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WBCHSE HS Music study materials
WBCHSE HS Music study resources

WBCHSE HS Music practice questions

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Question 1History and evolution of Indian music (ancient, medieval, modern periods)

Which ancient Sanskrit treatise is regarded as the earliest surviving systematic work on Indian music theory, dealing with scales, microtones and the grama system?

  1. Sangita Ratnakara of Sarangadeva
  2. Ragatarangini of Lochan Kavi
  3. Sangita Parijata of Ahobala
  4. Natyashastra of Bharata Correct answer.

Explanation

The Natyashastra, attributed to Bharata and dated roughly to the early centuries of the Common Era, contains the oldest surviving organised discussion of Indian music, including grama, shruti and jati. Later works such as Sangita Ratnakara build on this foundation.

Question 2History and evolution of Indian music (ancient, medieval, modern periods)

In the ancient Indian musical system, the term 'shruti' most precisely denotes which concept?

  1. A category of stringed instrument
  2. A microtonal interval used to measure scale degrees Correct answer.
  3. A rhythmic cycle of fixed beats
  4. A poetic metre for song texts

Explanation

Shruti refers to the smallest perceptible microtonal interval, traditionally said to number twenty-two within the octave, and it is the unit by which ancient theorists measured scale intervals. It has nothing to do with rhythm, metre or instruments.

Question 3History and evolution of Indian music (ancient, medieval, modern periods)

The three gramas recognised in ancient Indian music theory are shadja, madhyama and which third grama?

  1. Panchama grama
  2. Gandhara grama Correct answer.
  3. Dhaivata grama
  4. Rishabha grama

Explanation

Ancient theory names three gramas: shadja, madhyama and gandhara. The gandhara grama gradually fell out of use, leaving shadja and madhyama as the principal scale-systems described in later texts.

Question 4History and evolution of Indian music (ancient, medieval, modern periods)

The jati system of the ancient period is best understood as which of the following?

  1. A set of percussion instruments used in temple ritual
  2. A guild organisation of court musicians
  3. Ancestors of the modern raga, defined by scale, mood and performance context Correct answer.
  4. A notation system for writing down melodies

Explanation

Jatis were the melodic entities of ancient and early medieval music, classified by scale type, dominant notes and emotional character, and they are widely regarded as the forerunners of ragas. They were melodic classifications, not instruments, notation or guilds.

Question 5History and evolution of Indian music (ancient, medieval, modern periods)

Sarangadeva's Sangita Ratnakara, a landmark of the medieval period, is chiefly valued for which contribution?

  1. Abolishing the guru-shishya teaching system
  2. Codifying the twenty-two shruti as exactly equal intervals
  3. Introducing Western staff notation to Indian music
  4. Systematising raga and tala and treating both Hindustani and Carnatic practice Correct answer.

Explanation

Sangita Ratnakara, written in the thirteenth century, organises ragas, talas and musical practice in a comprehensive way and is respected by both the Hindustani and Carnatic traditions. It did not introduce Western notation or equal temperament.

Question 6History and evolution of Indian music (ancient, medieval, modern periods)

The division of the medieval tradition into Hindustani and Carnatic streams is conventionally traced to the period after which event?

  1. The invention of the harmonium
  2. The establishment of Delhi Sultanate rule in northern India Correct answer.
  3. The founding of All India Radio
  4. The composition of the Natyashastra

Explanation

With the establishment of the Delhi Sultanate and subsequent Persianate courts in the north, northern music developed along a distinct path while southern practice continued and consolidated separately. This divergence produced the two great systems recognised today.

Question 7History and evolution of Indian music (ancient, medieval, modern periods)

Which medieval ruler is associated with the legendary musician Tansen and with the patronage that helped shape the dhrupad style at court?

