PERCUSSION INSTRUMENTS
PAPER – III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All questions are compulsory.
1. A Farmaishee Chakkardar is completed in how many minimum cycles ?
(1) Four
(2) Five
(3) Six
(4) Seven
2. A player would have to begin with which Mātrā to come to sam after playing theka of Jhaptāl first in dugun once and then in chaugun once only ?
(1) 
(2) 
(3) 
(4) After 2
3. Which layakari will be formed in playing char tāl in Kaharava tāl from sam to sam ?
(1) 3/2
(2) 2/3
(3) 3/4
(4) 4/3
4. A tāl of 8 beats (matras) in Ravindra Sangeet is :
(1) Jhampak
(2) Nataal
(3) Rupkada
(4) Navpanch Taal
5. Read Assertion (A) and Reason (R) and give the correct answer with the help of codes given below :
Assertion (A) : The compositions which are expanded are called Vistarsheel bandishen.
Reason (R) : Tukdas are called Vistarsheel Bandishen in Tabla.
Codes :
(1) (A) and (R) both are true.
(2) (A) and (R) both are false.
(3) (A) is true and (R) is false.
(4) (A) is false and (R) is true.
6. Each Charan of Bharauva Chhand consists of how many Mātrās ?
(1) 4-4
(2) 5-5
(3) 3-3
(4) 6-4
7. Match List – I with List – II. Use the code given below for right answer :
8. The only tāl of Karnatak tāl system which consist ‘Anudrut’
(1) Dhruva Taal
(2) Mathya Taal
(3) Jhamp Taal
(4) Triputh Taal
9. The book Tablā Shāshtra written by Madhukar Ganesh Godebole was published in which of the following cities ?
(1) New Delhi
(2) Hatharas
(3) Allahabad
(4) Benaras
10. In which of the following books, the percussion instruments have been called ‘Vitat’ ?
(1) Padmavat
(2) Geet Govind
(3) Ratnakar
(4) Brihatdeshi
11. Which among the following is written in a right chronological order according to their emergence as Gharanas ?
(1) Delhi, Lucknow, Farrukhabad, Ajrada, Benaras
(2) Delhi, Ajrada, Farrukhabad, Lucknow, Benaras
(3) Delhi, Ajrada, Lucknow, Farrukhabad, Benaras
(4) Delhi, Lucknow, Ajrada, Farrukhabad, Benaras
12. How many bits are there in each bar of quadruple compound time in western music ?
(1) 4-4
(2) 5-5
(3) 6-6
(4) 9-9
13. Which tablā player was conferred upon a degree of D.Lit. by Jivaji University, Gwalior ?
(1) Pt. Kishen Maharaj
(2) Ustad Jahangir Khan
(3) Ustad Zakir Hussain
(4) Ustad Ahmed Jan Thirakava
14. Konark Mahotsav is organized at which of the following places ?
(1) Bhubaneshwar
(2) Banaras
(3) Bombay
(4) Cuttack
15. The artist who equally expertises in Shahnai and Bansuri :
(1) Pt. Rajendra Prasanna
(2) Shree Durgalal
(3) Shree Ajay Shankar
(4) Shree Rakesh Prasanna
16. Which one is different from the other three ?
(1) Nakhaj
(2) Vayuj
(3) Charmaj
(4) Jalaj
17. “Tat Vitat Shikhar Ghan tara |
Pancho Shabda Hoi Jhankara ||”
– is an extract from which of the following granthas ?
(1) Padmavat
(2) Sangeet Darpan
(3) Makarand
(4) Sangeet Sār
18. Kamāli Chakradār in teen tāl could be played without any change in which other tāl ?
(1) Ektāl
(2) Basant
(3) Rupak tāl
(4) Jhap tāl
19. A player would have to begin with which Mātrā to come to sam after playing thekā of Gaj-jhampā tāl first in dugun once and then in chaugun once only ?
(1) 
(2) 
(3)
(4) 
20. Bedam Tihai in Rudra tāl will consist of how many varnas ?
(1) 13
(2) 15
(3) 17
(4) 19
21. Read Assertion (A) and Reason (R) and give the correct answer with the help of codes given below :
Assertion (A) : Avanaddha Vadak of North India usually use the term Bānt in sense of Prastār.
