paper-iii rabindra sangit - examrace · pdf filepaper-iii rabindra sangit ... roll number,...

Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75

[Maximum Marks : 150Time : 2 1/2 hours]

PAPER-III

RABINDRA SANGIT

(To be filled by the Candidate)

Signature and Name of Invigilator

OMR Sheet No. : ...............................................

Roll No.

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JA-097-17 1 P.T.O.

1. Write your roll number in the space provided on the top ofthis page.

2. This paper consists of seventy five multiple-choice type ofquestions.

3. At the commencement of examination, the question bookletwill be given to you. In the first 5 minutes, you are requestedto open the booklet and compulsorily examine it as below :(i) To have access to the Question Booklet, tear off the paper

seal on the edge of this cover page. Do not accept a bookletwithout sticker-seal and do not accept an open booklet.

(ii) Tally the number of pages and number of questions inthe booklet with the information printed on the coverpage. Faulty booklets due to pages/questions missingor duplicate or not in serial order or any otherdiscrepancy should be got replaced immediately by acorrect booklet from the invigilator within the periodof 5 minutes. Afterwards, neither the Question Bookletwill be replaced nor any extra time will be given.

(iii) After this verification is over, the Test Booklet Numbershould be entered on the OMR Sheet and the OMRSheet Number should be entered on this Test Booklet.

(iv) The test booklet no. and OMR sheet no. should be same.In case of discrepancy in the number, the candidate shouldimmediately report the matter to the invigilator forreplacement of the test booklet / OMR Sheet.

4. Each item has four alternative responses marked (1), (2), (3)and (4). You have to darken the circle as indicated below onthe correct response against each item.Example :where (3) is the correct response.

5. Your responses to the items are to be indicated in the OMRSheet given inside the Booklet only. If you mark yourresponse at any place other than in the circle in the OMRSheet, it will not be evaluated.

6. Read instructions given inside carefully.7. Rough Work is to be done in the end of this booklet.8. If you write your Name, Roll Number, Phone Number or put

any mark on any part of the OMR Sheet, except for the spaceallotted for the relevant entries, which may disclose youridentity, or use abusive language or employ any other unfairmeans, such as change of response by scratching or usingwhite fluid, you will render yourself liable to disqualification.

9. You have to return the Original OMR Sheet to the invigilatorsat the end of the examination compulsorily and must notcarry it with you outside the Examination Hall. You are,however, allowed to carry original question booklet onconclusion of examination.

10. Use only Black Ball point pen.11. Use of any calculator or log table etc., is prohibited.12. There is no negative marks for incorrect answers.13. In case of any discrepancy in the English and Hindi versions,

English version will be taken as final.

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A 1 7J 90 7

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Paper-III 2 JA-097-17

RABINDRA SANGIT

PAPER – III

Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All

questions are compulsory.

1. Identify the raga of the song ‘Bipula Taronga Re’

(1) Purabi (2) Bhimpalasree

(3) Imankalyan (4) Tori

2. Which one of the following songs is tuned in ‘Sindhu’ ?

(1) Pipasa hai nahi mitilo (2) Chiro sakha, chero na more

(3) Sada thako Anande (4) Ke basile aji hridayasthane

3. ‘Prabhater Adim Abhas Arunbarna Abhar Abarane’

Trace out the source

(1) Chandalika (2) Chitrāngada

(3) Shapmochan (4) Shyama

4. “Deko na amare, deko na …” belongs to the category

(1) Puja (2) Bichitra

(3) Prem (4) Swadesh

5. ‘Basante basante tomar kobire dao dak’ is from

(1) Phalguni (2) Nataraj riturangas.ala

(3) Nabin (4) Muktadhara

6. The song sung by Satyajit Ray himself in his film Agantuk :

(1) E parabase robe ke (2) Bajilo kahara bina

(3) Andhojane deho alo (4) Thora pata go

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JA-097-17 3 Paper-III

¸¾Öß®¦ ÃÖÓÝÖßŸÖ

¯ÖÏ¿®Ö¯Ö¡Ö – III

×®Ö¤ì¿Ö : ‡ÃÖ ¯ÖÏ¿®Ö¯Ö¡Ö ´Öë ¯Ö“ÖÆ¢Ö¸ (75) ²ÖÆã-×¾ÖÛ »¯ÖßµÖ ¯ÖÏ¿®Ö Æï … ¯ÖÏŸµÖêÛ ¯ÖÏ¿®Ö Ûê ¤Öê (2) †ÓÛ Æï … ÃÖ³Öß ¯ÖÏ¿®Ö †×®Ö¾ÖÖµÖÔ Æï …

1. ‘×¾Ö¯Öã»ÖÖê ŸÖ¸ÓÝÖ ¸ê’ Ûê ‘¸ÖÝÖ’ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë

(1) ¯Öã¸²Öß (2) ³Öß´Ö¯Ö»ÖÖÁÖß

(3) µÖ´Ö®Ö-Û »µÖÖÞÖ (4) ŸÖÖê›Ìß

2. ×®Ö´®Ö×»Ö×ÜÖŸÖ ÝÖÖ®ÖÖë ´Öë ÃÖê ‘×ÃÖ®¬Öã’ ¸ÖÝÖ ´Öë †Ö²Ö¨ Æî

(1) ×¯Ö¯ÖÖÃÖÖ Æî ®ÖÖ‡Ô ×´Ö×™»ÖÖê (2) ×“Ö¸Öê ÃÖÜÖÖ ”ê ¸Öê ®ÖÖ ´ÖÖê¸ê

(3) ÃÖ¤Ö £ÖÖÛ Öê †Ö®ÖÓ¤ê (4) Ûê ¾Ö×ÃÖ»Öê †Ö�Öß Ç¤µÖÖÃ£ÖÖ®Öê

3. ‘¯ÖÏ³ÖÖŸÖê¸ †×¤´Ö †Ö³ÖÖÃÖ †¹ ®Ö²ÖÞÖÔ †Ö³ÖÖ¸ †Ö³ÖÖ¸Ö®Öê’ ÄÖÖêŸÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë :

(1) “ÖÓ›Ö×»ÖÛ Ö (2) ×“Ö¡ÖÖÓÝÖ¤Ö

(3) ¿ÖÖ¯Ö´ÖÖê“Ö®Ö (4) ¿µÖÖ´ÖÖ

4. ‘¤êÜÖÖê ®ÖÖ †´ÖÖ¸ê, ¤êÜÖÖê ®ÖÖ.....’ ×Û ÃÖ ÁÖêÞÖß ÃÖê ÃÖÓ²ÖÓ×¬ÖŸÖ Æî

(1) ¯Öæ�ÖÖ (2) ×²Ö×“Ö¡Ö

(3) ¯ÖÏê´Ö (4) Ã¾Ö¤ê¿Ö

5. “²ÖÃÖ®ŸÖê ²ÖÃÖ®ŸÖê ŸÖÖê´ÖÖ¸ Û Öê×²Ö¸ê ¤Ö†Öê ›ÖÛ ” ×Û ÃÖÃÖê ×»ÖµÖÖ ÝÖµÖÖ Æî ?

(1) ± Ö»ÝÖã®Öß (2) ®Ö™¸Ö�Ö Š ŸÖã¸ÓÝÖ¿ÖÖ»ÖÖ

(3) ®Ö²Öß®Ö (4) ´ÖãŒŸÖ¬ÖÖ¸Ö

6. Û Öî®Ö ÃÖÖ ÝÖßŸÖ ÃÖŸµÖ�ÖßŸÖ ¸ê ®Öê †¯Ö®Öß ×± »´Ö †ÖÝÖÓŸÖãÛ ´Öë Ã¾ÖµÖÓ ÝÖÖµÖÖ £ÖÖ ?

(1) ‹ê ¯Ö¸²ÖÖÃÖê ¸Öê²Öê Ûê (2) ²Ö×�Ö»ÖÖê Û Æ¸Ö ×²Ö®ÖÖ

(3) †Ó¬ÖÖê�Ö®Öê ¤êÆÖê †Ö»ÖÖê (4) £ÖÖê¸ê ¯ÖŸÖÖ ÝÖÖê

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7. How does ‘Tomar asime’ deviate from Behag ?

By the use of :

(1) Komal Dhaibat (2) Komal Nishad

(3) Komal Rishabh (4) Komal Gazdhar

8. Who played the veena along with singing ?

(1) Santi Dev Ghosh (2) Pankaj Kumar Mallik

(3) Anadi Kumar Dastidar (4) Shailajaranjan Mazumdar

9. Which song was composed by Tagore to celebrate the harvest ceremony ?

(1) O amar desher mati (2) Eso shyamolo sundar

(3) Aay re mora phasal kati (4) Amar praner pare

10. ‘Srabonor borisona par hoye ki bani’ was written when Rabindranath Tagore was

(1) 58 (2) 38

(3) 33 (4) 63

11. Raga and tala of ‘Majhe majhe taba dekha’ –

(1) Bilabal/Dadra (2) Kafi/Ektal

(3) Bhupali/Dadra (4) Todi/Rupakra

12. ‘Rabirashmi’ is written by

(1) Nihar Ranjan Roy (2) Sarala Devi

(3) Prasanta Kumar Pal (4) Charuchandra Bandyopadhyay

13. “Ogo tomra Sabai bhalo” occurs in

(1) Raja o Rani (2) Gora–y galad

(3) Sonar tari (4) Chitra

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7. ‘ŸÖÖê´ÖÖ¸ †×ÃÖ´Öê’ ×²ÖÆÖÝÖ ÃÖê ×Û ÃÖ ¯ÖÏÛ Ö¸ ×³Ö®®Ö Æî ? ×Û ÃÖÛê ¯ÖÏµÖÖêÝÖ ÃÖê

(1) Û Öê´Ö»Ö ¬Ö‡Ô²ÖŸÖ (2) Û Öê´Ö»Ö ×®ÖÂÖÖ¤

(3) Û Öê´Ö»Ö Š ÂÖ³Ö (4) Û Öê´Ö»Ö ÝÖ�Ö¬Ö¸

8. ÝÖßŸÖ ÝÖÖ®Öê Ûê ÃÖÖ£Ö ÃÖÖ£Ö ¾ÖßÞÖÖ ²Ö�ÖÖ®Öê ¾ÖÖ»Öê Û Öî®Ö £Öê ?