  1. Akbar Correct answer.
  2. Ashoka
  3. Harshavardhana
  4. Krishnadevaraya

Explanation

Tansen served in the court of the Mughal emperor Akbar, and this patronage environment is closely linked with the cultivation and prestige of dhrupad. The other rulers belonged to periods or regions unconnected with this specific tradition.

Question 8History and evolution of Indian music (ancient, medieval, modern periods)

The Prabandha forms of medieval music are best described as which of the following?

  1. Instrumental solo pieces for the veena
  2. Structured song compositions with prescribed sections and metrical rules Correct answer.
  3. Free improvisations without any fixed form
  4. A class of rhythmic syllables used in drumming

Explanation

Prabandha denotes a family of composed song forms in medieval theory, each with defined sections such as udgraha, melapaka and dhruva, bound by melodic and metrical rules. They were formal compositions, not free improvisation or drum syllables.

Question 9History and evolution of Indian music (ancient, medieval, modern periods)

The dhrupad form, which matured in the medieval period, is characteristically performed with which accompaniment pattern?

  1. Mridangam with violin and no drone
  2. Voice with pakhawaj and often a rudra veena Correct answer.
  3. Sitar with tabla and no vocal line
  4. Voice with tabla and sarangi only

Explanation

Dhrupad is traditionally accompanied by the pakhawaj drum, and the rudra veena is closely associated with its instrumental style, all supported by a tanpura drone. The combination of tabla and sarangi, or mridangam and violin, belongs to other contexts.

Question 10History and evolution of Indian music (ancient, medieval, modern periods)

In the evolution of Hindustani vocal music, the rise of khayal is generally associated with which development?

  1. The introduction of the keyboard as the main accompaniment
  2. The abandonment of tala in vocal music
  3. Increasing emphasis on improvised elaboration and romantic expression after the dhrupad era Correct answer.
  4. The replacement of all ragas by a single scale

Explanation

Khayal grew in prominence from the late medieval into the modern period, favouring improvised elaboration and expressive, often romantic, treatment over the stricter dhrupad aesthetic. It retained raga and tala rather than abandoning them.

Question 11History and evolution of Indian music (ancient, medieval, modern periods)

The Gwalior gharana, often described as the oldest of the Hindustani vocal gharanas, is particularly known for which stylistic trait?

  1. Predominantly instrumental sitar performance
  2. Exclusive use of extremely fast sargam with no slow section
  3. Rejection of tala in favour of free rhythm
  4. Clear, weighty presentation of raga with strong emphasis on text and vilambit laya Correct answer.

Explanation

The Gwalior gharana is celebrated for its measured, weighty exposition of ragas in slow tempo, with clear enunciation of the song text. Its identity is vocal and rhythmic, not free of tala or purely instrumental.

Question 12History and evolution of Indian music (ancient, medieval, modern periods)

The twentieth-century musician credited with systematising the modern ten-thaat framework for Hindustani raga classification is which of the following?

  1. Amir Khusrau
  2. Tyagaraja
  3. Baiju Bawra
  4. Vishnu Narayan Bhatkhande Correct answer.

Explanation

V. N. Bhatkhande developed the ten-thaat scheme, adapting earlier classification ideas into a practical framework still widely taught for organising Hindustani ragas. The other names belong to different periods or traditions.

Question 13History and evolution of Indian music (ancient, medieval, modern periods)

Purandara Dasa, a key figure in the evolution of Carnatic music, is traditionally honoured with which title?

  1. Sangeet Samrat
  2. Karnataka Sangeeta Pitamaha Correct answer.
  3. Vaggeyakara Chakravarti
  4. Tansen of the South

Explanation

Purandara Dasa is widely called the Karnataka Sangeeta Pitamaha, or grandfather of Carnatic music, for his foundational pedagogical compositions and structured teaching methods. The other titles are not the standard epithet attached to him.

Question 14History and evolution of Indian music (ancient, medieval, modern periods)

The Carnatic trinity of composers, who consolidated the kriti form in the eighteenth century, consists of Tyagaraja, Muthuswami Dikshitar and which third composer?

