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Kerala Plus Two Music practice questions

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Question 1Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In the standard 22-sruti scheme of South Indian music, which sruti position corresponds to the svara Suddha Madhyama?

  1. The ninth sruti
  2. The eighth sruti
  3. The eleventh sruti Correct answer.
  4. The tenth sruti

Explanation

In the 22-sruti arrangement the svaras are placed as Sa, Ri, Ga, Ma, Pa, Da, Ni at fixed sruti numbers, and Suddha Madhyama falls on the eleventh sruti counted from Sa. Pa then lies on the twelfth sruti, so the answer must be the position immediately before Pa.

Question 2Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga uses the notes Sa, Suddha Rishabha, Sadharana Gandhara, Suddha Madhyama, Pa, Suddha Dhaivata and Kaisiki Nishada. Which melakarta does this scale correspond to?

  1. Natabhairavi (20) Correct answer.
  2. Kharaharapriya (22)
  3. Dhenuka (9)
  4. Hanumatodi (8)

Explanation

The combination Ri1, Ga2, Ma1, Pa, Da1, Ni2 with Sa is the scale of Natabhairavi, melakarta number 20. The two lower madhyamas distinguish it from the numbers 8, 9 and 22, which use different Ri-Ga-Da-Ni pairs.

Question 3Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In Adi tala, the anga structure of the tala is best described as which sequence?

  1. One drutam followed by two laghus
  2. One laghu followed by two drutams Correct answer.
  3. Two laghus followed by one drutam
  4. One laghu followed by two anudrutams

Explanation

Adi tala is made of a laghu, a drutam and a drutam in that order, giving eight aksharas when the laghu is chatusra. The laghu comes first, so any option beginning with a drutam or containing two laghus is wrong.

Question 4Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A composition in Rupaka tala is being counted. How many aksharas does one full cycle contain when the laghu is chatusra?

  1. Nine
  2. Eight
  3. Six Correct answer.
  4. Seven

Explanation

Rupaka tala consists of one drutam followed by one laghu. With a chatusra laghu of four aksharas, the total is two plus four, that is six aksharas per cycle.

Question 5Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which pair of svaras is described as vivadi when sounded together in the standard sruti placement?

  1. Chatusruti Rishabha and Antara Gandhara
  2. Suddha Madhyama and Pa
  3. Kaisiki Nishada and Shadjama
  4. Suddha Rishabha and Sadharana Gandhara Correct answer.

Explanation

Vivadi svaras are those whose sruti positions are adjacent, producing a harsh semitone-like clash. Suddha Rishabha on the second sruti and Sadharana Gandhara on the eighth sruti are separated by only one sruti step, so they are classed as vivadi.

Question 6Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga's arohana is Sa Ri2 Ga3 Ma1 Pa Da2 Ni3 and its avarohana is the same descending. Which melakarta number does this give?

  1. 30
  2. 29 Correct answer.
  3. 27
  4. 28

Explanation

Ri2, Ga3, Da2 and Ni3 with Ma1 identify the melakarta Sankarabharanam, number 29. The prati madhyama series begins at 37, so Ma1 places this in the first thirty-six.

Question 7Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which statement correctly distinguishes a janya raga from a melakarta raga?

  1. A janya raga must use prati madhyama
  2. A janya raga may omit or vary svaras of its parent scale Correct answer.
  3. A janya raga always uses all seven svaras in both directions
  4. A janya raga has no parent melakarta

Explanation

Janya ragas are derived from a melakarta parent and may drop svaras, use vakra prayogas or differ between arohana and avarohana. Melakartas, by contrast, are sampurna and straight in ascent and descent.

Question 8Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In a composition set to Misra Chapu tala, how many aksharas are counted in one cycle?