(1) ¿ÖÖÓ×ŸÖ¤ê¾Ö ‘ÖÖêÂÖ (2) ¯ÖÓÛ �Ö Ûã ´ÖÖ¸ ´Ö×»ÖÛ

(3) †®ÖÖ×¤ Ûã ´ÖÖ¸ ¤×ÃŸÖ¤Ö¸ (4) ¿ÖÖê‡Ô»ÖÖê�Ö¸Ó�Ö®Ö ´Ö�Öã´Ö¤Ö¸

9. ± ÃÖ»Ö Û ß Û ™Ö‡Ô Û Ö ˆŸÃÖ¾Ö ´Ö®ÖÖ®Öê Ûê ×»Ö‹ ™îÝÖÖê¸ «Ö¸Ö ×Û ÃÖ ÝÖßŸÖ Û ß ¸“Ö®ÖÖ Û ß ÝÖ‡Ô £Öß ?

(1) †Öê †´ÖÖ¸ ¤ê¿Öê¸ ´ÖÖ™ß (2) ‹êÃÖÖê ¿µÖÖ´Ö»ÖÖê ÃÖã®¤¸

(3) †Ö‹ ¸ê ´ÖÖê¸Ö ± ÃÖ»Ö Û Ö×™ (4) †´ÖÖ¸ ¯ÖÏÖ®Öê¸ ¯ÖÖ¸ê

10. “ÄÖÖ²ÖÖê®Öê¸ ²Öê×¸ÃÖÖê®ÖÖ ¯ÖÖ¸ ÆÖêµÖê ×Û ²ÖÖ®Öß” Û ß ¸“Ö®ÖÖ Ûê ÃÖ´ÖµÖ ¸×²Ö®¦®ÖÖ£Ö ™îÝÖÖê¸ Û ß ˆ´ÖÏ ŒµÖÖ £Öß ?

(1) 58 (2) 38

(3) 33 (4) 63

11. “´ÖÖ—Öê ´ÖÖ—Öê ŸÖ²Ö ¤êÜÖÖ” Û Ö ¸ÖÝÖ †Öî¸ ŸÖÖ»Ö ________ Æï …

(1) ×²Ö»ÖÖ²Ö»Ö/¤Ö¤¸ (2) Û Ö± ß / ‹Û ŸÖÖ»Ö

(3) ³Öæ¯ÖÖ»Öß / ¤Ö¤¸Ö (4) ™Öê›ß / ¹ ¯ÖÛ ›ÌÖ

12. ‘¸×²Ö ¸×¿´Ö’ Û ß ¸“Ö®ÖÖ ×Û ÃÖÛê «Ö¸Ö Û ß ÝÖ‡Ô £Öß ?

(1) ×®ÖÆÖ¸ ¸Ó�Ö®Ö ¸ÖµÖ (2) ÃÖ¸»ÖÖ ¤ê¾Öß

(3) ¯ÖÏ¿ÖÖÓŸÖ Ûã ´ÖÖ¸ ¯ÖÖ»Ö (4) “ÖÖ¹ “Ö®¦ ²Ö®¤Öê¯ÖÖ¬µÖÖµÖ

13. “†ÖêÝÖÖê ŸÖÖê´Ö¸Ö ÃÖ²Ö‡Ô ³ÖÖ»ÖÖê” ×Û ÃÖ´Öë †ÖŸÖÖ Æî ?

(1) ¸Ö�ÖÖ †Öë ¸Ö®Öß (2) ÝÖÖê¸ê ÝÖ»ÖÖ¤

(3) ÃÖÖê®ÖÖ¸ ŸÖÖ¸ß (4) ×“Ö¡Ö

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14. ‘Ei tomari milano sudha roilo prane sanchita’ – this line is from the song

(1) Preme prane gane gandhe (2) Amar bela je jay

(3) Ei labhinu sango tabo (4) Ohe sundaro mano

15. The number of songs in ‘Prarthana’ is

(1) 59 (2) 10

(3) 36 (4) 143

16. From ‘Nitu charano mule’ – Tagore composed the song :

(1) Yao re anantodhame (2) Nomi nomi bharoti

(3) Baje karuna sure (4) Eso shyamal sundar

17. What was Tagore’s age when he composed the song ‘Matrimandir punya Angana’ ?

(1) 52 (2) 76

(3) 56 (4) 53

18. “Yogi he, yogi he, ke tumi hridi-asane” in Kedar, Ektal occurs in the play …..

(1) Prakritir Pratishodh (2) Guru

(3) Achalayatan (4) Chirakumar Sabha

19. Who edited Tagore’s posthumous publication Sangit-Chinta ?

(1) Santideb Ghosh (2) Indira Debi Chaudhurani

(3) Pramatha Chaudhuri (4) Pulinbihari Sen

20. “Shudhu tomar vani nay go he bandhu, he priya” occurs in

(1) gitali (2) gitimalya

(3) utsarga (4) naivedya

21. Where do you find the monsoon composition “Aowe piarawa, rimijhimi barakhana lage”,

tuned in the raga Nata-Malnar (as mentioned by Rabindranath) ?

(1) In the poem “Bhiru” (2) In the novel “Yogayog”

(3) In the play Shesh Barshan (4) In the book Chhelebela

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14. ‘‹‡Ô ŸÖÖê´Ö×¸ ×´Ö»Ö®Ö ÃÖã¬ÖÖ ¸Öê‡Ô»ÖÖê ¯ÖÏÖ®Öê ÃÖÓ×“ÖŸÖÖ’ – µÖÆ ¯ÖÓ×ŒŸÖ ×Û ÃÖ ÝÖßŸÖ ÃÖê »Öß ÝÖ‡Ô Æî ?

(1) ¯ÖÏê´Öê ¯ÖÏÖÞÖê ÝÖÞÖê ÝÖ®¬Öê (2) †´ÖÖ¸ ²Öê»ÖÖ �Öê �ÖµÖ

(3) ‹ê‡Ô »Ö×³Ö®Öã ÃÖÓÝÖÖê ŸÖ²ÖÖê (4) †ÖêÆê ÃÖã®¤¸Öê ´Ö®ÖÖê

15. ¯ÖÏÖ£ÖÔ®ÖÖ ´Öë ÝÖßŸÖÖë Û ß ÃÖÓÜµÖÖ Æî

(1) 59 (2) 10

(3) 36 (4) 143

16. ‘®ÖßŸÖæ “Ö¸ÞÖ ´Öæ»Öê’ ÃÖê ™îÝÖÖê¸ ®Öê ×Û ÃÖ ÝÖßŸÖ Û ß ¸“Ö®ÖÖ Û ß ?

(1) �ÖÖ†Öê ¸ê †®ÖÓŸÖ ¬ÖÖ´Öê (2) ®ÖÖê×´Ö ®ÖÖê×´Ö ³ÖÖ¸ŸÖß

(3) ²ÖÖ�Öê Û ¹ ÞÖÖ ÃÖã¸ê (4) ‹êÃÖÖê ¿µÖÖ´Ö»Ö ÃÖãÓ¤¸

17. ™îÝÖÖê¸ ®Öê ´ÖÖŸÖé´Ö×®¤¸ ¯ÖãÞµÖ †ÖÓÝÖ®Ö ÝÖßŸÖ Û ß ¸“Ö®ÖÖ ×Û ÃÖ ˆ´ÖÏ ´Öë Û ß £Öß ?

(1) 52 (2) 76

(3) 56 (4) 53

18. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×Û ÃÖ ®ÖÖ™Û ´Öë ‹Û ŸÖÖ»Ö Ûê Ûê ¤Ö¸ ´Öë “µÖÖêÝÖß Æê, µÖÖêÝÖß Æê, Ûê ŸÖã´Öß ×Ç×¤-†ÖÃÖ®Ö” ¯ÖÖµÖÖ �ÖÖŸÖÖ Æî

(1) ¯ÖÏÛé ×ŸÖ¸ ¯ÖÏ×ŸÖ¿ÖÖê¬Ö (2) ÝÖã¹

(3) †“Ö»ÖÖµÖŸÖ®Ö (4) ×“Ö¸Ûã ´ÖÖ¸ ÃÖ³ÖÖ

19. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×Û ÃÖ®Öê ™îÝÖÖê¸ Ûê ´Ö¸ÞÖÖê¯Ö¸ÖÓŸÖ ˆ®ÖÛê ¯ÖÏÛ Ö¿Ö®Ö ‘ÃÖÓÝÖßŸÖ-Ø“ÖŸÖÖ’ Û Ö ÃÖ´¯ÖÖ¤®Ö ×Û µÖÖ £ÖÖ ?

(1) ¿ÖÖÓ×ŸÖ¤ê²Ö ‘ÖÖêÂÖ (2) ‡Ó×¤¸Ö ¤ê²Öß “ÖÖî¬Öã¸Ö®Öß

(3) ¯ÖÏ´Ö£Ö “ÖÖî¬Öã¸ß (4) ¯Öã×»Ö®Ö×²ÖÆÖ¸ß ÃÖê®Ö

20. “¿Öã¬Öã ŸÖÖê´Ö¸ ¾ÖÖÞÖß ®ÖµÖ ÝÖÖê Æê ²ÖÓ¬Öã, Æê ×¯ÖÏµÖ” ×Û ÃÖ´Öë ¯ÖÖµÖÖ �ÖÖŸÖÖ Æî ?