  1. Annamacharya
  2. Swati Tirunal
  3. Kshetrajna
  4. Syama Sastri Correct answer.

Explanation

The Carnatic trinity comprises Tyagaraja, Muthuswami Dikshitar and Syama Sastri, all active in the eighteenth century around Tiruvaiyaru. Their kritis shaped the concert repertoire that followed.

Question 15History and evolution of Indian music (ancient, medieval, modern periods)

The kriti form, central to modern Carnatic concert music, typically contains which sequence of sections?

  1. Sthayi, antara and sanchari
  2. Pallavi, anupallavi and charanam Correct answer.
  3. Udgraha, melapaka and dhruva
  4. Alap, jod and jhala

Explanation

A kriti is built around the pallavi, anupallavi and charanam, often with further charanams and occasional chittaswaram. The other sequences belong to different forms and traditions.

Question 16History and evolution of Indian music (ancient, medieval, modern periods)

In tracing the modern history of Indian music, the founding of the institution now known as the Indira Kala Sangeet Vishwavidyalaya at Khairagarh is significant because it did what?

  1. Abolished the tanpura from performance
  2. Banned the teaching of dhrupad
  3. Established university-level formal degrees in music Correct answer.
  4. Replaced ragas with film songs in curricula

Explanation

Khairagarh was established as a university dedicated to music and the arts, marking the shift of Indian music training into formal degree-granting institutions. This complemented, rather than replaced, traditional transmission.

Question 17History and evolution of Indian music (ancient, medieval, modern periods)

Which technological development of the twentieth century most directly transformed the reach of Indian classical music to mass audiences?

  1. The introduction of the grama system
  2. Radio broadcasting and gramophone recordings Correct answer.
  3. The codification of the Natyashastra
  4. The invention of the pakhawaj

Explanation

Radio, particularly All India Radio, and commercial gramophone records allowed classical music to reach listeners far beyond courts and temples, reshaping patronage and celebrity. The other items are either ancient or unrelated to mass media.

Question 18History and evolution of Indian music (ancient, medieval, modern periods)

The term 'gharana' in Hindustani music most accurately refers to which of the following?

  1. A written notation system for talas
  2. A lineage of musicians sharing a distinctive stylistic tradition Correct answer.
  3. A percussion instrument used in dhrupad
  4. A type of raga performed only at dawn

Explanation

A gharana is a school or lineage transmitting a recognisable style, repertoire and teaching approach across generations. It is a social-musical institution, not a raga type, instrument or notation.

Question 19History and evolution of Indian music (ancient, medieval, modern periods)

Amir Khusrau, a thirteenth-century figure in the Delhi Sultanate courts, is traditionally credited in popular accounts with which contribution to Indian music?

  1. Authoring the Sangita Ratnakara
  2. Experiments that are said to have influenced the development of qawwali and certain Hindustani forms Correct answer.
  3. Introducing the mridangam to South India
  4. Founding the Carnatic trinity

Explanation

Amir Khusrau is traditionally associated with experiments blending Persian and Indian musical elements, and popular tradition links him to early qawwali and to forms such as tarana. Historians treat some attributions cautiously, but this is the conventional association.

Question 20History and evolution of Indian music (ancient, medieval, modern periods)

The shift from temple and court patronage to public concerts and ticketed performances in the modern period had which consequence for Indian classical music?

  1. Tala was eliminated from performance
  2. Ragas were reduced to a fixed set of seven
  3. Musicians increasingly depended on a broad listening public rather than a single royal patron Correct answer.
  4. Vocal music was replaced entirely by instrumental music

Explanation

As princely patronage declined, public concerts, sabhas and later media created a broader audience, changing how musicians earned support and how programmes were designed. The other options describe changes that did not occur.

Question 21History and evolution of Indian music (ancient, medieval, modern periods)

Which statement best captures the relationship between the ancient jati and the later raga concept?