Reason (R) : Various Bānts are played in Benaras Gharana.
Codes :
(1) (A) and (R) both are true.
(2) (A) and (R) both are false.
(3) (A) is true, but (R) is false.
(4) (A) is false, but (R) is true.
22. Anubhav has how many types ?
(1) Two
(2) Three
(3) Four
(4) Five
23. Match List – I with List – II. Use the code given below for right answer :
24. Match List – I with List – II and choose the right answer from codes given below :
25. Which one of the following is a treatise authored by Vishnu Sharma ?
(1) Ashtottar shat tāl lakshanam
(2) Dashottar shat tāl lakshanam
(3) Tāl lakshanam
(4) Shat tāl lakshanam
26. Who is the author of the book ‘Tablā Vādan Shāshtra Evam Kala’ ?
(1) Girish Chandra Srivastav
(2) Sudhir Mainkar
(3) Arvind Mulagaokar
(4) Vasant Lele
27. Upanga Vadya belongs to which category ?
(1) Tāl vadya
(2) Swar vadya
(3) Ghan vadya
(4) None of the above
28. Choose the right order.
(1) Paungun, Dedhgun, Tigun, Chhahgun
(2) Dedhgun, Paungun, Tigun, Chhahgun
(3) Paungun, Dedhgun, Chhahgun, Tigun
(4) Paungun, Chhahgun, Dedhgun, Tigun
29. Tabla player who was expert in playing laggi with thumri
(1) Ustad Nizamuddin Khan
(2) Ustad Ramjan Khan
(3) Ustad Najimuddin Khan
(4) Ustad Bashiruddin Khan
30. Ten pranās of Tāl indicate :
(1) Tāl management
(2) Ten types of tālas
(3) Speciality of tālas
(4) Tāl
31. Sam, Ateet and Anagat are kinds of
(1) Laya
(2) Taal
(3) Graha
(4) Yati
32. The artists of which Gharana use the same Mudrā (Takhallus) in their bandish ?
(1) Bhindi Bazar Gharana
(2) Kirana Gharana
(3) Jaipur Gharana
(4) Gwalior Gharana
33. Which one of the following gharānās uses the language such as : ‘dhān katak dhan tak tak dhat dhat dhat tat’ ?
(1) Benaras
(2) Lucknow
(3) Farrukhabad
(4) Punjab
34. Who among the following is not a tablā player ?
(1) Dr. Yogmaya Shukla
(2) Sushree Anuradha Paul
(3) Sushree Rimpa Shiva
(4) Sushree Chitrangana Pant
35. One Chakra (Pallā) in Kamali Chakkardār in Pancham Sawāri will consist of how many mātrās ?
(1) 25
(2) 26
(3) 27
(4) 23
36. ‘Lahori gat’ is an speciality of which gharana ?
(1) Farrukhabad
(2) Benaras
(3) Delhi
(4) Punjab
37. The characteristics of how many ancient tālās have been described in the Ashtottar Shat tāl lakshanam ?
(1) 8
(2) 108
(3) 1008
(4) 180
38. Read Assertion (A) and Reason (R) and give the correct answer with the help of codes given below :
Assertion (A) : According to Sangeet Ratnakar the right side of a Bheri Vadya is played with a stick and left with hand.
Reason (R) : Because this has been shown as the speciality of Bheri Vadan.
Codes :
(1) (A) and (R) both are true.
(2) (A) and (R) both are false.
(3) (A) is true, but (R) is false.
(4) (A) is false, but (R) is true.
