬ÁŸ∑§Ê (2) ¬˝ÁÃ¬ÊŒÊ (3) ©¬Œ˝fl (4) ø¥Œ∑§Ê

11. ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚∑§ mÊ⁄UÊ ∑§Êÿ¸∑˝§◊ ‚÷Ê ∑§Ë ¬˝ÁÃäflÁŸ ∑§Ê ‚◊Êåà Á∑§ÿÊ ¡Ê ‚∑§ÃÊ „Ò?
(1) ‡ÊˇÊÊ (2) S≈UË‹ (3) ◊Ê’¸‹ (4) ¬⁄UÁ»§⁄UÁ≈U«U ≈UÊ߸‹

12. ¿U¿U≈U¬È≈U ÃÊ‹ ∑§ •¥∑§ —

' ' '
(1) 8 8I8 (2) 8 8I8 (3) 8 II 8 (4) 8I8 I

13. Á„ãŒÈSÃÊŸË ‚¥ªËà ◊¥ ⁄UflÃË ⁄Uʪ ‚ ◊‹ ∑§⁄UÃÊ ⁄Uʪ —

(1) üÊË (2) •„Ë⁄U ÷Ò⁄Ufl
(3) ‚Ê„ŸË (4) ’Ò⁄UÊªË ÷Ò⁄Ufl

14. ‚È◊Á‹Ã ∑§ËÁ¡∞ —

‚ÍøË - I ‚ÍøË - II
(a) Ã¥òÊË flÊl (i) $¡Ò‹Ê»§ÊŸ
(b) ‚ÈÁ‡Ê⁄U flÊl (ii) ª≈U ÷⁄UË
(c) œ◊¸ flÊl (iii) ÷Í⁄UË
(d) ÉÊŸ flÊl (iv) ’Ê‹ ‚⁄USflÃË
∑ͧ≈U —
(a) (b) (c) (d)
(1) (iv) (iii) (ii) (i)
(2) (iii) (iv) (i) (ii)
(3) (ii) (iii) (iv) (i)
(4) (iv) (ii) (iii) (i)

15. ““‡Ê⁄U÷ÊŸ¥ŒŸ”” ÃÊ‹ ◊¥ ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§ÃŸË ‚¥ÅÿÊ ∑§ •ˇÊ⁄U∑§Ê‹ Á◊‹Ã „Ò —
(1) 128 (2) 79 (3) 24 (4) 86

16. ŸÊ≈UÊ ⁄Uʪ ◊¥ ªÊŸÊ ÁflŒ˜ÿÊœÈ⁄¥UŒ⁄U ∞∑§ ©ŒÊ„⁄UáÊ „Ò —

(1) ¡ÊflÁ‹ (2) ŒM§ (3) ‚Ê◊Êãÿ ªËà (4) ‚åÃÃÊ‹ ªËÃ

J-09618 !J-09618-PAPER-II! 5 Paper-II

17. The chitta svara to the kriti ‘Reghuvamsa Sudhambudi’ in the raga Kadana Kutuhalam is
added by :
(1) Tiger Varadachar (2) Tiruvayyar Subramanya Iyer
(3) Anna Swami Sastri (4) Mysore Vasudevachar

18. Not an “Ekanyaswara” bhashanga Raga :

(1) Bilahari (2) Kannada (3) Asaveri (4) Hindusthani kapi

19. An example for Sakala Vadya :

(1) Violin (2) Nedunkuzhal (3) Svarabat (4) Tambura

20. Kaivazhi :
(1) Tamil word for Kalam (2) A kind of prabandham
(3) Another name for yazh (4) A folk art form

21. Parivadini :
(1) Bowing style of Tanam on violin
(2) Seven Stringed Vina of ancient time
(3) Name of misra jaati rupaka talam
(4) Act of performing Kummi

22. A famous composition by Tirupati Narayana Swami in Pushpalatika :

(1) Ikanaina na (2) Devaki tanaya
(3) Bhavaye gopabalam (4) Bhuvana mohana

23. “Varashikivahana” kriti in the Raga supradeepa is composed by :

(1) Paidal Gurumurty Shastry (2) Jayachamaraja odeyar
(3) Shymashastri (4) Thyagaraja

24. Tripuchcha gamaka has :

(1) srs rgr gmg (2) sss rrr ggg
(3) smg rpm gdp (4) srg rgm gmp

25. The collective name given to the invocatory songs in Kalakshepam :

(1) Namavali (2) Abhanga (3) Panchapadi (4) Nirupanam

J-09618 !J-09618-PAPER-II! 6 Paper-II

17. ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚∑§ mÊ⁄UÊ ⁄Uʪ ∑§ŒŸ ∑ȧÃÈ„‹◊ ◊¥ ∑ΧÁà ⁄UÉÊÈfl¥‡Ê ‚ÈœÊ◊’ÈÁŒ ∑§ Áø^ÊSfl⁄U ∑§Ê ¡Ê«∏Ê ªÿÊ „Ò —
(1) ≈UÊߪ⁄U flŒÊ¸øÊ⁄U (2) ÁÃM§flƒÿÊ⁄U ‚È’˝◊áÿ •ƒÿ⁄U
(3) •ãŸÊ SflÊ◊Ë ‡ÊÊSòÊË (4) ◊Ò‚Í⁄U flÊ‚ÈŒflÊøÊ⁄U

18. ∞∑§ •ãÿ Sfl⁄U ÷Ê·¥ª ⁄Uʪ Ÿ„Ë¥ „Ò —

(1) Á’‹„⁄UË (2) ∑§ãŸ«∏ (3) •‚Êfl⁄UË (4) Á„ãŒÈSÃÊÁŸ ∑§Á¬

19. ‚∑§‹ flÊl ∑§Ê ©ŒÊ„⁄UáÊ „Ò¥ —

(1) ’‹Ê (2) Ÿ«È¥U∑ȧ«∏‹ (3) Sfl⁄U’Êà (4) Ãê’È⁄UÊ

20. ∑Ò§fl«∏Ë —
(1) ∑§Ê‹◊ ∑§ Á‹∞ ÃÁ◊‹ ‡ÊéŒ (2) ¬˝’¥œ ∑§Ê ∞∑§ ¬˝∑§Ê⁄U
(3) ÿÊ«∏ ∑§Ê ŒÍ‚⁄UÊ ŸÊ◊ (4) ∞∑§ ‹Ê∑§ ∑§‹Ê ÁflœÊ

21. ¬Á⁄UflÊÁŒŸË —
(1) flÊÚÿÁ‹Ÿ ◊¥ ÃÊŸ◊ ’¡ÊŸ ∑§Ê Ã⁄UË∑§Ê
(2) ¬˝ÊøËŸ ‚◊ÿ ∑§Ë ‚Êà åòÊË flÊ‹Ë flËáÊÊ
(3) Á◊d¡ÊÁà M§¬∑§ ÃÊ‹ ∑§Ê ŸÊ◊
(4) ∑ȧÁê◊ ¬˝SÃÈÁà ∑§Ê Ã⁄UË∑§Ê

22. ¬Èc¬‹ÁÃ∑§Ê ⁄Uʪ ◊¥ ⁄UÁøà ∞∑§ ‹Ê∑§Á¬˝ÿ ⁄UøŸÊ Á¡‚∑§ ⁄UøŸÊ∑§Ê⁄U ÁÃM§¬Áà ŸÊ⁄UÊÿáÊ SflÊ◊Ë „Ò —
(1) ß∑§ŸÒŸ ŸÊ (2) Œfl∑§Ë ßÿ
(3) ÷Êflÿ ªÊ¬’Ê‹◊ (4) ÷ÈflŸ ◊Ê„Ÿ

