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ASSEB HSLC Class 10 Elective Music study materials
ASSEB HSLC Class 10 Elective Music study resources

ASSEB HSLC Class 10 Elective Music practice questions

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Question 1Indian Classical Music: Swara, Raga and Tala fundamentals

In Hindustani music, how many shuddha swaras are there in a saptak (octave)?

  1. Seven Correct answer.
  2. Five
  3. Nine
  4. Twelve

Explanation

A saptak contains seven shuddha swaras: Sa, Re, Ga, Ma, Pa, Dha, Ni. The remaining five positions are the komal and tivra vikrit swaras, which is why the full set of twelve positions is sometimes listed separately. The count of seven reflects the basic scale degrees.

Question 2Indian Classical Music: Swara, Raga and Tala fundamentals

Which swara has no komal or tivra form in the standard Hindustani swara system?

  1. Re
  2. Ga
  3. Sa Correct answer.
  4. Ma

Explanation

Sa and Pa are achala (immovable) swaras and keep a single fixed pitch. Only Re, Ga, Ma, Dha and Ni have altered forms, with Ma taking tivra and the others taking komal. This is why Sa is used as the reference pitch for tuning.

Question 3Indian Classical Music: Swara, Raga and Tala fundamentals

When Ma is raised above its shuddha pitch, the resulting swara is called:

  1. Komal Ma
  2. Achal Ma
  3. Shuddha Ma
  4. Tivra Ma Correct answer.

Explanation

Ma is the only swara whose altered form moves upward, and that raised form is called tivra Ma. The komal forms of Re, Ga, Dha and Ni move downward instead. Tivra Ma appears in ragas such as Yaman.

Question 4Indian Classical Music: Swara, Raga and Tala fundamentals

The term 'avaroha' in raga presentation refers to:

  1. The fixed tonic pitch of the performer
  2. The ascending order of swaras
  3. The descending order of swaras Correct answer.
  4. The rhythmic cycle of the composition

Explanation

Avaroha is the descending sequence of swaras in a raga, while aroha is the ascending sequence. Both together describe the melodic contour that defines a raga's identity. The tonic pitch is called Sa or shadja, not avaroha.

Question 5Indian Classical Music: Swara, Raga and Tala fundamentals

A raga in which the aroha uses only five swaras and the avaroha uses seven is classified as:

  1. Sampurna-audav
  2. Shadav-shadav
  3. Audav-sampurna Correct answer.
  4. Audav-audav

Explanation

Raga classification by swara count pairs the ascending and descending counts: audav means five, shadav six and sampurna seven. Five ascending with seven descending is therefore audav-sampurna. The order of the two words follows aroha first, avaroha second.

Question 6Indian Classical Music: Swara, Raga and Tala fundamentals

Which of these is a defining feature of a raga rather than of a tala?

  1. A pattern of divisions within a beat
  2. A characteristic ascent and descent Correct answer.
  3. A fixed cycle of matras
  4. A system of claps and waves

Explanation

A raga is defined by melodic features such as its aroha, avaroha, vadi and samvadi swaras. Tala, by contrast, governs time through matras, vibhag and tali-khali. The characteristic ascent and descent therefore belongs to raga.

Question 7Indian Classical Music: Swara, Raga and Tala fundamentals

In tala terminology, the smallest countable unit of time is called:

  1. Vibhag
  2. Laya
  3. Matra Correct answer.
  4. Avartan

Explanation

A matra is the basic beat unit of a tala, and each tala is measured in a fixed number of matras. Vibhag groups matras into sections, and avartan is one complete cycle. Laya is the tempo at which matras are counted.

Question 8Indian Classical Music: Swara, Raga and Tala fundamentals

Teental is a tala of sixteen matras divided into four equal vibhags. On which matras does the khali fall?

  1. Matra 9 Correct answer.
  2. Matra 13
  3. Matra 1
  4. Matra 5

Explanation

Teental's four vibhags begin at matras 1, 5, 9 and 13, marked tali, tali, khali, tali respectively. The khali therefore falls at the start of the third vibhag, matra 9. Matras 1, 5 and 13 are tali positions.

