KARNATIK MUSIC
PAPER – III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All questions are compulsory.
1. A vakra audava raga :
(1) Kuduhalam
(2) Kundalavarali
(3) Goudamalhar
(4) Gambhiravani
2. The kriti ‘Svararagasudharasa’ contains :
(1) Prabandha mudra
(2) Vamsa mudra
(3) Tala mudra
(4) Lakshana grantha mudra
3. Vijayasaraswati is a janya of :
(1) 62nd mela
(2) 57th mela
(3) 56th mela
(4) 47th mela
4. Pattabhiramayya composed :
(1) Devaranamas
(2) Ugabhogas
(3) Javalis
(4) Padavarnas
5. In which temple we can find the sculpture of Urdhva Thandava pose of Nataraja with 8 hands and drum held between the two legs ?
(1) Cutrallam temple, Tirunelveli
(2) Tenkasi temple, Tirunelveli
(3) Chitambaram temple
(4) Agastisvarar temple, Tiruvottiyur
6. Ujvala rasa is the glorified version of :
(1) Veera rasa
(2) Bhakti rasa
(3) Bhibatsa rasa
(4) Sringara rasa
7. Pambai constitute :
(1) An ancient wind instrument
(2) Similar to shehnai
(3) Cylindrical drums
(4) A Ghana vadya
8. Not an Ekanyswara bhashanga raga :
(1) Mukhari
(2) Bhairavi
(3) Saranga
(4) Athana
9. In which chapter of Natya Sastra Bharata mentioned appropriate colours for Rasas ?
(1) 2
(2) 3
(3) 6
(4) 4
10. The emotional effect of a raga depends upon :
(1) Jiva svaras and Graha svaras
(2) Jiva svaras and nyasa svaras
(3) Graha svaras and nyasa svaras
(4) Graha svaras
11. The philosophy of concept of Right was propounded by :
(1) Kant
(2) Aristotle
(3) Hegel
(4) Baumgarten
12. We found the madhymakala sahitya in the kriti :
(1) Nidayarada
(2) Nibhaktibhagyasudha
(3) Sarasijanabha sodari
(4) Mamavasada
13. Theme of Pralapa daru is :
(1) Pathetic
(2) Coronation
(3) Musical dialogues
(4) Musical Soliloquy
14. A raga which results in the same scale in the process of graha bheda :
(1) Gopriya
(2) Bhavani
(3) Bhavapriya
(4) Latangi
15. Temple known for acoustic marvel :
(1) Viralimalai Temple
(2) Vithala Temple
(3) Tiruttani Temple
(4) Kalahasti
16. ‘Kamas’ is good example for :
(1) Karuna Rasa
(2) Sringara Rasa
(3) Raudra Rasa
(4) Veera Rasa
17. Example for ‘Nindastuti Keertanam’ :
(1) Tulasidala – Mayamalavagavla
(2) Ramanannubrovara – Harikamboji
(3) Sarasaksha Paripalaya – Pantuvarali
(4) Ilalo Prantarthi – Atana
18. In dhruva veena – chala veena experiment both the veenas are tuned to the scale of :
(1) Madhyama grama
(2) Gandhara grama
(3) Shadja grama
(4) Saman Scale
19. ‘Acharya mudra’ is used by :
(1) Paidala Gurumurthy Sastry
(2) Venkatasubbaraya
(3) Pallavi Gopalayyar
(4) Veena Kuppayyar
20. Assertion (A) : The earliest norms of art criticism in Indian music can be seen after the vedic period.
Reasoning (R) : Siksha prescribe the rule of enunciation for Samam texts.