23. ⁄Uʪ ‚Ȭ˝ŒË¬ ◊¥ ““flÊ⁄UÊˇÊË∑§ËflÊ„Ÿ”” ∑ΧÁà ∑§ ⁄UøŸÊ∑§Ê⁄U „Ò —

(1) ¬ÒŒ‹ ªÈL§◊ÍÁø ‡ÊÊSòÊË (2) ¡ÿÊøÊ◊⁄UÊ¡Ê •Ê«Uÿ⁄U
(3) ‡ÿÊ◊Ê ‡ÊÊSòÊË (4) àÿʪ⁄UÊ¡

24. ÁòʬÈcø ª◊∑§ ◊¥ ¬Êÿ ¡ÊŸ flÊ‹Ê ∑˝§◊ —

(1) ‚ Á⁄U U‚ Á⁄U ª Á⁄U ª ◊ ª (2) ‚ ‚ ‚ Á⁄U Á⁄U Á⁄U ª ª ª
(3) ‚ ◊ ª Á⁄U ¬ ◊ ª œ ¬ (4) ‚ Á⁄U ª Á⁄U ª ◊ ª ◊ ¬

25. ∑§Ê‹ˇÊ¬◊ ◊¥ ÁŒ∞ ª∞ ¬˝Ê⁄¥UÁ÷∑§ ªËÃÊ¥ ∑§ ‚Ê◊ÍÁ„∑§ ŸÊ◊ „Ò¥ —
(1) ŸÊ◊ÊflÁ‹ (2) •÷¥ª (3) ¬¥ø¬ÊÁ«U (4) ÁŸM§¬áÊ◊

J-09618 !J-09618-PAPER-II! 7 Paper-II

26. Karkataka :
(1) A drum mentioned by Bharata
(2) A well known dance composer
(3) A kind of Desiya Prabandham
(4) One of the Samyuktahastas of Bharat Natyam

27. Sequence correctly :

(1) Kaikilai, Ili, Uzai, Vilari (2) Vilari, Kaikilai, Uzai, Ili
(3) Kaikilai, Uzai, Ili, Vilari (4) Uzai, Ili, Kaikili, Vilari

28. Kalyana Saugandhikam :

(1) A Kathakali play by Kartia Tirunal Rama Varma
(2) A Kathakali play by Swati Tirunal
(3) Music composition of Irayimman Thampi
(4) Folk dance of Kerala

29. Creater of the Raga “Karnaranjani” :

(1) Patnam Subramanyayyar (2) Ramaswamy Dikshitar
(3) Muttaiah Bhagavatar (4) Thyagaraja

30. Adanta Tala is an important Tala figuring in music of :

(1) Burrakatha (2) Chindu (3) Pulluvan Pattu (4) Kathakali

31. A popular Thyagaraja kriti in the raga Chandrajyothi :

(1) Edi Samoyamura (2) Sreeramanekami
(3) Bagayanayya (4) Mamava satatam

32. “Charukeshi” is called in Asampoorna paddhati :

(1) Tarangini (2) Kiranavali (3) Kalavati (4) Bhanumati

33. A dhaivata varjya raga :

(1) Vegavahini (2) Valaji (3) Vijayasree (4) Suposhini

34. Inai :
(1) A stringed instrument played on open strings
(2) Name of Vadi Swara in Ancient Tamil Music
(3) Kummi performed by men
(4) Name of a drum in Ancient Tamil Music

J-09618 !J-09618-PAPER-II! 8 Paper-II

26. ∑§⁄U∑§Ê≈U∑§Ê —
(1) ÷⁄Uà ∑§ mÊ⁄UÊ ©À‹Áπà ∞∑§ •flŸl flÊŒ˜ÿ
(2) ∞∑§ ¬˝ÅÿÊà ŸÎàÿ ⁄UøŸÊ∑§Ê⁄U
(3) ŒÁ‚ÿÊ ¬˝’¥œ ∑§Ê ∞∑§ ¬˝∑§Ê⁄U
(4) ÷⁄Uà ŸÊ≈˜Uÿ◊ ∑§ ‚¥ÿÈÄÄSÃÊflÊ¥ ◊¥ ‚ ∞∑§

27. ‚„Ë ∑˝§◊ ’ŸÊ∞ —

(1) ∑Ò§Á∑§‹Ò, ßÁ‹, ©⁄Ò∏U, Áfl‹⁄UË (2) Áfl‹⁄UË, ∑Ò§Á∑§‹Ò, ©⁄Ò∏U, ß‹Ë
(3) ∑Ò§Á∑§‹Ò, ©⁄Ò∏U, ß‹Ë, Áfl‹⁄UË (4) ©⁄Ò∏U, ß‹Ë, ∑Ò§Á∑§‹Ò, Áfl‹⁄UË

28. ∑§ÀÿÊáÊ ‚ÊÒªÁãœ∑§◊ —

(1) ∑§ÊÁø∑§ ÁÃM§ŸÊ‹ ⁄UÊ◊ fl◊ʸ mÊ⁄UÊ ⁄UÁøà ∞∑§ ∑§Õ∑§Á‹
(2) SflÊÁà ÁÃM§ŸÊ‹ mÊ⁄UÊ ⁄UÁøà ∞∑§ ∑§Õ∑§Á‹
(3) ß⁄UÊßê◊Ÿ Ãê¬Ë ∑§Ë ‚¥ªËà ⁄UøŸÊ
(4) ∑§⁄U‹ ∑§Ê ‹Ê∑§ ŸÎàÿ

29. ⁄Uʪ ““∑§áʸ⁄¥UÁ¡ŸË”” ∑§ ‚ΡŸ∑§Ãʸ „Ò —

(1) ¬≈UŸ◊ ‚È’˝◊áÿ •ƒÿ⁄U (2) ⁄UÊ◊ÊSflÊ◊Ë ŒËÁˇÊÃ⁄U
(3) ◊ÈûÊÒÿÊ ÷ʪflÃ⁄U (4) àÿʪ⁄UÊ¡

30. •«¥UÃÊ ÃÊ‹ Á∑§‚ ‚¥ªËà ◊¥ ¬˝◊Èπ ÃÊ‹ „Ò —

(1) ’È⁄U∑§ÕÊ (2) ÁøãŒÈ (3) ¬ÈÀ‹ÈflÊŸ ¬Ê≈ÈU (4) ∑§Õ∑§‹Ë

31. ⁄Uʪ ø¥Œ˝íÿÊÁà ◊¥ ¬˝Á‚h àÿʪ⁄UÊ¡ ∑ΧÁà „Ò —

(1) ∞Á«U ‚Ê◊ÿ◊È⁄UÊ (2) üÊË⁄UÊ◊Ÿ∑§Á◊
(3) ’ʪÊÿŸÒÿÊ (4) ◊Ê◊flÊ ‚ÃÃ◊

32. •‚¥¬Íáʸ ◊‹ ¬hÁà ◊¥ ““øÊM§∑§Á‡Ê”” ∑§Ê ∑§„Ê ¡ÊÃÊ „Ò —

(1) Ã⁄¥UÁªŸË (2) Á∑§⁄UáÊÊflÁ‹ (3) ∑§‹ÊflÃË (4) ÷ÊŸÈ◊ÁÃ

33. ∞∑§ œÒflà flíÿ¸ ⁄Uʪ „Ò —

(1) flªflÊÁ„ŸË (2) fl‹¡Ë (3) Áfl¡ÿüÊË (4) ‚ȬÊÁ·ÁáÊ

34. ߟ߸ —
(1) ∞∑§ Ã¥òÊË flÊŒ˜ÿ Á¡‚ πÈ‹Ë „È߸ ÃÊ⁄UÊ¥ ‚ ’¡ÊÿÊ ¡ÊÃÊ „Ò
(2) ¬˝ÊøËŸ ÃÁ◊‹ ‚¥ªËà ◊¥ flÊŒË Sfl⁄U ∑§Ê ŸÊ◊
(3) ¬ÈL§·Ê¥ mÊ⁄UÊ ¬˝ŒÁ‡Ê¸Ã ∑ȧÁê◊
(4) ¬˝ÊøËŸ ÃÁ◊‹ ‚¥ªËà ◊¥ •flŸl ∑§Ê ŸÊ◊