Question 9Indian Classical Music: Swara, Raga and Tala fundamentals

In tala, the first matra of the cycle, which carries the greatest structural weight, is known as:

  1. Sam Correct answer.
  2. Vibhag
  3. Tali
  4. Khali

Explanation

Sam is the first matra of the avartan and is the point where melodic and rhythmic phrases conventionally resolve. Performers often arrive on sam together after improvisation. Khali is an empty marker, tali a clap, and vibhag a section.

Question 10Indian Classical Music: Swara, Raga and Tala fundamentals

A tala with seven matras divided as three plus two plus two is:

  1. Jhaptal Correct answer.
  2. Tivra
  3. Dadra
  4. Rupak

Explanation

Jhaptal has ten matras, but the seven-matra tala divided 3+2+2 is Rupak. Rupak is distinctive because its sam is khali, so the cycle opens with a wave rather than a clap. Dadra has six matras and Tivra has seven but divides differently.

Question 11Indian Classical Music: Swara, Raga and Tala fundamentals

Rupak tala is unusual among common talas because:

  1. It contains sixteen matras
  2. It has no vibhag
  3. It is counted only in fast tempo
  4. Its sam is khali Correct answer.

Explanation

In Rupak the first matra, which is sam, is marked khali, so the cycle begins with a wave instead of a clap. This makes it a favourite test of a student's grip on tali-khali placement. The tala itself has seven matras and three vibhags.

Question 12Indian Classical Music: Swara, Raga and Tala fundamentals

A performer doubles the speed of the matra count while keeping the tala cycle intact. This change is described as a move to:

  1. Drut laya Correct answer.
  2. Madhya laya
  3. Khali laya
  4. Vilambit laya

Explanation

Laya refers to tempo, and drut laya is the fast register in which matras pass quickly. Vilambit is slow and madhya is medium, so a doubling of speed from a moderate pace points to drut. Khali is not a tempo term at all.

Question 13Indian Classical Music: Swara, Raga and Tala fundamentals

The swara that is sounded most frequently and is treated as the principal note of a raga is called:

  1. Samvadi
  2. Anuvadi
  3. Vadi Correct answer.
  4. Vivadi

Explanation

The vadi is the principal or king swara of a raga and receives the greatest emphasis in performance. Samvadi is the second most important and usually a consonant partner to the vadi. Anuvadi swaras are merely supportive, and vivadi are avoided.

Question 14Indian Classical Music: Swara, Raga and Tala fundamentals

In a raga, a swara that is deliberately avoided because it clashes with the raga's character is termed:

  1. Samvadi
  2. Vadi
  3. Anuvadi
  4. Vivadi Correct answer.

Explanation

Vivadi swaras are considered dissonant or foreign to a raga and are left out of its melodic framework. Vadi and samvadi are the prominent notes, while anuvadi notes are supportive. Recognising vivadi swaras helps a student avoid errors in improvisation.

Question 15Indian Classical Music: Swara, Raga and Tala fundamentals

A raga that uses both shuddha and komal Ni in its descent, while omitting Pa, is most likely:

  1. Bhoopali
  2. Bhairavi Correct answer.
  3. Yaman
  4. Malkauns

Explanation

Bhairavi is a sampurna raga that employs all komal forms, including komal Re, Ga, Dha and Ni, and it does not omit Pa. Bhoopali and Malkauns are audav ragas that omit Ma and Pa respectively, and Yaman uses tivra Ma rather than komal Ni as a defining note.

Question 16Indian Classical Music: Swara, Raga and Tala fundamentals

Which pair of swaras is described as achala, meaning they are never altered?

  1. Re and Ga
  2. Ga and Ni
  3. Ma and Dha
  4. Sa and Pa Correct answer.

Explanation

Sa and Pa are fixed in pitch and have no komal or tivra variants, which is why they are called achala. The other five swaras each have one altered form. This fixed quality makes Sa and Pa reliable anchors in tuning and in melodic movement.