(1) ÝÖßŸÖÖ»Öß (2) ÝÖß×ŸÖ´ÖÖ»µÖ

(3) ˆŸÃÖÝÖÔ (4) ®ÖµÖ¾Öêª

21. “†Ö¾Öê ×¯ÖµÖ¸¾ÖÖ, ×¸´Ö×—Ö´Ö ²Ö¸ÜÖ®Ö »ÖÖÝÖê” ®ÖÖ´ÖÛ ²Ö¸ÃÖÖŸÖ ¸“Ö®ÖÖ ×Û ÃÖ´Öë ¯ÖÖ‡Ô �ÖÖŸÖß Æî, ×�ÖÃÖÛ Öê ®Ö™-´Ö»ÆÖ¸ ¸ÖÝÖ ´Öë

»ÖµÖ²Ö¨ ×Û µÖÖ ÝÖµÖÖ Æî (�ÖîÃÖÖ ×Û ™îÝÖÖê¸ ®Öê ˆ»»ÖêÜÖ ×Û µÖÖ £ÖÖ)

(1) “³Öß¹ ” Û ×¾ÖŸÖÖ ´Öë (2) “µÖÖêÝÖÖµÖÖêÝÖ” ˆ¯Ö®µÖÖÃÖ ´Öë

(3) “¿ÖêÂÖ ²Ö¸ÂÖ®Ö” ®ÖÖ™Û ´Öë (4) “”ê»Öê ²Öê»ÖÖ” ¯ÖãÃŸÖÛ ´Öë

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22. Find out the title of the song “Keno bajao kanka kana kana kato chhabhari”

(1) Bhikhari (2) Lila

(3) Lajjita (4) Kalpanik

23. Recognise the tune of the concerned song :

II +R G |

2M P P |

0DP –MP | ’M G R I

I S - | R G M | P – M | G – RSN. I

(1) Mile Sabe Bharatsantan (2) Madhura rupe Biraja

(3) Malina Mukha Chandrama (4) Banglar Mati Banglar Jal

24. The year of composition of “Phire chal matir tane”

(1) 23rd

Falgun 1328 (2) 23rd

Falgun 1327

(3) 23rd

Falgun 1329 (4) 23rd

Falgun 1326

25. “Tumi ki eshecho mor dware” occurs in

(1) Nabin (2) Tapati

(3) Natir Puja (4) Gora

26. In which part of ‘Swarabitan’ the rotation of the song “Tor Gopan prane ekla manus” is

compiled ?

(1) Swarabitan 31 (2) Swarabitan 30

(3) Swarabitan 29 (4) Swarabitan 27

27. In which story do you find the full text of the song “Eso eso phire eso” ?

(1) Gupta Dhan (2) Laboratory

(3) Megh o Raudra (4) Post Master

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22. “Ûê ®ÖÖê ²Ö�ÖÖ†Öê Û ÖÓÛ ®Ö Û ®Ö Û ®Ö Û ÖŸÖÖê ”»Ö ³Ö¸ê” Ûê ¿ÖßÂÖÔÛ Û Ö ¯ÖŸÖÖ »ÖÝÖÖ‡‹ :

(1) ×³ÖÜÖÖ¸ß (2) »Öß»ÖÖ

(3) »Ö×��ÖŸÖÖ (4) Û Ö»¯Ö×®ÖÛ

23. ÃÖÓ²ÖÓ×¬ÖŸÖ ÝÖßŸÖ Û ß ¬Öã®Ö Û Öê ¯ÖÆ“ÖÖ®Öê :

II +R G |

2M P P |

0DP –MP | ’M G R I

I S - | R G M | P – M | G – RSN. I

(1) ×´Ö»Öê ÃÖ²Öê ³ÖÖ¸ŸÖ ÃÖÓŸÖ®Ö (2) ´Ö¬Öã¸ ¹ ¯Öê ×²Ö¸Ö�ÖÖ

(3) ´Ö×»Ö®Ö ´ÖãÜÖ “Ö®¦´ÖÖ (4) ²ÖÓÝÖ»ÖÖ¸ ´ÖÖ™ß ²ÖÓÝÖ»ÖÖ¸ �Ö»Ö

24. “×± ¸ê “Ö»Ö ´ÖÖ×™¸ ™Ö®Öê” Û ß ¸“Ö®ÖÖ ×Û ÃÖ ¾ÖÂÖÔ Û ß ÝÖ‡Ô £Öß ?

(1) 23 ± Ö»ÝÖã®Ö, 1328 (2) 23 ± Ö»ÝÖã®Ö, 1327

(3) 23 ± Ö»ÝÖã®Ö,1329 (4) 23 ± Ö»ÝÖã®Ö, 1326

25. “ŸÖã×´Ö ×Û ‹ÃÖê“ÖÖê ´ÖÖê¸ «Ö¸ê” ×Û ÃÖ´Öë †ÖŸÖÖ Æî ?

(1) ®Ö²Öß®Ö (2) ŸÖ¯ÖŸÖß

(3) ®Ö™ß¸ ¯Öæ�ÖÖ (4) ÝÖÖê¸Ö

26. ‘Ã¾Ö¸ ×²ÖŸÖÖ®Ö’ Ûê ×Û ÃÖ ³ÖÖÝÖ ´Öë ‘ŸÖÖê¸ ÝÖÖê¯Ö®Ö ¯ÖÏÖÞÖê ‹Û »ÖÖ ´ÖÖ®ÖãÂÖ’ ÝÖßŸÖ Û ß “ÖÛÎ Ö¾Öé×¢Ö ÃÖÓ¸×“ÖŸÖ Û ß ÝÖ‡Ô Æî ?

(1) Ã¾Ö¸×²ÖŸÖÖ®Ö 31 (2) Ã¾Ö¸×²ÖŸÖÖ®Ö 30

(3) Ã¾Ö¸×²ÖŸÖÖ®Ö 29 (4) Ã¾Ö¸×²ÖŸÖÖ®Ö 27

27. †Ö¯Ö ×Û ÃÖ Û ÆÖ®Öß ´Öë ‘‹êÃÖÖê ‹êÃÖÖê ×± ¸ê ‹êÃÖÖê’ ÝÖßŸÖ Û Ö ¯Öæ¸Ö ¯ÖÖš ¯ÖÖ‹ÑÝÖê ?

(1) ÝÖã¯ŸÖ ¬Ö®Ö (2) »Öê²ÖÖê¸ê™Òß

(3) ´Öê‘Ö †Öê ¸Öî¦ (4) ¯ÖÖêÃ™ ´ÖÖÃ™¸

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28. Match List – I with List – II :

List – I List – II a. Nirabo rajani dekho magno i. Bramha Sangeet

b. Asima Kalsagare ii. Bibaho Utsab

c. O gan gasne-gasne iii. Bibidha Sangeet

d. Tumi acho kon para iv. Jatiya Sangeet

Codes : a b c d

(1) i ii iii iv

(2) iii i iv ii

(3) iv iii ii i

(4) ii iv i iii


List – I List – II a. Yadi tor dak sune i. Gitasutrasar || 2

b. He mon, tare dekho ii. Kanthakoumudini

c. Saktirupo hero taro iii. Satagan

d. Tomari madhuro rupe iv. Sangeetmonjari

Codes : a b c d

(1) ii iv i iii

(2) iv ii iii i

(3) i iii ii iv

(4) iii i iv ii


List – I List – II a. Tomari madhuro rupe i. E monke ankh

b. Shaktirup hero tanro ii. Tero ri nayanban

c. He mon, tanro dekho iii. Hari nam diye jagat

d. Yadi tor dak sune iv. Saptasur tingram

Codes : a b c d

(1) i iii ii iv

(2) ii iv i iii

(3) iii i iv ii

(4) iv ii iii i

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28. ÃÖæ“Öß – I Û Öê ÃÖæ“Öß – II Ûê ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Û ß×�Ö‹ :

ÃÖæ“Öß – I ÃÖæ“Öß – II

a. ®Öß¸²ÖÖê ¸�Ö®Öß ¤êÜÖÖê ´ÖÝÖ®ÖÖê i. ²ÖÎÉ ÃÖÓÝÖßŸÖ

b. †ÃÖß´Ö Û Ö»ÖÃÖÖÝÖ¸ê ii. ×²Ö¾ÖÖÆÖê ˆŸÃÖ¾Ö

c. †Öê ÝÖ®Ö ÝÖÖÃ®Öê ÝÖÖÃ®Öê iii. ×¾Ö×¾Ö¬Ö ÃÖÓÝÖßŸÖ

d. ŸÖã×´Ö †“ÖÖê Û Öê®Ö ¯ÖÖ¸Ö iv. �ÖÖŸÖßµÖ ÃÖÓÝÖßŸÖ

Ûæ ™ : a b c d

(1) i ii iii iv

(2) iii i iv ii

(3) iv iii ii i

(4) ii iv i iii



a. µÖ×¤ ŸÖÖê¸ ›ÖÛ ÃÖã®Öê i. ÝÖßŸÖ ÃÖæ¡ÖÃÖÖ¸ || 2

b. Æê ´Ö®Ö ŸÖÖ¸ê ¤êÜÖÖê ii. Û ÖÓš Û Öî´Öã×¤®Öß

c. ¿Ö×ŒŸÖº ¯Ö Æê¸Öê ŸÖÖ¸Öê iii. ÃÖŸÖÖêÝÖÞÖ

d. ŸÖÖê´Ö¸ß ´Ö¬Öã¸Öê ¹ ¯Öê iv. ÃÖÓÝÖßŸÖ ´ÖÓ�Ö¸ß

Ûæ ™ :

a b c d

(1) ii iv i iii

(2) iv ii iii i

(3) i iii ii iv

(4) iii i iv ii



a. ŸÖÖê´Ö¸ß ´Ö¬Öã¸Öê ¹ ¯Öê i. ‹ ´Ö®ÖÛê †ÖÑÜÖ

b. ¿Ö×ŒŸÖº ¯Ö Æê¸Öê ŸÖÖÓ¸Öê ii. ŸÖê¸Öê ×¸ ®ÖµÖ®Ö ²Ö®Ö

c. Æê ´Ö®Ö, ŸÖÖÓ¸Öê ¤êÜÖÖê iii. Æ×¸ ®ÖÖ´Ö ¤ß�Öê �ÖÝÖŸÖ

d. µÖÖ×¤ ŸÖÖê¸ ›ÖÛ ÃÖã®Öê iv. ÃÖ¯ŸÖÃÖã¸ ŸÖß®Ö ÝÖÏÖ´Ö

Ûæ ™ :

a b c d

(1) i iii ii iv

(2) ii iv i iii

(3) iii i iv ii

(4) iv ii iii i

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List – I List – II

a. Sakhi Bhabana Kahare Bale i. Rudrachando

b. Basanto Prabhate Ek Malatir ii. Dakghar

c. Kothao amar hariye yaoyar iii. Falguni

d. Bhalo Manus Nai Re Mora iv. Bhagnahriday

Codes :

a b c d

(1) iii ii i iv

(2) i iii iv ii

(3) ii iv iii i

(4) iv i ii iii



a. Etodin ye bosechilem i. Ketaki

b. Emon dine tare bala ii. Shyama

c. Era sukher lagi chahe iii. Phalguni

d. Eto din Tumi sakha iv. Mayar Khela

Codes :