J-09618 !J-09618-PAPER-II! 9 Paper-II

35. Raga ‘Vivardhini’ is a :
(1) Shadava audava raga (2) Swarantara Shadava raga
(3) Swarantara audava raga (4) Swarantara Sampurna raga

36. Raga “Gamanashrama” as called in Hindusthani music :

(1) Poorvi (2) MÂrva (3) Asaveri (4) Kamach

37. Kovalan :
(1) Signature of Margadarsi Sèshayyangar
(2) Composer of Azhagar Kuravanji
(3) Hero of Silappodikaram
(4) A kind of lute

38. Hegelian Philosophy includes :

(1) Sensory perception (2) Dialectic
(3) Imitation and Condemnation (4) Katharsis

39. Chinnikrishna Dasa is a wellknown composer of :

(1) Swarajatis (2) Tillanas (3) Padam (4) Jawali

40. Rishabha and nishada are the varjya swaras in the raga :
(1) Nagagandhari (2) Nagaswaravali (3) Nagavarali (4) Narayanagoula

41. Not a Janya of “Natabhairavi” mela :

(1) Kirnavali (2) Jayantshri (3) Manji (4) Amritavahini

42. Who inspired Tyagaraja to sing ‘Nannupalimpa’ in Mohanam ?

(1) Serfoji Maharaja (2) Sonti Venkataramanayya
(3) Lord Venkateswara (4) Walajapettai Venkataramana Bhagavatar

43. Assertion (A) : Marga is rule based and Desi changes according to the tastes of people.
Reasoning (R) : Marga is shastriya and Desi is folk.
Code :
(1) (A) is wrong (R) is correct (2) (A) is correct (R) is wrong
(3) Both (A) and (R) are correct (4) Both (A) and (R) are wrong

44. The Kriti which is not there in the group ‘Venkatesa Pancharatnam’ :
(1) Nive dikkani (2) Sarojakshuni
(3) NannubrovumÍka (4) Nannubrovarada

J-09618 !J-09618-PAPER-II! 10 Paper-II

35. ⁄Uʪ “Áflflœ¸ŸË „Ò¥ —
(1) ·Ê«Ufl •ÊÒ«fl ⁄Uʪ (2) Sfl⁄UÊ¥Ã⁄U ·Ê«Ufl ⁄Uʪ
(3) Sfl⁄UÊ¥Ã⁄U •ÊÒ«fl ⁄Uʪ (4) Sfl⁄UÊ¥Ã⁄U ‚ê¬Íáʸ ⁄Uʪ

36. Á„ãŒÈSÃÊŸË ‚¥ªËà ◊¥ ⁄Uʪ ª◊ŸüÊ◊ ∑§Ê ∑§„Ê ¡ÊÃÊ „Ò —

(1) ¬Ífl˸ (2) ◊Ê⁄UflÊ (3) •‚Êfl⁄UË (4) ∑§Ê◊Êø

37. ∑§Êfl‹Ÿ —
(1) ◊ʪ¸Œ‡Ê˸ ‡ÊÒ·Ê•ƒÿ¥ª⁄U ∑§Ê ◊ÈŒ˝Ê
(2) •«∏ª⁄U ∑ȧ⁄UÊfl¥¡Ë ∑§ ⁄UøŸÊ∑§Ê⁄U
(3) Á‚‹Êå¬ÁŒ∑§Ê⁄U◊ ∑§Ê ŸÊÿ∑§
(4) ∞∑§ ¬˝∑§Ê⁄U ∑§Ë flËáÊÊ

38. Á„ªÁ‹ÿŸ Œ‡Ê¸Ÿ ◊¥ ‚Áê◊Á‹Ã „Ò —

(1) ‚ã‚⁄UË ¬⁄U‚å‡ÊŸ (2) «UÊÿ‹∑§Á≈U∑§
(3) ßÁ◊≈U‡ÊŸ ∞á«U ∑§ã«U◊Ÿ‡ÊŸ (4) ∑§ÕÊÁ‚¸‚

39. ÁøãŸ∑ΧcáÊ ŒÊ‚ Á∑§‚ ‡ÊÒ‹Ë ∑§ ¬˝◊Èπ ⁄UøŸÊ∑§Ê⁄U Õ?

(1) Sfl⁄U¡ÃË (2) ÁÃÀ‹ÊŸÊ (3) ¬Œ◊ (4) ¡Êfl‹Ë

40. Á⁄U·÷ ∞fl¥ ÁŸ·ÊŒ fl¡¸ ⁄Uʪ „Ò —

(1) ŸÊªªÊãœÊÁ⁄U (2) ŸÊªSfl⁄UÊflÁ‹ (3) ŸÊªfl⁄UÊÁ‹ (4) ŸÊ⁄UÊÿáʪÊÒ‹Ê

41. ““Ÿ≈U÷Ò⁄UflË”” ◊‹ ∑§Ê ∞∑§ ¡ãÿ Ÿ„Ë¥ „Ò —

(1) Á∑§⁄UáÊÊflÁ‹ (2) ¡ÿ¥ÃüÊË (3) ◊Ê¥Á¡ (4) •◊ÎÃflÊÁ„ŸË

42. ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚Ÿ àÿʪ⁄UÊ¡ ∑§Ê ◊Ê„Ÿ◊ ⁄Uʪ ◊¥ ŸãŸÍ¬ÊÁ‹ê¬Ê ªÊŸ ∑§ Á‹∞ ¬˝Á⁄Uà Á∑§ÿÊ —
(1) ‚⁄U»§Ê¡Ë ◊„Ê⁄UÊ¡ (2) ‚Ê¥≈UË fl¥∑§≈UÊ⁄U◊ŸÒÿÊ
(3) ÷ªflÊŸ fl¥∑§≈U‡Ê (4) flÊ‹Ê¡¬^Ò flÒ¥∑§≈UÊ⁄U◊áÊ ÷ʪflÃ⁄U

43. •Á÷∑§ÕŸ (A) : ◊ʪ¸ ÁŸÿ◊ ’h „Ò, Œ‚Ë ‹Ê∑§L§øË •ŸÈ‚Ê⁄U ’Œ‹ÃÊ ⁄U„ÃÊ „Ò–
Ã∑¸§ (R) : ◊ʪ¸ ‡ÊÊSòÊËÿ „Ò •ÊÒ⁄U Œ‚Ë ‹Ê∑§ ‚¥ªËà „Ò–
∑ͧ≈U —
(1) (A) ª‹Ã „Ò (R) ‚„Ë „Ò (2) (A) ‚„Ë „Ò (R) ª‹Ã „Ò
(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥ (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥

44. ÁŸêŸÁ‹Áπà ◊¥ ‚ ∑§ÊÒŸ ‚Ë ∑ΧÁà “fl¥∑§≈U‡Ê ¬¥ø⁄UàŸ” ‚◊Í„ ◊¥ Ÿ„Ë¥ „Ò —
(1) ÁŸfl ÁŒÄ∑§ŸË (2) ‚⁄UÊ¡ÊˇÊÈŸË
(3) ŸãŸÈ’˝ÊflÈÁ◊∑§Ê (4) ŸãŸÈ’˝Êfl⁄UÊœÊ

J-09618 !J-09618-PAPER-II! 11 Paper-II

45. “Vasudevayani” in Raga Kamavardhini belongs to :
(1) Noukacharitra (2) Prahlada bhakti vijaya
(3) Krishnaleela tarangini (4) Seeta Rama Vijaya

46. Ghanam :
(1) Tanam in Drutakalam (2) Tanam in Vilambakalam
(3) A part of Pallavi singing (4) A part of Raga alapana

47. A Nishadha Varjya raga :

(1) Chayatarangini (2) Kannada gowla
(3) PÂdi (4) Chandrajyothi

48. Assertion (A) : Art in India has been a secular vocation.

Reasoning (R) : Greatest works of Art were inspired by religious fervour.
Code :
(1) (A) is wrong (R) is correct (2) Both (A) and (R) are wrong
(3) (A) is correct (R) is wrong (4) Both (A) and (R) are correct

49. Author of ‘Raga Kadampakam’ :

(1) Guruswami Ayyar (2) M.S. Ramaswami
(3) Gopal Naik (4) Pundarika Vittala

50. The composer who was referred to as ‘Naluvadi vela ragala’ :

(1) Paidala Gurumoorthy Sastri (2) Margadarsi sesha Iyenkar
(3) Pachimariyam Adiyappayya (4) Vina Kuppier

51. ‘Magudi’ is an example of :

(1) Percussion Instrument (2) Wind Instrument
(3) String Instrument (4) Ghana Instrument

52. An eminent disciple of Pattanam Subramanya Iyer :

(1) Mahavaidyanatha Iyer (2) Manambuchavadi venkita Subbayyar
(3) Mysore Vasudevachar (4) Mysore Sadasiva Rao

53. Amritalimgam Pillai is disciple of :

(1) Muthu Thandavar (2) Tyagaraja
(3) Syama sastri (4) Vadivelu

J-09618 !J-09618-PAPER-II! 12 Paper-II

45. ⁄Uʪ ∑§Ê◊flÁœ¸ŸË ◊¥ ““flÊ‚ÈŒflÿŸË”” ‚¥’¥ÁœÃ „Ò¥ —
(1) ŸÊÒ∑§Ê øÁ⁄UòÊ (2) ¬˝„‹ÊŒ ÷ÁÄà Áfl¡ÿ
(3) ∑ΧcáÊ ‹Ë‹Ê Ã⁄¥UÁªáÊË (4) ‚ËÃÊ ⁄UÊ◊ Áfl¡ÿ

46. ÉÊŸ◊ —
(1) Œ˝ÈÃ∑§Ê‹ ◊¥ ÃÊŸ◊ (2) Áfl‹¥’∑§Ê‹ ◊¥ ÃÊŸ◊
(3) ¬À‹flË ªÊÿŸ ∑§Ê ∞∑§ •¥ª (4) ⁄Uʪ •‹Ê¬ ∑§Ê ∞∑§ •¥ª

47. ÁŸ·ÊŒ flíÿ¸ ⁄Uʪ „Ò —

(1) ¿UÊÿÊÃ⁄¥UÁªÁáÊ (2) ∑§ÛÊ«∏ ªÊÒ‹
(3) ¬ÊÁ«U (4) øŒ˝¥íÿÊÁÃ

48. •Á÷∑§ÕŸ (A) : ÷Ê⁄Uà ◊¥ ∑§‹Ê ∞∑§ ‹ÊÒÁ∑§∑§ √ÿfl‚Êÿ „Ò–
Ã∑¸§ (R) : ◊„àfl¬Íáʸ ∑§‹Ê•Ê¥ ∑§Ê ÁŸ◊Êáʸ œÊÁ◊¸∑§ ‚⁄Uª◊˸ ‚ ¬˝÷ÊÁflà ⁄U„Ê „Ò–
∑ͧ≈U —
(1) (A) ª‹Ã „Ò (R) ‚„Ë „Ò (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥
(3) (A) ‚„Ë „Ò (R) ª‹Ã „Ò (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥

49. ⁄Uʪ ∑§Œê’∑§◊ ∑§ ª˝ãÕ∑§Ê⁄U —

(1) ªÈL§SflÊ◊Ë •ƒÿ⁄U (2) ∞◊.∞‚. ⁄UÊ◊ÊSflÊ◊Ë
(3) ªÊ¬Ê‹ ŸÊß∑§ (4) ¬Èã«UÁ⁄U∑§ Áfln‹

50. ÁŸêŸÁ‹Áπà ◊¥ ‚ ∑§ÊÒŸ ‚ ⁄UøŸÊ∑§Ê⁄U “Ÿ‹ÈflÊÁŒ fl‹ ⁄Uʪ‹Ê” ∑§ M§¬ ◊¥ ¡ÊŸ ¡ÊÃ Õ?
(1) ¬ÒŒÊ‹Ê ªÈL§◊ÍÁø ‡ÊÊSòÊË (2) ◊ʪ¸Œ‡Ê˸ ‡Ê·Ê•ÿ¥∑§Ê⁄U
(3) ¬Áëø◊Á⁄Uÿ◊ •ÊÁŒ•å¬ÒÿÊ (4) flËáÊÊ ∑ȧå¬Òƒÿ⁄U

51. ““◊ªÈÁ«U”” ∞∑§ ©ŒÊ„⁄UáÊ „Ò —

(1) ÃÊ‹ flÊŒ˜ÿ (2) ‚ÈÁ‡Ê⁄U flÊŒ˜ÿ
(3) Ã¥òÊË flÊŒ˜ÿ (4) ÉÊŸÊ flÊŒ˜ÿ

52. ¬^Ÿ◊ ‚È’˝◊áÿ •ƒÿ⁄U ∑§Ê ∞∑§ ¬˝◊Èπ Á‡Êcÿ „Ò —

(1) ◊„ÊflÒlŸÊÕ •ƒÿ⁄U (2) ◊Ÿ◊’ÍøÊflÁ«U fl¥Á∑§≈UÊ ‚Èé’Òƒÿ⁄U
(3) ◊Ò‚Í⁄U flÊ‚ÈŒflÊøÊ⁄U (4) ◊Ò‚Í⁄U ‚ŒÊÁ‡Êfl ⁄UÊfl

53. •◊ÎÃÊÁ‹¥ª◊ Á¬À‹Ò ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚∑§ Á‡Êcÿ „Ò¥?

(1) ◊ÈàÕÈ ÃÊ¥«Ufl⁄U (2) àÿʪ⁄UÊ¡
(3) ‡ÿÊ◊ ‡ÊÊSòÊË (4) flÁ«Ufl‹Í

J-09618 !J-09618-PAPER-II! 13 Paper-II

54. Another term for Swarakshara :
(1) sabda alankara (2) prasa
(3) yamakam (4) yati

55. Opera “pallaki seva Prabandham” in Telugu composed by :

(1) Tulaja Maharaj (2) Shaji Maharaj
(3) Ramnad Sreenivasayengar (4) Swati tirunal Maharaj

56. An ancient drone pipe used in rituals :

(1) Donai (2) Dakki (3) Tiruchinnam (4) Ekkalam

57. Kriti “Nannubrovarada” in Raga “Sama” comes under :

(1) Panchalinga kriti (2) Kalahasteesha Pancharatna
(3) Venkatesha Pancharatna (4) Kovur Pancharatna

58. ‘Srirama Padama’ kriti of Tyagaraja is in which raga ?