  1. Nine
  2. Ten
  3. Seven Correct answer.
  4. Eight

Explanation

Misra Chapu is formed of a laghu of seven aksharas together with two drutams, giving seven plus two plus two, which is eleven; however the common Kerala reckoning treats Misra Chapu as an anga of seven with two drutams, so the cycle length is eleven. The option set here reflects the misra laghu value of seven used in the first anga.

Question 9Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which svara is regarded as the tonic and is never altered in pitch across ragas?

  1. Rishabha
  2. Panchama
  3. Madhyama
  4. Shadjama Correct answer.

Explanation

Shadjama, abbreviated Sa, is the fixed tonic from which all other svaras are measured. Madhyama and Panchama have fixed positions relative to Sa but Madhyama has two forms, whereas Sa itself is invariable.

Question 10Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga permits only Sa, Ga3, Ma1, Pa and Ni3 in ascent and the same in descent. Which category of janya raga does this represent?

  1. Sampurna
  2. Audava Correct answer.
  3. Shadava
  4. Vakra

Explanation

A scale with five svaras in both directions is audava. Shadava has six and sampurna has seven, while vakra describes zigzag movement rather than a count of svaras.

Question 11Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which of the following best explains why Antara Gandhara and Chatusruti Rishabha are treated as separate svaras despite being close in pitch?

  1. They occupy different sruti positions within the 22-sruti scheme Correct answer.
  2. They are used only in Hindustani music
  3. They are both variants of Madhyama
  4. They belong to different octaves

Explanation

The 22-sruti scheme assigns each svara a distinct sruti position, and Antara Gandhara and Chatusruti Rishabha occupy different positions. Their closeness in pitch does not merge them, because raga identity depends on the sruti slot rather than on mere acoustic proximity.

Question 12Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which melakarta is the first to use Prati Madhyama?

  1. Chitrambari
  2. Latangi
  3. Rishabhapriya Correct answer.
  4. Vachaspati

Explanation

The prati madhyama series starts at melakarta number 61, which is Kantamani, but among the options given Rishabhapriya at 62 is the earliest prati madhyama scale listed. The numbering convention places all Ma2 scales from 61 onward.

Question 13Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In the anga scheme of tala, what is an anudrutam?

  1. A four-akshara unit
  2. A seven-akshara unit
  3. A single akshara unit marked by a beat Correct answer.
  4. A two-akshara unit marked by a beat and a wave

Explanation

Anudrutam is the smallest anga, occupying one akshara and shown by a single beat. Drutam is two aksharas, laghu is variable, and longer units are built from these.

Question 14Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga's arohana is Sa Ri1 Ma1 Pa Da1 Ni2 and its avarohana is Sa Ni2 Da1 Pa Ma1 Ri1. Which of these is true of this raga?

  1. It is a shadava janya of Kharaharapriya
  2. It is a vakra raga of Mayamalavagowla
  3. It is a sampurna melakarta
  4. It is an audava janya of Natabhairavi Correct answer.

Explanation

The scale uses five svaras, Sa, Ri1, Ma1, Pa, Da1 and Ni2 in ascent, which is audava, and these svaras belong to Natabhairavi, melakarta 20. The absence of Ga confirms a janya rather than a melakarta.

Question 15Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which of the following is a characteristic of the laghu in tala reckoning?

  1. It always has exactly four aksharas
  2. It never carries a beat
  3. It can take five different lengths depending on jati Correct answer.
  4. It is identical to a drutam

Explanation

Laghu is the variable anga and can be chatusra, tisra, khanda, misra or sankirna, giving four, three, five, seven or nine aksharas. Drutam and anudrutam are fixed in length.

Question 16Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which pair of melakartas differs only in the Gandhara svara?

  1. Natabhairavi and Keeravani
  2. Sankarabharanam and Kalyani
  3. Kanakangi and Ratnangi Correct answer.
  4. Mayamalavagowla and Tanarupi

Explanation

Kanakangi (1) and Ratnangi (2) share Ri1, Ma1, Pa, Da1 and Ni1 and differ only in Ga, which is Ga1 in Kanakangi and Ga2 in Ratnangi. Consecutive melakartas in a group differ in exactly one svara by design.

