DAY – 37 Insta 75 Days Revision Plan-2024: Topic – ART & CULTURE, Subject-wise Test 28 , Textbook-based Test – 11 and March 2024 CA
Kartavya Desk Staff
INSTA 75 Days REVISION PLAN 2024
#### Quiz-summary
0 of 30 questions completed
Questions:
#### Information
Read about Insights IAS INSTA 75 Days Revision Plan for UPSC Civil Services Prelims – 2024 [ HERE ] :
DOWNLOAD THE INSTA 75 DAYS REVISION TIMETABLE(GS) [HERE] :
DOWNLOAD THE INSTA 75 DAYS REVISION TIMETABLE(CSAT) [HERE] :
Download MITRA booklet (My Insta Tests Revision and Assessment) – It’s for to track your daily progress while following Insta 75 Days plan. [ CLICK HERE ] :
Wish you Good Luck! 🙂
You have already completed the quiz before. Hence you can not start it again.
Quiz is loading...
You must sign in or sign up to start the quiz.
You have to finish following quiz, to start this quiz:
0 of 30 questions answered correctly
Your time:
Time has elapsed
You have reached 0 of 0 points, (0)
Average score |
Your score |
#### Categories
• Not categorized 0%
Pos. | Name | Entered on | Points | Result
Table is loading
No data available
| | | |
• Question 1 of 30 1. Question 1 points Which of the following elements/compounds is/are Indoor air pollutants? 1. Asbestos Formaldehyde Volatile organic compounds Radon How many of the above statements is/are correct? a) Only one b) Only two c) Only three d) All four Correct Solution: D Indoor air pollution refers to the physical, chemical, and biological characteristics of air in the indoor environment within a home, building, or an institution or commercial facility. Other than nitrogen dioxide, carbon monoxide, and lead, there are a number of other pollutants that affect the air quality in an enclosed space. Volatile organic compounds originate mainly from solvents and chemicals. The main indoor sources are perfumes, hair sprays, furniture polish, glues, air fresheners, moth repellents, wood preservatives, and many other products used in the house. Tobacco smoke generates a wide range of harmful chemicals and is known to cause cancer. Pesticides, if used carefully do not cause too much harm to the indoor air. Biological pollutants include pollen from plants, mite, hair from pets, fungi, parasites, and some bacteria. Most of them are allergens and can cause asthma, hay fever, and other allergic diseases. Formaldehyde is a gas that comes mainly from carpets, particle boards, and insulation foam. It causes irritation to the eyes and nose and may cause allergies in some people. Asbestos is mainly a concern because it is suspected to cause cancer. Radon is a gas that is emitted naturally by the soil. Due to modern houses having poor ventilation, it is confined inside the house causing harm to the dwellers. Incorrect Solution: D Indoor air pollution refers to the physical, chemical, and biological characteristics of air in the indoor environment within a home, building, or an institution or commercial facility. Other than nitrogen dioxide, carbon monoxide, and lead, there are a number of other pollutants that affect the air quality in an enclosed space. Volatile organic compounds originate mainly from solvents and chemicals. The main indoor sources are perfumes, hair sprays, furniture polish, glues, air fresheners, moth repellents, wood preservatives, and many other products used in the house. Tobacco smoke generates a wide range of harmful chemicals and is known to cause cancer. Pesticides, if used carefully do not cause too much harm to the indoor air. Biological pollutants include pollen from plants, mite, hair from pets, fungi, parasites, and some bacteria. Most of them are allergens and can cause asthma, hay fever, and other allergic diseases. Formaldehyde is a gas that comes mainly from carpets, particle boards, and insulation foam. It causes irritation to the eyes and nose and may cause allergies in some people. Asbestos is mainly a concern because it is suspected to cause cancer. Radon is a gas that is emitted naturally by the soil. Due to modern houses having poor ventilation, it is confined inside the house causing harm to the dwellers.
#### 1. Question
Which of the following elements/compounds is/are Indoor air pollutants? 1. Asbestos
• Formaldehyde
• Volatile organic compounds
How many of the above statements is/are correct?
• a) Only one
• b) Only two
• c) Only three
• d) All four
Solution: D
Indoor air pollution refers to the physical, chemical, and biological characteristics of air in the indoor environment within a home, building, or an institution or commercial facility.
Other than nitrogen dioxide, carbon monoxide, and lead, there are a number of other pollutants that affect the air quality in an enclosed space. Volatile organic compounds originate mainly from solvents and chemicals.
The main indoor sources are perfumes, hair sprays, furniture polish, glues, air fresheners, moth repellents, wood preservatives, and many other products used in the house.
Tobacco smoke generates a wide range of harmful chemicals and is known to cause cancer. Pesticides, if used carefully do not cause too much harm to the indoor air.
Biological pollutants include pollen from plants, mite, hair from pets, fungi, parasites, and some bacteria. Most of them are allergens and can cause asthma, hay fever, and other allergic diseases.
Formaldehyde is a gas that comes mainly from carpets, particle boards, and insulation foam. It causes irritation to the eyes and nose and may cause allergies in some people.
Asbestos is mainly a concern because it is suspected to cause cancer.
Radon is a gas that is emitted naturally by the soil. Due to modern houses having poor ventilation, it is confined inside the house causing harm to the dwellers.
Solution: D
Indoor air pollution refers to the physical, chemical, and biological characteristics of air in the indoor environment within a home, building, or an institution or commercial facility.
Other than nitrogen dioxide, carbon monoxide, and lead, there are a number of other pollutants that affect the air quality in an enclosed space. Volatile organic compounds originate mainly from solvents and chemicals.
The main indoor sources are perfumes, hair sprays, furniture polish, glues, air fresheners, moth repellents, wood preservatives, and many other products used in the house.
Tobacco smoke generates a wide range of harmful chemicals and is known to cause cancer. Pesticides, if used carefully do not cause too much harm to the indoor air.
Biological pollutants include pollen from plants, mite, hair from pets, fungi, parasites, and some bacteria. Most of them are allergens and can cause asthma, hay fever, and other allergic diseases.
Formaldehyde is a gas that comes mainly from carpets, particle boards, and insulation foam. It causes irritation to the eyes and nose and may cause allergies in some people.
Asbestos is mainly a concern because it is suspected to cause cancer.
Radon is a gas that is emitted naturally by the soil. Due to modern houses having poor ventilation, it is confined inside the house causing harm to the dwellers.
• Question 2 of 30 2. Question 1 points Consider the following statements. Mulch is a protective layer of material that is spread on top of the soil. As mulches slowly decompose, they provide organic matter which helps keep the soil loose. Which of the above statements is/are *incorrect? a) 1 only b) 2 only c) Both 1 and 2 d) Neither 1 nor 2 Correct Solution: D Organic mulches also improve the condition of the soil. As these mulches slowly decompose, they provide organic matter which helps keep the soil loose. This improves root growth, increases the infiltration of water, and also improves the water-holding capacity of the soil. Organic matter is a source of plant nutrients and provides an ideal environment for earthworms and other beneficial soil organisms. Incorrect Solution: D Organic mulches also improve the condition of the soil. As these mulches slowly decompose, they provide organic matter which helps keep the soil loose. This improves root growth, increases the infiltration of water, and also improves the water-holding capacity of the soil. Organic matter is a source of plant nutrients and provides an ideal environment for earthworms and other beneficial soil organisms*.
#### 2. Question
Consider the following statements.
• Mulch is a protective layer of material that is spread on top of the soil.
• As mulches slowly decompose, they provide organic matter which helps keep the soil loose.
Which of the above statements is/are *incorrect*?
• c) Both 1 and 2
• d) Neither 1 nor 2
Solution: D
Organic mulches also improve the condition of the soil. As these mulches slowly decompose, they provide organic matter which helps keep the soil loose.
This improves root growth, increases the infiltration of water, and also improves the water-holding capacity of the soil.
Organic matter is a source of plant nutrients and provides an ideal environment for earthworms and other beneficial soil organisms.
Solution: D
Organic mulches also improve the condition of the soil. As these mulches slowly decompose, they provide organic matter which helps keep the soil loose.
This improves root growth, increases the infiltration of water, and also improves the water-holding capacity of the soil.
Organic matter is a source of plant nutrients and provides an ideal environment for earthworms and other beneficial soil organisms.
• Question 3 of 30 3. Question 1 points Consider the following statements regarding White dwarf. White dwarfs can tell us about the age of the Universe. The heaviest stars at the end of their lives turn into white dwarfs. Which of the above statements is/are incorrect? a) 1 only b) 2 only c) Both 1 and 2 d) Neither 1 nor 2 Correct Solution: b) Where a star ends up at the end of its life depends on the mass it was born with. Stars that have a lot of mass may end their lives as black holes or neutron stars. A low or medium mass star (with mass less than about 8 times the mass of our Sun) will become a white dwarf. A typical white dwarf is about as massive as the Sun, yet only slightly bigger than the Earth. This makes white dwarfs one of the densest forms of matter, surpassed only by neutron stars and black holes. White dwarfs can tell us about the age of the Universe. Incorrect Solution: b) Where a star ends up at the end of its life depends on the mass it was born with. Stars that have a lot of mass may end their lives as black holes or neutron stars. A low or medium mass star (with mass less than about 8 times the mass of our Sun) will become a white dwarf. A typical white dwarf is about as massive as the Sun, yet only slightly bigger than the Earth. This makes white dwarfs one of the densest forms of matter, surpassed only by neutron stars and black holes. White dwarfs can tell us about the age of the Universe.
#### 3. Question
Consider the following statements regarding White dwarf.
• White dwarfs can tell us about the age of the Universe.
• The heaviest stars at the end of their lives turn into white dwarfs.
Which of the above statements is/are incorrect?
• c) Both 1 and 2
• d) Neither 1 nor 2
Solution: b)
Where a star ends up at the end of its life depends on the mass it was born with. Stars that have a lot of mass may end their lives as black holes or neutron stars. A low or medium mass star (with mass less than about 8 times the mass of our Sun) will become a white dwarf. A typical white dwarf is about as massive as the Sun, yet only slightly bigger than the Earth. This makes white dwarfs one of the densest forms of matter, surpassed only by neutron stars and black holes.
White dwarfs can tell us about the age of the Universe.