39. Most of the Bandishen (compositions) of Tabla had been created in
(1) Varnik Chhanda
(2) Matrik Chhanda
(3) Varnik and Matrik Chhandas both
(4) None of the above
40. Match the following. Use the code given below to give right answer.
41. Total Akshar kal of Mishrajati Jhamptal
(1) 10
(2) 9
(3) 8
(4) 7
42. Who is the author of the book ‘Bharat Kosh’ ?
(1) Bharat Muni
(2) Someshwar
(3) Sudha Kalash
(4) Narad Muni
43. Which one among the following is a book written by Mannuji Mridangacharya ?
(1) Sangeet Saramrut
(2) Mridang-Vadan
(3) Mridang Prabhakar
(4) Taal Dipika
44. The first Avanaddha Vadya to be tuned to swara was
(1) Bhu Dundubhi
(2) Tri Pushkar
(3) Patah
(4) Bheri
45. Which one of the following is written in a proper chronological order ?
(1) Abid Hussain, Wazid Hussain, Ilmas Hussain, Afaque Hussain
(2) Wazid Hussain, Abid Hussain, Ilmas Hussain, Afaque Hussain
(3) Wazid Hussain, Abid Hussain, Afaque Hussain, Ilmas Hussain
(4) Abid Hussain, Wazid Hussain, Afaque Hussain, Ilmas Hussain
46. In which year two Tablā players simultaneously received their Padma Awards ?
(1) 2002
(2) 2003
(3) 2004
(4) 2005
47. Meaning of the term ‘Vitat’ in Sanskrit is
(1) Spread
(2) Bounded
(3) Placed
(4) None of the above
48. ‘Timila’ is an Avanaddha Vadya from which state ?
(1) Tamil Nadu
(2) Telangana
(3) Kerala
(4) Andhra Pradesh
49. Which among the following is Nāgbandh Pātaksharā according to Sangeet Ratnākar ?
(1) n n gid gid dagi
(2) gid gid dat th
(3) thaungi thaungi
(4) tan gin gin nagi
50. Which finger is used to produce ‘ti’ syllable in Delhi gharana ?
(1) Tarjani
(2) Madhyama
(3) Anamika
(4) Kanishthika
51. Guru (trainer) of Prof. Sudhir Kumar Verma :
(1) Ustad Ahmed Jan Thirkava
(2) Ustad Amir Hussain
(3) Ustad Jahangir Khan
(4) Prof. Sudhir Kumar Saxena
52. The form of Sampkveshyak tāl is similar to which of the following ?
(1) 
(2) 
(3) 
(4) 
53. Which Layakari will be formed in playing Ganesh tāl (21 Mātrās) in Rupak tāl in one avartan from sam to sam ?
(1) Dugun
(2) Tigun
(3) Chaugun
(4) Aād
54. Navpanch tāl of Ravindra Sangeet consists of 5 beats (matras).
(1) True
(2) False
(3) Doubtful
(4) None of the above
55. Read Assertion (A) and Reason (R) and give the correct answer with the help of codes given below :
Assertion (A) : Laggi-Ladi is usually played in Dadra and Keharwa talas.
Reason (R) : Because these talas have more gravity and less playfulness.
Codes :
(1) (A) is true but (R) is false.
(2) (A) is false, but (R) is true.
(3) (A) and (R) both are true.
(4) (A) and (R) both are false.
56. Chhand Shāstra/Pingal Shāshtra is a work of which period ?
(1) Ramayana Kāl
(2) Sutra Kāl
(3) Mahābhārat Kāl
(4) None of the above
57. Match the following styles and gharanas given in List–I and List – II. Use the code given below for right answer :
58. Structure of Triput taal in Karnatak taal system is
(1) 100
(2) 10
(3) 1001
(4) 1100
59. Who has written the foreword of the book ‘Pakhawaj Aur Tabla ke Gharane Evam Paramparayen’ ?
(1) Thakur Jaideo Singh
(2) Dr. Subhadra Chowdhari
(3) Dr. Aban Mistri
(4) Dr. Yogmaya Shukla
60. Which of the following terms has been used for Vrindvadan in Pali literature ?
(1) Aatodya
(2) Turiya
(3) Dyotak
(4) None of the above
61. ‘Jhagen Jhagen dhage Jhage tit ghidan’ is a language of which musical instrument ?