Question 17Indian Classical Music: Swara, Raga and Tala fundamentals

A student counts a tala cycle of six matras divided into two groups of three. Which tala is being counted?

  1. Ektaal
  2. Teental
  3. Dadra Correct answer.
  4. Jhaptal

Explanation

Dadra has six matras arranged as two vibhags of three, marked tali then khali. Teental and Ektaal are both twelve- or sixteen-matra talas, and Jhaptal has ten matras. The 3+3 grouping is the identifying feature of Dadra.

Question 18Indian Classical Music: Swara, Raga and Tala fundamentals

The term 'pakad' in raga performance refers to:

  1. The ascending scale of a raga
  2. A short phrase that reveals a raga's identity Correct answer.
  3. The rhythmic accompaniment pattern
  4. The final resolution on sam

Explanation

A pakad is a brief, characteristic phrase that immediately identifies a raga and is often used to introduce or confirm it. It differs from the aroha, which is a full scale order. Learning pakads is central to distinguishing similar ragas.

Question 19Indian Classical Music: Swara, Raga and Tala fundamentals

Two ragas share the same set of swaras but differ in their vadi and in phrases such as the pakad. This situation is best described as:

  1. Vakra ragas
  2. Samaprakritik ragas Correct answer.
  3. Mishra ragas
  4. Audav ragas

Explanation

Ragas built from the same swara set are called samaprakritik, and they are separated by emphasis, vadi and characteristic phrases. Vakra refers to a crooked or non-linear melodic movement, audav to five-note scales, and mishra to mixed ragas. Distinguishing such pairs is a standard test of raga knowledge.

Question 20Indian Classical Music: Swara, Raga and Tala fundamentals

In notation, a komal swara is generally shown by:

  1. A dot below the swara Correct answer.
  2. A dot above the swara
  3. A line above the swara
  4. A cross beside the swara

Explanation

In common Hindustani notation, a dot below a swara letter marks its komal form, while a line above marks tivra Ma. This convention lets readers distinguish altered from shuddha notes at a glance. The marking is positional, so the dot's placement matters.

Question 21Indian Classical Music: Swara, Raga and Tala fundamentals

Which of the following best explains why Sa is chosen by the performer rather than fixed by the instrument?

  1. Sa changes within every avartan
  2. Sa is always the lowest string of the tanpura
  3. Sa is a movable tonic set to suit the voice Correct answer.
  4. Sa must match the tabla's pitch

Explanation

In Hindustani music Sa is a movable tonic, and the performer selects a pitch that suits the voice or instrument. The tanpura is then tuned to that chosen Sa. Sa does not shift during a performance or follow the tabla's tuning.

Question 22Indian Classical Music: Swara, Raga and Tala fundamentals

A composition set in teental and begun on matra 1 with the phrase aligned to sam is described as starting:

  1. On sam Correct answer.
  2. Off sam
  3. On the atit
  4. On khali

Explanation

Beginning a composition on matra 1 places its opening on sam, the weightiest point of the cycle. Starting before sam would be atit, and starting on khali would place the opening on an empty section. Alignment with sam is a basic marker of correct rhythmic placement.

Question 23Indian Classical Music: Swara, Raga and Tala fundamentals

Which statement correctly relates aroha, avaroha and the classification of a raga?

  1. Aroha and avaroha may differ, and their swara counts define the raga's jati Correct answer.
  2. Aroha and avaroha always contain identical swaras
  3. Avaroha determines the tala of the raga
  4. Aroha is used only in instrumental music

Explanation

The ascending and descending orders of a raga can differ in the swaras used, and the counts in each direction give the raga's jati, such as audav-sampurna. This is why aroha and avaroha are listed separately. Tala is independent of both.

Question 24Indian Classical Music: Swara, Raga and Tala fundamentals

The vibhag of a tala is best understood as:

  1. The final matra of the avartan
  2. A group of matras marked by tali or khali Correct answer.
  3. The tempo of the composition
  4. A single beat within the cycle

Explanation

A vibhag is a section of a tala made up of several matras, and its first matra is marked by a tali or khali. Teental, for example, has four vibhags of four matras. The vibhag is thus a grouping concept rather than a single beat.

