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Maharashtra HSC History and Development of Indian Music study materials
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Question 1Ancient and Vedic Music Traditions

The Vedic corpus contains a collection of melodies sung during soma sacrifices. This collection, traditionally regarded as the earliest source of Indian musical scales, belongs to which Veda?

  1. Samaveda Correct answer.
  2. Rigveda
  3. Yajurveda
  4. Atharvaveda

Explanation

Samaveda is the Veda of melodies, and its sung portions, known as Samagana, are traditionally treated as the earliest source of Indian musical scales. Rigveda, Yajurveda and Atharvaveda are chiefly associated with recitation, sacrificial formulas and hymns rather than with the structured melodic singing that shaped later svaras.

Question 2Ancient and Vedic Music Traditions

Among the three Vedic accents, which one is associated with a neutral or circumflex pitch?

  1. Udatta
  2. Anudatta
  3. Pluta
  4. Svarita Correct answer.

Explanation

Svarita is the circumflex or neutral accent that follows a raised udatta and is neither the highest nor the lowest of the three Vedic accents. Udatta is raised, anudatta is lowered, and pluta denotes a prolonged quantity rather than a pitch accent.

Question 3Ancient and Vedic Music Traditions

How many svaras are there in the saptasvara system that emerged from Vedic chant?

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

Explanation

The term saptasvara literally means seven svaras, and the seven-note framework became the basis of later Indian melodic theory. Five-note and six-note groupings exist as raga structures, but they do not define the saptasvara itself.

Question 4Ancient and Vedic Music Traditions

Which ancient treatise, attributed to Bharata, is the earliest available systematic work describing Indian music, dance and drama?

  1. Sangeet Makarand
  2. Sangeet Ratnakar
  3. Brihaddeshi
  4. Natyashastra Correct answer.

Explanation

Natyashastra, attributed to Bharata, is the earliest surviving systematic treatise covering music, dance and drama, including shrutis, gramas, murchhanas and jatis. Sangeet Ratnakar is a later medieval compendium by Sharangadeva, while Brihaddeshi and Sangeet Makarand are also later musical works.

Question 5Ancient and Vedic Music Traditions

Ancient Indian music texts describe three gramas. Which of these gramas is stated to have become obsolete, leaving only two in later use?

  1. Kafi grama
  2. Gandhara grama Correct answer.
  3. Madhyama grama
  4. Shadja grama

Explanation

Ancient texts name three gramas: shadja grama, madhyama grama and gandhara grama. Gandhara grama fell out of practice and is not used in the later raga system, while shadja and madhyama gramas continued to be discussed.

Question 6Ancient and Vedic Music Traditions

In ancient Indian music, what does the term murchhana denote?

  1. A type of Vedic accent in chanting
  2. A percussion instrument of temple rituals
  3. A fixed rhythmic cycle of seven beats
  4. Shifting the starting svara of a scale Correct answer.

Explanation

Murchhana is the process of treating a different svara of a grama as the starting point, producing a new ascending or descending series. This modal shift is central to the way jatis and later ragas were derived from the gramas.

Question 7Ancient and Vedic Music Traditions

Before the modern concept of raga took shape, ancient texts classified melodic structures as jatis. A jati was primarily determined by which set of features?

  1. Its svara, graha, amsha and nyasa Correct answer.
  2. The seasonal festival of its performance
  3. Its rhythmic cycle and tempo
  4. The number of strings on the veena

Explanation

A jati was classified by its svara material and by defining notes such as graha, the starting svara, amsha, the predominant svara, and nyasa, the ending svara. These criteria belong to melodic structure, not to organology, rhythm or the performer's social status.

Question 8Ancient and Vedic Music Traditions

Which percussion instrument is repeatedly mentioned in Vedic literature and was used in sacrificial and festive contexts?

  1. Dundubhi Correct answer.
  2. Mridangam
  3. Tabla
  4. Ghatam

Explanation

Dundubhi is a large drum repeatedly named in Vedic and epic literature and used in sacrifices and festive processions. Tabla is a later instrument, and mridangam and ghatam belong to later classical percussion traditions rather than the Vedic corpus.

Question 9Ancient and Vedic Music Traditions

According to Bharata's Natyashastra, into how many shrutis is the octave divided?