Code :
(1) Both (A) and (R) are correct
(2) (A) is correct (R) is wrong
(3) (A) is wrong (R) is correct
(4) Both (A) and (R) are wrong
21. The Thyagaraja kriti ‘Telisi rama’ is in the raga :
(1) Narayani
(2) Nitimati
(3) Pavani
(4) Poorna Chandrika
22. Sequence the order of chapterisation in the lakshana-grandha Ragavibodha :
(1) Srutisvaraviveka, Ragarupaviveka, Vinabhedaviveka, Melaviveka, Ragaviveka
(2) Ragaviveka, Vinabhedaviveka, Ragarupaviveka, Melaviveka, Srutisvaraviveka
(3) Srutisvaraviveka, Vinabhedaviveka, Melaviveka, Ragaviveka, Ragarupaviveka
(4) Melaviveka, Ragaviveka, Ragarupaviveka, Vinabhedaviveka, Srutisvaraviveka
23. Research Analysis in a rigid manner is :
(1) Quantitative approach
(2) Qualitative approach
(3) Conceptual approach
(4) Applied
24. Anya swara in the Raga ‘Dwijawanti’ is :
(1) Suddha Rishabha
(2) Kakalinishadha
(3) Sadharana gandhara
(4) Suddha dhaivata
25. Thandava Deeparadhana can be witnessed in the temple at :
(1) Chennai
(2) Trichy
(3) Madurai
(4) Tenkasi
26. “Inka dayarada” kriti in raga ‘Vegavahini’ is composed by :
(1) Chinnaswamy Dikshitar
(2) Govinda Dikshitar
(3) Ramaswamy Dikshitar
(4) Ramnad Sreenivasayyar
27. Simizhi Sundaram Iyer honoured papanasam sivan with the title ‘Tamil Thyagayya’ when he listend to his kriti :
(1) Kanakankodi vendum
(2) Unnai Tudikka Arulta
(3) Kartikeya gangeya
(4) Kapali
28. Tranquil notes :
(1) Ni and Sa
(2) Both Varieties of a swara
(3) Sa and Pa
(4) Ga and Ma
29. Interval of eight or twelve shrutis, we call it as :
(1) Samvadi
(2) Vadi
(3) Anuvadi
(4) Vivadi
30. What is ‘Jamidikam’ ?
(1) Folk drum used in rural Folk of Andhra
(2) Name of folk dance of Tamil Nadu
(3) A rhythm instrument of Kerala
(4) A dance form of Karnataka
31. “Ragamala” text written by :
(1) Aklanka Govindacharya
(2) Govinda marar
(3) Pundarik Vitthala
(4) Kanakadasa
32. The total number of ragas used in the opera Nowkacharitram :
(1) 13
(2) 21
(3) 14
(4) 20
33. Tirujnana sambandar of Muvar Tevaram lived in which century ?
(1) 6th century AD
(2) 7th century AD
(3) 8th century AD
(4) 9th century AD
34. When Panchama of Sarasangi is subjected to Model shift of tonic, the resultant scale is :
(1) Chakravaka
(2) Charukesi
(3) Dhenuka
(4) Vachaspati
35. “Gana Vidya dhurandara” is a :
(1) Gita alankara
(2) Vadya alankara
(3) Sapta Tala Gita
(4) Sapta Tala alankara
36. Which is the anyaswara in Raga ‘Ghanta’ ?
(1) Shuddha rishabha
(2) Chatusruti daivata
(3) Shatsruti rishabha
(4) Pratimadhyama
37. Which raga is not in the Abhayamba kritis of Dikshitar ?
(1) Todi
(2) Bhairavi
(3) Nattakurinj
(4) Sahana
38. Who is the recipient of ‘Padakavita Pitamaha’ title ?
(1) Tallapakam Annama Charya
(2) Narasimha Varman
(3) Ramaswami Sivan
(4) Chaukam Virabhadrayya
39. The opera ‘Karaikkal Ammayar Charitram’ is written by :
(1) Marutha muttu pillai
(2) Arunachala Kavirayar
(3) Bharatiyar
(4) Gopalakrishna Bharati
40. Rudra – Go according to Melakarta Scheme of Venkatamakhi :
(1) Latangi
(2) Vachaspati
(3) Chitrambari
(4) Kantamani
41. The kriti “Sarojadalanetri” is in the marga :
(1) Dakshina tara
(2) Chitra tara
(3) Atichitra tara
(4) Uttara chitra tara
42. ‘Vaindanai’ is performed :
(1) With sticks
(2) Without sticks
(3) With handkerchiefs
(4) With dummy camels
43. Additional rhythmical instruments used for the folk concert Kaichilambu pattu :
(1) Mridangam and Dolak
(2) Mridangam and Ghatam
(3) Tavil and Ghatam
(4) Dolak and Udukku
44. Not a Panchadasa Gamaka :
(1) Mudrita
(2) Ullasita
(3) Misrita
(4) Murchana
45. Nishada Murchana of Madhyama grama is called :
(1) Deshi
(2) Kriya