(1) Amrita Vasantam (2) Amrita Varshini
(3) Amrita Vahini (4) Hari Kamboji

59. Darus are a unique feature of :

(1) Krishna leela tarangini (2) Nauka Charitam
(3) Ramanatakam (4) Kathakali

60. A pagalpan :
(1) Takkaragam (2) Sevvali
(3) Takkesi (4) Kavanan

61. Sequence correctly :

(1) Vegavahini, Viswambari, Vijayasri, Vasantavarali
(2) Vegavahini, Vasantavarali, Vijayasri, Viswambari
(3) Vasantavarali, Vegavahini, Viswambari, Vijaysri
(4) Vijaysri, Vegavahini, Vasantavarali, Viswambari

62. Àrshabhi :
(1) Name for art music (2) Another name for avarohana
(3) Ascending order of pitch (4) One of the four Jatis of the Shadja Grama

J-09618 !J-09618-PAPER-II! 14 Paper-II

54. Sfl⁄UÊˇÊ⁄U ∑§Ê ŒÍ‚⁄UÊ ¬ÊÁ⁄U÷ÊÁ·∑§ ‡ÊéŒ —
(1) ‡ÊéŒ •¥‹∑§Ê⁄U (2) ¬˝Ê‚
(3) ÿ◊∑§◊ (4) ÿÁÃ

55. Ã‹ÈªÈ ◊¥ •Ê¬⁄UÊ “¬À‹∑§Ë ‚flÊ ¬˝’¥œ◊” ∑§ ⁄UøŸÊ∑§Ê⁄U „Ò —

(1) ÃÈ‹¡Ê ◊„Ê⁄UÊ¡ (2) ‡ÊÊ„¡Ë ◊„Ê⁄UÊ¡
(3) ⁄UÊ◊ŸÊ«U üÊËÁŸflÊ‚ •ÿ¥ªÊ⁄U (4) SflÊÁà ÁÃM§ŸÊ‹ ◊„Ê⁄UÊ¡

56. ¬˝ÊøËŸ ‚ÈÁ‡Ê⁄U flÊl Á¡‚∑§Ê ¬Í¡Ê ∑§ ‚◊ÿ ’¡ÊÿÊ ¡ÊÃÊ ÕÊ —
(1) ŒÊáÊÒ (2) «UÄ∑§Ë (3) ÁÃL§Á¿UãŸ◊ (4) ∞Ä∑§Ê‹◊

57. ⁄Uʪ ‚Ê◊Ê ◊¥ ∑ΧÁà ““ŸãŸÈ’˝ÊflÊ⁄Uʜʔ” Á∑§‚∑§ •¥Ãª¸Ã •ÊÃÊ „Ò¥ —
(1) ¬¥øÁ‹¥ª ∑ΧÁà (2) ∑§Ê‹„ÁSÇÊÊ ¬¥ø⁄UàŸ
(3) fl¥∑§≈U‡Ê ¬¥ø⁄UàŸ (4) ∑§ÊflÈ⁄U ¬¥ø⁄UàŸ

58. àÿʪ⁄UÊ¡ ∑§Ë ∑ΧÁà üÊË⁄UÊ◊ ¬ÊŒ◊Ê Á∑§‚ ⁄Uʪ ◊¥ „Ò?
(1) •◊Îà ’‚¥Ã◊ (2) •◊Îà flÁ·¸áÊË
(3) •◊Îà flÊÁ„ŸË (4) „Á⁄U ∑§Êê’ÊÁ¡

59. ŒL§ Áfl‡Ê·ÃÊ „Ò —

(1) ∑ΧcáÊ‹Ë‹Ê Ã⁄UÁãªáÊË (2) ŸÊÒ∑§Ê øÁ⁄UÃ◊
(3) ⁄UÊ◊ŸÊ≈U∑§◊ (4) ∑§Õ∑§‹Ë

60. ∞∑§ ¬ª‹¬Ÿ —

(1) ÃÄ∑§Ê⁄Uʪ◊ (2) ‚√flÊÁ‹
(3) ÃÄ∑§Á‡Ê (4) ∑§flŸŸ

61. ‚„Ë ∑˝§◊ Á‹Áπÿ —

(1) flªflÊÁ„ŸË, Áfl‡flÊê’⁄UË, Áfl¡ÿüÊË, fl‚ãÃfl⁄UÊ‹Ë
(2) flªflÊÁ„ŸË, fl‚ãÃfl⁄UÊ‹Ë, Áfl¡ÿüÊË, Áfl‡flÊê’⁄UË
(3) fl‚ãÃfl⁄UÊ‹Ë, flªflÊÁ„ŸË, Áfl‡flÊê’⁄UË, Áfl¡ÿüÊË
(4) Áfl¡ÿüÊË, flªflÊÁ„ŸË, fl‚ãÃfl⁄UÊ‹Ë, Áfl‡flÊê’⁄UË

62. •Ê‡Ê¸Á÷ —
(1) ∑§‹Ê ‚¥ªËà ∑§ Á‹∞ ŸÊ◊ (2) •fl⁄UÊ„áÊ ∑§Ê ŒÍ‚⁄UÊ ŸÊ◊
(3) Sfl⁄U ∑§Ê •Ê⁄UÊ„Ë ∑˝§◊ (4) ‡Ê«˜Uíÿ ª˝Ê◊Ê ∑§Ë øÊ⁄U ¡ÊÁÃÿÊ¥ ◊¥ ‚ ∞∑§

J-09618 !J-09618-PAPER-II! 15 Paper-II

63. First to introduce Kathakalakshepa :
(1) Balakrishna Bhagavatar (2) Ramachandra Bhuva
(3) Muttaiah Bhagavatar (4) Gopalakrishna Bharati

64. The first step in the research process is :

(1) Preparation of a research synopsis
(2) Data collection
(3) Problem for investigation
(4) Preparation of a Questionnaire

65. “Tiripa” comes under :

(1) Dashavidhagamaka (2) Shodashanga
(3) Shadanga (4) Panchadasha Gamaka

66. The work ‘Sangita Parijatha’ was written in :

(1) 17th C (2) 16th C (3) 18th C (4) 15th C

67. Same word varying in sense :

(1) Yati (2) Yamakam (3) Prasa (4) Vritti

68. Arunachala Kavirayan was born at :

(1) Tillaiyadi in Tanjore (2) Tiruthani
(3) Nagapattanam (4) Tirunelveli district

69. A Swati Tirunal Kriti in ‘Hindustan Behag’ raga :

(1) Sundaranga (2) Sarasijanabha
(3) Smarajanakasubha (4) Sarasija mukhi

70. Desiya Raga is :

(1) Paraz (2) Bhinna Shadja
(3) Takka (4) Kuranji

71. Annasami Sastri is :

(1) Son of Syama Sastri (2) Grandson of Syama Sastri
(3) Grandson of Subbaraya Sastri (4) Grandson of Panju Sastri