Solution: b)
Where a star ends up at the end of its life depends on the mass it was born with. Stars that have a lot of mass may end their lives as black holes or neutron stars. A low or medium mass star (with mass less than about 8 times the mass of our Sun) will become a white dwarf. A typical white dwarf is about as massive as the Sun, yet only slightly bigger than the Earth. This makes white dwarfs one of the densest forms of matter, surpassed only by neutron stars and black holes.
White dwarfs can tell us about the age of the Universe.
• Question 4 of 30 4. Question 1 points The Supreme Court’s ruling in Lily Thomas v Union of India case is related to a) Right to life under Article 21 b) National Judicial Appointments Commission c) Disqualification of Member of Parliament d) Right to Fair Compensation and Transparency in Land Acquisition Correct Solution: C As per Section 8(3) of the Representation of the People Act of 1951, conviction of a lawmaker for an offence with a two-year sentence or more leads to disqualification from the House. Section 8(4) of the RPA said that the disqualification takes effect only “after three months have elapsed” from the date of conviction. Within that period, the convicted lawmaker could have filed an appeal against the sentence before a higher court. However, this provision was struck down as “unconstitutional” in the Supreme Court’s landmark 2013 ruling in ‘Lily Thomas v Union of India’. The Persian translation of the Mahabharata is known as “” This translation is significant as it represents the adaptation of an ancient Indian epic into Persian literature, reflecting the cultural exchange between India and Persia during the Mughal period. The “Razmnama” retains the narrative and themes of the Mahabharata while presenting them in the Persian language, making the epic accessible to Persian-speaking audiences. The Mahabharata was translated into Persian at Akbar’s orders, by Faizi and `Abd al-Qadir Bada’uni. Hence, option (a) is correct. Incorrect Solution: C As per Section 8(3) of the Representation of the People Act of 1951, conviction of a lawmaker for an offence with a two-year sentence or more leads to disqualification from the House. Section 8(4) of the RPA said that the disqualification takes effect only “after three months have elapsed” from the date of conviction. Within that period, the convicted lawmaker could have filed an appeal against the sentence before a higher court. However, this provision was struck down as “unconstitutional” in the Supreme Court’s landmark 2013 ruling in ‘Lily Thomas v Union of India’.
#### 4. Question
The Supreme Court’s ruling in Lily Thomas v Union of India case is related to
• a) Right to life under Article 21
• b) National Judicial Appointments Commission
• c) Disqualification of Member of Parliament
• d) Right to Fair Compensation and Transparency in Land Acquisition
Solution: C
As per Section 8(3) of the Representation of the People Act of 1951, conviction of a lawmaker for an offence with a two-year sentence or more leads to disqualification from the House.
Section 8(4) of the RPA said that the disqualification takes effect only “after three months have elapsed” from the date of conviction. Within that period, the convicted lawmaker could have filed an appeal against the sentence before a higher court.
However, this provision was struck down as “unconstitutional” in the Supreme Court’s landmark 2013 ruling in ‘Lily Thomas v Union of India’.
• The Persian translation of the Mahabharata is known as “” This translation is significant as it represents the adaptation of an ancient Indian epic into Persian literature, reflecting the cultural exchange between India and Persia during the Mughal period. The “Razmnama” retains the narrative and themes of the Mahabharata while presenting them in the Persian language, making the epic accessible to Persian-speaking audiences.
• The Mahabharata was translated into Persian at Akbar’s orders, by Faizi and `Abd al-Qadir Bada’uni.
Hence, option (a) is correct.
Solution: C
As per Section 8(3) of the Representation of the People Act of 1951, conviction of a lawmaker for an offence with a two-year sentence or more leads to disqualification from the House.
Section 8(4) of the RPA said that the disqualification takes effect only “after three months have elapsed” from the date of conviction. Within that period, the convicted lawmaker could have filed an appeal against the sentence before a higher court.
However, this provision was struck down as “unconstitutional” in the Supreme Court’s landmark 2013 ruling in ‘Lily Thomas v Union of India’.
• Question 5 of 30 5. Question 1 points Which of the following sites of Indus Valley Civilization are located in India? Mohenjo-Daro Rakhigarhi Ganweriwala Dholavira How many of the above options is/are correct? a) Only one b) Only two c) Only three d) All four Correct Solution: B Option 2 and 4 is correct. Five urban sites — Mohenjo-Daro, Harappa, Ganweriwala (now in Pakistan) Rakhigarhi and Dholavira (India) — have been identified as centres of the Civilisation. Incorrect Solution: B Option 2 and 4 is correct. Five urban sites — Mohenjo-Daro, Harappa, Ganweriwala (now in Pakistan) Rakhigarhi and Dholavira (India) — have been identified as centres of the Civilisation. Vedangas literally mean the limbs of the Vedas. They are six in number. Just like the limbs of the body, they perform various supportive and augmenting functions in the study, preservation and protection of the Vedas and the Vedic traditions. The six Vedangas are Siksha, Chhanda, Vyakarana, Nirukta, Jyotisha and Kalpa. Kalpa Vedanga is compared with Hence, pair 2 is incorrect. Hence, option(c) is correct.
#### 5. Question
Which of the following sites of Indus Valley Civilization are located in India?
• Mohenjo-Daro
• Rakhigarhi
• Ganweriwala
How many of the above options is/are correct?
• a) Only one
• b) Only two
• c) Only three
• d) All four
Solution: B
Option 2 and 4 is correct. Five urban sites — Mohenjo-Daro, Harappa, Ganweriwala (now in Pakistan) Rakhigarhi and Dholavira (India) — have been identified as centres of the Civilisation.
Solution: B
Option 2 and 4 is correct. Five urban sites — Mohenjo-Daro, Harappa, Ganweriwala (now in Pakistan) Rakhigarhi and Dholavira (India) — have been identified as centres of the Civilisation.
• Vedangas literally mean the limbs of the Vedas. They are six in number. Just like the limbs of the body, they perform various supportive and augmenting functions in the study, preservation and protection of the Vedas and the Vedic traditions.
• The six Vedangas are Siksha, Chhanda, Vyakarana, Nirukta, Jyotisha and Kalpa.
• Kalpa Vedanga is compared with Hence, pair 2 is incorrect.
• Hence, option(c) is correct.
• Question 6 of 30 6. Question 1 points India launched International Big Cat Alliance (IBCA) for conservation of big cats, which include Leopard Cheetah Jaguar Snow Leopard Lion How many of the above options is/are correct? a) Only two b) Only three c) Only four d) All five Correct Solution: D International Big Cats Alliance (IBCA) will focus on the protection and conservation of seven major big cats of the world, including tiger, lion, leopard, snow leopard, puma, jaguar and cheetah, with membership of the range countries harbouring these species. Project Tiger was launched by the Central government on April 1, 1973, in a bid to promote conservation of the tiger. Launched at the Jim Corbett National Park, the programme was initially started in nine tiger reserves of different States such as Assam, Bihar, Karnataka, Madhya Pradesh, Maharashtra, Odisha, Rajasthan, Uttar Pradesh and West Bengal, covering over 14,000 sq km. Notably, Project Tiger didn’t just focus on the conservation of the big cats. It also ensured the preservation of their natural habitat as tigers are at the top of the food chain. Incorrect Solution: D International Big Cats Alliance (IBCA) will focus on the protection and conservation of seven major big cats of the world, including tiger, lion, leopard, snow leopard, puma, jaguar and cheetah, with membership of the range countries harbouring these species. Project Tiger was launched by the Central government on April 1, 1973, in a bid to promote conservation of the tiger. Launched at the Jim Corbett National Park, the programme was initially started in nine tiger reserves of different States such as Assam, Bihar, Karnataka, Madhya Pradesh, Maharashtra, Odisha, Rajasthan, Uttar Pradesh and West Bengal, covering over 14,000 sq km. Notably, Project Tiger didn’t just focus on the conservation of the big cats. It also ensured the preservation of their natural habitat as tigers are at the top of the food chain.
#### 6. Question
India launched International Big Cat Alliance (IBCA) for conservation of big cats, which include
• Snow Leopard
How many of the above options is/are correct?
• a) Only two
• b) Only three
• c) Only four
• d) All five
Solution: D
International Big Cats Alliance (IBCA) will focus on the protection and conservation of seven major big cats of the world, including tiger, lion, leopard, snow leopard, puma, jaguar and cheetah, with membership of the range countries harbouring these species.
Project Tiger was launched by the Central government on April 1, 1973, in a bid to promote conservation of the tiger.
Launched at the Jim Corbett National Park, the programme was initially started in nine tiger reserves of different States such as Assam, Bihar, Karnataka, Madhya Pradesh, Maharashtra, Odisha, Rajasthan, Uttar Pradesh and West Bengal, covering over 14,000 sq km.
Notably, Project Tiger didn’t just focus on the conservation of the big cats. It also ensured the preservation of their natural habitat as tigers are at the top of the food chain.
Solution: D
International Big Cats Alliance (IBCA) will focus on the protection and conservation of seven major big cats of the world, including tiger, lion, leopard, snow leopard, puma, jaguar and cheetah, with membership of the range countries harbouring these species.
Project Tiger was launched by the Central government on April 1, 1973, in a bid to promote conservation of the tiger.
Launched at the Jim Corbett National Park, the programme was initially started in nine tiger reserves of different States such as Assam, Bihar, Karnataka, Madhya Pradesh, Maharashtra, Odisha, Rajasthan, Uttar Pradesh and West Bengal, covering over 14,000 sq km.
Notably, Project Tiger didn’t just focus on the conservation of the big cats. It also ensured the preservation of their natural habitat as tigers are at the top of the food chain.
• Question 7 of 30 7. Question 1 points Governor is appointed by the Central government to oversee the functioning of state governments. Which of the following is not such a function? a) Ensuring that state Government works within the Constitutional provisions b) Ensuring that laws made by State legislature are within the constitutional framework c) Ensuring that State governments do not disregard constitutional directions given by the Central government d) None of the above Correct Solution: D If a state government does not work within the constitutional framework or if the state government disregards Centre’s directions, the Governor can recommend to the Centre the imposition of President’s rule in the State. Incorrect Solution: D If a state government does not work within the constitutional framework or if the state government disregards Centre’s directions, the Governor can recommend to the Centre the imposition of President’s rule in the State.
#### 7. Question
Governor is appointed by the Central government to oversee the functioning of state governments. Which of the following is not such a function?