  1. Ragas developed from and gradually replaced jatis as melodic classification became more elaborate Correct answer.
  2. Jatis were invented after ragas to describe them historically
  3. Ragas and jatis are identical and the terms are fully interchangeable
  4. Jatis belong to Carnatic music while ragas belong only to Hindustani music

Explanation

The raga concept emerged from the older jati system as melodic entities became more precisely defined by characteristic phrases and ornamentation. Jatis are thus ancestral to ragas rather than a later invention or a synonym.

Question 22History and evolution of Indian music (ancient, medieval, modern periods)

In the context of medieval Indian music, the term 'melapaka' refers to which of the following?

  1. A style of veena tuning
  2. A percussion instrument of the Mughal court
  3. A raga prescribed for the monsoon season
  4. A section within the prabandha song form Correct answer.

Explanation

Melapaka is one of the prescribed sections of the medieval prabandha, related to the melodic setting of the composition. It is a structural element of song form, not an instrument, seasonal raga or tuning method.

Question 23History and evolution of Indian music (ancient, medieval, modern periods)

The emergence of the thumri and other light-classical forms in the modern period is best explained by which factor?

  1. Growing demand for expressive, accessible music in courts and urban salons Correct answer.
  2. The invention of the tabla
  3. A royal decree banning dhrupad
  4. The decline of all raga-based music

Explanation

Light-classical forms such as thumri flourished because patrons and urban audiences sought expressive, text-centred music that was more accessible than austere dhrupad. They remained raga-based and did not require any ban or new instrument.

Question 24History and evolution of Indian music (ancient, medieval, modern periods)

Which of the following correctly pairs a modern institution with its role in the history of Indian music education?

  1. Sangeet Research Academy, Kolkata - founded to preserve only dhrupad
  2. Bhatkhande Sangeet Vidyapith, Lucknow - named for the theorist who standardised thaat classification Correct answer.
  3. National School of Drama, Delhi - a conservatory for Carnatic music
  4. Kalakshetra, Chennai - dedicated solely to Hindustani vocal music

Explanation

The Bhatkhande institutions carry the name of V. N. Bhatkhande, whose thaat framework reshaped Hindustani music pedagogy, and they serve as centres of formal music education. The other pairings misdescribe the institutions' missions.

Question 25History and evolution of Indian music (ancient, medieval, modern periods)

The concept of 'raga' as understood in the medieval and modern periods requires which minimum set of features?

  1. A defined ascending and descending scale with characteristic phrases and a presiding mood Correct answer.
  2. A designated instrument and a fixed concert duration
  3. A specific poet and a fixed number of charanams
  4. A fixed rhythmic cycle and a prescribed drum pattern

Explanation

A raga is defined by its scale structure, its characteristic melodic phrases and its emotional character, and it may be rendered in many talas and forms. Rhythm, text and instrumentation vary and are not defining conditions of raga.

Question 26History and evolution of Indian music (ancient, medieval, modern periods)

The ancient text Natyashastra, attributed to Bharata, is primarily important in the history of Indian music for which reason?

  1. It describes the structure of the modern concert format, including the intermission.
  2. It contains the earliest known notation of Carnatic kritis by the Trinity composers.
  3. It provides the earliest systematic treatment of musical scales, tones, and the concept of shruti. Correct answer.
  4. It is the first treatise to codify the modern ten-thaat system of Hindustani music.

Explanation

The Natyashastra, dating roughly to the early centuries CE, is the foundational text on dramaturgy and music, and it discusses shruti (microtonal intervals), grama (scales), and musical tones in detail. It predates the medieval thaats and the Carnatic kriti tradition by many centuries. Therefore, it is valued for its early systematic treatment of musical sound, not for later developments.

Question 27History and evolution of Indian music (ancient, medieval, modern periods)

In the context of ancient Indian music, the term 'jati' refers to which of the following?