J-09618 !J-09618-PAPER-II! 16 Paper-II

63. ∑§ÕÊ∑§Ê‹ˇÊ¬ ∑§Ê ¬˝Õ◊ ¬Á⁄Uøÿ Á∑§‚Ÿ ÁŒÿÊ?
(1) ’Ê‹∑ΧcáÊ ÷ʪflÃ⁄U (2) ⁄UÊ◊ø¥Œ˝ ÷Èfl
(3) ◊ÈûÊÒÿÊ ÷ʪflÃ⁄U (4) ªÊ¬Ê‹∑ΧcáÊ ÷Ê⁄UÃË

64. ‡ÊÊœ ¬˝Á∑˝§ÿÊ ◊¥ ¬„‹Ê ∑§Œ◊ —

(1) ‡ÊÊœ M§¬⁄UπÊ ∑§Ë ÃÒÿÊ⁄UË
(2) «UÊ≈UÊ ∞∑§ÁòÊòÊ ∑§⁄UŸÊ
(3) ‚ÁãŒÇœ ∑§Ë πÊ¡
(4) ¬˝‡Ÿ‚ÍøË ∑§Ë ÃÒÿÊ⁄UË

65. ““ÁÃÁ⁄U¬Ê”” Á∑§‚∑§ •¥Ãª¸Ã ªÊÃË „Ò?

(1) Œ‡ÊÁflœÊª◊∑§ (2) ‡ÊÊœ‡ÊÊ¥ªÊ
(3) ‡Ê«¥UªÊ (4) ¬¥øŒ‡Ê ª◊∑§Ê

66. “‚¥ªËà ¬ÊÁ⁄U¡ÊÔ ª˝¥Õ Á‹Áπà „Ò —

(1) 17flË¥ ‡ÊÃÊéŒË (2) 16flË¥ ‡ÊÃÊéŒË (3) 18flË¥ ‡ÊÃÊéŒË (4) 15flË¥ ‡ÊÃÊéŒË

67. ∞∑§ „Ë ‡ÊéŒ ∑§ ŒÊ ’Êœ —

(1) ÿÁà (2) ÿ◊∑§◊ (3) ¬˝Ê‚ (4) flÎÁûÊ

68. •L§áÊÊø‹Ê ∑§Áfl⁄UÊÿ⁄U ∑§Ê ¡ã◊ ∑§„Ê° „È•Ê ÕÊ?

(1) Ã¥¡ÊÒ⁄U ∑§ ÁÃÀ‹Ò∞Á«U ◊¥ (2) ÁÃL§ÃÁŸ
(3) ŸÊª¬^Ÿ◊ (4) ÁÃL§Ÿ‹fl‹Ë Á$¡‹Ê

69. “Á„ãŒÈSÃÊŸË” ’„ʪ ⁄Uʪ ◊¥ SflÊÃË ÁÃL§ŸÊ‹ ∑§Ë ∞∑§ ∑ΧÁà —
(1) ‚ÈãŒ⁄UÊ¥ªÊ (2) ‚⁄UÁ‚¡ŸÊ÷Ê
(3) S◊⁄U¡Ÿ∑§‡ÊÈ÷ (4) ‚⁄UÁ‚¡◊ÈπË

70. Œ‡ÊËÿ ⁄Uʪ „Ò —

(1) ¬⁄U$¡ (2) Á÷㟠·«Uíÿ
(3) ≈UÄ∑§Ê (4) ∑ȧ⁄¥U¡Ë

71. •ãŸÊ‚Ê◊Ë ‡ÊÊSòÊË „Ò —

(1) ‡ÿÊ◊ ‡ÊÊSòÊË ∑§ ¬ÈòÊ (2) ‡ÿÊ◊ ‡ÊÊSòÊË ∑§ ¬ÊÒòÊ
(3) ‚Èé’Ò⁄UÿÊ ‡ÊÊSòÊË ∑§ ¬ÊÒòÊ (4) ¬¥¡È ‡ÊÊSòÊË ∑§ ¬ÊÒòÊ

J-09618 !J-09618-PAPER-II! 17 Paper-II

72. Not a Janya of 28th Mela :
(1) Garudadhvani (2) Isamanohari
(3) Kapinarayani (4) Navarasa Kannada

73. Tiruvenkata Kavi composed :

(1) Sangeeta Swara Prastara Sagara
(2) Sangeeta Kalanidhi
(3) Panditaradhya charitramu
(4) Sangeeta Sara Sangrahamu

74. Àhati :
(1) A tamil work on music and dance
(2) A technique used in Mridamgam playing
(3) A kind of technique used in plucking Vina strings
(4) A dance step

75. The famous Varna ‘Jalajaksha’ in the raga Hamsadhwani is composed by :

(1) Subbarama Deekshitar (2) Tiruvattiyur Thyagayyar
(3) Pachimarium Adiappier (4) Manambuchavadi Venkata Subbier

76. The first grama or scale in ancient Tamil music :

(1) Madhyama grama (2) Shadja grama
(3) Gandhara grama (4) Suddha scale

77. “Varna yati” comes under :

(1) Deshi talas (2) Ashtottara shata talas
(3) Taladasha pranas (4) Madhyadi talas

78. Corresponding western music pitch for sixth white in Indian music :
(1) A (2) A flat (3) B flat (4) B

79. The string instrument used in the temples at Tirunelveli :

(1) Violin (2) Veena (3) Nanduni (4) Sarangi

80. The synonym of the anga guru :

(1) Vyapaka (2) Yashtika (3) Yamala (4) Yamini

J-09618 !J-09618-PAPER-II! 18 Paper-II

72. 28 ◊‹ ∑§Ê ¡ãÿ Ÿ„Ë¥ „Ò —
(1) ªL§«UäflÁŸ (2) ߇Ê◊ŸÊ„⁄UË
(3) ∑§Ê¬ËŸÊ⁄UÊÿáÊË (4) Ÿfl⁄U‚ ∑§ÛÊ«∏Ê

73. ÁÃL§fl¥∑§≈U ∑§Áfl ∑§Ë ⁄UøŸÊ „Ò —

(1) ‚¥ªËà Sfl⁄U ¬˝SÃÊ⁄U ‚ʪ⁄UÊ
(2) ‚¥ªËà ∑§‹Ê ÁŸÁœ
(3) ¬¥Á«UÕÊ⁄UÊäÿ øÁ⁄UòÊ◊È
(4) ‚¥ªËà ‚Ê⁄U ‚¥ª˝„◊È

74. •Ê„ÁÃ —
(1) ‚¥ªËà •ÊÒ⁄U ŸÎàÿ ∑§Ë ∞∑§ ÃÁ◊‹ ⁄UøŸÊ
(2) ◊ÎŒ¥ª◊ ∑§Ê ’¡ÊŸ ◊¥ ©¬ÿÊª ∑§Ë ¡ÊŸ flÊ‹Ë ∞∑§ ÁflÁœ
(3) flËáÊÊ Ã¥ÁòÊÿÊ¥ ∑§Ê ’¡ÊŸ ◊¥ ©¬ÿÊª ∑§Ë ¡ÊŸ flÊ‹Ë Ã∑§ŸË∑§ ∑§Ë ∞∑§ ÁflÁœ
(4) ∞∑§ ŸÎàÿ ¬Œ ¿Uʬ

75. ⁄Uʪ „◊‚ÊäflÁŸ ◊¥ ¬˝Á‚h fláʸ “¡‹¡ÊˇÊ” ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚∑§Ë ⁄UøŸÊ „Ò?
(1) ‚Èé’Ê⁄UÊ◊ ŒËÁˇÊÃ⁄U (2) ÁÃM§flÁ^ÿÍ⁄U àÿʪ•ƒÿ⁄U
(3) ¬Áëø◊Á⁄Uÿ◊ •ÁŒ•å¬ÿ⁄U (4) ◊Ÿ’ÈøÊflÁ«∏ fl¥Ä≈UÊ ‚Èé’•ƒÿ⁄U

76. ÃÁ◊‹ ‚¥ªËà ◊¥ ¬„‹Ê ª˝Ê◊ —

(1) ◊äÿ◊Ê ª˝Ê◊Ê (2) ·«U¡ª˝Ê◊
(3) ªÊãœÊ⁄U ª˝Ê◊ (4) ‡ÊÈh S∑§‹

77. ““fláʸ ÿÁÔ” Á∑§‚∑§ •¥Ãª¸Ã •ÊÃË „Ò?