• a) Ensuring that state Government works within the Constitutional provisions
• b) Ensuring that laws made by State legislature are within the constitutional framework
• c) Ensuring that State governments do not disregard constitutional directions given by the Central government
• d) None of the above
Solution: D
If a state government does not work within the constitutional framework or if the state government disregards Centre’s directions, the Governor can recommend to the Centre the imposition of President’s rule in the State.
Solution: D
If a state government does not work within the constitutional framework or if the state government disregards Centre’s directions, the Governor can recommend to the Centre the imposition of President’s rule in the State.
• Question 8 of 30 8. Question 1 points Tirumalaipuram paintings were patronized under: a) Vijayanagar Kingdom b) Pandyas c) Cholas d) Pallavas Correct Solution: B When the Pandyas rose to power, they too patronised art. Tirumalaipuram caves and Jaina caves at Sittanvasal are some of the surviving examples. A few fragmented layers of paintings can be seen in Tirumalaipuram. In Sittanavasal, the paintings are visible on the ceilings of shrines, in verandas, and on the brackets. On the pillars of the veranda are seen dancing figures of celestial nymphs. The contours of figures are firmly drawn and painted in vermilion red on a lighter background. The body is rendered in yellow with subtle modelling. Supple limbs, expression on the faces of dancers, rhythm in their swaying movement, all speak of the artists’ skill in creative imagination in visualising the forms in the architectural context. Incorrect Solution: B When the Pandyas rose to power, they too patronised art. Tirumalaipuram caves and Jaina caves at Sittanvasal are some of the surviving examples. A few fragmented layers of paintings can be seen in Tirumalaipuram. In Sittanavasal, the paintings are visible on the ceilings of shrines, in verandas, and on the brackets. On the pillars of the veranda are seen dancing figures of celestial nymphs. The contours of figures are firmly drawn and painted in vermilion red on a lighter background. The body is rendered in yellow with subtle modelling. Supple limbs, expression on the faces of dancers, rhythm in their swaying movement, all speak of the artists’ skill in creative imagination in visualising the forms in the architectural context.
#### 8. Question
Tirumalaipuram paintings were patronized under:
• a) Vijayanagar Kingdom
• b) Pandyas
• d) Pallavas
Solution: B
When the Pandyas rose to power, they too patronised art. Tirumalaipuram caves and Jaina caves at Sittanvasal are some of the surviving examples.
A few fragmented layers of paintings can be seen in Tirumalaipuram. In Sittanavasal, the paintings are visible on the ceilings of shrines, in verandas, and on the brackets.
On the pillars of the veranda are seen dancing figures of celestial nymphs. The contours of figures are firmly drawn and painted in vermilion red on a lighter background. The body is rendered in yellow with subtle modelling. Supple limbs, expression on the faces of dancers, rhythm in their swaying movement, all speak of the artists’ skill in creative imagination in visualising the forms in the architectural context.
Solution: B
When the Pandyas rose to power, they too patronised art. Tirumalaipuram caves and Jaina caves at Sittanvasal are some of the surviving examples.
A few fragmented layers of paintings can be seen in Tirumalaipuram. In Sittanavasal, the paintings are visible on the ceilings of shrines, in verandas, and on the brackets.
On the pillars of the veranda are seen dancing figures of celestial nymphs. The contours of figures are firmly drawn and painted in vermilion red on a lighter background. The body is rendered in yellow with subtle modelling. Supple limbs, expression on the faces of dancers, rhythm in their swaying movement, all speak of the artists’ skill in creative imagination in visualising the forms in the architectural context.
• Question 9 of 30 9. Question 1 points Powerful newspapers emerged during the years before the Swadeshi movement. Match the following newspapers and their editors. Swadesamitran: G. Subramaniya Iyer Amrita Bazar Patrika: Motilal Ghosh Voice of India: N. N. Sen How many of the above statements are correct? a) Only one b) Only two c) All three d) None Correct Solution: B Swadesamitran under the editorship of G. Subramaniya Iyer; Kesari and Mahratta under B.G. Tilak; Bengalee under Surendranath Banerjea; Amrita Bazar Patrika under Sisir Kumar Ghosh and Motilal Ghosh; Sudharak under G.K. Gokhale; Indian Mirror under N.N. Sen; Voice of India under Dadabhai Naoroji. In fact, there hardly existed a major political leader in India who did not possess a newspaper or was not writing for one in some capacity or the other. Incorrect Solution: B Swadesamitran under the editorship of G. Subramaniya Iyer; Kesari and Mahratta under B.G. Tilak; Bengalee under Surendranath Banerjea; Amrita Bazar Patrika under Sisir Kumar Ghosh and Motilal Ghosh; Sudharak under G.K. Gokhale; Indian Mirror under N.N. Sen; Voice of India under Dadabhai Naoroji. In fact, there hardly existed a major political leader in India who did not possess a newspaper or was not writing for one in some capacity or the other.
#### 9. Question
Powerful newspapers emerged during the years before the Swadeshi movement. Match the following newspapers and their editors.
• Swadesamitran: G. Subramaniya Iyer
• Amrita Bazar Patrika: Motilal Ghosh
• Voice of India: N. N. Sen
How many of the above statements are correct?
• a) Only one
• b) Only two
• c) All three
Solution: B
Swadesamitran under the editorship of G. Subramaniya Iyer; Kesari and Mahratta under B.G. Tilak; Bengalee under Surendranath Banerjea;
Amrita Bazar Patrika under Sisir Kumar Ghosh and Motilal Ghosh;
Sudharak under G.K. Gokhale; Indian Mirror under N.N. Sen; Voice of India under Dadabhai Naoroji.
In fact, there hardly existed a major political leader in India who did not possess a newspaper or was not writing for one in some capacity or the other.
Solution: B
Swadesamitran under the editorship of G. Subramaniya Iyer; Kesari and Mahratta under B.G. Tilak; Bengalee under Surendranath Banerjea;
Amrita Bazar Patrika under Sisir Kumar Ghosh and Motilal Ghosh;
Sudharak under G.K. Gokhale; Indian Mirror under N.N. Sen; Voice of India under Dadabhai Naoroji.
In fact, there hardly existed a major political leader in India who did not possess a newspaper or was not writing for one in some capacity or the other.
• Question 10 of 30 10. Question 1 points In the context of cybersecurity, what are Botnets? a) A stand-alone malware computer programme that replicates itself in order to spread to other computers. b) Network of private computers infected with malicious software and controlled as a group without the owners’ knowledge. c) A set of web pages that may intentionally be used to cause a web crawler to make an infinite number of requests. d) A computer programme designed to assist in the sending of spam. Correct Solution: B Botnet is a combination of the words robot and network. Botnets have been identified as growing security threat. A network of private computers infected with malicious software and controlled as a group without the owners’ knowledge, e.g. to send spam Incorrect Solution: B Botnet is a combination of the words robot and network. Botnets have been identified as growing security threat. A network of private computers infected with malicious software and controlled as a group without the owners’ knowledge, e.g. to send spam
#### 10. Question
In the context of cybersecurity, what are Botnets?
• a) A stand-alone malware computer programme that replicates itself in order to spread to other computers.
• b) Network of private computers infected with malicious software and controlled as a group without the owners’ knowledge.
• c) A set of web pages that may intentionally be used to cause a web crawler to make an infinite number of requests.
• d) A computer programme designed to assist in the sending of spam.
Solution: B
Botnet is a combination of the words robot and network. Botnets have been identified as growing security threat. A network of private computers infected with malicious software and controlled as a group without the owners’ knowledge, e.g. to send spam
Solution: B
Botnet is a combination of the words robot and network. Botnets have been identified as growing security threat. A network of private computers infected with malicious software and controlled as a group without the owners’ knowledge, e.g. to send spam
• Question 11 of 30 11. Question 1 points Ramesh takes a loan of Rs 20000 from Karan at a simple interest of 20%. He agrees to clear the loan, along with the interest, in four equal instalments, each at the end of one year, for four years. But, Karan puts forward a condition that he will continue to calculate the interest on the original amount lended till Ramesh completely pays off his loan. What is the value of each instalment? a) Rs 9000 b) Rs 9500 c) Rs 10000 d) None of these Correct Answer (A) Rs. 9000 The loan is taken for simple interest => Interest is always calculated on the initial principal amount and not on the outstanding amount. => The interest for each of the four years is the same, which is equal to 2000 20 1 / 100 = Rs. 4000 Interest for four years = 4 4000 = Rs 16000. Total amount = 20000 + 16000 = Rs 36000 => Each equal instalment 36000/4 = Rs. 9000 Incorrect Answer (A) Rs. 9000 The loan is taken for simple interest => Interest is always calculated on the initial principal amount and not on the outstanding amount. => The interest for each of the four years is the same, which is equal to 2000 20 1 / 100 = Rs. 4000 Interest for four years = 4 4000 = Rs 16000. Total amount = 20000 + 16000 = Rs 36000 => Each equal instalment 36000/4 = Rs. 9000
#### 11. Question
Ramesh takes a loan of Rs 20000 from Karan at a simple interest of 20%. He agrees to clear the loan, along with the interest, in four equal instalments, each at the end of one year, for four years. But, Karan puts forward a condition that he will continue to calculate the interest on the original amount lended till Ramesh completely pays off his loan. What is the value of each instalment?
• a) Rs 9000
• b) Rs 9500
• c) Rs 10000
• d) None of these
Answer (A) Rs. 9000
The loan is taken for simple interest => Interest is always calculated on the initial principal amount
and not on the outstanding amount.
=> The interest for each of the four years is the same, which is equal to 2000 20 1 / 100 = Rs. 4000
Interest for four years = 4 * 4000 = Rs 16000.
Total amount = 20000 + 16000 = Rs 36000
=> Each equal instalment 36000/4 = Rs. 9000
Answer (A) Rs. 9000
The loan is taken for simple interest => Interest is always calculated on the initial principal amount
and not on the outstanding amount.
=> The interest for each of the four years is the same, which is equal to 2000 20 1 / 100 = Rs. 4000
Interest for four years = 4 * 4000 = Rs 16000.