  1. A melodic framework that later evolved into the concept of raga. Correct answer.
  2. A type of stringed instrument used in Vedic rituals.
  3. A style of ornamentation applied to drum syllables.
  4. A rhythmic cycle of fixed beats used in percussion accompaniment.

Explanation

In early Indian music theory, jati denoted a melodic type or scale-based framework with characteristic emotional associations, which is seen as a precursor to the raga system. Ragas as understood today developed later from these jatis. Thus, jati is best understood as an early melodic concept, not a rhythmic or instrumental term.

Question 28History and evolution of Indian music (ancient, medieval, modern periods)

Which development best explains the emergence of the khayal as a major Hindustani vocal form during the medieval period?

  1. The introduction of staff notation by European missionaries, which encouraged composed rather than improvised music.
  2. The decline of dhrupad patronage and the need for a more flexible, expressive form suited to changing court tastes. Correct answer.
  3. The invention of the harmonium, which required a new vocal style with fixed pitch.
  4. The rise of the Carnatic kriti, which directly inspired North Indian musicians to adopt khayal.

Explanation

Khayal gained prominence in the medieval and early modern periods as dhrupad's rigid grandeur gave way to a more lyrical and improvisation-friendly style. This shift was driven by changing aesthetic preferences in the courts and the desire for greater expressive freedom. The harmonium and staff notation played later or different roles, and the Carnatic kriti developed in a separate South Indian context.

Question 29History and evolution of Indian music (ancient, medieval, modern periods)

The twentieth-century musician V. N. Bhatkhande is best known in the history of Indian music for which contribution?

  1. Creating the modern ten-thaat system for classifying Hindustani ragas. Correct answer.
  2. Composing the Carnatic trinity of kritis.
  3. Establishing the first gharana of Hindustani vocal music.
  4. Introducing the harmonium to Indian classical music.

Explanation

V. N. Bhatkhande (1860–1936) systematized Hindustani raga classification using ten thaats, a framework that remains widely used in modern teaching. He also wrote extensively on music theory and worked to standardize notation. His work was primarily in the Hindustani tradition and did not involve composing Carnatic kritis or founding gharanas.

Question 30History and evolution of Indian music (ancient, medieval, modern periods)

Which statement best captures the relationship between the ancient jati system and the later concept of raga in Indian music history?

  1. Jatis were rhythmic patterns that were later replaced by ragas as melodic frameworks.
  2. Jatis were primarily associated with instrument types, while ragas are vocal forms.
  3. Jatis were early melodic frameworks that gradually evolved into the more codified and emotionally nuanced raga system. Correct answer.
  4. Ragas are a direct continuation of jatis with no significant change in conceptual scope.

Explanation

The jati system of ancient texts like the Natyashastra provided scale-based melodic types with emotional associations, which over centuries became more elaborated and codified into ragas. This evolution involved increasing specificity in ascent-descent patterns, ornamentation, and rasa. Thus, ragas are not identical to jatis but represent a later, more developed stage.

Question 31Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

ভারতীয় সংগীতে 'শ্রুতি' বলতে কী বোঝায়?

  1. একটি স্বরের সূক্ষ্মতম উচ্চতার পার্থক্য Correct answer.
  2. একটি রাগের আরোহ-অবরোহ
  3. একটি তালের নির্দিষ্ট লয়
  4. একটি বাদ্যযন্ত্রের তারের সংখ্যা

Explanation

শ্রুতি হলো স্বরের সূক্ষ্মতম উচ্চতা-পার্থক্য, যা দিয়ে সপ্তকের স্বরগুলো নির্ণীত হয়। প্রাচীন গ্রন্থে চব্বিশটি শ্রুতির উল্লেখ পাওয়া যায়, এবং এই শ্রুতিগুলোর ভিত্তিতেই স্বরের স্থান নির্ধারিত হয়।

Question 32Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

সপ্তকের সাতটি শুদ্ধ স্বরের সঠিক ক্রম কোনটি?