Question 25Indian Classical Music: Swara, Raga and Tala fundamentals

A raga omits Ga and Dha in both ascent and descent and uses komal Ni. Which raga fits this description?

  1. Bhoopali
  2. Bhairav
  3. Malkauns Correct answer.
  4. Yaman

Explanation

Malkauns is an audav raga that omits Re and Pa, and its scale uses komal Ga, komal Dha and komal Ni. Bhoopali omits Ma and Ni, Yaman uses tivra Ma, and Bhairav uses komal Re and komal Dha. Matching the omitted swaras is the quickest way to identify Malkauns.

Question 26Indian Classical Music: Swara, Raga and Tala fundamentals

In Hindustani music, the seven basic shuddha swaras are Sa, Re, Ga, Ma, Pa, Dha and Ni. Which statement correctly describes the pitch position of these shuddha swaras within the saptak?

  1. They are all a whole tone apart, with no semitone steps anywhere in the saptak.
  2. They are identical in pitch to the twelve chromatic keys of a piano in every respect.
  3. They occupy fixed positions relative to Sa, and Re, Ga, Dha and Ni each have a komal form a semitone lower. Correct answer.
  4. They are movable and tuned afresh for each raga by the performer.

Explanation

The shuddha swaras sit at fixed intervals measured from Sa, and the komal forms of Re, Ga, Dha and Ni lie a semitone below their shuddha counterparts, while Ma has a tivra form a semitone above. Sa and Pa are achala and have no altered form. This fixed framework is what allows a raga's swara set to be described precisely.

Question 27Indian Classical Music: Swara, Raga and Tala fundamentals

A raga's aroha uses shuddha Ma while its avaroha uses tivra Ma in the same phrase position. Which statement best describes this situation?

  1. The differing Ma forms are a normal vakra-like feature, and such asymmetry between aroha and avaroha is accepted in raga practice. Correct answer.
  2. The raga is invalid because a swara may not change form between ascent and descent.
  3. The avaroha must be corrected so that it matches the aroha exactly.
  4. The raga is a mislabelled tala because ascent and descent belong to rhythmic structure.

Explanation

Ragas are not required to use identical swaras in ascent and descent, and many ragas use a different form of a swara in the two directions. The aroha and avaroha together define the raga's melodic shape, so such asymmetry is a recognised identifying feature rather than an error.

Question 28Indian Classical Music: Swara, Raga and Tala fundamentals

A tabla player keeps the same teental cycle of sixteen matras but now plays two strokes where one was played before, so the surface pulse is twice as fast while sam still falls every sixteen matras. What is this change called?

  1. A change of tala to a different cycle length
  2. A shift of sam to the khali
  3. Layakari in the form of dugun Correct answer.
  4. Layakari in the form of barabar laya

Explanation

Dugun means the surface pulse runs at twice the original rate while the tala cycle itself is unchanged, so sam still arrives after sixteen matras. Barabar laya would mean keeping the original pulse, and a change of cycle length would alter the matra count rather than the density.

Question 29Indian Classical Music: Swara, Raga and Tala fundamentals

In a tala of fourteen matras grouped as two plus two plus two plus two plus two plus two plus two, the grouping differs from Deepchandi's three plus four plus three plus four. Which tala has fourteen matras arranged as seven vibhags of two matras each?

  1. Dhamar
  2. Sultaal
  3. Ada Chautal Correct answer.
  4. Jhumra

Explanation

Ada Chautal is a fourteen-matra tala whose vibhags are seven groups of two matras, giving it a distinctive lilting character. Dhamar also has fourteen matras but is grouped three plus four plus three plus four, and Jhumra and Sultaal have their own different divisions.

Question 30Indian Classical Music: Swara, Raga and Tala fundamentals

A student is told that a particular raga is a sampurna raga. What does this tell the student about the raga's swara set?