Total amount = 20000 + 16000 = Rs 36000
=> Each equal instalment 36000/4 = Rs. 9000
• Question 12 of 30 12. Question 1 points A lends rs. 5500 to B at 20% per annum and B lends the same sum to C at 22% per annum. Find the gain of B after 2 years in simple interest. A) Rs. 380 B) Rs. 275 C) Rs. 220 D) Rs. 440 Correct Option C) Rs. 220 B gives the interest to A after 2 years, 5500 20/100 2 = 2200 C gives the interest to B after 2 years 5500 22/100 2 = 2420 the gain of B = 2420 – 2200 = 220 Incorrect Option C) Rs. 220 B gives the interest to A after 2 years, 5500 20/100 2 = 2200 C gives the interest to B after 2 years 5500 22/100 2 = 2420 the gain of B = 2420 – 2200 = 220 Statement 1 is correct: Galactic tides are caused by gravitational forces within a galaxy, arising in the interactions between celestial objects like stars and gas clouds. These tidal forces influence various aspects of a galaxy’s evolution. Statement 2 is correct: They can reshape a galaxy structure by creating tidal tails and bridges, promoting star formation, and disrupting smaller star systems. Statement 3 is not correct: Galactic tides also affect the supermassive black holes at galaxy centres, leading to events that change the ways in which these cosmic beasts interact with nearby stars.
#### 12. Question
A lends rs. 5500 to B at 20% per annum and B lends the same sum to C at 22% per annum. Find the gain of B after 2 years in simple interest.
• A) Rs. 380
• B) Rs. 275
• C) Rs. 220
• D) Rs. 440
Option C) Rs. 220
B gives the interest to A after 2 years,
5500 20/100 2 = 2200
C gives the interest to B after 2 years
5500 22/100 2 = 2420
the gain of B = 2420 – 2200 = 220
Option C) Rs. 220
B gives the interest to A after 2 years,
5500 20/100 2 = 2200
C gives the interest to B after 2 years
5500 22/100 2 = 2420
the gain of B = 2420 – 2200 = 220
Statement 1 is correct: Galactic tides are caused by gravitational forces within a galaxy, arising in the interactions between celestial objects like stars and gas clouds. These tidal forces influence various aspects of a galaxy’s evolution.
Statement 2 is correct: They can reshape a galaxy structure by creating tidal tails and bridges, promoting star formation, and disrupting smaller star systems.
Statement 3 is not correct: Galactic tides also affect the supermassive black holes at galaxy centres, leading to events that change the ways in which these cosmic beasts interact with nearby stars.
• Question 13 of 30 13. Question 1 points Governments need to be generous in supporting international humanitarian agencies, whether with food or funds. Stepping-up supply of food to countries worst-hit by the hunger crisis is necessary. While this will help ease the symptoms of the crisis, it will not address its underlying causes. The latter is necessary to address the problem of food insecurity in the world. Humanitarian food aid is important but simultaneously, we need to put in place medium and long-term strategies to address conflict and climate shocks. Which of the following is the most logical, critical and rational inference that can be drawn from the above passage? (a) Cycle of hunger can be broken only by improving food production and distribution (b) The presence of hunger remains a global shame (c) Climate change, extreme weather events and global conflicts remain the primary cause of hunger (d) Humanitarian aid is a necessary but not a sufficient condition for addressing global hunger Correct Answer. A. The passage states that humanitarian aid is important but other steps are also required for ending hunger. D appears correct but A is the more logical and critical choice because the passage harps on the importance of medium and long term steps required for addressing hunger which is captured by A. Hence A is the correct answer. Incorrect Answer. A. The passage states that humanitarian aid is important but other steps are also required for ending hunger. D appears correct but A is the more logical and critical choice because the passage harps on the importance of medium and long term steps required for addressing hunger which is captured by A. Hence A is the correct answer.
#### 13. Question
Governments need to be generous in supporting international humanitarian agencies, whether with food or funds. Stepping-up supply of food to countries worst-hit by the hunger crisis is necessary. While this will help ease the symptoms of the crisis, it will not address its underlying causes. The latter is necessary to address the problem of food insecurity in the world. Humanitarian food aid is important but simultaneously, we need to put in place medium and long-term strategies to address conflict and climate shocks.
Which of the following is the most logical, critical and rational inference that can be drawn from the above passage?
• (a) Cycle of hunger can be broken only by improving food production and distribution
• (b) The presence of hunger remains a global shame
• (c) Climate change, extreme weather events and global conflicts remain the primary cause of hunger
• (d) Humanitarian aid is a necessary but not a sufficient condition for addressing global hunger
Answer. A. The passage states that humanitarian aid is important but other steps are also required for ending hunger. D appears correct but A is the more logical and critical choice because the passage harps on the importance of medium and long term steps required for addressing hunger which is captured by A. Hence A is the correct answer.
Answer. A. The passage states that humanitarian aid is important but other steps are also required for ending hunger. D appears correct but A is the more logical and critical choice because the passage harps on the importance of medium and long term steps required for addressing hunger which is captured by A. Hence A is the correct answer.
• Question 14 of 30 14. Question 1 points The impact of environmental disasters is immense but unequal. Houses in poorer areas will often be less stable, storm barriers may be weaker, sanitation is often a problem, emergency services will be poorly resourced – and preventing disease outbreaks may be hindered by the poor state of public health services. Which among the following is the most logical and essential message conveyed by the above passage? (a) We need to change the current approach to disaster aid (b) Primary health management is critical in areas affected by natural disasters (c) Poverty has a huge bearing on the impact of environmental disasters (d) None of the above Correct Answer. C. The focus of the passage is on bringing out how disasters unevenly impact the rich and poor. Hence C is the correct answer. Incorrect Answer. C. The focus of the passage is on bringing out how disasters unevenly impact the rich and poor. Hence C is the correct answer.
#### 14. Question
The impact of environmental disasters is immense but unequal. Houses in poorer areas will often be less stable, storm barriers may be weaker, sanitation is often a problem, emergency services will be poorly resourced – and preventing disease outbreaks may be hindered by the poor state of public health services.
Which among the following is the most logical and essential message conveyed by the above passage?
• (a) We need to change the current approach to disaster aid
• (b) Primary health management is critical in areas affected by natural disasters
• (c) Poverty has a huge bearing on the impact of environmental disasters
• (d) None of the above
Answer. C. The focus of the passage is on bringing out how disasters unevenly impact the rich and poor. Hence C is the correct answer.
Answer. C. The focus of the passage is on bringing out how disasters unevenly impact the rich and poor. Hence C is the correct answer.
• Question 15 of 30 15. Question 1 points As the planet warms, we need to be able to predict what populations will be at risk for infectious diseases because prevention is always superior to reaction. The researchers are now working on a map to pin point future changes in the distribution of vector-borne diseases. Which among the following is the most critical and rational inference that can be drawn from the above passage? (a) Climate change will increase risk of vector-borne diseases (b) With climate change, lifestyle diseases will no longer remain a threat (c) Prevention is always superior to reaction (d) The world remains ill-prepared for the health impacts that come with increasing temperatures and extreme weather events. Correct Answer. A. Options B and C are wrong because they are not the key focus of the passage. The passage tells us about the increasing risk of vector borne diseases as a result of climate change and the efforts undertaken by scientists to deal with such threat which doesn’t necessarily lead to the inference that the world is ill prepared, even though it might be the case. Hence A is correct. Incorrect Answer. A. Options B and C are wrong because they are not the key focus of the passage. The passage tells us about the increasing risk of vector borne diseases as a result of climate change and the efforts undertaken by scientists to deal with such threat which doesn’t necessarily lead to the inference that the world is ill prepared, even though it might be the case. Hence A is correct.
#### 15. Question
As the planet warms, we need to be able to predict what populations will be at risk for infectious diseases because prevention is always superior to reaction. The researchers are now working on a map to pin point future changes in the distribution of vector-borne diseases.
Which among the following is the most critical and rational inference that can be drawn from the above passage?
• (a) Climate change will increase risk of vector-borne diseases
• (b) With climate change, lifestyle diseases will no longer remain a threat
• (c) Prevention is always superior to reaction
• (d) The world remains ill-prepared for the health impacts that come with increasing temperatures and extreme weather events.
Answer. A. Options B and C are wrong because they are not the key focus of the passage. The passage tells us about the increasing risk of vector borne diseases as a result of climate change and the efforts undertaken by scientists to deal with such threat which doesn’t necessarily lead to the inference that the world is ill prepared, even though it might be the case. Hence A is correct.
Answer. A. Options B and C are wrong because they are not the key focus of the passage. The passage tells us about the increasing risk of vector borne diseases as a result of climate change and the efforts undertaken by scientists to deal with such threat which doesn’t necessarily lead to the inference that the world is ill prepared, even though it might be the case. Hence A is correct.
• Question 16 of 30 16. Question 1 points With reference to Rasas used in various dance forms, identify the odd one among the following: a) Bibhatsa b) Veera c) Nritta d) Haasya Correct Answer: c Explanation: Various dance forms in India classifies human emotions into nine types (Navarasa)- Bhava (emotions) : Love – Shringaara Mirth or Amusement – Haasya Compassion – Karuna Valor or Courage – Veera Anger – Roudra Fear – Bhayanak Disgust – Bibhatsa Wonder or Astonishment – Adbhuta Peace or Tranquility – Shaanta Nritta refers to pure dance movements without any specific emotional expression. It focuses on rhythm, movements, and aesthetics rather than portraying emotions. “Nritta” stands out as the odd one because it doesn’t represent a specific emotion like the other options. Hence, option (c) is correct. Incorrect Answer: c Explanation: Various dance forms in India classifies human emotions into nine types (Navarasa)- Bhava (emotions) : Love – Shringaara Mirth or Amusement – Haasya Compassion – Karuna Valor or Courage – Veera Anger – Roudra Fear – Bhayanak Disgust – Bibhatsa Wonder or Astonishment – Adbhuta Peace or Tranquility – Shaanta Nritta refers to pure dance movements without any specific emotional expression. It focuses on rhythm, movements, and aesthetics rather than portraying emotions. “Nritta” stands out as the odd one because it doesn’t represent a specific emotion like the other options. Hence, option (c) is correct.
#### 16. Question
With reference to Rasas used in various dance forms, identify the odd one among the following:
• a) Bibhatsa
Explanation:
• Various dance forms in India classifies human emotions into nine types (Navarasa)- Bhava (emotions) :
• Love – Shringaara
• Mirth or Amusement – Haasya
• Compassion – Karuna
• Valor or Courage – Veera
• Anger – Roudra
• Fear – Bhayanak
• Disgust – Bibhatsa
• Wonder or Astonishment – Adbhuta
• Peace or Tranquility – Shaanta
• Nritta refers to pure dance movements without any specific emotional expression. It focuses on rhythm, movements, and aesthetics rather than portraying emotions. “Nritta” stands out as the odd one because it doesn’t represent a specific emotion like the other options.