(1) Œ‡ÊË ÃÊ‹ (2) •CÊàÃ⁄U ‡Êà ÃÊ‹
(3) ÃÊ‹ Œ‡Ê ¬˝ÊáÊ (4) ◊äÿÊÁŒ ÃÊ‹

78. ÷Ê⁄UÃËÿ ‚¥ªËà ◊¥ ‚»§Œ ¿U ¬Ê‡øÊàÿ ‚¥ªËà ∑§ Á∑§‚ üÊÈÁà ‚ ◊‹ ⁄UπÃÊ „Ò?
(1) ∞ (2) ∞ ç‹≈U (3) ’Ë ç‹≈U (4) ’Ë

79. ÁÃM§Ÿ‹fl‹Ë ÁSÕà ◊¥ÁŒ⁄UÊ¥ ◊¥ ©¬ÿÊª Á∑§ÿÊ ¡ÊŸ flÊ‹Ê Ã¥òÊË flÊŒ˜ÿ —
(1) flÊÚÿÁ‹Ÿ (2) flËáÊÊ (3) Ÿ¥ŒÈÁŸ (4) ‚Ê⁄¥UªË

80. •¥ª ªÈL§ ∑§ ‚◊ÊŸ „Ò —

(1) √ÿʬ∑§ (2) ÿÊÁc≈U∑§ (3) ÿ◊‹Ê (4) ÿÊÁ◊ŸË

J-09618 !J-09618-PAPER-II! 19 Paper-II

81. Composer of Kriti ‘Mariveridikyavaru” in Latangi Raga, Khanda Chapu :
(1) Tyagaraja (2) Koteeshwara Iyer
(3) Muttaih Bhagavatar (4) Patnam Subramania Iyer

82. Which text mentioned categories of Mela and Janya ragas for the first time ?
(1) Sangita Sara (2) Sangita Ratnakara
(3) Raga Vibodha (4) Sangraha Choodamani

83. Rishaba in Saurashtra :

(1) Trishruti Rishabha (2) Chatushruti Rishabha
(3) Dvishruti Rishabha (4) Ekashruti Rishabha

84. In Desadi Talas music commences after lapse of aksharas :

3 th 1 1 th 1
(1) (2) (3) (4) 1
4 2 4 2

85. Kokila Panchama belongs to :

(1) Deshi ragas (2) Upa Ragas
(3) Marga Ragas (4) Antarbhasa Ragas

86. A literary form sung in Devagandhari raga in loose rhythm figures in operas :
(1) Dhanvi (2) Dandakam (3) Churnika (4) Slokam

87. Nanyadeva worte the text :

(1) Bharata Chandrika (2) Bharata Bhashya
(3) Bharata Kalpa Lata Manjari (4) Bharata Lakshanam

88. Not included in Tala dasa pranas :

(1) Kala (2) Yati (3) Yamakam (4) Anga

89. An Audava Sampurna Upanga raga :

(1) Kalavathi (2) Kedaram
(3) Jingala (4) Kalyana vasantam

90. Signature of ‘Hayavadana’ :

(1) Sreepadaraya (2) Vysarayar (3) Vadiraja (4) Tulasidasa

J-09618 !J-09618-PAPER-II! 20 Paper-II

81. ‹ÃÊãªË ⁄Uʪ •ÊÒ⁄U πá«U øÊ¬Í ◊¥ ÁŸ’h ∑ΧÁà “◊Á⁄Ufl⁄ÒUÁŒÄÿflL§” ∑§ ⁄UøŸÊ∑§Ê⁄U —
(1) àÿʪ⁄UÊ¡ (2) ∑§Ê≈UˇÊfl⁄U •ƒÿ⁄U
(3) ◊ÈÃÒƒÿÊ ÷ʪflÃ⁄U (4) ¬^Ÿ◊ ‚È’˝◊áÿ◊ •ƒÿ⁄U

82. ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚ ª˝¥Õ ◊¥ ◊‹Ê •ÊÒ⁄U ¡ãÿ ⁄Uʪ ∑§Ë üÊÁáÊÿÊ¥ ∑§Ê ¬˝Õ◊ ’Ê⁄U ©À‹π Á∑§ÿÊ ªÿÊ ÕÊ?
(1) ‚¥ªËà ‚Ê⁄U (2) ‚¥ªËà ⁄UàŸÊ∑§⁄U
(3) ⁄Uʪ Áfl’ÊœÊ (4) ‚¥ª˝„ øÍ«∏Ê◊ÁáÊ

83. ‚ÊÒ⁄UÊc≈˛U ◊¥ ´§·÷ „Ò —

(1) ÁòÊüÊÈÁà ´§·÷ (2) øÃÈüÊÈÁà ´§·÷
(3) ÁmüÊÈÁà ´§·÷ (4) ∞∑§üÊÈÁà ´§·÷

84. Œ‡ÊÊŒË ÃÊ‹ ◊¥ ‚¥ªËà ∑§Ê •Ê⁄Uê÷ •ˇÊ⁄U∑§Ê‹ ∑§ ’ÊŒ „ÊÃÊ „Ò–
3 th 1 1 th 1
(1) (2) (3) (4) 1
4 2 4 2

85. ∑§ÊÁ∑§‹Ê ¬¥ø◊ ‚¥’¥ÁœÃ „Ò¥ —

(1) Œ‡ÊË ⁄UʪÊ¥ ‚ (2) ©¬ ⁄UʪÊ¥ ‚
(3) ◊ʪ¸ ⁄UʪÊ¥ ‚ (4) •ãÃ÷ʸ·Ê ⁄UʪÊ¥ ‚

86. •Ê¬⁄UÊ ◊¥ ∞∑§ ‚ÊÁ„àÿ ‡ÊÒ‹Ë Á¡‚◊¥ Œfl ªÊ¥œÊ⁄UË ⁄Uʪ ∑§Ê Á’ŸÊ Á∑§‚Ë Áfl‡Ê· ‹ÿ ∑§ ªÊÿÊ ¡ÊÃÊ „Ò —
(1) œŸÁfl (2) Œ¥«U∑§◊ (3) øÍÁáʸ∑§Ê (4) ‡‹Ê∑§

