SAMPLE QUESTION PAPER

CARNATIC MUSIC (243)

Time: 2 hrs. Maximum Marks: 40

Note:
i. This question paper consists of 15 questions in all.
ii. All questions are compulsory.
iii. Marks are given against each question.
iv. Section A consists of Multiple Choice type questions
[Link]. 1 to 8 – Multiple Choice type questions (MCQs) carrying 01 mark each. Select and
write the most appropriate option out of the four options given in each of these
questions.
v. Section B consists of Objective type questions:
[Link]. 09- Read the passage carefully then Fill in the blanks (6 sub-questions) carrying 1
mark each.
[Link]. 10 -Read the passage carefully then true and false (6 sub-questions) carrying 1
mark each.
vi. Section C consists of Subjective type questions:
[Link]. 11 to 12 – Short Answer type questions carrying 03 marks each to be answered in
the range of 60 to 70 words.
[Link]. 13 –Long Answer type questions carrying 04 marks to be answered in the range of
80 to 90 words.
[Link]. 14 to 15 –Long Answer type questions carrying 05 marks each to be answered in
the range of 100 to 120 words.
An internal choice has been provided in the Section-C.

Section A

Multiple Choice Questions (MCQ) Marks 1x8=8

1. The minute embellishment that is attached to a Swara
a) Gamaka
b) Sruti
c) Nada
d) Sthayi

2. The Navaratri Kirtanas are composed by

a) Annamacharya
b) Kshetragna
c) Swati Tirunal
d) Govindacharya
3. In which music system the staff notation is used?
a) Western music
b) Folk music
c) Indian music
d) Film music

4. A dot below the Swaras indicates

a) Madhya Swara
b) Tara Swara
c) Mandra Swara
d) Ati Tara Swara

5. Ugabogas are composed by

a) Narayana Thirtha
b) Arunagiri Nathar
c) Jayadeva
d) Purandaradasa

6. Select the Aksharas of Adi Talam

a) 4
b) 6
c) 8
d) 10

7. The mudra used by Swati Tirunal in his compositions

a) Guruguha
b) Syamakrishna
c) Bhadrachala
d) Padmanabha

8. Which Veda mainly considered as a originator of music?

a) Rig Veda
b) Sama Veda
c) Yajur Veda
d) Atharva Veda
 Section B
9. Read the passage and answer the questions:-
Right from early times, Indian music and Musicology (Lakshya and Lakshana) show continuous
development. The Lakshanas were constantly altered or rewritten to suit the changing trends in
music. There was continuous assimilation and adoption of new features, within the framework
of tradition. Treatises gave a vivid description of the music and musicology that existed prior to
their time and the changes that came to be adopted. The treatises of those days were
predominantly focusing on the theoretical aspects. The practical part of this performing Art
used to pass through oral tradition and they were explained in the form of formulae (sutras) in
the treatises. Therefore we have only a vague idea about the form of music exited during those
days.
Fill in the blanks
A. There were continuous ________ and adoption of new features, within the framework of
tradition in Indian music. 1
B. The Lakshanas were constantly altered or rewritten to suit the changing ________ in music.
1
C. The treatises of early days were predominantly focusing on the ________ aspects.
1
D. The practical part of this performing Art used to pass through oral tradition and explained in
the form of _______. 1
E. There was continuous assimilation and adoption of new _______ in the music within the
framework of tradition. 1
F. Treatises gave a ________ of the music and musicology that existed before their time and
the changes that came to be adopted. 1

10. Read the passage and answer the following questions

In this lesson we have learnt about some important Carnatic composers. Purandaradasa, a rich
miser, converts and becomes a great bhakta. Swati Tirunal was born as a royal prince but is
known for his simplicity and devotion to bhakti and music, using his wealth for public welfare.
Ramadasa the great bhakta uses the wealth he is entrusted with, for improvement of religious
buidings. Tyagaraja seeks alms as a religious wandering minstrel, like Purandara did after
conversion. Syama Sastri and Dikshitar had no money worries, and devoted all their energy to
divine service. They have all used their knowledge, wealth and musical gifts to glorify God. Their
compositions are examples of gana rasa and bhakti rasa, showing us that music and devotion
are the greatest treasures we can have on earth.
Write true (T) and False (F)
A. Swati Tirunal was born as a royal prince but is known for his simplicity and devotion to
 bhakti and music, using his wealth for public welfare. (T/F) 1