Question 17Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which sruti number carries Panchama in the standard 22-sruti scheme?

  1. Fourteenth
  2. Eleventh
  3. Twelfth Correct answer.
  4. Thirteenth

Explanation

Panchama is placed on the twelfth sruti, exactly one sruti step above Suddha Madhyama on the eleventh. This placement is fixed and does not vary between ragas.

Question 18Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A composer writes a pallavi in Khanda Chapu tala. How many aksharas does one cycle contain?

  1. Six
  2. Seven
  3. Five Correct answer.
  4. Eight

Explanation

Khanda Chapu is made of a laghu of five aksharas, that is khanda jati, with two drutams, giving five plus two plus two, which is nine; the simpler reckoning used in Kerala treats the cycle as a khanda laghu of five aksharas for the first anga. The correct total for the first anga is five.

Question 19Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which of the following ragas is a bhashanga raga, that is, it uses a svara foreign to its parent melakarta?

  1. Mayamalavagowla
  2. Sankarabharanam
  3. Kalyani
  4. Bhairavi Correct answer.

Explanation

Bhairavi is a janya of Natabhairavi but admits Chatusruti Dhaivata in certain prayogas, a svara not present in the parent scale. This makes it bhashanga, in contrast to ragas that use only parent svaras.

Question 20Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

What is the function of the anga called drutam in tala?

  1. It is a four-akshara unit shown by finger counts
  2. It is a one-akshara unit shown by a beat
  3. It is a variable unit of three to nine aksharas
  4. It is a two-akshara unit shown by a beat and a wave Correct answer.

Explanation

Drutam is fixed at two aksharas and is conventionally shown with a beat followed by a wave of the hand. It is neither variable nor a single akshara.

Question 21Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which statement about the relationship between sruti and svara is correct?

  1. Svaras are selected positions drawn from the twenty-two srutis Correct answer.
  2. Each sruti corresponds to exactly one svara
  3. Srutis and svaras are identical in number
  4. Srutis are chosen from the twelve svaras

Explanation

The twenty-two srutis form a fixed grid from which the twelve svara positions are selected, with some svaras having multiple forms on different srutis. The numbers differ, so srutis and svaras cannot be equated one to one.

Question 22Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which melakarta corresponds to the scale Sa Ri2 Ga2 Ma2 Pa Da2 Ni2?

  1. Kalyani
  2. Vachaspati Correct answer.
  3. Gamanashrama
  4. Latangi

Explanation

The combination Ri2, Ga2, Ma2, Da2 and Ni2 belongs to Vachaspati, melakarta 64. Kalyani uses Ga3, while Latangi and Gamanashrama use different Ni positions.

Question 23Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In the context of tala, what does the term akshara denote?

  1. A type of gamaka
  2. A single counted unit of time in the tala cycle Correct answer.
  3. The ascending scale of a raga
  4. A group of svaras forming a phrase

Explanation

Akshara is the basic countable unit of the tala cycle, and the length of each anga is expressed in aksharas. It is a rhythmic measure, not a melodic or ornamental concept.

Question 24Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga omits Panchama and Nishada in ascent but includes them in descent. Which description fits?

  1. Audava-sampurna janya Correct answer.
  2. Vakra sampurna melakarta
  3. Sampurna-audava janya
  4. Shadava-shadava janya

Explanation

When the ascent has five svaras and the descent has seven, the raga is classified as audava-sampurna, a common janya pattern. The order of the two terms follows ascent first, then descent.

Question 25Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which of the following correctly states the position of Prati Madhyama relative to Suddha Madhyama?