• Hence, option (c) is correct.
Explanation:
• Various dance forms in India classifies human emotions into nine types (Navarasa)- Bhava (emotions) :
• Love – Shringaara
• Mirth or Amusement – Haasya
• Compassion – Karuna
• Valor or Courage – Veera
• Anger – Roudra
• Fear – Bhayanak
• Disgust – Bibhatsa
• Wonder or Astonishment – Adbhuta
• Peace or Tranquility – Shaanta
• Nritta refers to pure dance movements without any specific emotional expression. It focuses on rhythm, movements, and aesthetics rather than portraying emotions. “Nritta” stands out as the odd one because it doesn’t represent a specific emotion like the other options.
• Hence, option (c) is correct.
• Question 17 of 30 17. Question 1 points Which classical dance-drama heavily emphasizes the dramatic element, combining elements of dance, music, and acting to depict stories from Hindu mythology? a) Kathakali b) Mohiniyattam c) Odissi d) Kathak Correct Answer: a Explanation: Kathakali is a classical dance-drama form originating from Kerala. It heavily emphasizes the dramatic element, combining elements of dance, music, and acting to depict stories from Hindu mythology. The performers wear elaborate costumes and makeup, and the dance movements are highly stylized to convey various emotions and characters. While Mohiniyattam does involve storytelling and expressive elements, its emphasis on the dramatic element is not as pronounced as in Kathakali. Mohiniyattam is more focused on conveying emotions through delicate movements and facial expressions rather than dramatic narrative. Incorrect Answer: a Explanation: Kathakali is a classical dance-drama form originating from Kerala. It heavily emphasizes the dramatic element, combining elements of dance, music, and acting to depict stories from Hindu mythology. The performers wear elaborate costumes and makeup, and the dance movements are highly stylized to convey various emotions and characters. While Mohiniyattam does involve storytelling and expressive elements, its emphasis on the dramatic element is not as pronounced as in Kathakali. Mohiniyattam is more focused on conveying emotions through delicate movements and facial expressions rather than dramatic narrative.
#### 17. Question
Which classical dance-drama heavily emphasizes the dramatic element, combining elements of dance, music, and acting to depict stories from Hindu mythology?
• a) Kathakali
• b) Mohiniyattam
Explanation:
• Kathakali is a classical dance-drama form originating from Kerala. It heavily emphasizes the dramatic element, combining elements of dance, music, and acting to depict stories from Hindu mythology. The performers wear elaborate costumes and makeup, and the dance movements are highly stylized to convey various emotions and characters.
• While Mohiniyattam does involve storytelling and expressive elements, its emphasis on the dramatic element is not as pronounced as in Kathakali. Mohiniyattam is more focused on conveying emotions through delicate movements and facial expressions rather than dramatic narrative.
Explanation:
• Kathakali is a classical dance-drama form originating from Kerala. It heavily emphasizes the dramatic element, combining elements of dance, music, and acting to depict stories from Hindu mythology. The performers wear elaborate costumes and makeup, and the dance movements are highly stylized to convey various emotions and characters.
• While Mohiniyattam does involve storytelling and expressive elements, its emphasis on the dramatic element is not as pronounced as in Kathakali. Mohiniyattam is more focused on conveying emotions through delicate movements and facial expressions rather than dramatic narrative.
• Question 18 of 30 18. Question 1 points Which traditional festival is intimately connected with the Chhau dance? a) Durga Puja b) Ganga Sagar Mela c) Chaitra Parva d) Bihu Correct Answer: c Explanation: There are Nine Classical Dances as recognized by Ministry of Culture, Government of India. Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri, Mohiniyattam and Chhau. Chhau is the most recent addition to the list of classical dances. The Chhau dance of Eastern India — Orissa, Jharkhand, and West Bengal – is a blend of martial traditions, temple rituals, and folk and popular performance of this region. Episodes from the epics Mahabharata, Ramayana, Puranas, traditional folklore, local legends and abstract themes through the medium of dance and a music ensemble that consists primarily of indigenous drums. The melody is interwoven and is provided by reed pipes like the Mohuri, Turi-Bheri and Shehnai. Though vocal music is not used in Chhau, the melodies are based on songs from the Jhumur folk repertoire, the devotional Kirtan, classical Hindustani ‘ragas’, and traditional Oriya sources. Dhol, Dhumsa, Nagada, Chadchadi and Jhanj provide accompaniment to Chhau dance. UNESCO has recognized Chhau dance as an Intangible Cultural Heritage of Humanity, highlighting its significance and value in the cultural landscape of India. Chaitra Parva is a traditional festival celebrated in Eastern India, particularly in the regions of Odisha, Jharkhand, and West Bengal. It is intimately connected with the Chhau dance tradition. Chaitra Parva marks the advent of spring and the start of the harvesting season, and Chhau dance is often performed as part of the festivities during this time. Hence, option (c) is correct. Incorrect Answer: c Explanation: There are Nine Classical Dances as recognized by Ministry of Culture, Government of India. Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri, Mohiniyattam and Chhau. Chhau is the most recent addition to the list of classical dances. The Chhau dance of Eastern India — Orissa, Jharkhand, and West Bengal – is a blend of martial traditions, temple rituals, and folk and popular performance of this region. Episodes from the epics Mahabharata, Ramayana, Puranas, traditional folklore, local legends and abstract themes through the medium of dance and a music ensemble that consists primarily of indigenous drums. The melody is interwoven and is provided by reed pipes like the Mohuri, Turi-Bheri and Shehnai. Though vocal music is not used in Chhau, the melodies are based on songs from the Jhumur folk repertoire, the devotional Kirtan, classical Hindustani ‘ragas’, and traditional Oriya sources. Dhol, Dhumsa, Nagada, Chadchadi and Jhanj provide accompaniment to Chhau dance. UNESCO has recognized Chhau dance as an Intangible Cultural Heritage of Humanity, highlighting its significance and value in the cultural landscape of India. Chaitra Parva is a traditional festival celebrated in Eastern India, particularly in the regions of Odisha, Jharkhand, and West Bengal. It is intimately connected with the Chhau dance tradition. Chaitra Parva marks the advent of spring and the start of the harvesting season, and Chhau dance is often performed as part of the festivities during this time. Hence, option (c) is correct.
#### 18. Question
Which traditional festival is intimately connected with the Chhau dance?
• a) Durga Puja
• b) Ganga Sagar Mela
• c) Chaitra Parva
Explanation:
• There are Nine Classical Dances as recognized by Ministry of Culture, Government of India.
• Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri, Mohiniyattam and Chhau.
• Chhau is the most recent addition to the list of classical dances.
• The Chhau dance of Eastern India — Orissa, Jharkhand, and West Bengal – is a blend of martial traditions, temple rituals, and folk and popular performance of this region.
• Episodes from the epics Mahabharata, Ramayana, Puranas, traditional folklore, local legends and abstract themes through the medium of dance and a music ensemble that consists primarily of indigenous drums.
• The melody is interwoven and is provided by reed pipes like the Mohuri, Turi-Bheri and Shehnai.
• Though vocal music is not used in Chhau, the melodies are based on songs from the Jhumur folk repertoire, the devotional Kirtan, classical Hindustani ‘ragas’, and traditional Oriya sources. Dhol, Dhumsa, Nagada, Chadchadi and Jhanj provide accompaniment to Chhau dance.
• UNESCO has recognized Chhau dance as an Intangible Cultural Heritage of Humanity, highlighting its significance and value in the cultural landscape of India.
• Chaitra Parva is a traditional festival celebrated in Eastern India, particularly in the regions of Odisha, Jharkhand, and West Bengal. It is intimately connected with the Chhau dance tradition. Chaitra Parva marks the advent of spring and the start of the harvesting season, and Chhau dance is often performed as part of the festivities during this time.
• Hence, option (c) is correct.
Explanation:
• There are Nine Classical Dances as recognized by Ministry of Culture, Government of India.
• Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri, Mohiniyattam and Chhau.
• Chhau is the most recent addition to the list of classical dances.
• The Chhau dance of Eastern India — Orissa, Jharkhand, and West Bengal – is a blend of martial traditions, temple rituals, and folk and popular performance of this region.
• Episodes from the epics Mahabharata, Ramayana, Puranas, traditional folklore, local legends and abstract themes through the medium of dance and a music ensemble that consists primarily of indigenous drums.
• The melody is interwoven and is provided by reed pipes like the Mohuri, Turi-Bheri and Shehnai.
• Though vocal music is not used in Chhau, the melodies are based on songs from the Jhumur folk repertoire, the devotional Kirtan, classical Hindustani ‘ragas’, and traditional Oriya sources. Dhol, Dhumsa, Nagada, Chadchadi and Jhanj provide accompaniment to Chhau dance.
• UNESCO has recognized Chhau dance as an Intangible Cultural Heritage of Humanity, highlighting its significance and value in the cultural landscape of India.
• Chaitra Parva is a traditional festival celebrated in Eastern India, particularly in the regions of Odisha, Jharkhand, and West Bengal. It is intimately connected with the Chhau dance tradition. Chaitra Parva marks the advent of spring and the start of the harvesting season, and Chhau dance is often performed as part of the festivities during this time.
• Hence, option (c) is correct.