  1. সা রে গা মা পা ধা নি Correct answer.
  2. সা গা রে মা পা নি ধা
  3. সা রে মা গা পা ধা নি
  4. সা রে গা মা পা ধা সা

Explanation

আরোহী ক্রমে শুদ্ধ স্বরগুলো হলো সা, রে, গা, মা, পা, ধা, নি। এরপর আবার সা এসে সপ্তক পূর্ণ করে, কিন্তু সপ্তম স্বরটি নি, তাই সেই ক্রমটিই সঠিক।

Question 33Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

হিন্দুস্থানী সংগীতে 'বিকৃত স্বর' কত প্রকার?

  1. তিন প্রকার
  2. পাঁচ প্রকার
  3. চার প্রকার
  4. দুই প্রকার Correct answer.

Explanation

বিকৃত স্বর দুই প্রকার-কোমল ও তীব্র। শুদ্ধ স্বরের সঙ্গে তুলনায় উচ্চতা কমলে কোমল, আর বেশি হলে তীব্র বলা হয়, তাই মোট দুই ভাগ।

Question 34Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

কোনটি 'অচল স্বর' হিসেবে পরিচিত?

  1. সা ও পা Correct answer.
  2. গা ও নি
  3. রে ও ধা
  4. মা ও নি

Explanation

সা ও পা-কে অচল বা ধ্রুব স্বর বলা হয়, কারণ এদের কোমল বা তীব্র রূপ নেই; এরা সর্বদা শুদ্ধ অবস্থায় থাকে। অন্য স্বরগুলো কোমল বা তীব্র হয়ে বিকৃত হতে পারে।

Question 35Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

একটি রাগের ন্যূনতম কয়টি স্বর থাকা আবশ্যক?

  1. সাতটি
  2. চারটি
  3. পাঁচটি Correct answer.
  4. তিনটি

Explanation

রাগের সংজ্ঞায় কমপক্ষে পাঁচটি স্বর থাকতে হয়, যার মধ্যে সাধারণত বাদী ও সমবাদী স্বর থাকে। চার বা তিন স্বরে রাগের পূর্ণ রূপ গঠিত হয় না।

Question 36Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

রাগে যে স্বরটি সবচেয়ে বেশি ও গুরুত্বপূর্ণভাবে ব্যবহৃত হয়, তাকে কী বলা হয়?

  1. সমবাদী স্বর
  2. বাদী স্বর Correct answer.
  3. অনুবাদী স্বর
  4. বিবাদী স্বর

Explanation

বাদী স্বর রাগের প্রধান স্বর, যা বারবার ও বিশেষ গুরুত্বের সঙ্গে ব্যবহৃত হয় এবং রাগের পরিচয় বহন করে। সমবাদী স্বর তার সহায়ক, তাই বাদীই প্রধান।

Question 37Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

এক তালে মাত্রার সংখ্যা নির্দেশ করে কোনটি?

  1. মাত্রা Correct answer.
  2. খণ্ড
  3. লয়
  4. বিভাগ

Explanation

মাত্রা হলো তালের প্রতিটি ক্রমিক আঘাত বা গণনার একক; মাত্রার সংখ্যা দিয়েই তালের দৈর্ঘ্য নির্ধারিত হয়। লয় গতির মাত্রা বোঝায়, মাত্রার সংখ্যা নয়।

Question 38Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

তালের প্রথম মাত্রাকে কী বলা হয়?

  1. তালি
  2. খালি
  3. বিভাগ
  4. সম Correct answer.

Explanation

তালের প্রথম ও প্রধান মাত্রাকে সম বলা হয়; এখানেই চক্র পূর্ণ হয়ে পুনরায় শুরু হয়। শিল্পীরা সম-এ ফিরে আসাকে বিশেষ গুরুত্ব দেন।

Question 39Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

একটি রাগে বাদী ও সমবাদীর সম্পর্ক সাধারণত কীরূপ?