(3) Vakra
(4) Margi
46. The melody in which svaras occur in curved patterns and are rendered with pleasing gamaka is :
(1) Gaudi giti
(2) Vesara giti
(3) Bhinna giti
(4) Sadharani giti
47. A raga which deletes ‘Ri’ in both arohana and avarohana :
(1) Jingla
(2) Jujavali
(3) Kalyana Vasanta
(4) Kapi narayani
48. Not a mela in the asampoorna mela paddhati :
(1) Syamalangi
(2) Nishadam
(3) Sri Raga
(4) Chamaram
49. The Daru which details the theme of the Drama :
(1) Samvada daru
(2) Uttaraprattuttara daru
(3) Madhyama daru
(4) Varnana daru
50. Principal drum of Urumi melam :
(1) Dolak
(2) Tavil
(3) Urumi
(4) Nagasvaram
51. The title ‘Dravidagana Sarvabhouma’ is associated with :
(1) Margadarsi Sesha Iyenkar
(2) Thyagaraja
(3) Tallapakkam Annammacharya
(4) Purandaradasa
52. Tyagaraja kriti ‘Bagayanaiyya’ is in raga :
(1) Chandrajyoti
(2) Jyotiswaroopini
(3) Suposhini
(4) Pavani
53. Gamaka where the second note is stressed :
(1) Kampita
(2) Spurita
(3) Leena
(4) Tiripa
54. Composer of ‘Utharaswayam varam’ is :
(1) Swati Tirunal
(2) Uthiram Tirunal
(3) Irayimman Thampi
(4) Muthayya Bhagavatar
55. A scale of ancient Tamil music which corresponds to the scale of Mechakalyani :
(1) Menchabauli
(2) Ayappalai
(3) Merchempalai
(4) Vilarippalai
56. Palani subramanya pillai is :
(1) Khanjeera vidwan
(2) Mridanga vidwan
(3) Morching vidwan
(4) Ghatam vidwan
57. Composer of “Pahimam Sri Rajarajeswari in Janaranjani raga”
(1) Maha Vaidyanatha Iyer
(2) Swati Tirunal
(3) Muthayya Bhagavatar
(4) Muthuswamy Dikshitar
58. The loudness of a sound depends upon :
(1) Frequency
(2) The intensity of the Waves
(3) Amplitude of Vibration
(4) Source
59. A mela in the 10th chakra with shatsruti dhaivata :
(1) Vishwambhari
(2) Chitrambari
(3) Nitimati
(4) Varunapriya
60. An Ubhaya Vakra raga is :
(1) Mand
(2) Jayamanohari
(3) Garudadhwani
(4) Malavi
61. The Sculpture of Lord Krishna playing flute in varadaraja swamy temple is at :
(1) Rameshwara
(2) Lepakshi
(3) Pattiswara
(4) Kanchipuram
62. Another variety of Plavita Gamaka :
(1) Namita
(2) Gumbhita
(3) Kampita
(4) Tribhinna
63. Supradipam is a janya of :
(1) 15th Mela
(2) 17th Mela
(3) 19th Mela
(4) 20th Mela
64. The projecting ledge in the vina, separating the bowl and the stem is :
(1) Gurram
(2) Gupta
(3) Gvantu
(4) Iyam
65. Composer of Ghanaragamalika varnam :
(1) Pallavi Seshayyar
(2) Veena Kuppayyar
(3) Swati Tirunal
(4) Pachimariyam Adi Appayya
66. The author of Skandapurana Kirtanas :
(1) Kavikunjara Bharati
(2) Ramaswami Sivan
(3) Kotiswara Iyer
(4) Kavi Mathrubhudayya
67. Another name for Shatatantri Vina :
(1) Katyayani
(2) Kachapi
(3) Chitra
(4) Kinnari
68. Pick out the odd option :
(1) Tripura Sundari
(2) Manasu Vishaya
(3) Needumoortini
(4) Ni Sarisati
69. Original name of Kshetragna :
(1) Velayya
(2) Ramayya
(3) Varadayya
(4) Chinnayya
70. Match the following places of birth in the List – I with the composers in the List – II :
71. ‘Venugopala’ mudra is of :
(1) Muvalur Sabhapti Ayyar
(2) Ghanam Sinayya
(3) Subbaramayyar
(4) Sarangapani
72. Not a Janya of Dheerashankarabharana Raga :
(1) Neelambari
(2) Vijayanagari
(3) Janaranjani
(4) Navaroz
73. Who was called as ‘Abhinava Tyagaraja’ ?
(1) Pattanam Subramanya Iyer
(2) Mysore Sadasiva Rao
(3) Mysore Vasudevacharya
(4) Muthayya Bhagavatar
74. The singing of the hymns of Tevaram rhythmically in their musical setting is :
(1) Suddhangam
(2) Layangam
(3) Layavadyam
(4) Layakkanisam
75. A nishada varjya raga :
(1) Kalyanavasantam
(2) Kalavathy
(3) Devamanohari
(4) Bhanuchandrika
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