a b c d

(1) iii i iv ii

(2) i iii ii iv

(3) ii iv i iii

(4) iv ii iii i

33. Recognise the tune of the concerned song :

P II +.S – N |

2

DP ∪ D – | 0

M – P | 3G M – I

I P S – | M G – M | R – GR ∪ | S – – I

(1) Sakali Phuralo Swapna Parai (2) O, Dekhbi Re Bhai

(3) Katobara Bhebechinu (4) Purano Sei Diner Katha

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a. ÃÖÜÖß ³ÖÖ²Ö®ÖÖ Û ÆÖ¸ê ²ÖÖ»Öê i. ¹ ¦“ÖÓ›Öê

b. ²ÖÃÖÓŸÖÖê ¯ÖÏ³ÖÖŸÖê ‹Û ´ÖÖ»ÖŸÖß¸ ii. ›ÖÛ ‘Ö¸

c. Û £ÖÖ†Öê †´ÖÖ¸ ÆÖ¸ßµÖê µÖÖ†ÖêµÖ¸ iii. ± Ö»ÝÖã®Öß

d. ³ÖÖ»ÖÖê ´ÖÖ®ÖãÂÖ ®ÖÖ‡Ô ¸ê ´ÖÖê¸Ö iv. ³ÖÝ®ÖÇ¤µÖ

Ûæ ™ :

a b c d

(1) iii ii i iv

(2) i iii iv ii

(3) ii iv iii i

(4) iv i ii iii



a. ‹êŸÖÖê ×¤®Ö �Öê ²ÖÖêÃÖê ×“Ö»Öê´Ö i. Ûê ŸÖÛ ß

b. ‹´ÖÖ®Ö ×¤®Öê ŸÖÖ¸ê ²ÖÖê»ÖÖ ii. ¿µÖÖ´ÖÖ

c. ‹ê¸Ö ÃÖãÜÖê¸ »ÖÖ×ÝÖ “ÖÖÆê iii. ± Ö»ÝÖã®Öß

d. ‹êŸÖÖê ×¤®Ö ŸÖã×´Ö ÃÖÜÖÖ iv. ´ÖÖµÖÖ¸ ÜÖê»ÖÖ

Ûæ ™ :

a b c d

(1) iii i iv ii

(2) i iii ii iv

(3) ii iv i iii

(4) iv ii iii i

33. ÃÖÓ²ÖÓ×¬ÖŸÖ ÝÖßŸÖ Û ß ¬Öã®Ö Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë :

P II +.S – N |

2

DP ∪ D – | 0

M – P | 3G M – I

I P S – | MG – M | R – GR ∪ | S – – I

(1) ÃÖÛ ×»Ö ±ã ¸Ö»ÖÖê Ã¾Ö¯®Ö ¯Ö¸Ö‡Ô (2) †Öê, ¤êÜÖ×²Ö ¸ê ³ÖÖ‡Ô

(3) Û ŸÖÖê²ÖÖ¸Ö ³Öê²Öê×“Ö®Öã (4) ¯Öã¸Ö®ÖÖê ÃÖê‡Ô ×¤®Öê¸ Û £ÖÖ

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34. “Kato barne kato gandhe, kato gane kato chhande” – this line is from the song :

(1) Tai tomar anando amar por (2) Amar milan lagi tumi

(3) Nishar swapan chutlo re ei (4) Simar majhe, asim, tumi

35. “Ami sansare mon diyechinu” occurs in

(1) Kshanika (2) Gora

(3) Kalpana (4) Chirokumar Sabha

36. “Yabar bela sesh kathati” occurs in

(1) Natarajriturangashala (2) Sesher Kabita

(3) Seshraksha (4) Tapati

37. Which song is based on Brindabani sarang ?

(1) Bipulo taranga re (2) Mahasinghasone basi

(3) Jayataba bichitra (4) Tomaro asime

38. Match the following :


a. Chokh je oder chhute chale i. Shephali

b. Akash amay bhorlo aloy ii. Tapati

c. Jago alasha shayana iii. Phalguni

d. Ananderi sagar hote iv. Arup ratan

Codes :

a b c d

(1) iii ii i iv

(2) iv iii ii i

(3) ii i iii iv

(4) i iv iii ii

39. ‘Madhura rupe birajo’ is mainly based on

(1) Behag (2) Khambaj

(3) Tilak Kamod (4) Desh

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34. “Û ŸÖÖê ¾ÖÞÖì Û ŸÖÖê ÝÖÓ¬Öê, Û ŸÖÖê ÝÖ®Öê Û ŸÖÖê ”®¤ê” – µÖÆ ¯ÖÓ×ŒŸÖ ×Û ÃÖ ÝÖßŸÖ ÃÖê »Öß ÝÖ‡Ô Æî ?

(1) ŸÖÖ‡Ô ŸÖÖê´ÖÖ¸ †Ö®ÖÓ¤Öê †´ÖÖ¸ ¯ÖÖê¸ (2) †´ÖÖ¸ ×´Ö»Ö®Ö »ÖÖ×ÝÖ ŸÖã×´Ö

(3) ×®Ö¿ÖÖ¸ Ã¾Ö¯Ö®Ö “Öã™»ÖÖê ¸ê ‹ê‡Ô (4) ×ÃÖ´Ö¸ ´ÖÖ—Öê, †×ÃÖ´Ö, ŸÖã×´Ö

35. “†×´Ö ÃÖÓÃÖÖ¸ê ´Ö®Ö ×¤µÖê×“Ö®Ö ” ×Û ÃÖ´Öë †ÖŸÖÖ Æî ?

(1) õÖ×ÞÖÛ Ö (2) ÝÖÖê Ö

(3) Û »¯Ö®ÖÖ (4) ×“Ö¸Ûã ´ÖÖ¸ ÃÖ³ÖÖ

36. “µÖÖ²Ö¸ ²Öê»ÖÖ ¿ÖêÂÖ Û £ÖÖ×ŸÖ” ×Û ÃÖ´Öë †ÖŸÖÖ Æî ?

(1) ®Ö™¸Ö�ÖŠ ŸÖã¸ÓÝÖ¿ÖÖ»ÖÖ (2) ¿ÖêÂÖê¸ Û ×¾ÖŸÖÖ

(3) ¿ÖêÂÖ¸õÖÖ (4) ŸÖ¯ÖŸÖß

37. Û Öî®Ö ÃÖÖ ÝÖßŸÖ ²ÖéÓ¤Ö²Ö®Öß ÃÖÖ¸ÓÝÖ ¯Ö¸ †Ö¬ÖÖ×¸ŸÖ Æî ?

(1) ×¾Ö¯Öã»Ö ŸÖ¸ÓÝÖ ¸ê (2) ´ÖÆÖØÃÖÆÃÖÖê®Öê ²ÖÃÖß

(3) �ÖµÖŸÖ²Ö ×²Ö×“Ö¡Ö (4) ŸÖÖê´ÖÖ¸Öê †Ö×ÃÖ´Öê

38. ×®Ö´®Ö×»Ö×ÜÖŸÖ Û Öê ÃÖã´Öê×»ÖŸÖ Û ß×�Ö‹ :


a. “ÖÖêÜÖ �Öê †Öê›ê¸ ”ã™ê “Ö»Öê i. ¿Öê± Ö»Öß

b. †ÖÛ Ö¿Ö †´ÖÖµÖ ³Ö¸»ÖÖê †»ÖÖêµÖ ii. ŸÖ¯ÖŸÖß

c. �ÖÖÝÖê †»Ö¿ÖÖ ¿ÖµÖ®ÖÖ iii. ± Ö»ÝÖã®Öß

d. †Ö®ÖÓ¤ê×¸ ÃÖÖÝÖ¸ ÆÖêŸÖê iv. †¹ ¯Ö ¸ŸÖ®Ö

Ûæ ™ :

a b c d

(1) iii ii i iv

(2) iv iii ii i

(3) ii i iii iv

(4) i iv iii ii

39. ‘´Ö¬Öã¸º ¯Öê ×²Ö¸Ö�ÖÖê’ ´ÖãÜµÖ º ¯Ö ÃÖê ×Û ÃÖ ¯Ö¸ †Ö¬ÖÖ×¸ŸÖ Æî ?

(1) ×²ÖÆÖÝÖ (2) ÜÖ´²Ö�Ö

(3) ×ŸÖ»ÖÛ Û Ö´ÖÖê¤ (4) ¤ê¿Ö

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40. Which of the following songs is not in puja paryay ?

(1) Kanna hasir dol dolano (2) Prathama yugera udaya

(3) Prabhu amara priyo amaro (4) Antara mama bikashito karo

41. Which of the following songs is based on thumri style ?

(1) Chiro Sakha he Chhero na (2) Tobu mone rekho

(3) Kebosile aji hridayasane (4) Khelar Sathi biday dwar

42. Find out the unmatching song with the other three :

(1) Buddha Susubdha karuna (2) Namo namo Buddha dibakaraya

(3) Buddha.

m Sharana.

m gachchhami (4) Pari purna.

m anandwa.

m

43. Select the correct pair from the following :

(1) Na jeo na jeona go – Dance drama shyama

(2) Dekona amare dekona – Dance drama mayarkhela

(3) Ogo dekona more dekona – Drama sapmochan

(4) Kon bandhaner granthi – Dance drama chandalika

44. Identify the Raga & Tala of ‘Ananta sagar majhe dao tori’ :

(1) Bageshri – Ada theka (2) Behag – Chawtal

(3) Purabi – Ektal (4) Multan – Jhaptal

45. Find out the wrong pair :

(1) Thakurmoshay deri na say – Hunter’s

(2) Sakti Sadh Kore Jaha dibe – Kumar

(3) Danrao Kotha Chalo tomra ke – Bajrasen

(4) Satdeshete Khunje Khunje go – Anuchar

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40. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖßŸÖ ¯Öæ�ÖÖ ¯ÖµÖÖÔµÖ ´Öë ®ÖÆà Æî ?