  1. সাধারণত চার বা পাঁচ স্বর অন্তরালে Correct answer.
  2. সর্বদা সপ্তক অন্তরালে
  3. সর্বদা সন্নিহিত স্বর
  4. সর্বদা একই স্বর

Explanation

বাদী ও সমবাদী স্বরের মধ্যে সাধারণত চার বা পাঁচ স্বরের অন্তরাল থাকে, যা সংবাদ নামে পরিচিত। এই অন্তরাল রাগের সৌন্দর্য ও স্থিতি বৃদ্ধি করে।

Question 40Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

আরোহে কোনো স্বর বাদ পড়লে এবং অবরোহে তা উপস্থিত থাকলে সেই রাগকে কী বলা হয়?

  1. সংকর রাগ
  2. ষাড়ব রাগ
  3. ঔড়ব রাগ
  4. বক্র রাগ Correct answer.

Explanation

যখন আরোহ ও অবরোহের স্বরসংখ্যা ভিন্ন হয়, তখন রাগটি বক্র বা বক্রতাপূর্ণ রাগ হিসেবে গণ্য হয়। ষাড়ব ও ঔড়ব শব্দ স্বরসংখ্যা বোঝায়, এই অসমতার নাম নয়।

Question 41Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

কোন রাগে আরোহে পাঁচটি ও অবরোহে সাতটি স্বর থাকে?

  1. ঔড়ব-ঔড়ব রাগ
  2. ঔড়ব-সম্পূর্ণ রাগ Correct answer.
  3. সম্পূর্ণ-ষাড়ব রাগ
  4. ষাড়ব-সম্পূর্ণ রাগ

Explanation

আরোহে পাঁচ স্বর হলে ঔড়ব এবং অবরোহে সাত স্বর হলে সম্পূর্ণ; তাই রাগটি ঔড়ব-সম্পূর্ণ। এই নামকরণে প্রথম শব্দ আরোহের, দ্বিতীয় শব্দ অবরোহের স্বরসংখ্যা বোঝায়।

Question 42Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

কোন রাগে আরোহ ও অবরোহ উভয়েই ছয়টি স্বর ব্যবহৃত হয়?

  1. সম্পূর্ণ-সম্পূর্ণ রাগ
  2. ঔড়ব-ষাড়ব রাগ
  3. ঔড়ব-সম্পূর্ণ রাগ
  4. ষাড়ব-ষাড়ব রাগ Correct answer.

Explanation

ষাড়ব অর্থ ছয় স্বর; আরোহ ও অবরোহ দুটোতেই ছয় স্বর থাকলে রাগটি ষাড়ব-ষাড়ব নাম পায়। নামের প্রথম অংশ আরোহ, দ্বিতীয় অংশ অবরোহ নির্দেশ করে।

Question 43Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

তালের যে বিভাগে হাতের আঘাত দেওয়া হয় না, তাকে কী বলা হয়?

  1. তালি
  2. খালি Correct answer.
  3. সম
  4. গ্রহ

Explanation

খালি বা ফাঁকা বিভাগে আঘাত দেওয়া হয় না, বরং হাত উল্টে বা শূন্য দেখিয়ে গণনা করা হয়। তালিতে আঘাত হয়, তাই দুটির চিহ্ন ও অনুভূতি আলাদা।

Question 44Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

ঝাঁপতালের মাত্রাসংখ্যা ও বিভাগ কত?

  1. বারো মাত্রা, চার বিভাগ
  2. নয় মাত্রা, তিন বিভাগ
  3. সাত মাত্রা, তিন বিভাগ
  4. দশ মাত্রা, চার বিভাগ Correct answer.