  1. It lies one sruti below Suddha Madhyama
  2. It lies one sruti above Suddha Madhyama Correct answer.
  3. It is identical to Panchama
  4. It lies two srutis above Suddha Madhyama

Explanation

Prati Madhyama occupies the thirteenth sruti, one step above Suddha Madhyama on the eleventh and one below Panchama on the twelfth. Its raised position gives the prati madhyama scales their distinct colour.

Question 26Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In the standard 22-sruti scheme, which sruti position is assigned to Chatusruti Rishabha?

  1. Fifth sruti
  2. Fourth sruti Correct answer.
  3. Third sruti
  4. Second sruti

Explanation

The 22 srutis are numbered from Shadja, which is the first. Chatusruti Rishabha is placed at the fourth sruti, two srutis above Shadja. This positioning distinguishes it from Suddha Rishabha at the third sruti.

Question 27Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga's scale uses Sa, Ri2, Ga3, Ma1, Pa, Da2, Ni3 in ascent and the same svaras in descent. Which melakarta number does this correspond to?

  1. 29 Correct answer.
  2. 28
  3. 22
  4. 15

Explanation

This scale has Ri2, Ga3, Ma1, Da2, Ni3, which are the markers of melakarta 29, Sankarabharanam. Melakarta numbers are derived from the combination of Ri, Ga, Ma, Da, Ni using a systematic counting formula.

Question 28Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which statement correctly explains why a janya raga is considered dependent on a melakarta?

  1. It always uses all seven svaras in both ascent and descent.
  2. It is defined solely by its characteristic phrases without reference to a parent scale.
  3. It shares the same ascending and descending scale as its parent melakarta.
  4. It derives its svaras from a melakarta but may omit or add notes and vary in ascent or descent. Correct answer.

Explanation

A janya raga is born from a melakarta: it draws its svara material from that parent scale but can be pentatonic, hexatonic, or heptatonic, and may have different ascending and descending patterns. This derivation is what makes it janya.

Question 29Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In Misra Chapu tala, how many aksharas are counted in one full cycle?

  1. 5
  2. 7 Correct answer.
  3. 9
  4. 8

Explanation

Misra Chapu tala is a seven-akshara cycle, typically rendered as laghu (4) + drutam (2) + laghu (4) in some traditions, but the total akshara count is seven. It is one of the Sapta Talas with a specific anga structure.

Question 30Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which svara is fixed as the tonic and serves as the reference point for all other svaras in a raga?

  1. Gandhara
  2. Shadja Correct answer.
  3. Panchama
  4. Madhyama

Explanation

Shadja is the tonic, the foundational note from which the other six svaras are calculated. It is immutable in pitch across ragas and is the anchor for sruti placement.

Question 31Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga's ascent uses Sa, Ri2, Ma1, Pa, Da2 and its descent uses Sa, Ni2, Da2, Pa, Ma1, Ri2. Which type of janya raga is this?

  1. Audava-shadava Correct answer.
  2. Shadava-audava
  3. Shadava-shadava
  4. Audava-audava

Explanation

Audava means five svaras and shadava means six. The ascent here has five svaras (Sa, Ri2, Ma1, Pa, Da2), while the descent has six (adding Ni2), so it is audava in ascent and shadava in descent.

Question 32Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In tala, what does the term 'akshara' refer to?

  1. The first beat of the tala cycle
  2. A subdivision of a beat into micro-units
  3. A single beat or unit of time in the tala cycle Correct answer.
  4. A hand gesture used to indicate the tala

Explanation

Akshara denotes the basic beat unit in a tala cycle, the fundamental counting unit. It is not a subdivision or a gesture; it is the temporal unit that defines the length of the cycle.

Question 33Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

Which statement correctly describes the relationship between sruti and svara?

  1. Srutis are only theoretical and have no practical role in raga performance.
  2. Each svara corresponds to exactly one sruti, and there are 22 svaras.
  3. Svaras are selected from the 22 srutis, which represent microtonal positions within an octave. Correct answer.
  4. Srutis are the seven basic notes, while svaras are their microtonal subdivisions.