(1) Û ®®ÖÖ Æ×ÃÖ¸ ›Öê»Ö ›Öê»ÖÖ®ÖÖ (2) ¯ÖÏ£Ö´ÖÖ �ÖãÝÖê¸ ˆ›ÖµÖÖ

(3) ¯ÖÏ³Öã †´Ö¸Ö ×¯ÖÏµÖÖê †´Ö¸Ö (4) †®ŸÖ¸ ´Ö´Ö ×¾ÖÛ ×ÃÖŸÖÖê Û ¸Öê

41. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖßŸÖ šã´Ö¸ß ¿Öî»Öß ¯Ö¸ †Ö¬ÖÖ×¸ŸÖ Æî ?

(1) ×“Ö¸Öê ÃÖÜÖÖ Æê ”ê ¸Öê®ÖÖ (2) ŸÖÖê²Öã ´ÖÖê®Öê ¸êÜÖÖê

(3) Ûê ²ÖÖê×ÃÖ»Öê †Ö×�Ö Ç¤µÖÖÃÖ®Öê (4) ÜÖê»ÖÖ¸ ÃÖÖ£Öß ×¾Ö¤ÖµÖ «Ö¸

42. ˆÃÖ ÝÖßŸÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë �ÖÖê †®µÖ ŸÖß®Ö Ûê ÃÖÖ£Ö ´Öê»Ö ®ÖÆà ÜÖÖŸÖß Æî ?

(1) ²Öã¨ ÃÖã¿Öã²¬Ö Û ¹ ÞÖÖ (2) ®Ö´ÖÖê ®Ö´ÖÖê ²Öã¨ ×¤²ÖÖÛ ¸ÖµÖ

(3) ²Öã¨´Ö ¿Ö¸ÞÖÓ ÝÖ“”Ö×´Ö (4) ¯Ö×¸¯ÖæÞÖÔ´ÖË †Ö®Ö®«´Ö

43. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÃÖÆß �ÖÖê›ÌÖ “Öã®Öê :

(1) ®ÖÖ �Öê†Öê ®ÖÖ �Öê†Öê®ÖÖ ÝÖÖê (i) ®ÖéŸµÖ ®ÖÖ×™Û Ö ¿µÖÖ´ÖÖ

(2) ¤êÛ Öê®ÖÖ †´Ö¸ê ¤êÛ Öê®ÖÖ (ii) ®ÖéŸµÖ®ÖÖ×™Û Ö ´ÖÖµÖÖ¸ÜÖê»ÖÖ

(3) †ÖêÝÖÖê ¤êÛ Öê®ÖÖ ´ÖÖê¸ê ¤êÛ Öê®ÖÖ (iii) ®ÖÖ™Û ¿ÖÖ¯Ö´ÖÖê“Ö®Ö

(4) Û Öê®Ö ²Ö®¬Ö®Öê¸ ÝÖÏÓ×£Ö (iv) ®ÖéŸµÖ®ÖÖ×™Û Ö “ÖÓ›Ö×»ÖÛ Ö

44. ‘†®ÖÓŸÖ ÃÖÖÝÖ¸ ´Ö—Öê ¤Ö†Öê ŸÖÖê¸ß’ Ûê ¸ÖÝÖ ŸÖÖ»Ö Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë :

(1) ²ÖÖÝÖêÁÖß – †Ö›ÖšêÛ Ö (2) ×²ÖÆÖÝÖ – “Ö¾ÖŸÖÖ»Ö

(3) ¯Öæ¸²Öß – ‹Û ŸÖÖ»Ö (4) ´Öã»ŸÖÖ®Ö – —Ö¯ÖŸÖÖ»Ö

45. ÝÖ»ÖŸÖ �ÖÖê›Ìê Û Ö ¯ÖŸÖÖ »ÖÝÖÖ‹Ñ :

(1) šÖÛã ¸ ´ÖÖê¿ÖÖµÖ ¤ê×¸ ®ÖÖ ÃÖÖµÖ – Æ®™¸

(2) ¿Ö×ŒŸÖ ÃÖ¬Ö Û Öê¸ê �ÖÆÖ ×¤²Öê – Ûã ´ÖÖ¸

(3) ¤Ö®Ö¸Ö¾Ö Û Öê£ÖÖ “Ö»ÖÖê ŸÖÖê´Ö¸Ö Ûê – ²Ö�ÖÏ ÃÖê®Ö

(4) ÃÖÖŸÖ¤ê¿ÖêŸÖê ÜÖã®�Öê ÜÖã®�Öê ÝÖÖê – †®Öã“Ö¸

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a. oi maraner sagar pare i. Valmiki Pratira

b. oi re tari dilo khule ii. Basanta

c. oi bhanglo hasir Bandh iii. Gitanjali

d. oi megh kare bujhi gagane iv. Grihaprabesh

Codes :

a b c d

(1) i ii iii iv

(2) iv iii ii i

(3) iii ii i iv

(4) ii iv i iii



a. Lachhasar i. Sanshay timiro majhe

b. Adana ii. Jagate ananda yajne

c. Sarfarda iii. Nityo satye chintana karo

d. Rajbijoy iv. Bahe nirantara ananta

Codes :

a b c d

(1) iv iii ii i

(2) iii iv i ii

(3) ii i iii iv

(4) i ii iv iii

48. Who established Sangita-Sangha ?

(1) Sarala Devi (2) Pratibha Devi

(3) Pratima Devi (4) Mrinalini Devi

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a. †Öê‡Ô ´ÖÖ¸Ö®Öê¸ ÃÖÖÝÖ¸ ¯ÖÖ¸ê i. ¾ÖÖ×»´ÖÛ ß ¯Ö×¡ÖÛ Ö

b. †Öê‡Ô ¸ê ŸÖ×¸ ×¤»ÖÖê ÜÖã»Öê ii. ²ÖÃÖÓŸÖ

c. †Öê‡Ô ³ÖÓÝÖ»ÖÖê ÆÖ×ÃÖ¸ ²ÖÓ¬Ö iii. ÝÖßŸÖÖÓ�Ö»Öß

d. †Öê‡Ô ´Öê‘Ö Û ¸ê ²Öã×—Ö ÝÖÝÖ®Öê iv. ÝÖéÆ¯ÖÏ¾Öê¿Ö

Ûæ ™ :

a b c d

(1) i ii iii iv

(2) iv iii ii i

(3) iii ii i iv

(4) ii iv i iii



a. »Ö”ÖÃÖÖ¸ i. ÃÖÓ¿ÖµÖ ×ŸÖ×´Ö¸Öê ´ÖÖ—Öê

b. †›Ö®ÖÖ ii. �ÖÝÖŸÖê †Ö®Ö®¤ �ÖÖ�Ö®Öê

c. ÃÖ¸± ¸¤Ö iii. ×®ÖŸµÖÖê ÃÖŸµÖê ×“Ö®ŸÖ®ÖÖ Û ¸Öê

d. ¸Ö�Ö×²Ö�ÖµÖ iv. ²ÖÆê ×®Ö¸ÓŸÖ¸ †®Ö®ŸÖ

Ûæ ™ :

a b c d

(1) iv iii ii i

(2) iii iv i ii

(3) ii i iii iv

(4) i ii iv iii

48. ÃÖÓÝÖßŸÖ ÃÖÓ‘Ö Û ß Ã£ÖÖ¯Ö®ÖÖ ×Û ÃÖ®Öê Û ß £Öß ?

(1) ÃÖ¸»ÖÖ ¤ê¾Öß (2) ¯ÖÏ×ŸÖ³ÖÖ ¤ê¾Öß

(3) ¯ÖÏ×ŸÖ´ÖÖ ¤ê¾Öß (4) ´ÖéÞÖÖ×»Ö®Öß ¤ê¾Öß

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49. Find out the song not composed by Rabindra Nath Tagore.

(1) Antara mamo bikoshito karo (2) Tumi nirmala karo mangala kare

(3) Anek diechho nath amar (4) Satya mongala prema mayo tumi

50. The song of Kazi Nazrul Islam ‘Sunnyo e buke pakhi mor’ resembles the Tagore song :

(1) Ami tomari matira kanya (2) Ami kemon karia janabo

(3) Alpa laiya thaki Tai (4) Amay chha jonay mile

51. Who wrote “The Music of India” chapter in The New Oxford History of Music ?

(1) Nikhil Banerjee (2) Damodar Hota

(3) Rabindralal Ray (4) Arnold Adrian Bake

52. What is the pre-marital British name of Ratan Devi ?

(1) Marguerite Wilkinson (2) Ethel Rozenthal

(3) Alice Richardson (4) Mrs. Thompson

Read the notation and answer the following :

I P .S N |

.S N

.S N

.R I 'S 'R 'S – | N – DP I

I P D P | M – G | R – – | – – – I

53. Recognize the song

(1) Badal dhara holo sara (2) Badala Meghe madala baje

(3) Barisha dhara majhe shantira bari (4) Barshana mandrita andhakare

54. Recognize the raga of the song

(1) Imam (2) Desh-pilu

(3) Khambaj (4) Purabi

55. Recognize the tala of the song :

(1) Dadra (2) Shasthi

(3) Ektal (4) Kaharwa

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49. Û Öî®Ö ÃÖÖ ÝÖßŸÖ ¸²Öß®¦ ®ÖÖ£Ö ™îÝÖÖê¸ «Ö¸Ö ¸×“ÖŸÖ ®ÖÆà Æî ?

(1) †®ŸÖ¸ ´Ö´ÖÖê ×¾ÖÛ Öê×¿ÖŸÖÖê Û ¸Öê (2) ŸÖã×´Ö ×®Ö´ÖÔ»Ö Û ¸Öê ´ÖÓÝÖ»Ö Û Ö¸ê

(3) †®ÖêÛ ¤ß‹”Öê ®ÖÖ£Ö †´ÖÖ¸ (4) ÃÖŸµÖ ´ÖÓÝÖ»ÖÖ ¯ÖÏê´ÖÖ ´ÖÖµÖÖê ŸÖã×´Ö

50. Û Ö�Öß ®Ö�Ö¹ »Ö ‡Ã»ÖÖ´Ö Û Ö ÝÖßŸÖ ‘ÃÖã®Ö†Öê ‹ ²ÖãÛê ¯ÖÖÜÖß ´ÖÖê¸’ ™îÝÖÖê¸ Ûê ×Û ÃÖ ÝÖßŸÖ Û ß ŸÖ¸Æ »ÖÝÖŸÖÖ Æî ?