• Question 19 of 30 19. Question 1 points Whose compositions were mainly in Telugu, praising Goddess Kamakshi, and is attributed to the creation of the Svarajati musical genre? a) Thyagaraja b) Muthuswamy Dikshitar c) Syama Sastri d) Purandara Dasa Correct Answer: c Explanation: TRINITY OF CARNATIC MUSIC Thyagarajan (1767-1847) Most compositions in Telugu and few in Sanskrit and in praise of Lord Rama. His very famous composition is Pancharatna Kritis. A crater on planet Mercury is named Thyagaraja. Thyagaraja created several new ragas Muthuswamy Dikshitar (1775-1835) Most compositions are in Sanskrit and relate to Hindu gods and temples. He emphasised the use of Gamaka (ornamentation). His signature name was Guruguha which is also his mudra. He was also a Veena player. Syama Sastri (1762-1827) Older than the other two. Compositions mainly in Telugu in praise of Goddess Kamakshi. He composed less kritis as compared to the other two. His signature or mudra was Syama Krishna. The Svarajati musical genre can be attributed to him. Hence, option (c) is correct. Incorrect Answer: c Explanation: TRINITY OF CARNATIC MUSIC Thyagarajan (1767-1847) Most compositions in Telugu and few in Sanskrit and in praise of Lord Rama. His very famous composition is Pancharatna Kritis. A crater on planet Mercury is named Thyagaraja. Thyagaraja created several new ragas Muthuswamy Dikshitar (1775-1835) Most compositions are in Sanskrit and relate to Hindu gods and temples. He emphasised the use of Gamaka (ornamentation). His signature name was Guruguha which is also his mudra. He was also a Veena player. Syama Sastri (1762-1827) Older than the other two. Compositions mainly in Telugu in praise of Goddess Kamakshi. He composed less kritis as compared to the other two. His signature or mudra was Syama Krishna. The Svarajati musical genre can be attributed to him. Hence, option (c) is correct.
#### 19. Question
Whose compositions were mainly in Telugu, praising Goddess Kamakshi, and is attributed to the creation of the Svarajati musical genre?
• a) Thyagaraja
• b) Muthuswamy Dikshitar
• c) Syama Sastri
• d) Purandara Dasa
Explanation:
TRINITY OF CARNATIC MUSIC
• Thyagarajan (1767-1847)
• Most compositions in Telugu and few in Sanskrit and in praise of Lord Rama.
• His very famous composition is Pancharatna Kritis.
• A crater on planet Mercury is named Thyagaraja.
• Thyagaraja created several new ragas
• Muthuswamy Dikshitar (1775-1835)
• Most compositions are in Sanskrit and relate to Hindu gods and temples.
• He emphasised the use of Gamaka (ornamentation).
• His signature name was Guruguha which is also his mudra.
• He was also a Veena player.
• Syama Sastri (1762-1827)
• Older than the other two. Compositions mainly in Telugu in praise of Goddess Kamakshi.
• He composed less kritis as compared to the other two.
• His signature or mudra was Syama Krishna.
• The Svarajati musical genre can be attributed to him.
• Hence, option (c) is correct.
Explanation:
TRINITY OF CARNATIC MUSIC
• Thyagarajan (1767-1847)
• Most compositions in Telugu and few in Sanskrit and in praise of Lord Rama.
• His very famous composition is Pancharatna Kritis.
• A crater on planet Mercury is named Thyagaraja.
• Thyagaraja created several new ragas
• Muthuswamy Dikshitar (1775-1835)
• Most compositions are in Sanskrit and relate to Hindu gods and temples.
• He emphasised the use of Gamaka (ornamentation).
• His signature name was Guruguha which is also his mudra.
• He was also a Veena player.
• Syama Sastri (1762-1827)
• Older than the other two. Compositions mainly in Telugu in praise of Goddess Kamakshi.
• He composed less kritis as compared to the other two.
• His signature or mudra was Syama Krishna.
• The Svarajati musical genre can be attributed to him.
• Hence, option (c) is correct.
• Question 20 of 30 20. Question 1 points With reference to cultural history of India, consider the following statements: Hindustani Music was developed indigenously whereas Carnatic Music was influenced by foreign musical traditions. Major instruments used in Hindustani Music are Tabla, Sarangi, Sitar and Santoor whereas Carnatic Music uses Veena, mridangam and mandolin. Compositions of Carnatic Music are lengthier, more complex compared to Hindustani Music. Hindustani Music places greater importance on instrumental music than Carnatic Music. How many of the above given statements are NOT correct? a) Only one b) Only two c) Only three d) All four Correct Answer: a Explanation: Hindustani music, originating during the Delhi Sultanate period, bears the imprint of Persian and diverse musical influences. Its forms include Dhrupad, Khayal, Tarana, Thumri, Dadra, and Ghazals, accompanied by instruments like Tabla, Sarangi, and Santoor. On the other hand, Carnatic music, born from the Bhakti movement and shaped by the trinity of composers, remains distinctly indigenous. Forms such as Alapana, Niraval, and Kalphaswaram showcase their unique melodic and rhythmic intricacies, accompanied by instruments like Veena and Mridangam. Both traditions share fundamental pillars of Swara, Raga, and Taala, yet their historical development, influences, and stylistic nuances contribute to the rich tapestry of Indian classical music. Major differences between Hindustani and Carnatic music are as follows: Hindustani Music Influenced by Arab, Persian and Afghan whereas Carnatic Music is developed indigenously. Hence statement 1 is incorrect. Major instruments used in Hindustani Music are Tabla, sarangi, sitar and santoor, whereas Carnatic Music uses Veena, mridangam and mandolin. Hence, statement 2 is correct. Hindustani Music: Compositions are relatively lighter, featuring Chaiti, Dhrupad, Dadra, Dhamar, Ghazal, Khyal, Tarana, Tappa, Trivet, Kajari, and Thumri, offering a variety of musical forms. Carnatic Music: Compositions are lengthier, more complex, and include Varnam, Javali, Keertana, Kriti, Tillana, Padam, Pallavi, Ragamalika, and Swarajati, showcasing a rich diversity in musical structures. Hence, statement 3 is correct. Hindustani Music: Places greater importance on instrumental music, with themes ranging from devotional to romantic. Carnatic Music: Vocal music plays a crucial role, and the predominant theme is often devotional, emphasizing the spiritual and cultural context. Hence, statement 4 is correct. Hence, option (a) is correct. Incorrect Answer: a Explanation: Hindustani music, originating during the Delhi Sultanate period, bears the imprint of Persian and diverse musical influences. Its forms include Dhrupad, Khayal, Tarana, Thumri, Dadra, and Ghazals, accompanied by instruments like Tabla, Sarangi, and Santoor. On the other hand, Carnatic music, born from the Bhakti movement and shaped by the trinity of composers, remains distinctly indigenous. Forms such as Alapana, Niraval, and Kalphaswaram showcase their unique melodic and rhythmic intricacies, accompanied by instruments like Veena and Mridangam. Both traditions share fundamental pillars of Swara, Raga, and Taala, yet their historical development, influences, and stylistic nuances contribute to the rich tapestry of Indian classical music. Major differences between Hindustani and Carnatic music are as follows: Hindustani Music Influenced by Arab, Persian and Afghan whereas Carnatic Music is developed indigenously. Hence statement 1 is incorrect. Major instruments used in Hindustani Music are Tabla, sarangi, sitar and santoor, whereas Carnatic Music uses Veena, mridangam and mandolin. Hence, statement 2 is correct. Hindustani Music: Compositions are relatively lighter, featuring Chaiti, Dhrupad, Dadra, Dhamar, Ghazal, Khyal, Tarana, Tappa, Trivet, Kajari, and Thumri, offering a variety of musical forms. Carnatic Music: Compositions are lengthier, more complex, and include Varnam, Javali, Keertana, Kriti, Tillana, Padam, Pallavi, Ragamalika, and Swarajati, showcasing a rich diversity in musical structures. Hence, statement 3 is correct. Hindustani Music: Places greater importance on instrumental music, with themes ranging from devotional to romantic. Carnatic Music: Vocal music plays a crucial role, and the predominant theme is often devotional, emphasizing the spiritual and cultural context. Hence, statement 4 is correct. Hence, option (a) is correct.
#### 20. Question
With reference to cultural history of India, consider the following statements:
• Hindustani Music was developed indigenously whereas Carnatic Music was influenced by foreign musical traditions.
• Major instruments used in Hindustani Music are Tabla, Sarangi, Sitar and Santoor whereas Carnatic Music uses Veena, mridangam and mandolin.
• Compositions of Carnatic Music are lengthier, more complex compared to Hindustani Music.
• Hindustani Music places greater importance on instrumental music than Carnatic Music.
How many of the above given statements are NOT correct?
• a) Only one
• b) Only two
• c) Only three
• d) All four
Explanation:
• Hindustani music, originating during the Delhi Sultanate period, bears the imprint of Persian and diverse musical influences. Its forms include Dhrupad, Khayal, Tarana, Thumri, Dadra, and Ghazals, accompanied by instruments like Tabla, Sarangi, and Santoor.
• On the other hand, Carnatic music, born from the Bhakti movement and shaped by the trinity of composers, remains distinctly indigenous. Forms such as Alapana, Niraval, and Kalphaswaram showcase their unique melodic and rhythmic intricacies, accompanied by instruments like Veena and Mridangam. Both traditions share fundamental pillars of Swara, Raga, and Taala, yet their historical development, influences, and stylistic nuances contribute to the rich tapestry of Indian classical music.
• Major differences between Hindustani and Carnatic music are as follows:
• Hindustani Music Influenced by Arab, Persian and Afghan whereas Carnatic Music is developed indigenously. Hence statement 1 is incorrect.
• Major instruments used in Hindustani Music are Tabla, sarangi, sitar and santoor, whereas Carnatic Music uses Veena, mridangam and mandolin. Hence, statement 2 is correct.
• Hindustani Music: Compositions are relatively lighter, featuring Chaiti, Dhrupad, Dadra, Dhamar, Ghazal, Khyal, Tarana, Tappa, Trivet, Kajari, and Thumri, offering a variety of musical forms.
• Carnatic Music: Compositions are lengthier, more complex, and include Varnam, Javali, Keertana, Kriti, Tillana, Padam, Pallavi, Ragamalika, and Swarajati, showcasing a rich diversity in musical structures. Hence, statement 3 is correct.
• Hindustani Music: Places greater importance on instrumental music, with themes ranging from devotional to romantic.
• Carnatic Music: Vocal music plays a crucial role, and the predominant theme is often devotional, emphasizing the spiritual and cultural context. Hence, statement 4 is correct.
• Hence, option (a) is correct.
Explanation:
• Hindustani music, originating during the Delhi Sultanate period, bears the imprint of Persian and diverse musical influences. Its forms include Dhrupad, Khayal, Tarana, Thumri, Dadra, and Ghazals, accompanied by instruments like Tabla, Sarangi, and Santoor.
• On the other hand, Carnatic music, born from the Bhakti movement and shaped by the trinity of composers, remains distinctly indigenous. Forms such as Alapana, Niraval, and Kalphaswaram showcase their unique melodic and rhythmic intricacies, accompanied by instruments like Veena and Mridangam. Both traditions share fundamental pillars of Swara, Raga, and Taala, yet their historical development, influences, and stylistic nuances contribute to the rich tapestry of Indian classical music.