  1. It uses only the komal forms of Re, Ga, Dha and Ni.
  2. It uses all seven swaras in both ascent and descent. Correct answer.
  3. It uses exactly five swaras in both ascent and descent.
  4. It uses six swaras in ascent and seven in descent.

Explanation

Sampurna means complete, so a sampurna raga employs all seven swaras in the aroha and all seven in the avaroha. Ragas using five or six swaras are described as audav or shadav respectively, and jati terms combine these counts for the two directions.

Question 31Indian Classical Music: Swara, Raga and Tala fundamentals

A performer wishes to show that a raga's identity is carried by characteristic phrases rather than by the bare swara set alone. Which pair of concepts most directly supports this point?

  1. Pakad and chalan Correct answer.
  2. Khali and tali
  3. Saptak and shruti
  4. Matra and vibhag

Explanation

Pakad is the catch-phrase that captures a raga's essential movement, and chalan describes the characteristic gait or path the raga takes through its swaras. Together they show that two ragas sharing a swara set can still be distinguished by phrase shape and movement.

Question 32Indian Classical Music: Swara, Raga and Tala fundamentals

In Hindustani music a raga is performed at a particular time of day. Which explanation best accounts for this practice?

  1. The time of day determines which saptak the performer may sing in.
  2. The time association is a traditional aesthetic convention linked to the raga's mood, not a rule about tala or register. Correct answer.
  3. The time of day dictates whether the raga uses shuddha or komal swaras.
  4. The time of day fixes the tala that must be used with the raga.

Explanation

Time-of-day associations belong to the aesthetic and traditional conventions of raga practice, linking a raga's character and mood to particular hours. They do not govern tala choice, octave register, or whether swaras are shuddha or komal, which are fixed by the raga's own grammar.

Question 33Indian Classical Music: Swara, Raga and Tala fundamentals

A composition begins on matra 1 of a tala cycle, and the first syllable of the text coincides with sam. How is this start described in tala terminology?

  1. The composition is said to start khali, on the empty vibhag.
  2. The composition is said to start anagat, after sam.
  3. The composition is said to start sam, on the first matra. Correct answer.
  4. The composition is said to start ati, before sam.

Explanation

When the composition and its text begin together on matra 1, the start is on sam, the point of greatest structural weight in the cycle. Anagat means beginning before sam and ati means beginning after it, so both describe displaced starts rather than a start on sam.

Question 34Indian Classical Music: Swara, Raga and Tala fundamentals

A raga's aroha is recorded as S R G M P D N S, while its avaroha omits Ga and Dha. Which jati description fits this raga?

  1. Shadav-shadav
  2. Sampurna-audav Correct answer.
  3. Sampurna-sampurna
  4. Audav-audav

Explanation

The aroha uses all seven swaras, so it is sampurna, while the avaroha uses five swaras after omitting Ga and Dha, so it is audav. The jati is therefore sampurna-audav, a common classification for ragas whose descent is sparser than their ascent.

Question 35Indian Classical Music: Swara, Raga and Tala fundamentals

In Hindustani tala notation, what does the symbol for khali indicate about the vibhag it marks?

  1. The vibhag marks the point where the composition must change to a new tala.
  2. The vibhag is an empty or unaccented section, conventionally shown by a wave of the hand rather than a clap. Correct answer.
  3. The vibhag is omitted entirely from the cycle and the matras are not counted.
  4. The vibhag is played with a closed, damped stroke and carries the strongest accent.

Explanation

Khali marks a vibhag that is unaccented, often felt as a lighter or empty section of the cycle, and it is conventionally indicated by a hand wave. It contrasts with tali, where the vibhag is marked by a clap and carries accent, and it never removes matras from the count.

Question 36Indian Classical Music: Swara, Raga and Tala fundamentals

A performer sings a phrase in which Ma is held and ornamented so that it becomes the emotional centre of the raga's presentation, while Sa and Pa are used only in passing. Which concept does this best illustrate?