(1) †Ö×´Ö ŸÖÖê´Ö×¸ ´ÖÖ×™¸ Û ®µÖÖ (2) †Ö×´Ö Ûê ´ÖÖê®Ö Û ×¸† �ÖÖ®Ö²ÖÖê

(3) †»¯ÖÖ »ÖîµÖÖ £Ö×Û ŸÖÖ‡Ô (4) †´ÖÖµÖ ”Ö �ÖÖê®Öê ×´Ö»Öê

51. “×¤ ®µÖæ †ÖŒÃÖ± Öê›Ô ×ÆÃ™Òß †Öò± ´µÖæ×�ÖÛ ” ´Öë ‘×¤ ´µÖæ×�ÖÛ †Öò± ‡Ó×›µÖÖ’ †¬µÖÖµÖ ×Û ÃÖ®Öê ×»ÖÜÖÖ ?

(1) ×®Ö×ÜÖ»Ö ²Ö®Ö�Öá (2) ¤Ö´ÖÖê¤¸ ÆÖêŸÖÖ

(3) ¸²Öß®¦»ÖÖ»Ö ¸ê (4) †Ö®ÖÔ»› ‹×›ÒµÖ®Ö ²ÖÛ

52. ¸ŸÖ®Ö ¤ê¾Öß Û Ö ×¾Ö¾ÖÖÆ-¯Öæ¾ÖÔ ×²ÖÎ×™¿Ö ®ÖÖ´Ö ŒµÖÖ £ÖÖ ?

(1) ´ÖÖÝÖÔ¸Ö‡™ ×¾Ö×»Û ®ÖÃÖ®Ö (2) ‹£Öê»Ö ¸Öê�Öê®£Ö»Ö

(3) ‹×»ÖÃÖ ×¸“Ö›ÔÃÖ®Ö (4) ÁÖß´ÖŸÖß £ÖÖ´¯ÖÃÖ®Ö

Ã¾Ö¸×»Ö×¯Ö Û Öê ¯ÖœÌê †Öî¸ ×®Ö´®Ö×»Ö×ÜÖŸÖ ¯ÖÏ¿®ÖÖë Ûê ˆ¢Ö¸ ¤ë :

I P .S N |

.S N

.S N

.R | 'S 'R 'S – | N – DP I

I P D P | M – G | R – – | – – – I

53. ÝÖßŸÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë

(1) ²ÖÖ¤»Ö ¬ÖÖ¸Ö ÆÖê»ÖÖê ÃÖÖ¸Ö (2) ²ÖÖ¤»Ö ´Öê‘Öê ´ÖÖ¤»Ö ²ÖÖ�Öê

(3) ²ÖÖ×¸¿Ö ¬ÖÖ¸Ö ´ÖÖ—Öê ÃÖ×®ŸÖ¸Ö ²ÖÖ×¸ (4) ²Ö¸¿ÖÖ®ÖÖ ´Ö®¤×¸ŸÖÖ †Ó¬ÖÛ Ö¸ê

54. ÝÖßŸÖ Ûê ¸ÖÝÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë :

(1) ‡´ÖÖ®Ö (2) ¤ê¿Ö-×¯Ö»Öã

(3) ÜÖ´²Ö�Ö (4) ¯Öæ¸²Öß

55. ÝÖßŸÖ Ûê ŸÖÖ»Ö Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë :

(1) ¤Ö¤¸Ö (2) ÂÖÂšß

(3) ‹Û ŸÖÖ»Ö (4) Û Æ¸¾ÖÖ

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56. Who is the author of the book On the Edges of Time, published by Visva-Bharati ?

(1) Rabindranath Tagore (2) Rathindranath Tagore

(3) Satyendranath Tagore (4) Supriya Tagore

57. What is the title of the song Visva-Vina-Rabe Visvajana mohichhe as per Herbert A.

Popley’s book The Music of India (the Heritage of India Series) ?

(1) The Cosmic Music (2) Music of the Sphere

(3) The Lyre of the Universe (4) Visva-Veena

58. Arrange sequentially as per Gitabitan :

(a) Bandhu (b) Gaan

(c) Antarmukhe (d) Prarthana

(1) (a), (b), (c), (d) (2) (b), (c), (a), (d)

(3) (c), (d), (b), (a) (4) (b), (a), (d), (c)

59. Sort out the asymmetrical one in tonal mode :

(1) Mana jago mangala loke (2) Dao he hriday bhore dao

(3) Ankhijal muchhaile (4) Sandhya holo o ma

60. Find out the odd one :

(1) Jogajog (2) Pratham Alo

(3) Char Adhyay (4) Malancha

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56. ×¾Ö¿¾Ö ³ÖÖ¸ŸÖß «Ö¸Ö ¯ÖÏÛ Ö×¿ÖŸÖ †Ö®Ö ×¤ ‹�Öê�Ö †Öò± ™Ö‡´Ö ¯ÖãÃŸÖÛ Ûê »ÖêÜÖÛ Û Öî®Ö Æï ?

(1) ¸²Öß®¦®ÖÖ£Ö ™îÝÖÖê¸ (2) ¸ŸÖß®¦®ÖÖ£Ö ™îÝÖÖê¸

(3) ÃÖŸµÖê®¦®ÖÖ£Ö ™îÝÖÖê¸ (4) ÃÖã×¯ÖÏµÖÖ ™îÝÖÖê¸

57. Æ²ÖÔ™ ‹. ¯ÖÖê¯Ö»Öß Û ß ¯ÖãÃŸÖÛ : ×¤ ´µÖæ×�ÖÛ †Öò± ‡Ó×›µÖÖ (×¤ Æê×¸™ê�Ö †Öò± ‡Ó×›µÖÖ ÃÖß¸ß�Ö) Ûê †®ÖãÃÖÖ¸ ‘×¾Ö¿¾Ö-¾ÖßÞÖÖ-¸²Öê

×¾Ö¿¾Ö�Ö®Ö ´ÖÖê×Æ”ê’

ÝÖßŸÖ Û Ö ¿ÖßÂÖÔÛ ŒµÖÖ Æî ?

(1) ×¤ Û Öò×Ã´ÖÛ ´µÖæ×�ÖÛ (2) ´µÖæ×�ÖÛ †Öò± Ã±ê µÖ¸

(3) ×¤ »ÖÖµÖ¸ (¾ÖßÞÖÖ) †Öò± ×¤ µÖæ×®Ö¾ÖÃÖÔ (4) ×¾Ö¿¾Ö ¾ÖßÞÖÖ

58. ÝÖßŸÖ ×²ÖŸÖÖ®Ö Ûê †®ÖãÃÖÖ¸ ÛÎ ´Ö ÃÖê »ÖÝÖÖ‹Ñ :

(a) ²Ö®¬Öã (b) ÝÖÖ®Ö

(c) †®ŸÖ¸´ÖãÜÖê (d) ¯ÖÏÖ£ÖÔ®ÖÖ

(1) (a), (b), (c), (d) (2) (b), (c), (a), (d)

(3) (c), (d), (b), (a) (4) (b), (a), (d), (c)

59. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×¾ÖÂÖ´Ö Û Öê “Öã×®Ö‹ :

(1) ´Ö®Ö �ÖÖÝÖÖê ´ÖÓÝÖ»Ö »ÖÖêÛê (2) ¤Ö†Öê Æê Ç¤µÖ ³ÖÖê¸ê ¤Ö†Öê

(3) †Ó×ÜÖ�Ö»Ö ´Öã” Ö‡»Öê (4) ÃÖÓ¬µÖÖ ÆÖê»ÖÖê †Öê ´ÖÖ

60. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖ»ÖŸÖ Æî ?

(1) �ÖÖêÝÖ �ÖÖêÝÖ (2) ¯ÖÏ£Ö´Ö †Ö»ÖÖê

(3) “ÖÖ¸ †¬µÖÖµÖ (4) ´Ö»ÖÖ®“ÖÖ

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(1) Shilpotsav – Kathir Loha Kathin Ghume

(2) Halakarshan – Amra Chash Kari Anande

(3) Briksharopan – Ahwan Asilo Mahotsabe

(4) Maghotsav – Marubijayera Ketana Urao

62. Pick the odd paryay out :

(1) Dujane dekha halo (2) Amar nikhila bhuban

(3) Sabe na yatana (4) Tumi sandhyar meghmala

63. Pick the odd paryay out from the other three songs :

(1) Na na go na, koro na bhabona (2) Nayan chhere gele chole

(3) Tor praner ras to sukiye (4) Mone roye gelo maner katha

64. Pick the odd paryay out from the other three :

(1) Tumi kichu diye Jao (2) Aan go tora kar ki ache

(3) Durdeshi sei rakhal chele (4) Tomar bas kotha ye pathik

65. Single out the song them.atically different from the other three :

(1) Eshechhile tabu aso nai (2) Mone ki dwidha rekhe

(3) E bela dak poreche (4) Kichhn bolbo bole esechilem

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61. ÝÖ»ÖŸÖ �ÖÖê›ÌÖ “Öã®Öë :

(1) ×¿Ö»¯ÖÖêŸÃÖ¾Ö – Û ×£Ö¸ »ÖÖêÆÖ Û ×£Ö®Ö ‘Öã´Öê

(2) Æ»ÖÛ ÂÖÔÞÖ – †´Ö¸Ö “ÖÖÃÖ Û ×¸ †Ö®ÖÓ¤ê

(3) ¾ÖéõÖÖ¸Öê¯ÖÞÖ – †ÖÅ¾ÖÖ®Ö †×ÃÖ»ÖÖê ´ÖÆÖêŸÃÖ²Öê

(4) ´ÖÖ‘ÖÖêŸÃÖ¾Ö – ´ÖÖ¹ ×²Ö�ÖµÖê¸Ö Ûê ŸÖ®ÖÖ ‰ ¸Ö†Öê

62. ²Öê´Öê»Ö ¯ÖµÖÖÔµÖ “Öã®Öë :

(1) ¤ã�Ö®Öê ¤êÜÖÖ ÆÖê»ÖÖê (2) †´ÖÖ¸ ×®Ö×ÜÖ»Ö ³Öã²Ö®Ö

(3) ÃÖ²Öê ®ÖÖ µÖÖŸÖ®ÖÖ (4) ŸÖã×´Ö ÃÖÓ¬µÖÖ¸ ´Öê‘Ö´ÖÖ»ÖÖ

63. †®µÖ ŸÖß®Ö ÝÖßŸÖÖë Û Öê ”Öê›ÌÛ ¸ Û Öî®Ö ÃÖÖ ²Öê´Öê»Ö ¯ÖµÖÖÔµÖ Æî :

(1) ®ÖÖ ®ÖÖ ÝÖÖê ®ÖÖ, Û ¸Öê ®ÖÖ ³Ö²ÖÖê®ÖÖ (2) ®ÖµÖ®Ö ”ê ¸ê ÝÖê»Öê “ÖÖê»Öê

(3) ŸÖÖê¸ ¯ÖÏÖ®Öê¸ ¸ÃÖ ŸÖÖê ÃÖã×Û µÖê (4) ´Ö®Ö ¸ÖêµÖê ÝÖê»ÖÖê ´Ö®Öê¸ Û £ÖÖ

64. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ †®µÖ ŸÖß®Ö ÃÖê ²Öê´Öê»Ö ¯ÖµÖÖÔµÖ Æî ?