(1) Manipuri Khol
(2) Nakkara
(3) Dholak
(4) Mridangam
62. Choose the right order.
(1) Sām Gān, Dhruv Pada, Prabandh, Khayal
(2) Sām Gān, Prabandh, Dhruvpada, Khayal
(3) Prabandh, Sām Gān, Dhruvpada, Khayal
(4) Prabandh, Sām Gān, Khayal, Dhruvpada
63. In which year two Tablā players simultaneously received their Sangeet Natak Academy awards ?
(1) 1997
(2) 1998
(3) 1991
(4) 1993
64. Bharat Bhashyam by Nanyadev consists of about how many Shlokas ?
(1) 2000
(2) 3000
(3) 4000
(4) 7000
65. Who is the founder of Swar Sadhna Samiti, Mumbai ?
(1) Dr. Yogmaya Shukla
(2) Dr. Anita Sen
(3) Prof. Poornima Pandey
(4) Dr. Aban E. Mistri
66. Ancient Upang Vadya is now popular in Bengal as
(1) Swar Lahari
(2) Vadya Lahari
(3) Upang Lahari
(4) Anand Lahari
67. Which finger is used to maintain speed in Kayadas of Ajarada Gharana ?
(1) Tarjani
(2) Madhyama
(3) Anamika
(4) Kanishthika
Read the following passage carefully and answer the following questions on the basis of your understanding of the text :
From the very beginning Avanaddha Vadyas had an important place in Indian music. In Natyashashtra by Bharat, the description of Tripushkar, a highly developed Avanaddha Vadya explains that such Anga Vadyas were popular even two thousand years ago. In fact, Avanaddha Vadyas had two clear categories – Angā Vādyās and Pratyanga Vadyās.
The instruments on which the desired notes were obtained with the help of ‘Lepan’ on their face were called ‘Anga Vadyas’, while the instruments which could not be tuned to the desired notes were called ‘Pratyang Vadyas’.
The Avanaddha Vadyas were used only for accompaniment. Gradually, a complete and beautiful Avanaddha Vadya named ‘Tablā’ came into picture and then became popular, and later, along with the accompaniment, the tradition of solo Tablā playing started.
With the amalgamation of different playing techniques, compositions of syllables in different manners, use of Layakari, special composition types and way of presentation; six unique Gharānās of solo Tablā playing came into existence.
Delhi Gharana focussed on compositions of Chatasra Jāti, playing mainly on Chant (Kinār) and emphasis on use of two fingers (i.e. Index and middle), while two disciples of the same Gharānā enriched Tablā playing by using the ring finger along with Index and middle and by making compositions of Tisra Jāti, which resulted into the emergence of Ajarada Gharanā.
The maestros of Lucknow Gharana created a new flavour with their resonant and forceful technique of Tabla playing. Ustad Hazi Vilayat Ali of Farrukhabad Gharana, with his extra ordinary skills, composed many beautiful ‘Gata’s, although he was trained by the famous Tabla maestro of Lucknow, Ustad Bakhshoo Khan.
The founder of Benaras Gharana, Pandit Ram Sahay too was the disciple of Ustad Modu Khan of Lucknow Gharana, while Punjab Gharana was popularised by Ustad Qadir Bhakhsh (Second) and his disciples viz. Ustad Allarakha Khan and Ustad Shauqat Hussain etc.
Presently, the instrument ‘Tabla’ is a necessary part of music and placed on top by virtue of it’s popularity of solo playing and as an accompanying instrument with classical, semi classical, light music and filmy music.
68. How many types of Avanaddha Vadyās are mentioned by Bharat ?
(1) Four
(2) Five
(3) Two
(4) Three
69. Instruments which could be tuned to the desired notes are called
(1) Pratyang
(2) Upang
(3) Anga
(4) Matang
70. The total number of popular Gharanas of solo Tabla playing are :
(1) four
(2) five
(3) six
(4) two
71. The Tabla Gharāna famous for ‘Kinār Ka Bāj’ and compositions of Chatasrā Jatis :
(1) Farrukhabad
(2) Delhi
(3) Ajarada
(4) Lucknow
72. The Kaidas of Tisra Jāti started in
(1) Punjab Gharana
(2) Delhi Gharana
(3) Ajarada Gharana
(4) Benaras Gharana
73. The famous disciple of Ustad Bakhshoo Khan who established a new Gharana is
(1) Hazi Malang Khan
(2) Hazi Amanat Ali
(3) Pt. Ram Sahay
(4) Hazi Vilayat Ali
74. The senior ‘Gurubhai’ of Ustad Allarakha :
(1) Ustad Qadar Bakhsha
(2) Ustad Shaukat Hussain
(3) Ustad Modu Khan
(4) Ustad Lal Khan
75. From which Guru did Pt. Ram Sahay receive his Talim ?
(1) Ustad Mohammed Khan
(2) Pt. Bhairav Sahay
(3) Ustad Modu Khan
(4) Ustad Bakhshoo Khan
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