• Major differences between Hindustani and Carnatic music are as follows:
• Hindustani Music Influenced by Arab, Persian and Afghan whereas Carnatic Music is developed indigenously. Hence statement 1 is incorrect.
• Major instruments used in Hindustani Music are Tabla, sarangi, sitar and santoor, whereas Carnatic Music uses Veena, mridangam and mandolin. Hence, statement 2 is correct.
• Hindustani Music: Compositions are relatively lighter, featuring Chaiti, Dhrupad, Dadra, Dhamar, Ghazal, Khyal, Tarana, Tappa, Trivet, Kajari, and Thumri, offering a variety of musical forms.
• Carnatic Music: Compositions are lengthier, more complex, and include Varnam, Javali, Keertana, Kriti, Tillana, Padam, Pallavi, Ragamalika, and Swarajati, showcasing a rich diversity in musical structures. Hence, statement 3 is correct.
• Hindustani Music: Places greater importance on instrumental music, with themes ranging from devotional to romantic.
• Carnatic Music: Vocal music plays a crucial role, and the predominant theme is often devotional, emphasizing the spiritual and cultural context. Hence, statement 4 is correct.
• Hence, option (a) is correct.
• Question 21 of 30 21. Question 1 points Which element of nature is denoted by the dance form Mohiniyattam? a) Earth b) Water c) Fire d) Air Correct Answer: d Explanation: Mohiniyattam Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala. Mohiniattam though born out of the fusion of Kathakali and Bharatnatyam, has developed its own identity. Mohiniattam is also known as the ‘Dance of the Celestial Female magicians’. It narrates the story of feminine dance of Vishnu. It is essentially a solo dance, performed by female dancers. Mohiniyattam is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps. It belongs to the lasya style which is feminine, tender and graceful. The movements are emphasized by the glides and the up and down movement on toes, like the waves of the sea and the swaying of the coconut, palm trees and the paddy fields. The foot work is not terse and is rendered softly. Importance is given to the hand gestures and Mukhabhinaya with subtle facial expressions. The hand gestures, 24 in number, are mainly adopted from Hastalakshana Deepika, a text followed by Kathakali. Few are also borrowed from NatyaShastra, AbhinayaDarpana and Balarambharatam. The vocal music for Mohiniattam is Carnatic Music. This art form denotes the element of Air. Mohiniattam’s characteristics, particularly its emphasis on graceful, swaying body movements and the comparison of these movements to the waves of the sea and the swaying of coconut, palm trees, and paddy fields. Additionally, the reference to the art form’s association with the element of Air aligns with its portrayal of feminine, tender, and graceful movements, which are characteristic of the Lasya style. Hence, option (d) is correct. Incorrect Answer: d Explanation: Mohiniyattam Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala. Mohiniattam though born out of the fusion of Kathakali and Bharatnatyam, has developed its own identity. Mohiniattam is also known as the ‘Dance of the Celestial Female magicians’. It narrates the story of feminine dance of Vishnu. It is essentially a solo dance, performed by female dancers. Mohiniyattam is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps. It belongs to the lasya style which is feminine, tender and graceful. The movements are emphasized by the glides and the up and down movement on toes, like the waves of the sea and the swaying of the coconut, palm trees and the paddy fields. The foot work is not terse and is rendered softly. Importance is given to the hand gestures and Mukhabhinaya with subtle facial expressions. The hand gestures, 24 in number, are mainly adopted from Hastalakshana Deepika, a text followed by Kathakali. Few are also borrowed from NatyaShastra, AbhinayaDarpana and Balarambharatam. The vocal music for Mohiniattam is Carnatic Music. This art form denotes the element of Air. Mohiniattam’s characteristics, particularly its emphasis on graceful, swaying body movements and the comparison of these movements to the waves of the sea and the swaying of coconut, palm trees, and paddy fields. Additionally, the reference to the art form’s association with the element of Air aligns with its portrayal of feminine, tender, and graceful movements, which are characteristic of the Lasya style. Hence, option (d) is correct.
#### 21. Question
Which element of nature is denoted by the dance form Mohiniyattam?
Explanation:
Mohiniyattam
• Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala.
• Mohiniattam though born out of the fusion of Kathakali and Bharatnatyam, has developed its own identity.
• Mohiniattam is also known as the ‘Dance of the Celestial Female magicians’. It narrates the story of feminine dance of Vishnu.
• It is essentially a solo dance, performed by female dancers.
• Mohiniyattam is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps. It belongs to the lasya style which is feminine, tender and graceful.
• The movements are emphasized by the glides and the up and down movement on toes, like the waves of the sea and the swaying of the coconut, palm trees and the paddy fields.
• The foot work is not terse and is rendered softly. Importance is given to the hand gestures and Mukhabhinaya with subtle facial expressions.
• The hand gestures, 24 in number, are mainly adopted from Hastalakshana Deepika, a text followed by Kathakali. Few are also borrowed from NatyaShastra, AbhinayaDarpana and Balarambharatam.
• The vocal music for Mohiniattam is Carnatic Music.
• This art form denotes the element of Air. Mohiniattam’s characteristics, particularly its emphasis on graceful, swaying body movements and the comparison of these movements to the waves of the sea and the swaying of coconut, palm trees, and paddy fields. Additionally, the reference to the art form’s association with the element of Air aligns with its portrayal of feminine, tender, and graceful movements, which are characteristic of the Lasya style.
• Hence, option (d) is correct.
Explanation:
Mohiniyattam
• Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala.
• Mohiniattam though born out of the fusion of Kathakali and Bharatnatyam, has developed its own identity.
• Mohiniattam is also known as the ‘Dance of the Celestial Female magicians’. It narrates the story of feminine dance of Vishnu.
• It is essentially a solo dance, performed by female dancers.
• Mohiniyattam is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps. It belongs to the lasya style which is feminine, tender and graceful.
• The movements are emphasized by the glides and the up and down movement on toes, like the waves of the sea and the swaying of the coconut, palm trees and the paddy fields.
• The foot work is not terse and is rendered softly. Importance is given to the hand gestures and Mukhabhinaya with subtle facial expressions.
• The hand gestures, 24 in number, are mainly adopted from Hastalakshana Deepika, a text followed by Kathakali. Few are also borrowed from NatyaShastra, AbhinayaDarpana and Balarambharatam.
• The vocal music for Mohiniattam is Carnatic Music.
• This art form denotes the element of Air. Mohiniattam’s characteristics, particularly its emphasis on graceful, swaying body movements and the comparison of these movements to the waves of the sea and the swaying of coconut, palm trees, and paddy fields. Additionally, the reference to the art form’s association with the element of Air aligns with its portrayal of feminine, tender, and graceful movements, which are characteristic of the Lasya style.
• Hence, option (d) is correct.
• Question 22 of 30 22. Question 1 points Which of the following statements about Manipuri dance are correct? Manipuri dance incorporates both tandava and lasya elements. Manipuri dance is closely associated with the cult of Radha and Krishna. Manipuri dance costumes are known for their simplicity and minimalism. The main musical instrument used in Manipuri dance is the tabla. Select the correct answer using the code given below: a) 1 and 2 only b) 2 and 3 only c) 1,2 and 3 only d) 1,2,3 and 4 Correct Answer: a Explanation: Manipuri dance gained prominence with the introduction of Vaishnavism in the 15th century CE, incorporating compositions based on the life of Radha and Krishna. Manipuri dance incorporates both tandava and lasya, ranging from vigorous masculine to subdued feminine movements. Hence, statement 1 is correct. Grace, divinity, and seamless majesty characterize Manipuri dance, reflecting Indian religious themes and devotional aspects of philosophy. Music in Manipuri dance includes short compositions like swarmala, chaturang, and keertiprabhand, which are integral to the dancer’s repertoire. Manipuri dance often revolves around the cult of Radha and Krishna, incorporating characteristic symbols like kartal and double-headed drum into performances. Hence, statement 2 is correct. Popular forms of Manipuri dance include Ras, Sankirtana, and Thang-Ta, each depicting different themes and characters. Manipuri Ras typically features Radha, Krishna, and gopis, depicting the emotions and pangs of separation. Sankirtana accompanies Manipuri dance, where male dancers play the Pung and Kartal while dancing, incorporating the masculine aspect known as Choloms. Manipuri dance costumes are rich and vibrant, with female dancers wearing the typical “Patloi” costume adorned with attractive jewelry. Hence, statement 3 is incorrect. The main musical instrument used in Manipuri dance is the pung, a Manipuri classical drum. While the tabla is a common percussion instrument in Indian music, it is not traditionally associated with Manipuri dance. Hence, statement 4 is incorrect. Hence, option (a) is correct. Incorrect Answer: a Explanation: Manipuri dance gained prominence with the introduction of Vaishnavism in the 15th century CE, incorporating compositions based on the life of Radha and Krishna. Manipuri dance incorporates both tandava and lasya, ranging from vigorous masculine to subdued feminine movements. Hence, statement 1 is correct. Grace, divinity, and seamless majesty characterize Manipuri dance, reflecting Indian religious themes and devotional aspects of philosophy. Music in Manipuri dance includes short compositions like swarmala, chaturang, and keertiprabhand, which are integral to the dancer’s repertoire. Manipuri dance often revolves around the cult of Radha and Krishna, incorporating characteristic symbols like kartal and double-headed drum into performances. Hence, statement 2 is correct. Popular forms of Manipuri dance include Ras, Sankirtana, and Thang-Ta, each depicting different themes and characters. Manipuri Ras typically features Radha, Krishna, and gopis, depicting the emotions and pangs of separation. Sankirtana accompanies Manipuri dance, where male dancers play the Pung and Kartal while dancing, incorporating the masculine aspect known as Choloms. Manipuri dance costumes are rich and vibrant, with female dancers wearing the typical “Patloi” costume adorned with attractive jewelry. Hence, statement 3 is incorrect. The main musical instrument used in Manipuri dance is the pung, a Manipuri classical drum. While the tabla is a common percussion instrument in Indian music, it is not traditionally associated with Manipuri dance. Hence, statement 4 is incorrect. Hence, option (a) is correct.
#### 22. Question
Which of the following statements about Manipuri dance are correct?
• Manipuri dance incorporates both tandava and lasya elements.