(1) ŸÖã×´Ö ×Û “Öã ×¤µÖê �ÖÖ†Öê (2) †Ö®Ö ÝÖÖê ŸÖÖê¸ Û ¸ ×Û †“Öê

(3) ¤æ¸¤ê¿Öß ÃÖê‡Ô ¸ÜÖÖ»Ö “Öê»Öê (4) ŸÖÖê´ÖÖ¸ ²ÖÖÃÖ Û Öê£ÖÖ �Öê ¯Ö×£ÖÛ

65. ˆŒŸÖ ÝÖßŸÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë �ÖÖê Û £ÖÖ®ÖÛ Û ß ¥×Â™ ÃÖê †®µÖ ŸÖß®ÖÖë ÃÖê ×³Ö®®Ö Æî :

(1) ‹êÃÖê ×”»Öê ŸÖ²Öã †ÃÖÖê ®ÖÖ‡Ô (2) ´Ö®Ö Û ß ¤ã×¾Ö¬ÖÖ ¸êÜÖê

(3) ‹Û ²Öê»ÖÖ ›ÖÛ ¯ÖÖê¸ê“Öê (4) ×Û õÖÞÖ ²ÖÖê»Ö²ÖÖê ²ÖÖê»Öê ‹êÃÖê×“Ö»Öê´Ö

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66. “Ar nahe, ar nay” occurs in

(1) Natir Puja (2) Muktadhara

(3) Nabin (4) Achalayatan


a. Arup Ratan i. Swarabitan 34

b. Basanta ii. Swarabitan 14

c. Gitabithika iii. Swarabitan 6

d. Nabagitika – I iv. Swarabitan 42

Codes :

a b c d

(1) i ii iii iv

(2) ii i iv iii

(3) iv iii i ii

(4) iii iv ii i

68. Which song is based on “Madhyaman” among the following ?

(1) Asima Kalsagare (2) Bandhu, raho raho sathe

(3) Rohi Rohi Ananda Tarango (4) Baro Asha Kore

69. Arrange sequentially as per Gitabitan –

(a) Dao he hriday bhore dao

(b) Tomay gaan sonabo

(c) Se din amay bolechhile

(d) Keno bani tabo nahi shuni

(1) (d), (c), (b), (a) (2) (b), (a), (d), (c)

(3) (d), (b), (c), (a) (4) (a), (b), (c), (d)

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66. “†¸ ®ÖÆê, †¸ ®ÖµÖ” ×Û ÃÖ´Öë †ÖŸÖÖ Æî ?

(1) ®Ö™ß¸ ¯Öæ�ÖÖ (2) ´ÖãŒŸÖ¬ÖÖ¸Ö

(3) ®Ö¾Öß®Ö (4) †“Ö»ÖÖµÖŸÖ®Ö


a. †¹ ¯Ö ¸ŸÖ®Ö i. Ã¾Ö¸ ×²ÖŸÖÖ®Ö 34

b. ²ÖÃÖÓŸÖ ii. Ã¾Ö¸ ×²ÖŸÖÖ®Ö 14

c. ÝÖßŸÖ²Öß×£ÖÛ Ö iii. Ã¾Ö¸ ×²ÖŸÖÖ®Ö 6

d. ®Ö¾ÖÝÖß×ŸÖÛ Ö – I iv. Ã¾Ö¸ ×²ÖŸÖÖ®Ö 42

Ûæ ™ :

a b c d

(1) i ii iii iv

(2) ii i iv iii

(3) iv iii i ii

(4) iii iv ii i

68. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖßŸÖ “´Ö¬µÖ´ÖÖ®Ö” ¯Ö¸ †Ö¬ÖÖ×¸ŸÖ Æî ?

(1) †×ÃÖ´ÖÖê Û Ö»ÖÃÖÝÖ¸ê (2) ²ÖÓ¬Öã, ¸ÆÖê ¸ÆÖê ÃÖÖ£Öê

(3) ¸ÖêÆß ¸ÖêÆß †Ö®ÖÓ¤Ö ŸÖ¸ÓÝÖÖê (4) ²Ö›ÌÖê †Ö¿ÖÖ Û Öê¸ê

69. ÝÖßŸÖ×²ÖŸÖÖ®Ö Ûê †®ÖãÃÖÖ¸ ÛÎ ´ÖÖ®ÖãÃÖÖ¸ ¾µÖ¾Ö×Ã£ÖŸÖ Û ¸ë –

(a) ¤Ö†Öê Æê Ç¤µÖ ³ÖÖê¸ê ¤Ö†Öê

(b) ŸÖÖê´ÖµÖ ÝÖÖ®Ö ÃÖÖê®ÖÖ²ÖÖê

(c) ÃÖê ×¤®Ö †´ÖÖµÖ ²ÖÖê»Öê×”»Öê

(d) Ûê ®ÖÖê ²ÖÖ®Öß ŸÖ²ÖÖê ®ÖÆà ¿Öã®Öß

(1) (d), (c), (b), (a) (2) (b), (a), (d), (c)

(3) (d), (b), (c), (a) (4) (a), (b), (c), (d)

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(1) Tumi amarer pita – Om pita no asi

(2) Shono Shono suro loka – Shrinwontu Visve

(3) Yadi jharer me gher mato – Yademi Prasfuranniba

(4) Ananda dhara bohichhe – Sangachi chhadhwang Sambadadhwang

71. Assertion (A) : Tagore’s certificate to Kesar Bai (23.4.1938) and his letter to Sahana

Devi (29.4.1938) regarding Kesar Bai’s singing are contradictory and confusing.

Reason (R) : In the certificate, Tagore praises Kesar Bai’s singing very highly, but in his

letter he denounces Kesar Bai’s singing vehemently.

Considering both A and R, find out the most easy and acceptable judgement.

(1) We must accept both (A) and (R) since these are documented in Sangit-Chinta.

(2) (A) is true, (R) is false.

(3) (A) is false, (R) is true.

(4) As a reader of Sangit-Chinta, we should ignore the contents of both (A) and (R).

72. Assertion (A) : Tagore has composed many songs which have defied the canons of

orthodox propriety and good people are disgusted at the impedance of a man who is

audacious only because he is untrained. “Possibly that is the best way of doing

things in the sphere of art.”

Reason (R) : We do not hesitate to say that Tagore-songs have found their place in the

heart of his land along with her flowers that are never exhausted.

Considering the statements in A and R choose the right resolution :

(1) Both (A) and (R) are true.

(2) Both (A) and (R) are false.

(3) (A) is true, (R) is partially true.

(4) A and R are partially true and partially false.

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70. ÝÖ»ÖŸÖ �ÖÖê›Ìê Û Ö ¯ÖŸÖÖ »ÖÝÖÖ‹ :

(1) ŸÖã×´Ö †´ÖÖ¸ê¸ ×¯ÖŸÖÖ – †Öê´Ö ×¯ÖŸÖÖ ®ÖÖê †ÖÃÖß

(2) ¿ÖÖê®ÖÖê ¿ÖÖê®ÖÖê ÃÖã¸Öê »ÖÖêÛ Ö – ÁÖß®Ö¾ÖÖê®ŸÖã ×¾Ö¿¾Öê

(3) �Ö×¤ —Ö¸ê¸ ´Öê ‘Öê¸ ´ÖÖ™Öê – �Ö¤ê´Öß ¯ÖÏÃÖ ±ã ¸×®®Ö²ÖÖ

(4) †Ö®ÖÓ¤ ¬ÖÖ¸Ö ²ÖÖê×Æ”ê – ÃÖÓÝÖÖ“Öß ”Ö¬Ö¾ÖÖÓÝÖ ÃÖÓ²ÖÖ¤Ö¬Ö¾ÖÖÓÝÖ

71. †×³ÖÛ £Ö®Ö (A) : ™îÝÖÖê¸ «Ö¸Ö (23.4.1938) ´Öë Ûê ÃÖ¸²ÖÖ‡Ô Û Öê ¯ÖÏ¿ÖÓÃÖÖ¯Ö¡Ö †Öî¸ ÃÖÆÖ®ÖÖ ¤ê¾Öß (29.4.1938) Û Öê

Ûê ÃÖ¸²ÖÖ‡Ô Ûê ÝÖÖµÖ®Ö Ûê ×¾ÖÂÖµÖ ´Öë ×»ÖÜÖÖ ÝÖµÖÖ ¯Ö¡Ö ˆ»Ö—Ö®Ö ³Ö¸Ö Æî …

ŸÖÛÔ (R) : †¯Ö®Öê ¯ÖÏ¿ÖÓÃÖÖ¯Ö¡Ö ´Öë Ûê ÃÖ¸²ÖÖ‡Ô Ûê ÝÖÖµÖ®Ö Û ß ³Öæ×¸-³Öæ×¸ ¯ÖÏ¿ÖÓÃÖÖ Û ß Æî ×Û ®ŸÖã †¯Ö®Öê ¯Ö¡Ö ´Öë ¾Öê Ûê ÃÖ¸²ÖÖ‡Ô Ûê