Explanation

ঝাঁপতালে দশ মাত্রা এবং চার বিভাগ থাকে, যার বিন্যাস ২+৩+২+৩। এই অসম বিভাগবিন্যাসই ঝাঁপতালের চরিত্রগত বৈশিষ্ট্য।

Question 45Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

লয়ের প্রধান তিন প্রকার কী?

  1. সম, তালি, খালি
  2. বিলম্বিত, মধ্য, দ্রুত Correct answer.
  3. আরোহ, অবরোহ, স্থায়ী
  4. বাদী, সমবাদী, বিবাদী

Explanation

লয় প্রধানত বিলম্বিত, মধ্য ও দ্রুত-এই তিন গতিতে বিভক্ত। কোনো কোনো ক্ষেত্রে অতি বিলম্বিত ও অতি দ্রুতও উল্লেখ করা হয়, তবে মূল শ্রেণিবিভাগ তিনটি।

Question 46Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

একটি তালের চক্রে মোট মাত্রা ১৬ এবং বিভাগ ৪ হলে প্রতিটি বিভাগে গড়ে কত মাত্রা পড়ে?

  1. পাঁচ মাত্রা
  2. চার মাত্রা Correct answer.
  3. তিন মাত্রা
  4. আট মাত্রা

Explanation

মোট মাত্রা ১৬-কে বিভাগ ৪ দিয়ে ভাগ করলে প্রতিটি বিভাগে চার মাত্রা পড়ে। তেবরা বা সমান বিভাগের তালে এই গণনা সরল ভাগের নিয়মেই হয়।

Question 47Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

কোনটি 'অনাঘাত' বা ফাঁকা বিভাগযুক্ত তাল?

  1. তেওরা
  2. রূপক Correct answer.
  3. একতাল
  4. ঝাঁপতাল

Explanation

রূপক তালে সাত মাত্রা ও তিন বিভাগ, যার তৃতীয় বিভাগটি খালি বা অনাঘাত। এই খালি বিভাগই রূপকের পরিচিত বৈশিষ্ট্য।

Question 48Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

একই লয়ের মধ্যে দ্বিগুণ গতিতে স্বর সাজালে কোন লয় সৃষ্টি হয়?

  1. স্থির লয়
  2. দ্রুত লয় Correct answer.
  3. বিলম্বিত লয়
  4. অতি বিলম্বিত লয়

Explanation

একই সময়ে দ্বিগুণ স্বর বসালে গতি বেড়ে যায়, যা দ্রুত লয় নামে পরিচিত। বিপরীতে অর্ধেক স্বর বসালে গতি কমে বিলম্বিত লয় হয়।

Question 49Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

কোন রাগে মা তীব্র ও রে, গা, ধা, নি কোমল-এই স্বরসমষ্টি ব্যবহৃত হয়?

  1. ভৈরব Correct answer.
  2. যৌন
  3. ভৈরবী
  4. কাফি

Explanation

ভৈরবে রে, গা, ধা ও নি কোমল এবং মা তীব্র; এই স্বরসংযোগই ভৈরবের পরিচয়। ভৈরবী একই স্বর নিয়ে গঠিত হলেও বাদী-সমবাদী ও চলনে ভিন্ন রাগ।

Question 50Technical terminology and fundamental concepts of Indian music (swara, shruti, raga, tala, laya, etc.)

ভৈরব ও ভৈরবীর স্বর এক হলেও প্রধান পার্থক্য কোথায়?

  1. বাদী ও সমবাদী স্বরে Correct answer.
  2. বাদ্যযন্ত্রের সংখ্যায়
  3. মাত্রাসংখ্যায়
  4. লয়ের প্রকারে

Explanation

দুই রাগেরই স্বর এক, কিন্তু ভৈরবে বাদী ধা ও সমবাদী রে, আর ভৈরবীতে বাদী মা ও সমবাদী সা। এই বাদী-সমবাদীর পার্থক্য এবং চলনের ভিন্নতাই রাগ দুটিকে পৃথক করে।