B. Musicians Syama Sastri and Dikshitar had no money because they came from a very poor
family. (T/F) 1

C. Purandaradasa was a rich miser, so he was not believed in god. (T/F) 1

D. Ramadasa the great bhakta uses the wealth he is entrusted with, for the improvement of
contemporary music. (T/F) 1
E. In early times, Tyagaraja sought alms as a religious wandering minstrel did after conversion.
(T/F) 1
F. The compositions of great musicologists are examples of bhakti rasa, showing that music and
devotion are not the greatest treasures we can have on earth. (T/F) 1

Section C

Answer the following questions

11. During Medieval Period Raga classifications became clearer”, justify the statement. 3
12(a). Why it is said that Tillana is one of the short and liveliest musical forms? 3
(Or)
(b) How did the Bhakti movement become popular in the 7th Century?
Answer the following questions
13(a). Write the differences between Abhyasa Gana and Sabha Gana. 4
(Or)
(b). Write two important qualities desirable in a good composer

Answer the following questions

14(a). Briefly explains the contribution of Shyama Shastri to the world of Carnatic Music. 5
(Or)
(b). Explain the characteristics of the musical forms Padam and Tarangam.
15(a). Kirtana is older than Kriti form, explain. 5
(Or)
(b). Write about evaluation of the history of Indian Music in the medieval period.
 MARKING SCHEME
CARNATIC MUSIC (243)
Sl No. Answer Marks Total
distribution Marks
1 a 1 1
2 c 1 1
3 a 1 1
4 c 1 1
5 d 1 1
6 c 1 1
7 d 1 1
8 b 1 1
9(A) assimilation 1 1
9(B) trends 1 1
9(C) theoretical 1 1
9(D) formulae 1 1
9(E) features 1 1
9(F) vivid description 1 1
10(A) True 1 1
10(B) False 1 1
10(C) False 1 1
10(D) False 1 1
10(E) True 1 1
10(F) False 1 1
11 Raga is the soul of Indian music and it is an Indian 2 3
contribution to International [Link] mentioned
15 Melas and their Janya ragas in his treatise Sangita Sara.
Ramamatya mentioned 20 Melas in his treatise Swara Mela
Kalanidhi.
This treatise covers the nearly 2000 year history of 1
development in Indian Music and is like a preface to
modern Carnatic Music.
12 Tillana is crisp and lively musical form, which had its birth 2 3
in the 18th Century. Tillana is constituted from the three
rhythmic syllabi like Ti-La-Na. This form became popular
because of its brisk and attractive music. Its tempo is
usually in madhyamakala.
1
This form has the sections like Pallavi, Anupallavi and
Charanas and each section has different [Link] is
sung in both music and dance concerts and in the latter it is
constant item.
(Or)
In 7th Century onwards Bhakti movement in the country
brought in its wake hundreds of saint singers and religious
teachers.
Shaivite and Vaishnavite saints wrote Tevarams and Divya
Prabhandas in Tamil region. Devotional singers like
purandara Dasa, Bhadrachala Ramadasa, Annamacharya,
Mira Bai, Surdas, Kabir Das, Tulsidas, Gurunanak and others
saint singers composed thousands of simple devotional
songs.

13 Sabha Gana- It is music intended to be performed in 2 4

concerts. Performing in front of an august audience and
gaining popularity depends on the capabilities of the
performer.
Abhyasa Gana -To get an accurate and polished voice; the 2
training begins with swara exercises. It is also helpful in
developing a deep knowledge of swarms, talas, and other
musical abilities.
(Or)
The contribution of talented composers to the blossoming
of the music is significant.
Great composers created lyrics in beautiful language set in
suitable tunes and rhythms around which musicians
developed concerts.