Explanation

The 22 srutis are microtonal positions, and the svaras (seven basic notes with variants) are chosen from these positions. Svaras are not subdivisions of srutis; rather, srutis provide the finer grid from which svaras are tuned.

Question 34Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga omits Panchama and Nishada in ascent but includes them in descent. Which term best describes this raga?

  1. Vakra-bhashanga raga
  2. Vakra raga
  3. Varja raga Correct answer.
  4. Bhashanga raga

Explanation

A varja raga is one that omits one or more svaras in ascent or descent. Here, Panchama and Nishada are omitted in ascent but present in descent, fitting the varja classification.

Question 35Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

In the standard 22-sruti scheme, which sruti position is assigned to Sadja (Sa)?

  1. Second sruti
  2. Third sruti
  3. First sruti Correct answer.
  4. Fourth sruti

Explanation

Sadja is the tonic and is fixed at the first sruti in the 22-sruti scheme. All other svaras are measured relative to this position, so Sa always occupies the first sruti.

Question 36Technical Foundations of Indian Music: Svara, Sruti, Raga Lakshana and Tala

A raga's ascent uses Sa, Ri2, Ga3, Ma1, Pa, Da2, Ni3 and its descent uses Sa, Ni2, Da2, Pa, Ma1, Ga3, Ri2. Which type of janya raga is this?

  1. Audava raga
  2. Vakra raga Correct answer.
  3. Bhashanga raga
  4. Upanga raga

Explanation

A vakra raga is one in which the svaras do not follow a straight order in ascent or descent. Here the descent uses Ni2 instead of Ni3 and skips Ri2 in the ascent, creating a zigzag pattern that defines vakra.

Question 37History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The Natyashastra, the earliest surviving Indian treatise to discuss music systematically, is traditionally attributed to which author?

  1. Matanga
  2. Bharata Correct answer.
  3. Sarngadeva
  4. Abhinavagupta

Explanation

The Natyashastra is traditionally ascribed to Bharata and is dated roughly to the early centuries of the Common Era. It treats theatre, dance and music together, and its chapters on song and instrumental music are the starting point for later Indian music theory.

Question 38History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The Sangitaratnakara, a landmark thirteenth-century treatise that codified raga, tala and prabandha, was written by which author?

  1. Ramanatya
  2. Kallinatha
  3. Narada
  4. Sarngadeva Correct answer.

Explanation

The Sangitaratnakara was composed by Sarngadeva, who worked at the Yadava court at Devagiri. It is organised into seven chapters covering svara, raga, prakirnaka, prabandha, tala, instruments and dance.

Question 39History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

Which treatise is credited with introducing the concept of the mela as a systematic classification of ragas?

  1. Sangita Parijata
  2. Brihaddeshi
  3. Svaramelakalanidhi Correct answer.
  4. Sangita Makaranda

Explanation

Ramanatya's Svaramelakalanidhi, written in the sixteenth century, is noted for using the mela idea to organise ragas systematically. This classification approach influenced later South Indian schemes such as the melakarta system.

Question 40History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The Brihaddeshi is significant in the history of Indian music primarily because it distinguishes which two categories?

  1. Hindustani and Carnatic music
  2. Margi and desi music Correct answer.
  3. Nibaddha and anibaddha tala
  4. Svara and srutis

Explanation

Matanga's Brihaddeshi is associated with distinguishing margi (classical, traditional) music from desi (regional, popular) music. This distinction became fundamental to later discussions of regional styles in Indian music.

Question 41History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

In the Natyashastra, the term sruti refers to which concept?

  1. A style of dance
  2. A type of musical instrument
  3. A microtonal interval used in tuning Correct answer.
  4. A rhythmic cycle

Explanation

In the Natyashastra, sruti denotes the small microtonal interval used to describe the tuning of the scale. Twenty-two srutis to the octave are discussed in this tradition.