  1. Anuvadi, a supporting swara of the raga
  2. Vivadi, a dissonant swara avoided in the raga
  3. Vadi, the principal or king swara of the raga Correct answer.
  4. Samvadi, the secondary consonant swara of the raga

Explanation

Vadi is the principal swara of a raga, the note around which the melodic development is centred and which receives the greatest emphasis. Samvadi is the secondary swara that supports the vadi, and anuvadi swaras are the remaining supporting notes of the raga.

Question 37Indian Classical Music: Swara, Raga and Tala fundamentals

Two performers sing the same raga but choose different pitch levels for Sa. Which statement correctly explains why this is acceptable?

  1. Sa must be chosen to match the pitch of the tanpura's second string only.
  2. Sa may be changed only during the alap section of a performance.
  3. Sa is chosen to suit the performer's voice or instrument, and the raga's intervals are then measured relative to that Sa. Correct answer.
  4. Sa is fixed at a single absolute frequency for all performers of Hindustani music.

Explanation

Hindustani music treats swaras as relative positions measured from the performer's chosen Sa, so the absolute pitch level is a matter of convenience and vocal or instrumental comfort. Once Sa is set, the raga's shuddha, komal and tivra swaras are tuned relative to it.

Question 38Indian Classical Music: Swara, Raga and Tala fundamentals

A raga's chalan is described as vakra. What does this indicate about the raga's melodic movement?

  1. The raga is performed only in a fast tempo with tihai patterns.
  2. The raga uses a zigzag or crooked path, with phrases that turn back on themselves rather than moving straight through the scale. Correct answer.
  3. The raga uses only straight, stepwise ascent and descent through the seven swaras.
  4. The raga omits its vadi swara entirely during the alap.

Explanation

Vakra means crooked, so a vakra chalan describes melodic movement that twists and turns, revisiting swaras and using non-linear phrases instead of a plain stepwise line. This crooked movement is often a defining feature that distinguishes a raga from others sharing its swara set.

Question 39Indian Classical Music: Swara, Raga and Tala fundamentals

A tala is described as having four vibhags, with tali on matras 1, 5 and 13 and khali on matra 9. Which tala matches this description?

  1. Ektaal Correct answer.
  2. Rupak
  3. Jhaptal
  4. Teental

Explanation

Ektaal has twelve matras in six vibhags of two, but the pattern described here, with four vibhags and khali on matra 9, corresponds to a sixteen-matra cycle whose khali falls on the third vibhag. Teental has sixteen matras with khali on matra 9, whereas Jhaptal has ten matras and Rupak has seven with khali on the first vibhag.

Question 40Indian Classical Music: Swara, Raga and Tala fundamentals

Which statement best explains why a raga such as Bhairav is described as having a distinctive ang rather than merely a distinctive swara set?

  1. The ang refers only to the tala cycle used for the raga's compositions.
  2. The ang refers to the number of swaras used in the aroha alone.
  3. The ang refers to the characteristic treatment and movement of swaras, such as the oscillating komal Re, that give the raga its recognisable personality. Correct answer.
  4. The ang refers to the pitch level chosen for Sa by the performer.

Explanation

Ang describes the characteristic personality or treatment of a raga, including ornaments and the way particular swaras are approached and sustained, which together make the raga recognisable. In Bhairav the slow oscillation on komal Re is a well-known part of that identity, going beyond a bare list of swaras.

Question 41Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Borgeet, the devotional song form of Assam, was composed primarily in praise of which deity pair?

  1. Surya and Chandra
  2. Radha and Krishna Correct answer.
  3. Durga and Kali
  4. Shiva and Parvati

Explanation

Borgeet are Vaishnava devotional songs composed in the Sattriya tradition, and their verses centre on Radha and Krishna. The form emerged from the Sankaradeva-Madhavadeva movement, so the deity pair invoked is Radha-Krishna rather than the Shaiva or Shakta deities.

Question 42Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Which two saint-poets are traditionally credited with shaping the Borgeet repertoire of Assam?

  1. Sankaradeva and Madhavadeva Correct answer.
  2. Lakshminath Bezbaroa and Hemchandra Goswami
  3. Rudra Singha and Sibsingha
  4. Bishnu Rabha and Jyoti Prasad Agarwala

Explanation

Sankaradeva is regarded as the originator of Borgeet, and his principal disciple Madhavadeva composed a large body of them. Later Sattriya tradition treats their compositions as the core canon. The other names belong to modern literary or royal patronage contexts.

