Organisation : Central Board Of Secondary Education
Exam : National Eligibility Test (NET)
Document Type : Model/Previous Question Paper
Subject : Karnatak Music
Date/Year : 10.07.2016 & 28.08.2016
Website : http://cbsenet.nic.in/cbsenet/QuestionPaperJuly2016.aspx
Download Sample Question Paper :
Paper 2 10.07.2016 : https://www.pdfquestion.in/uploads/10600-KarnatakMusic.pdf
Karnatak Music Model Question :
Note :
** This paper contains fifty (50) objective type questions of two (2) marks each.
** All questions are compulsory.
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1. Rudra-Pa
(1) Kantamani
(2) Chitrambari
(3) Rishabhapriya
(4) Neetimati
2. ‘Malavi’ Janya of
(1) 24
(2) 26
(3) 17
(4) 28
3. Frequency of ‘Gaula Rishabham’ is
(1) 250/243
(2) 256/243
(3) 260/245
(4) 252/243
4. Who is the composer of “Venkatesa Pancharatnam” ?
(1) Veena Kuppayyar
(2) Thiruvottiyur Thyagayyar
(3) Vadivelu
(4) Paidala Gurumurthy Sastri
5. Match the following :
List – I List – II
a. Sundari ninnu varnipa i. Panchalinga Kriti
b. Samagondalo ii. Tiruvottiyoor Pancharatna
c. Jamboopati iii. Shymashastri Samudaya Kriti
d. Mayamma iv. Kalahastisha Pancharatna
Codes :
a b c d
(1) ii iv i iii
(2) i iv iii ii
(3) iii i ii iv
(4) iv iii ii i
6. Katha kalakshepams was an evolution of
(1) Yezhadi
(2) Nritya Natakas
(3) Puranapatanam
(4) Sankirtanam
7. Which rhythm instrument is used in ‘Kottipadu Seva’ (Sopana Sangitam) ?
(1) Chenda
(2) Edakka
(3) Udukku
(4) Maddalam
8. Pick out the odd one :
(1) Rudrapriya
(2) Salagabhairavi
(3) Shrutiranjani
(4) Shuddha Bangala
9. ‘Kamini Mani Sakhi’ composed by Swati Thirunal is a
(1) Samvada Padam
(2) Jawali
(3) Sringara Padam
(4) Dandakam
10. Who is the author of “Krishnaleela Tharangini” ?
(1) Narayana Theerthar
(2) Gopala Krishna Bharati
(3) Arunachala Kavirayar
(4) Bhadrachalam Ramadas
11. Which is not a wind instrument ?
(1) Magudi
(2) Damaru
(3) Ekkalam
(4) Nedunkuzhal
12. Sequence the following Janya ragas according to their melas :
(1) Kedaram, Jingala, Phalamanjari, Jujavali
(2) Jujavali, Phalamanjari, Jingala, Kedaram
(3) Jingala, Jujavali, Phalamanjari, Kedaram
(4) Jujavali, Jingala, Phalamanjari, Kedaram
13. ‘Panniyatiram’ of Tamil Music equivalent to
(1) Audava raga
(2) Shadava raga
(3) Sampurna raga
(4) Svarantara raga
14. Raga Saindhavi is derived from
(1) 29th Mela
(2) 22nd Mela
(3) 28th Mela
(4) 20th Mela
15. Placing the fingers at different positions while singing Samagana is
(1) Gatra Veena
(2) Chitra Veena
(3) Chanting
(4) Aranyagana
16. Sthaya or Thaya was mainly adopted in
(1) Tana
(2) Alapti
(3) Rupakalapti
(4) Prabandha
17. The frequency of Trisruti Rishabha :
(1) 16/15
(2) 256/243
(3) 10/9
(4) 98
18. Suddha Scale of ancient Tamil music was
(1) Hari Kamboji
(2) Kharaharapriya