14 Syama Sastri, the eldest among the musical trinity was 1 5

born on 26th April, 1762 to Viswanatha Iyer, descended
from Telugu priests who migrated from Kanchipuram.
He was named Venkatasubramaniam and trained as a
priest. A Sangita sanyasi initiated him in to music and 1
perhaps tantric Upasana (devi worship).
Almost his kritis are in praise of Mother Goddess Kamakshi
 of [Link] are in Telugu as well as [Link] used
the signature “Syamakrishna” in his [Link] three
scholarly swarajatis are well known as three jems. He has 3
used Chapu Tala profusely for his Kritis. He has come up
with Viloma Chapu (4+3) for the first time. His Kritis are
especially known for their rhythmic excellence.
Swarasahitya and swaraksharas decorate his Kritis. He has
used many rare ragas like Manji, Ahiri, Kalagada,
Chintamani etc. He has composed Navaratnamalika – 9
Kritis in praise of Meenakshi of Madhurai. Apart from this,
Syamasastri is believed to have composed nearly 300
compositions, but only around 50 compositions have been
accessed so far.
(Or)
Padam is a composition used for both music and dance (Or)
concerts. This composition is heavy in music and slow in
tempo, since it is used for dance concerts it gives 1
importance to expression (bhava). The theme of Padam is
Madhura Bhakti devotion coated with love. It indirectly
deals with Jeevatma – Paramatma relations.
Famous Padam composers are Sarangapani, Ghanam
Chinnayya, Sabhapati, Kshetragna, Ghanam Krishna Iyer,
Subbarama Iyer, Swati Tirunal, and Irayimman Thampi 3
(Examples of any two composers) Tarangam is sung as a
post-Pallavi item in a concert. This is mainly in praise of
God Krishna. The composer Narayana Teertha composed
many Tarangams on Lord Krishna, named Krishna Leela
Tarangini. It is a constant item in dance. These tarangams
are not constantly rendered in a fixed raga. Some
tarangams do not follow the strict pallavi, anupallavi ,
charanam structure.
Some popular tharangams are:-
Madhava mamava – Neelambari raga – Adi tala 1
Govardhana giridhara – Darbari Kanada raga – Adi tala
Puraya mama kamam – Bilahari raga – Adi tala
Brindavanam – Mukhari raga – Adi tala
( Any two)
15 Kirtana is older than Kriti which is another musical form. 2 5
The term Kriti refers to the composition whose significance
lies mainly in its music and not in its Sahitya. Kritis refers to
the composition whose significance lies mainly in its music
and not in its Sahitya. Kritis has a major role in Sabhagana.
It has composed of major, minor, vakra, and vivadi ragas.
But in Kirtana, the Sahitya is of primary importance. In fact,
kriti is a developed form of Kirtana.

Kirtana has its birth about the latter half of the 14th
century. Tallapakam composers (1400-1500) were the first
to use the term kirtana and write Kirtanas with the 3
divisions pallavi, anupallavi and charana. The music as well
as the rhythm of a Kirtana are simple. It belongs to applied
music. It is also very short and simple and can easily be
learnt by students. The main character of Kirtana is the
creation of Bhakti rasa or the feeling of devotion; hence
Kirtana is a sacred form. It’s Sahitya or lyric is of devotional
type or based on Puranic theme. Many kirtanas are
generally in praise of the glories of God. There will be a
number of words in Kirtana and all charanas are sung to
the same Dhatu (swara).
(Or) (Or)
India had one system of music throughout the country till
about the 13th century. Haripala for the first time 1
mentioned the terms Hindustani and Carnatic music. With
the advent of Muslim rule in the North, Indian music
interacted with the Arabian and Persian systems of music.
Comparatively,
South India remains undisturbed without any foreign
invasion. Music continued to prosper and grow along the
ancient traditional way. Thus Hindustani and Karnataka
1
music developed into two independent systems of music.
Saint Purandara Dasa, revered as Karnataka Sangita
Pitamaha systematized the Abhyasa Gana for beginners.

He also simplified the 108 ancient tales into a system of 35

tales consisting of 7 solidi tales and their five varieties.
During this period Raga classifications became clearer,
though not specific Chaturdandi Prakasika written by
Venkatamakhi was a landmark in the modern era in the 3
history of music. The treatise enumerated 72 Asampurna
Melakarta schemes based on the 16 Swarasthanas. At that
time, only 19 Melas were in vogue. All the 72 Melas and
their Janya ragas, and the Vivadi melas were musical
possibilities. The system was called Kanakambari –
Ratnambari scheme.