Question 43Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Ojapali, a narrative performance tradition of Assam, is most closely associated with which combination of elements?

  1. String quartet with written notation
  2. Solo flute recital with no vocal narration
  3. Choral hymn singing without percussion
  4. A lead singer-narrator, chorus, and rhythmic drum accompaniment Correct answer.

Explanation

Ojapali is a narrative performing art in which the Oja leads the singing and storytelling while a chorus responds and drums such as the dhol provide rhythm. The form blends song, recitation, dance-like movement, and percussion. It is not an instrumental or purely choral genre.

Question 44Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Bihu geet are most directly associated with which seasonal festival cycle of Assam?

  1. Bohag, Kati, and Magh Bihu Correct answer.
  2. Janmashtami
  3. Raas Purnima
  4. Ambubachi Mela

Explanation

Bihu geet accompany the three Bihu festivals: Bohag Bihu in spring, Kati Bihu in autumn, and Magh Bihu in winter. The songs express seasonal, agricultural, and social themes tied to these occasions. The other festivals have different musical associations.

Question 45Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

In Assamese folk terminology, 'Lokageet' refers to which category of song?

  1. Temple hymns sung only by monastic celibates
  2. Film playback songs of the modern era
  3. Folk songs transmitted orally among the common people Correct answer.
  4. Courtly classical compositions with fixed notation

Explanation

Lokageet literally denotes songs of the people, passed down orally and tied to community life, work, ritual, and celebration. The term distinguishes folk repertoire from courtly, monastic, or commercial music. It therefore excludes notation-bound classical and film genres.

Question 46Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

The Husori songs of Assam are traditionally performed during which occasion?

  1. Kati Bihu
  2. Bohag Bihu Correct answer.
  3. Magh Bihu
  4. Bhaona

Explanation

Husori is a group song-and-dance custom performed during Bohag Bihu, when troupes visit households and sing blessings. The repertoire is part of the spring Bihu celebrations. Magh and Kati Bihu have different customary observances.

Question 47Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Which percussion instrument is most characteristically used to accompany Bihu dance and Bihu geet?

  1. Sarod
  2. Esraj
  3. Dhol Correct answer.
  4. Sitar

Explanation

The dhol, a barrel drum, drives the rhythm of Bihu dance and song, often together with the pepa and gogona. The other instruments listed are melodic strings with no customary role in Bihu ensemble performance.

Question 48Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

In the Sattriya tradition, Borgeet are typically performed in which setting?

  1. The Namghar, the prayer hall of the Sattra Correct answer.
  2. An open battlefield
  3. A roadside market stall
  4. A cinema auditorium

Explanation

Borgeet are devotional songs sung in the Namghar, the congregational prayer hall of the Sattra, often with gayan-bayan accompaniment. The setting is sacred and communal. Markets, cinemas, and battlefields do not correspond to the tradition.

Question 49Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Which pair of instruments commonly provides the rhythmic accompaniment to Borgeet in the Sattra?

  1. Khol and taal Correct answer.
  2. Tabla and harmonium
  3. Gogona and toka
  4. Dhol and pepa

Explanation

Borgeet performance in the Sattra is accompanied by the khol, a clay barrel drum, and the taal, small cymbals that mark the cycle. This pairing is central to Sattriya music. The other pairs belong to different repertoires or ensembles.

Question 50Assamese and North-East Indian traditional music (Borgeet, Ojapali, Bihu geet, Lokageet)

Ojapali is commonly divided into which two main types?

  1. Husori and Bihu
  2. Diha and Naam
  3. Borgeet and Geet
  4. Sukananni and Ramayani Correct answer.

Explanation

Ojapali is broadly classified into Sukananni Oja, which narrates the Manasa legend, and Ramayani Oja, which draws on the Ramayana. The distinction rests on narrative content and performance style. The other labels refer to different genres or practices.