  1. Twenty-four
  2. Seventeen
  3. Twenty-two Correct answer.
  4. Twelve

Explanation

Bharata's Natyashastra divides the octave into twenty-two shrutis, the microtonal units used to measure intervals between svaras. Although the exact practical use of all twenty-two shrutis is debated, the number itself is a standard ancient theoretical position.

Question 10Ancient and Vedic Music Traditions

Which statement best distinguishes Samagana from the general recitation of Rigvedic hymns?

  1. Samagana is recited without pitch variation, while Rigvedic hymns are sung with melodic extension.
  2. Samagana is performed only with drums, while Rigvedic recitation uses the veena.
  3. Samagana is sung with extended melodic notes, while Rigvedic recitation is mainly intoned. Correct answer.
  4. Samagana has no connection with the seven svaras, while Rigvedic recitation does.

Explanation

Samagana is melodic singing in which syllables are elongated over several svaras, whereas Rigvedic recitation is largely syllabic intonation guided by the three accents. Both traditions are Vedic, but Samagana's melodic expansion is what connects it more directly to the later svara system.

Question 11Ancient and Vedic Music Traditions

In the Vedic sacrifice, which priest is responsible for singing the Samagana?

  1. Adhvaryu
  2. Hotri
  3. Udgatri Correct answer.
  4. Brahman

Explanation

The Udgatri is the Sama Veda priest whose duty is to sing the Samagana during soma sacrifices. The Hotri recites Rigvedic verses, the Adhvaryu performs Yajurvedic ritual actions, and the Brahman supervises the sacrifice.

Question 12Ancient and Vedic Music Traditions

Which Veda is traditionally treated as the principal source of Indian musical chant?

  1. Atharvaveda
  2. Rigveda
  3. Yajurveda
  4. Samaveda Correct answer.

Explanation

The Samaveda consists largely of melodies (saman) to be sung, and Indian music theory traditionally traces its melodic material to this Veda. The Rigveda supplies the hymn texts, while the Yajurveda and Atharvaveda are primarily ritual and hymnic corpora.

Question 13Ancient and Vedic Music Traditions

In Vedic recitation, what does the samhita patha denote?

  1. Continuous joined-text recitation Correct answer.
  2. Recitation word by word
  3. Alternating word pairs
  4. Recitation in reverse order

Explanation

The samhita patha recites the hymn as a continuous joined text, without pausing to isolate individual words. It is the base form from which the pada, krama and other Vikriti pathas elaborate the text.

Question 14Ancient and Vedic Music Traditions

In Samagana, the non-lexical syllables such as 'hoyi', 'havu' and 'tana' added to the hymn text are known as:

  1. Stobha Correct answer.
  2. Nidhana
  3. Alankara
  4. Varna

Explanation

Stobha are meaningful or non-lexical syllables inserted into Saman singing to extend and shape the melody. They are not part of the original Vedic hymn text and serve a musical and ritual function.

Question 15Ancient and Vedic Music Traditions

Which early treatise, attributed to Dattila, discusses the grama, jati and sruti system of ancient Indian music?

  1. Sangitaratnakara
  2. Brihaddeshi
  3. Abhinavabharati
  4. Dattilam Correct answer.

Explanation

Dattilam is an early post-Natyashastra text attributed to Dattila and is devoted to ancient musical structures such as grama, jati and sruti. Brihaddeshi, Sangitaratnakara and Abhinavabharati belong to later periods or commentarial traditions.

Question 16Ancient and Vedic Music Traditions

In the Chandogya Upanishad, the term 'udgitha' is chiefly identified with which element?

  1. The syllable Om Correct answer.
  2. The soma creeper
  3. The sacrificial fire
  4. The sacred thread

Explanation

The Chandogya Upanishad opens by identifying udgitha, the Saman chant, with the syllable Om as the essence of all chant. This elevates the ritual act of singing into a meditation on sacred sound.

Question 17Ancient and Vedic Music Traditions

The term 'saptatantri' in ancient Indian music refers to a veena with how many strings?

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

Explanation

Saptatantri literally means 'seven-stringed', and it denotes a veena with seven strings in ancient Indian musical literature. The term is descriptive rather than the name of a single fixed instrument.