ÝÖÖµÖ®Ö Û ß ‘ÖÖê¸ Ø®Ö¤Ö Û ¸ŸÖê Æï …

(A) ŸÖ£ÖÖ (R) Û Öê ¬µÖÖ®Ö ´Öë ¸ÜÖŸÖê Æã‹ ÃÖ¾ÖÖÔ×¬ÖÛ †ÖÃÖÖ®Ö ŸÖ£ÖÖ Ã¾ÖßÛ ÖµÖÔ ˆ¢Ö¸ ¤ë …

(1) Æ´Öë (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë Û Öê Ã¾ÖßÛ Ö¸ Û ¸®ÖÖ “ÖÖ×Æ‹ ŒµÖÖë×Û µÖÆ ‘ÃÖÓÝÖßŸÖ’ Ø“ÖŸÖÖ ÝÖÏÓ£Ö ´Öë ×»Ö×ÜÖŸÖ Æî …

(2) (A) ÃÖÆß ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ Æî …

(3) (A) ÝÖ»ÖŸÖ Æî ŸÖ£ÖÖ (R) ÃÖÆß Æî …

(4) ÃÖÓÝÖßŸÖ-Ø“ÖŸÖÖ Ûê ¯ÖÖšÛ Ûê º ¯Ö ´Öë Æ´Öë (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë Û Öê ®Ö�Ö¸ †Ó¤Ö�Ö Û ¸ ¤ê®ÖÖ “ÖÖ×Æ‹ …

72. †×³ÖÛ £Ö®Ö (A) : ™îÝÖÖê¸ ®Öê †®ÖêÛ ÝÖßŸÖÖë Û ß ¸“Ö®ÖÖ Û ß Æî ×�ÖÃÖ´Öë ¹ œÌß¾ÖÖ¤ß ˆÃŸÖÖ¤Öë Û ß ×®Ö¬ÖÖÔ×¸ŸÖ Û Ö ÃÖß´ÖÖê»ÖÓ‘Ö®Ö ×Û µÖÖ

Æî ŸÖ£ÖÖ ³Ö¦ »ÖÖêÝÖÖë ®Öê ‹Û ÝÖî¸ ¯ÖÏ×¿Ö×õÖŸÖ ÆÖê®Öê Ûê Û Ö¸ÞÖ Æß ˆ®ÖÃÖê Ã¯ÖÂ™ ÆÖê ÝÖ‹ Æï :

“ ÃÖÓ³Ö¾ÖŸÖ: Û »ÖÖ Ûê õÖê¡Ö Û ÖµÖÔ Û ¸®Öê Û Ö µÖÆ ÃÖ¾ÖÖÔ×¬ÖÛ ˆ¢Ö´Ö ´ÖÖÝÖÔ Æî …”

ŸÖÛÔ (R) : Æ´Öë µÖÆ Û Æ®Öê ´Öë Û Öê‡Ô ¿ÖÓÛ Ö ®ÖÆà ÆÖê®Öß “ÖÖ×Æ‹ ×Û ™îÝÖÖê¸ Ûê ÝÖßŸÖÖë ®Öê µÖÆÖÑ Û ß ³Öæ×´Ö Ûê »ÖÖêÝÖÖë Ûê Ç¤µÖ ´Öë

Ã£ÖÖ®Ö ²Ö®ÖÖµÖÖ Æî ŸÖ£ÖÖ µÖê Û ³Öß ®Ö ´Öã¸—ÖÖ®Öê ¾ÖÖ»Öê ¯ÖãÂ¯Ö ²Ö®Ö “ÖãÛê Æï …

ˆ¯Ö¸ÖêŒŸÖ (A) ŸÖ£ÖÖ (R) Ûê †Ö¬ÖÖ¸ ¯Ö¸ ÃÖÆß ×ÃÖ¨ÖÓŸÖ Û Ö “ÖµÖ®Ö Û ¸ë :

(1) (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë ÃÖÆß Æï …

(2) (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë ÝÖ»ÖŸÖ Æï …

(3) (A) ÃÖÆß ŸÖ£ÖÖ (R) †ÖÓ×¿ÖÛ º ¯Ö ÃÖê ÃÖÆß Æî …

(4) (A) ŸÖ£ÖÖ (R) †ÖÓ×¿ÖÛ º ¯Ö ÃÖê ÃÖÆß ŸÖ£ÖÖ †ÖÓ×¿ÖÛ º ¯Ö ÃÖê ÝÖ»ÖŸÖ Æî …

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73. Assertion (A) : “Diner seshe ghumer deshe” despite being written by Rabindranath,

cannot be called a Rabindra-Sangit.

Reason (R) : It is just a poem. Tagore did not set it into musical tune. The poem is that of

day-ending but the tune given by Pankaj Kumar Mallik is that of morning.

(1) Both (A) and (R) are justified.

(2) (A) is doubtful. (R) cannot be taken as a logical syllogism.

(3) Fans of Pankaj Kumar Mallik know it as Rabindra Sangit. So (A) is correct.

(4) It should have been included in Gitabitan and Swarabitan.

74. Who scored the “Piano Arrangement and symphony orchestra” for Janagana mana

adhinayaka jaya he, (published by Visva-Bharati) ?

(1) Alan Danielou

(2) Rabi Shankar

(3) Alauddin Khan

(4) Bhimrao Shastri

75. “The pulse of India throbs in her music and dance-dramas.” – Who asserted this and in

which book ?

(1) Peggy Hobroyde, Indian Music

(2) Subhankar, Sangit Damodar

(3) Susanne K. Langer, Feeling and Form

(4) G.W.F. Hegel, Lectures on Fine Arts

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73. †×³ÖÛ £Ö®Ö (A) : “×¤®Öê¸ ¿ÖêÂÖê ‘Öã´Öê¸ ¤ê¿Öê” ¸²Öß®¦®ÖÖ£Ö «Ö¸Ö ×»ÖÜÖÖ ÝÖµÖÖ Æî ×± ¸ ³Öß ‡ÃÖê ¸²Öß®¦ ÃÖÓÝÖßŸÖ ®ÖÆà Û ÆÖ �ÖÖ

ÃÖÛ ŸÖÖ Æî …

ŸÖÛÔ (R) : µÖÆ ‹Û Û ×¾ÖŸÖÖ ´ÖÖ¡Ö Æî … ™îÝÖÖê¸ ®Öê ‡ÃÖê ÃÖÓÝÖßŸÖ Û ß ¬Öã®Ö ´Öë ŸÖîµÖÖ¸ ®ÖÆà ×Û µÖÖ … Û ×¾ÖŸÖÖ ×¤®Ö Û ß ÃÖ´ÖÖ×¯ŸÖ

(×¤®Öê¸ ¿ÖêÂÖê) Û ß Æî … ¯Ö¸ÓŸÖã ¯ÖÓÛ �Ö Ûã ´ÖÖ¸ «Ö¸Ö ¤ß ÝÖ‡Ô ¬Öã®Ö ÃÖã²ÖÆ Û ß Æî …

(1) (A) †Öî (R) ¤Öê®ÖÖë †Öî×“ÖŸµÖ¯ÖæÞÖÔ Æï …

(2) (A) ÃÖÓ¤êÆ�Ö®ÖÛ Æî … (R) Û Öê ŸÖÖÙÛ Û ®µÖÖµÖ¿ÖÖÃ¡Ö Ûê º ¯Ö ´Öë ®ÖÆà ×»ÖµÖÖ �ÖÖ ÃÖÛ ŸÖÖ Æî …

(3) ¯ÖÓÛ �Ö Ûã ´ÖÖ¸ ´Ö×»ÖÛ Ûê “ÖÖÆ®Öê ¾ÖÖ»Öê ‡ÃÖê ¸²Öß®¦ ÃÖÓÝÖßŸÖ Ûê º ¯Ö ´Öë �ÖÖ®ÖŸÖê Æï … ‡ÃÖ×»Ö‹ (A) ÃÖÆß Æî …

(4) ‡ÃÖê ÝÖßŸÖ×²ÖŸÖÖ®Ö †Öî¸ Ã¾Ö¸ ×²ÖŸÖÖ®Ö ´Öë ÃÖ×´´Ö×»ÖŸÖ ×Û µÖÖ �ÖÖ®ÖÖ “ÖÖ×Æ‹ £ÖÖ …

74. “�Ö®ÖÝÖÞÖ ´Ö®Ö †×¬Ö®ÖÖµÖÛ �ÖµÖ Æê ” Ûê ×»Ö‹ ×¯ÖµÖÖ®ÖÖê ×¾Ö®µÖÖÃÖ †Öî¸ ×ÃÖ´± ®Öß †ÖÛì Ã™ÒÖ Ã¾Ö¸×»Ö×¯Ö ×Û ÃÖ®Öê ¤ß £Öß (×¾Ö¿¾Ö-

³ÖÖ¸ŸÖß «Ö¸Ö ¯ÖÏÛ Ö×¿ÖŸÖ)

(1) ‹»Öê®Ö ›ê×®Ö‹»ÖÖ‰

(2) ¸×¾Ö ¿ÖÓÛ ¸

(3) †»ÖÖˆ§ß®Ö ÜÖÖ®Ö

(4) ³Öß´Ö¸Ö¾Ö ¿ÖÖÃ¡Öß

75. “ÃÖÓÝÖßŸÖ †Öî¸ ®ÖéŸµÖ ®ÖÖ×™Û Ö‹Ñ ³ÖÖ¸ŸÖ Ûê Ç¤µÖ Û Ö Ã¯Ö®¤®Ö Æî” – µÖÆ Û £Ö®Ö ×Û ÃÖÛ Ö Æî †Öî¸ ×Û ÃÖ ¯ÖãÃŸÖÛ ÃÖê Æî ?

(1) ¯ÖêÝÝÖß ÆÖ²¸ÖµÖ›, ‡Ó×›µÖ®Ö ´µÖæ×�ÖÛ

(2) ¿Öã³ÖÖÓÛ ¸, ÃÖÓÝÖßŸÖ ¤Ö´ÖÖê¤¸

(3) ÃÖã�Öê®Ö Ûê »ÖëÝÖ¸, ± ßØ»ÖÝÖ ‹Þ› ± Ö´ÖÔ

(4) �Öß.›²»µÖæ.‹± . ÆêÝÖê»Ö, »ÖêŒ“Ö¸ †Öò®Ö ± Ö‡®Ö †Ö™Ô

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