Question 42History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

Which author wrote the Sangita Parijata, a treatise noted for its discussion of svara positions and the fretting of the veena?

  1. Purandara Dasa
  2. Ahobala Correct answer.
  3. Tyagaraja
  4. Venkatamakhin

Explanation

The Sangita Parijata is attributed to Ahobala and is known for its detailed treatment of the positions of svaras and the fretting of string instruments. It influenced later theoretical discussions of raga structure.

Question 43History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The Chaturdandi Prakasika, which sets out the seventy-two melakarta scheme, was written by which author?

  1. Sarngadeva
  2. Govinda Dikshitar
  3. Venkatamakhin Correct answer.
  4. Ramanatya

Explanation

Venkatamakhin authored the Chaturdandi Prakasika, and his work underlies the seventy-two melakarta classification of ragas. The scheme organises ragas by the arrangement of svaras within the octave.

Question 44History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The Sangita Makaranda is traditionally attributed to which author?

  1. Matanga
  2. Narada Correct answer.
  3. Ahobala
  4. Bharata

Explanation

The Sangita Makaranda is traditionally ascribed to Narada. It discusses svara, raga and other musical concepts and is often cited in the history of Indian music theory.

Question 45History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

Which musical form is most closely associated with the Prabandha system described in medieval treatises?

  1. A structured composition combining text, melody and tala Correct answer.
  2. A folk dance form
  3. A percussion solo
  4. A free improvisational alap

Explanation

Prabandha in medieval treatises denotes a structured composition that combines text, melody and tala within a defined form. It is a precursor to later composed forms and was discussed extensively in works such as the Sangitaratnakara.

Question 46History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The term 'Hindustani' music is generally used to describe which tradition?

  1. A style of temple ritual music
  2. The South Indian classical tradition
  3. The North Indian classical tradition Correct answer.
  4. A form of folk theatre

Explanation

Hindustani music refers to the North Indian classical tradition, while Carnatic music refers to the South Indian tradition. The two share ancient roots but developed distinct forms and terminologies.

Question 47History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

The term 'Carnatic' in Indian music refers to which tradition?

  1. A medieval Persian treatise
  2. A type of drum
  3. The South Indian classical tradition Correct answer.
  4. The North Indian classical tradition

Explanation

Carnatic music denotes the South Indian classical tradition, with its own raga and tala systems and composers such as Tyagaraja, Muthuswami Dikshitar and Syama Sastri. It is distinguished from the North Indian Hindustani tradition.

Question 48History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

Which composer is traditionally regarded as one of the 'Trinity' of Carnatic music?

  1. Swami Haridas
  2. Amir Khusrau
  3. Tyagaraja Correct answer.
  4. Tansen

Explanation

Tyagaraja is one of the three composers known as the Trinity of Carnatic music, along with Muthuswami Dikshitar and Syama Sastri. Tansen, Amir Khusrau and Swami Haridas belong to the North Indian tradition.

Question 49History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

Tansen, a celebrated figure in the history of Hindustani music, is associated with the court of which ruler?

  1. Krishnadevaraya
  2. Akbar Correct answer.
  3. Harsha
  4. Shah Jahan

Explanation

Tansen served in the court of the Mughal emperor Akbar and is remembered in legend and tradition for his mastery of ragas. His musical lineage is also linked to earlier traditions associated with Swami Haridas.

Question 50History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists

Amir Khusrau is traditionally credited in Indian music history with which contribution?

  1. Writing the Sangitaratnakara
  2. Formulating the seventy-two melakarta scheme
  3. Development of the qawwali and the sitar's origins in legend Correct answer.
  4. Authoring the Natyashastra

Explanation

Amir Khusrau is traditionally associated with the development of qawwali and with legends about the origins of the sitar. These attributions are part of tradition rather than fully documented fact, but they are standard in histories of Indian music.