(3) Sankarabharanam
(4) Mayamalavagaula
19. 24th Melakarta is
(1) Ramapriya
(2) Suvarnangi
(3) Shymalangi
(4) Varunapriya
20. Composer of the Navaragamalika Varna :
(1) Swati Tirunal
(2) Chinni Krishnadasa
(3) Sarangapani
(4) Patnam Subramanya Ayyar
21. Not a Palai :
(1) Kokkilai
(2) Vilari
(3) Ulai
(4) Tuttam
22. Not a Samudaya Kriti
(1) Sundari ninnu Varnipa
(2) O Rangashayi
(3) Jootamorare
(4) Marubalka
23. Not a Murchana
(1) Uttaramandra
(2) Kalopanata
(3) Matsarikrita
(4) Raktagandhari
24. Composer of Geya Natakam “Pallaki Seva Prabandham” :
(1) Tyagaraja
(2) Gopala Krishna Bharati
(3) Shahji Maharaja
(4) Arunachala Kavirayar
25. “Udghata” is the name of
(1) Raga
(2) Place
(3) Tala
(4) Instrument
26. A Vivadi mela
(1) Dhavalambari
(2) Ragupriya
(3) Suvarnangi
(4) Jyotisvarupini
27. ‘Mahati’ is another name for
(1) Saraswathi Veena
(2) Rudra Veena
(3) Balasaraswathi
(4) Swarabat
28. How many strings were there in “Sengottiyazh” ?
(1) 07
(2) 21
(3) 14
(4) 16
29. Example for anagata graha
(1) Mahimadakinchu
(2) Sringara-rasa
(3) Rajarajaradhite
(4) Pahimamshri
30. Assertion (A) : Art suffers from too much of codified rules.
Reason (R) : Rules limit the freedom of improvisation.
Codes :
(1) (A) is correct (R) is wrong.
(2) Both (A) & (R) are correct.
(3) Both (A) & (R) are wrong.
(4) (A) is wrong (R) is correct.
31. Choose the correct sequence of ragas from the following according to Upanga, eka anyasvara, drianya svara, and trianya svara bhashanga ragas :
(1) Manji, Suposhini, Hindustani Behag, Hindustani Kapi
(2) Suposhini, Manji, Hindustani Behag, Hindustani Kapi
(3) Suposhini, Manji, Hindustani Kapi, Hindustani Behag
(4) Hindustani Behag, Suposhini, Manji, Hindustani Kapi
32. In the process of ‘Model Shift Tonic’ Rishabham of Sankarabharanam will produce
(1) Kharaharapriya
(2) Kalyani
(3) Todi
(4) Harikamboji
33. Kinds of Veenas based on tuning mentioned in Swaramela Kalanidhi
(1) 4
(2) 6
(3) 3
(4) 5
34. Composer of Vidudi Kirtanas :
(1) Ramnad Srinivas Iyengar
(2) Gopala Krishna Bharati
(3) Swati Thirunal
(4) Chengalvaraya Shastri
35. The svaras constituing a phrase in a raga endowed with gamaka is
(1) Thaya
(2) Tana
(3) Gitika
(4) Kampita
36. Composer of ‘Kavadi Chindu’ :
(1) Subramanya Bharati
(2) Papanasam Shivan
(3) Annamalai Reddiyar
(4) Anayya
37. Most important phrase in ‘Sahana’ raga :
(1) r ~ ~ ~ g m p m
(2) s n d n d p
(3) r g m p d
(4) n n n d p
38. ‘Tarangini’ in the Asampoorna Melapadhati corresponds to
(1) Raga Vardhini
(2) Sarasangi
(3) Charukesi
(4) Mararanjini
39. The svara on which the first section of a song ends is
(1) Vinyasa
(2) Samnyasa
(3) Apanyasa
(4) Nyasa
40. Composer of ‘Vibhakti Kriti’ :
(1) Tyagaraja
(2) Mutthuswami Dikshitar
(3) Syamasastri
(4) Muthayya Bhagavatar