Question 18Ancient and Vedic Music Traditions

In the traditional classification of Samagana, which category is intended for singing in forest solitude?

  1. Aranye-geya Correct answer.
  2. Grama-geya
  3. Uhya-geya
  4. Prakriti-geya

Explanation

Aranye-geya means 'forest song' and denotes Saman melodies prescribed for solitary or forest settings. Grama-geya is for public or village singing, while Uhya-geya is associated with the mystical or hidden repertoire.

Question 19Ancient and Vedic Music Traditions

Which Vedic patha recites the first word with the second, the second with the third, and so on through the hymn?

  1. Samhita patha
  2. Jata patha
  3. Krama patha Correct answer.
  4. Pada patha

Explanation

Krama patha means 'step' recitation: it joins each word with the next in sequence, producing pairs such as first-second, second-third and so on. Samhita is continuous, pada isolates words, and jata uses a more intricate woven repetition.

Question 20Ancient and Vedic Music Traditions

Which pair names the two surviving recensions of the Samaveda?

  1. Shakala and Bashkala
  2. Paippalada and Shaunaka
  3. Kauthuma and Ranayaniya Correct answer.
  4. Madhyandina and Kanva

Explanation

The Samaveda is traditionally transmitted in the Kauthuma and Ranayaniya recensions, with the Kauthuma recension being the more widely known. Shakala and Bashkala belong to the Rigveda, Madhyandina and Kanva to the Shukla Yajurveda, and Paippalada and Shaunaka to the Atharvaveda.

Question 21Ancient and Vedic Music Traditions

In the saptasvara series, which svara comes immediately after Madhyama?

  1. Gandhara
  2. Nishada
  3. Panchama Correct answer.
  4. Dhaivata

Explanation

The seven svaras in order are Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata and Nishada. Madhyama is fourth, so the note immediately following it is Panchama, the fifth svara.

Question 22Ancient and Vedic Music Traditions

In Vedic recitation, what does pada patha do?

  1. It separates the hymn into individual words. Correct answer.
  2. It pairs each word with the next word.
  3. It recites the hymn continuously without word breaks.
  4. It repeats the whole hymn in reverse order.

Explanation

Pada patha is the recitation method that treats each word or pada separately, making the text clear. It is one of the basic pathas that precede the more complex krama and ghana arrangements.

Question 23Ancient and Vedic Music Traditions

Which Vedic priest is responsible for reciting hymns of the Rigveda during a sacrifice?

  1. Adhvaryu
  2. Udgata
  3. Hotri Correct answer.
  4. Brahman

Explanation

The Hotri is the Rigvedic priest who invokes the deities by reciting Rigveda hymns. The Udgata sings Samagana, the Adhvaryu handles Yajurveda formulas, and the Brahman supervises the sacrifice.

Question 24Ancient and Vedic Music Traditions

Which priest is chiefly responsible for applying the Yajurveda formulas during a Vedic sacrifice?

  1. Brahman
  2. Udgata
  3. Hotri
  4. Adhvaryu Correct answer.

Explanation

The Adhvaryu performs the ritual actions and applies the Yajurveda formulas that guide the sacrifice. The Hotri recites Rigveda hymns, the Udgata sings Samagana, and the Brahman supervises the whole rite.

Question 25Ancient and Vedic Music Traditions

Among the Vikriti pathas of Vedic recitation, which one is the most elaborate and uses complex permutations of syllables?

  1. Jata patha
  2. Krama patha
  3. Pada patha
  4. Ghana patha Correct answer.

Explanation

Ghana patha is the most complex of the Vikriti pathas, repeating words in forward, reverse and paired sequences. Krama and pada pathas are simpler, while jata patha is elaborate but less comprehensive than ghana.

Question 26Ancient and Vedic Music Traditions

Which grama is traditionally regarded as the basic scale in ancient Indian music theory?

  1. Nishada grama
  2. Gandhara grama
  3. Madhyama grama
  4. Shadja grama Correct answer.

Explanation

Shadja grama is treated as the primary grama, with Madhyama grama derived from it and Gandhara grama becoming obsolete. The three gramas are Shadja, Madhyama and Gandhara; Nishada grama is not one of them.