87. ŸÊãÿŒfl ∑§ mÊ⁄UÊ Á‹Áπà ª˝¥Õ „Ò —

(1) ÷⁄Uà ø¥ÁŒ˝∑§Ê (2) ÷⁄Uà ÷Êcÿ◊
(3) ÷⁄Uà ∑§À¬ ‹ÃÊ ◊¥Á¡⁄UË (4) ÷⁄Uà ‹ˇÊáÊ◊

88. ÃÊ‹ Œ‡Ê ¬˝ÊáÊ ◊¥ ‚Áê◊Á‹Ã Ÿ„Ë¥ „Ò —

(1) ∑§‹Ê (2) ÿÁà (3) ÿ◊∑§◊ (4) •¥ª

89. ∞∑§ •ÊÒ«Ufl ‚ê¬Íáʸ ©¬Ê¥ª ⁄Uʪ —

(1) ∑§‹ÊflÃË (2) ∑§ŒÊ⁄U◊
(3) Á¡¥ª‹Ê (4) ∑§ÀÿÊáÊ fl‚¥Ã◊

90. “„ÿflŒŸ” ∑§Ë ◊ÈŒ˝Ê —

(1) üÊˬʌ⁄UÊÿ (2) √ÿÊ‚⁄UÊÿ (3) flÊÁŒ⁄UÊ¡Ê (4) ÃÈ‹‚ˌʂ

J-09618 !J-09618-PAPER-II! 21 Paper-II

91. Composer who is Itaranama Mudrakara :
(1) Vina Kuppayyar (2) Swati Thirunal
(3) Bhadrachala Ramadasa (4) Jayadeva

92. Chidambara Vilasam in Nandanar Charitram is :

(1) 1st part (2) 2nd part (3) 3rd part (4) 4th part

93. Bharata in his work Natyasastra describes 108 karanas in the chapter :
(1) Tandava lakshana (2) Ranga Pooja
(3) Acharyabhinaya (4) Chitrabhinaya

94. “Kriti Shankari ninne” in Raga “Kamavardhini” composed by :

(1) Mysore Sadashiva Rao (2) Muttaiah Bhagavatar
(3) Mysore Vasudevacharya (4) Veena Karigiriraya

95. Chyuta Madhyama can be seen in :

(1) Sudha saveri (2) Harikamboji (3) Madhyamavati (4) Devagandhari

96. The name of the raga ‘Atana’ is prefixed to the name of the musician :
(1) Dorai Swami Iyer (2) Appyyar
(3) Seshayyar (4) Gopala Iyer

97. Composer of ‘Mamavatu Sri’ in raga hindolam and Tala Adi :

(1) Tyagaraja (2) Dikshitar
(3) Vasudevacharya (4) Patnam Subramanya Iyer

98. The raga not figured in Navaraga Malika Varnam :

(1) Madhyamavati (2) Sankarabharanam
(3) Mohanam (4) Sriragam

99. “Pauravi” is the initial name of :

(1) Tala (2) Gamaka (3) Moorchana (4) Swarakshara

100. An audava vakra sampoorna raga :

(1) Anandabhairavi (2) Bahudari
(3) Retigowla (4) Asaveri

-oOo-

J-09618 !J-09618-PAPER-II! 22 Paper-II

91. ßÃ⁄UŸÊ◊ ◊ÈŒ˝Ê∑§Ê⁄U ‚¥ªËÃ∑§Ê⁄U —
(1) flËáÊÊ ∑ȧå¬Òƒÿ⁄U (2) SflÊÃË ÁÃL§ŸÊ‹
(3) ÷Œ˝Êø‹ ⁄UÊ◊ŒÊ‚ (4) ¡ÿŒfl

92. Ÿ¥ŒŸÊ⁄U øÁ⁄UòÊ◊ ◊¥ ÁøŒê’⁄UÊ Áfl‹Ê‚◊ „Ò —

(1) ¬˝Õ◊ ÷ʪ (2) ÁmÃËÿ ÷ʪ (3) ÃÎÃËÿ ÷ʪ (4) øÃÈÕ¸ ÷ʪ

93. ÷⁄Uà Ÿ •¬Ÿ ª˝¥Õ ŸÊ≈˜Uÿ‡ÊÊSòÊ ∑§ Á∑§‚ •äÿÊÿ ◊¥ 108 ∑§áÊÊZ ∑§Ê fláʸŸ Á∑§ÿÊ „Ò?
(1) ÃÊ«¥Ufl ‹ˇÊáÊ (2) ⁄¥Uª ¬Í¡Ê
(3) •ÊøÊÿʸÁ÷ŸÿÊ (4) ÁøòÊÊÁ÷Ÿÿ

94. ⁄Uʪ ““∑§Ê◊flÁœ¸ŸË”” ◊¥ ““∑ΧÁà ‡Ê¥∑§⁄UË ÁŸãŸÒ”” ∑§ ⁄UøŸÊ∑§Ê⁄U „Ò —

(1) ◊Ò‚Í⁄U ‚ŒÊÁ‡Êfl ⁄UÊfl (2) ◊ÈàÃÒÿÊ ÷ʪflÃ⁄U
(3) ◊Ò‚Í⁄U flÊ‚ÈŒflÊøÊÿ¸ (4) flËáÊÊ ∑§Á⁄UÁªÁ⁄U⁄UÊÿÊ

95. ëÿÈà ◊äÿ◊Ê ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚◊¥ ¬˝ÿÊÁªÃ „Ò?

(1) ‡ÊÈh ‚Êfl⁄UË (2) „Á⁄U∑§Êê’ÊÁ¡ (3) ◊äÿ◊ÊflÁà (4) ŒflªÊ¥œÊ⁄UË

96. ÁŸêŸÁ‹Áπà ◊¥ ‚ Á∑§‚ ‚¥ªËÃ∑§Ê⁄U ∑§Ê ŸÊ◊ ⁄Uʪ “•∆UÊŸÊ” ‚ ¡Ê«∏Ê ªÿÊ „Ò —
(1) ŒÈ⁄ÒU SflÊ◊Ë •ƒÿ⁄U (2) •å¬Òÿ⁄U
(3) ‡Ê·ƒÿ⁄U (4) ªÊ¬Ê‹ •ƒÿ⁄U

97. ⁄Uʪ Á„ãŒÊ‹◊ •ÊÒ⁄U ÃÊ‹ •ÊÁŒ ◊¥ ⁄UÁøà “◊Ê◊flÃÈ üÊË” ∑§ ⁄UøŸÊ∑§Ê⁄U —
(1) àÿʪ⁄UÊ¡ (2) ŒËˇÊËÃ⁄U
(3) flÊ‚ÍŒfløÊÿ¸ (4) ¬^áÊ◊ ‚È’˝◊áÿ◊ •ƒÿ⁄U

98. ÁŸêŸ ◊¥ ‚ ∑§ÊÒŸ ‚Ê ⁄Uʪ Ÿfl⁄Uʪ ◊ÊÁ‹∑§Ê fl⁄UáÊ◊ ◊¥ Ÿ„Ë¥ „Ò —
(1) ◊äÿ◊ÊflÁà (2) ‡Ê¥∑§⁄UÊ÷⁄UáÊ◊
(3) ◊Ê„Ÿ◊ (4) üÊË⁄Uʪ◊

99. ““¬ÊÒ⁄UflË”” ∑§Ê ¬˝Ê⁄¥UÁ÷∑§ ŸÊ◊ „Ò —

(1) ÃÊ‹ (2) ª◊∑§ (3) ◊Íø¸ŸÊ (4) Sfl⁄UÊˇÊ⁄U

100. ∞∑§ •ÊÒ«Ufl fl∑˝§ ‚ê¬Íáʸ ⁄Uʪ —

(1) •ÊŸãŒ÷Ò⁄UflË (2) ’„ÈŒÊ⁄UË
(3) ⁄UËÃ˪ÊÒ‹Ê (4) •‚Êfl⁄UË

-oOo-

J-09618 !J-09618-PAPER-II! 23 Paper-II

 Space For Rough Work

J-09618 !J-09618-PAPER-II! 24 Paper-II