Question 27Ancient and Vedic Music Traditions

The Samaveda Samhita is traditionally divided into which two principal sections?

  1. Aranyaka and Upanishad
  2. Samhita and Brahmana
  3. Grihya and Shrauta
  4. Purvarcika and Uttararcika Correct answer.

Explanation

The Samaveda Samhita is organized as Purvarcika and Uttararcika, the earlier and later collections of verses. These sections supply the textual material used in Samagana.

Question 28Ancient and Vedic Music Traditions

In ancient jati theory, which term denotes the concluding note on which a melodic piece rests?

  1. Graha
  2. Amsa
  3. Tara
  4. Nyasa Correct answer.

Explanation

Nyasa is the final or resting note of a jati, giving closure to the melodic movement. Graha is the opening note, amsa is the dominant note, and tara refers to the higher register.

Question 29Ancient and Vedic Music Traditions

A jati that employs five notes in its melodic framework is known by which term?

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

Explanation

Audava denotes a five-note jati, shadava a six-note jati and sampurna a seven-note jati. Alpatva means rarity or limited use of a note, not a five-note classification.

Question 30Ancient and Vedic Music Traditions

In the traditional assignment of Vedic priestly roles, which priest supervises the sacrifice and is associated with the Atharvaveda?

  1. Hotri
  2. Brahman Correct answer.
  3. Udgata
  4. Adhvaryu

Explanation

The Brahman priest supervises the sacrifice and is traditionally linked with the Atharvaveda. The Hotri recites Rigveda hymns, the Adhvaryu applies Yajurveda formulas, and the Udgata sings Samagana.

Question 31Medieval Music and Persian Influence

Which percussion instrument is traditionally attributed to Amir Khusrau in Hindustani music history?

  1. Dholak
  2. Tabla Correct answer.
  3. Pakhawaj
  4. Mridangam

Explanation

Amir Khusrau, a 13th–14th century poet-musician of the Delhi Sultanate, is traditionally credited with devising the tabla, often by separating it from the pakhawaj. Historians treat the attribution as legendary, but the exam tradition links him with the instrument. The tabla later became central to Khayal and other medieval-derived forms.

Question 32Medieval Music and Persian Influence

The word 'Khayal' in Hindustani music is derived from a Persian term meaning which of the following?

  1. imagination Correct answer.
  2. spring season
  3. devotional love
  4. rhythmic cycle

Explanation

Khayal comes from the Persian word khayal, meaning imagination or thought. The name reflects the form's emphasis on improvised melodic expansion rather than a fixed devotional text. Khayal rose to prominence in the medieval and Mughal periods.

Question 33Medieval Music and Persian Influence

Tansen, the celebrated Dhrupad singer of the medieval period, served in the court of which Mughal emperor?

  1. Aurangzeb
  2. Babur
  3. Akbar Correct answer.
  4. Humayun

Explanation

Tansen was a leading musician in Akbar's court and is counted among the navaratnas. His Dhrupad compositions and ragas such as Miyan ki Todi are central to the medieval Hindustani tradition. Akbar's patronage made his court a major centre of music.

Question 34Medieval Music and Persian Influence

The 17th-century Persian encyclopedic work Tohfat-ul-Hind, which includes a section on Indian music, was written by which author?

  1. Faqirullah
  2. Amir Khusrau
  3. Abul Fazl
  4. Mirza Khan Correct answer.

Explanation

Tohfat-ul-Hind was compiled by Mirza Khan in the 1670s and contains a chapter describing Indian ragas, instruments, and performers. It is a key Persian source for medieval Indian music. The work shows how Persian-speaking scholars documented Indian musical practice.

Question 35Medieval Music and Persian Influence

Dhrupad, the austere court vocal form that dominated before Khayal, is traditionally accompanied by which drum?

  1. Mridangam
  2. Dholak
  3. Tabla
  4. Pakhawaj Correct answer.

Explanation

Dhrupad is performed with the pakhawaj, a barrel-shaped drum whose deep, resonant strokes suit the form's slow and formal elaboration. The tabla is more closely associated with Khayal and lighter genres. This pairing is a standard feature of Hindustani ensemble practice.

Question 36Medieval Music and Persian Influence

In Chishti Sufi practice, the spiritual listening session that provided the setting for Qawwali is known as which term?

  1. Bhajan
  2. Tarana
  3. Sama Correct answer.
  4. Dhrupad

Explanation

Sama denotes the Sufi assembly for spiritual listening, especially in the Chishti order. Qawwali developed as the musical performance within such gatherings, blending Persian poetry with Indian melodic and rhythmic idioms. The practice helped make music central to medieval Sufi devotion.

Question 37Medieval Music and Persian Influence

Which medieval vocal form is sung to syllables such as 'dhim, tana, dere, na' instead of a literary text?

  1. Khayal
  2. Tarana Correct answer.
  3. Thumri
  4. Dhrupad

Explanation

Tarana uses rhythmic, non-semantic syllables and is usually set in a fast tempo. It is traditionally linked to Amir Khusrau and became a showpiece for virtuosic rhythmic improvisation. The absence of a literary text distinguishes it from Khayal, Dhrupad, and Thumri.

Question 38Medieval Music and Persian Influence

The emergence of the sitar in medieval India is most closely associated with the adaptation of which instrument type?

  1. Saraswati veena
  2. sarangi
  3. Persian setar Correct answer.
  4. pakhawaj

Explanation

The sitar's name and construction are linked to the Persian setar and Central Asian long-necked lutes brought by Turko-Persian courts. Indian craftsmen adapted these lutes, adding sympathetic strings and a raga-oriented playing technique. The instrument became a symbol of medieval and Mughal cultural exchange.

Question 39Medieval Music and Persian Influence

Faqirullah's Persian work Rag Darpan is based on which earlier Sanskrit treatise on music?

  1. Sangita Parijata
  2. Man Kautuhal Correct answer.
  3. Sangita Ratnakara
  4. Rag Tarangini

Explanation

Rag Darpan, written in the 17th century, draws heavily on Man Kautuhal, a Sanskrit text attributed to Man Singh Tomar of Gwalior. Faqirullah used it to present Indian raga theory in Persian for a courtly audience. The work is therefore important evidence of Sanskrit-Persian musical exchange.

Question 40Medieval Music and Persian Influence

In raga names such as Miyan ki Todi and Miyan ki Malhar, the prefix 'Miyan ki' refers to which historical figure?

  1. Raja Man Singh Tomar
  2. Tansen Correct answer.
  3. Amir Khusrau
  4. Baiju Bawra

Explanation

'Miyan' was a title applied to Tansen, the great musician of Akbar's court. Ragas bearing the prefix are traditionally attributed to him, though the attributions are partly legendary. The names show how medieval court musicians became attached to specific ragas.

Question 41Medieval Music and Persian Influence

In the qawwali repertoire, which term denotes the oldest devotional song type, traditionally linked with Amir Khusrau and the Chishti Sufi circle?

  1. Qaul Correct answer.
  2. Dhrupad
  3. Tarana
  4. Chaturang

Explanation

Qaul is an Arabic-derived term meaning 'saying' or 'utterance' and is regarded as the oldest form in the qawwali repertoire. It sets devotional poetry, often in praise of the Prophet, and is traditionally linked with Amir Khusrau and the Chishti circle. Tarana uses mnemonic syllables, dhrupad is an austere court vocal form, and chaturang mixes four compositional elements.

Question 42Medieval Music and Persian Influence

Which Persian court chronicle contains a dedicated section on music and lists musicians, ragas, and musical practices under Akbar?

  1. Ain-i-Akbari
  2. Humayun-nama
  3. Padshahnama Correct answer.
  4. Baburnama

Explanation

The Ain-i-Akbari, the administrative and cultural digest within Abul Fazl's Akbarnama, contains a dedicated section on music. It lists court musicians, ragas, and musical practices under Akbar, making it a major Persian source for Mughal music history.

Question 43Medieval Music and Persian Influence

Before Tansen entered Akbar's imperial service, which ruler was his principal patron?

  1. Sultan Ibrahim Adil Shah II of Bijapur
  2. Raja Ramchandra Singh of Rewa Correct answer.
  3. Baz Bahadur of Malwa
  4. Raja Man Singh Tomar of Gwalior

Explanation

Before entering Akbar's service, Tansen was patronized by Raja Ramchandra Singh of Rewa, a Baghela Rajput ruler. Tradition holds that Akbar learned of Tansen through the Raja and brought him to the imperial court.

Question 44Medieval Music and Persian Influence

In Hindustani string-instrument terminology, the Persian-derived word 'pardah' most specifically denotes which part of the instrument?

  1. the resonator
  2. the bridge
  3. the fret Correct answer.
  4. the peg

Explanation

In Hindustani string terminology, 'pardah' (from Persian) denotes a fret on the fingerboard. The word can also mean a veil or screen in ordinary Persian, but in instrument usage it marks the stopped positions that produce notes.

Question 45Medieval Music and Persian Influence

The ragamala scheme, widely represented in medieval Rajput and Mughal painting, classifies ragas into which traditional arrangement?

  1. Eight praharas, each with a corresponding thaat
  2. Six principal ragas, each with a group of consort raginis Correct answer.
  3. Twenty-two shrutis, each with a fixed jati
  4. Twelve maqams, each with a modulating shube

Explanation

The ragamala convention groups ragas into six principal families, each headed by a raga and accompanied by consort raginis and putras. This scheme shaped medieval Ragamala paintings and Persian-influenced court manuscripts, even though its exact lists varied by region.

Question 46Medieval Music and Persian Influence

Which Delhi shrine is most closely associated with the early development of qawwali and with Amir Khusrau's Sufi allegiance?

  1. Dargah of Gesudaraz at Gulbarga
  2. Dargah of Salim Chishti at Fatehpur Sikri
  3. Dargah of Nizamuddin Auliya in Delhi Correct answer.
  4. Dargah of Moinuddin Chishti at Ajmer

Explanation

The dargah of Hazrat Nizamuddin Auliya in Delhi was the center of Amir Khusrau's Sufi life and became famous for sama and qawwali. Ajmer, Fatehpur Sikri, and Gulbarga are also Sufi shrines, but they are not the primary site linked to Khusrau's qawwali tradition.

Question 47Medieval Music and Persian Influence

The khayal form became the leading court vocal genre, eclipsing dhrupad in prestige, during the reign of which Mughal emperor?

  1. Akbar
  2. Muhammad Shah Correct answer.
  3. Shah Jahan
  4. Aurangzeb

Explanation

Khayal existed earlier, but in the eighteenth century it became the dominant court vocal form and overtook dhrupad in prestige. Muhammad Shah Rangila's court, with composers such as Sadarang and Adarang, is especially associated with this shift.

Question 48Medieval Music and Persian Influence

Which Mughal emperor's Persian autobiography, the Tuzuk-i-Jahangiri, records his interest in music and his patronage of court musicians?

  1. Aurangzeb
  2. Bahadur Shah Zafar
  3. Babur
  4. Jahangir Correct answer.

Explanation

Jahangir wrote the Tuzuk-i-Jahangiri in Persian, and it includes remarks on music, musicians, and his own listening preferences. Babur wrote the Baburnama, Aurangzeb left no comparable musical memoir, and Bahadur Shah Zafar was a late Mughal poet.

Question 49Medieval Music and Persian Influence

The fourteenth-century Persian treatise Ghunyat al-Munya, one of the earliest Persian works to describe Indian music, was composed in which region?

  1. Bengal
  2. Gujarat Correct answer.
  3. the Deccan
  4. Kashmir

Explanation

Ghunyat al-Munya was written in Gujarat in the late fourteenth century, probably in the circle of the Delhi Sultanate's provincial court. It is valued as an early Persian-language source describing Indian ragas, instruments, and performance practices.

Question 50Medieval Music and Persian Influence

Raga Jaunpuri is traditionally attributed to which medieval ruler?

  1. Rana Kumbha of Mewar
  2. Ibrahim Adil Shah II of Bijapur
  3. Hussain Shah Sharqi of Jaunpur Correct answer.
  4. Raja Man Singh Tomar of Gwalior

Explanation

Hussain Shah Sharqi, the fifteenth-century ruler of Jaunpur, is traditionally credited with creating raga Jaunpuri. His court was a Persianate Sultanate center where music and poetry flourished, and the raga name preserves the association with Jaunpur.