• Manipuri dance is closely associated with the cult of Radha and Krishna.
• Manipuri dance costumes are known for their simplicity and minimalism.
• The main musical instrument used in Manipuri dance is the tabla.
Select the correct answer using the code given below:
• a) 1 and 2 only
• b) 2 and 3 only
• c) 1,2 and 3 only
• d) 1,2,3 and 4
Explanation:
• Manipuri dance gained prominence with the introduction of Vaishnavism in the 15th century CE, incorporating compositions based on the life of Radha and Krishna.
• Manipuri dance incorporates both tandava and lasya, ranging from vigorous masculine to subdued feminine movements. Hence, statement 1 is correct.
• Grace, divinity, and seamless majesty characterize Manipuri dance, reflecting Indian religious themes and devotional aspects of philosophy.
• Music in Manipuri dance includes short compositions like swarmala, chaturang, and keertiprabhand, which are integral to the dancer’s repertoire.
• Manipuri dance often revolves around the cult of Radha and Krishna, incorporating characteristic symbols like kartal and double-headed drum into performances. Hence, statement 2 is correct.
• Popular forms of Manipuri dance include Ras, Sankirtana, and Thang-Ta, each depicting different themes and characters.
• Manipuri Ras typically features Radha, Krishna, and gopis, depicting the emotions and pangs of separation.
• Sankirtana accompanies Manipuri dance, where male dancers play the Pung and Kartal while dancing, incorporating the masculine aspect known as Choloms.
• Manipuri dance costumes are rich and vibrant, with female dancers wearing the typical “Patloi” costume adorned with attractive jewelry. Hence, statement 3 is incorrect.
• The main musical instrument used in Manipuri dance is the pung, a Manipuri classical drum. While the tabla is a common percussion instrument in Indian music, it is not traditionally associated with Manipuri dance. Hence, statement 4 is incorrect.
• Hence, option (a) is correct.
Explanation:
• Manipuri dance gained prominence with the introduction of Vaishnavism in the 15th century CE, incorporating compositions based on the life of Radha and Krishna.
• Manipuri dance incorporates both tandava and lasya, ranging from vigorous masculine to subdued feminine movements. Hence, statement 1 is correct.
• Grace, divinity, and seamless majesty characterize Manipuri dance, reflecting Indian religious themes and devotional aspects of philosophy.
• Music in Manipuri dance includes short compositions like swarmala, chaturang, and keertiprabhand, which are integral to the dancer’s repertoire.
• Manipuri dance often revolves around the cult of Radha and Krishna, incorporating characteristic symbols like kartal and double-headed drum into performances. Hence, statement 2 is correct.
• Popular forms of Manipuri dance include Ras, Sankirtana, and Thang-Ta, each depicting different themes and characters.
• Manipuri Ras typically features Radha, Krishna, and gopis, depicting the emotions and pangs of separation.
• Sankirtana accompanies Manipuri dance, where male dancers play the Pung and Kartal while dancing, incorporating the masculine aspect known as Choloms.
• Manipuri dance costumes are rich and vibrant, with female dancers wearing the typical “Patloi” costume adorned with attractive jewelry. Hence, statement 3 is incorrect.
• The main musical instrument used in Manipuri dance is the pung, a Manipuri classical drum. While the tabla is a common percussion instrument in Indian music, it is not traditionally associated with Manipuri dance. Hence, statement 4 is incorrect.
• Hence, option (a) is correct.
• Question 23 of 30 23. Question 1 points Which dance form is traditionally performed by women in a circle and accompanied by rhythmic clapping and songs? a) Ghoomar b) Chari c) Kummi d) Terahtali Dance Correct Answer: c Explanation: Ghoomar Dance is a community dance of Rajasthan, primarily performed by veiled women wearing flowing dresses called ghaghara. It involves pirouetting while moving in and out of a wide circle, but it is not typically accompanied by rhythmic clapping and songs. Chari Dance is a folk dance of the villagers in Rajasthan, expressing their joy while going to search for water. While it may involve rhythmic movements, it does not specifically mention clapping and singing as integral parts of the dance. Kummi is a folk dance popular in Tamil Nadu and Kerala, typically danced by Tamil women in a circle. It is accompanied by rhythmic clapping and songs. Terahtali Dance is a devotional form of dance performed by women, particularly in Rajasthan, but it is characterized by the use of manjeeras tied on the wrists and arms of the performers. While it involves rhythmic movements, it does not typically involve clapping and singing in a circle. Hence, option(c) is correct. Incorrect Answer: c Explanation: Ghoomar Dance is a community dance of Rajasthan, primarily performed by veiled women wearing flowing dresses called ghaghara. It involves pirouetting while moving in and out of a wide circle, but it is not typically accompanied by rhythmic clapping and songs. Chari Dance is a folk dance of the villagers in Rajasthan, expressing their joy while going to search for water. While it may involve rhythmic movements, it does not specifically mention clapping and singing as integral parts of the dance. Kummi is a folk dance popular in Tamil Nadu and Kerala, typically danced by Tamil women in a circle. It is accompanied by rhythmic clapping and songs. Terahtali Dance is a devotional form of dance performed by women, particularly in Rajasthan, but it is characterized by the use of manjeeras tied on the wrists and arms of the performers. While it involves rhythmic movements, it does not typically involve clapping and singing in a circle. Hence, option(c) is correct.
#### 23. Question
Which dance form is traditionally performed by women in a circle and accompanied by rhythmic clapping and songs?
• a) Ghoomar
• d) Terahtali Dance
Explanation:
• Ghoomar Dance is a community dance of Rajasthan, primarily performed by veiled women wearing flowing dresses called ghaghara. It involves pirouetting while moving in and out of a wide circle, but it is not typically accompanied by rhythmic clapping and songs.
• Chari Dance is a folk dance of the villagers in Rajasthan, expressing their joy while going to search for water. While it may involve rhythmic movements, it does not specifically mention clapping and singing as integral parts of the dance.
• Kummi is a folk dance popular in Tamil Nadu and Kerala, typically danced by Tamil women in a circle. It is accompanied by rhythmic clapping and songs.
• Terahtali Dance is a devotional form of dance performed by women, particularly in Rajasthan, but it is characterized by the use of manjeeras tied on the wrists and arms of the performers. While it involves rhythmic movements, it does not typically involve clapping and singing in a circle.
• Hence, option(c) is correct.
Explanation:
• Ghoomar Dance is a community dance of Rajasthan, primarily performed by veiled women wearing flowing dresses called ghaghara. It involves pirouetting while moving in and out of a wide circle, but it is not typically accompanied by rhythmic clapping and songs.
• Chari Dance is a folk dance of the villagers in Rajasthan, expressing their joy while going to search for water. While it may involve rhythmic movements, it does not specifically mention clapping and singing as integral parts of the dance.
• Kummi is a folk dance popular in Tamil Nadu and Kerala, typically danced by Tamil women in a circle. It is accompanied by rhythmic clapping and songs.
• Terahtali Dance is a devotional form of dance performed by women, particularly in Rajasthan, but it is characterized by the use of manjeeras tied on the wrists and arms of the performers. While it involves rhythmic movements, it does not typically involve clapping and singing in a circle.
• Hence, option(c) is correct.
• Question 24 of 30 24. Question 1 points Consider the following dance forms: Paika Ankiya Nat Thang Ta Silambam Jumu Nach Dandiya Which of the above are martial dance forms of India? a) 1,3 and 6 only b) 1,3 and 4 only c) 2,3,4 and 6 only d) 1,2,3,4 and 5 only Correct Answer: b Explanation: Martial Dances of India Kalarippayattu: It is a famous Indian martial art from land of attraction Kerala and one of the oldest fighting systems in existence. Silambam: It is a weapon-based Indian martial art from Tamil Nadu. Gatka: It is weapon-based Indian martial art basically created by the Sikhs of Punjab. Thang Ta: It is popular term for the ancient Manipuri Martial Art also known as Huyen Lallong. Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art. Mardani Khel: It is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra is practiced in kolhapur. Paika Dance: It is a martial art form of Orissa, which has withstood the test of time. Paika Akhadas thrive in several villages of the state till today. As early as the15th century CE, Gajapati Raja was believed to have raised an army of Paika warriors. The brave Paikas raise their voice of rebellion against the British rulers as early as 1817, four decades before the Sepoy Mutiny broke out. Buxi Jagabandhu Bidyadhar Mahapatra Bhramarabar Roy led the Paika Bidroha. The Paiks of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. The heroism of these warriors influenced the art, architecture and literature of Orissa. The carvings that adorn the Konark Temple depict the martial prowess of the Paikas. Many of the performing art froms of Orissa, namely the Mayurbhanj dance, Ranapa dance etc., have been influenced by this glorious martial tradition. Ankiya Nat: Ankiya Nat is a traditional form of Assamese one-act play initiated by Sankardeva, but it is not a martial dance form. Jumu Nach: Jumur or Jumu Nach is a dance of tea garden workers, particularly prevalent in the northeastern states like Assam and Mizoram, but it is not a martial dance form. Dandiya: Dandiya is a traditional folk dance of Gujarat, usually performed during Navaratri, but it is not a martial dance form. Hence, option (b) is correct. Incorrect Answer: b Explanation: Martial Dances of India Kalarippayattu: It is a famous Indian martial art from land of attraction Kerala and one of the oldest fighting systems in existence. Silambam: It is a weapon-based Indian martial art from Tamil Nadu. Gatka: It is weapon-based Indian martial art basically created by the Sikhs of Punjab. Thang Ta: It is popular term for the ancient Manipuri Martial Art also known as Huyen Lallong. Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art. Mardani Khel: It is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra is practiced in kolhapur. Paika Dance: It is a martial art form of Orissa, which has withstood the test of time. Paika Akhadas thrive in several villages of the state till today. As early as the15th century CE, Gajapati Raja was believed to have raised an army of Paika warriors. The brave Paikas raise their voice of rebellion against the British rulers as early as 1817, four decades before the Sepoy Mutiny broke out. Buxi Jagabandhu Bidyadhar Mahapatra Bhramarabar Roy led the Paika Bidroha. The Paiks of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. The heroism of these warriors influenced the art, architecture and literature of Orissa. The carvings that adorn the Konark Temple depict the martial prowess of the Paikas. Many of the performing art froms of Orissa, namely the Mayurbhanj dance, Ranapa dance etc., have been influenced by this glorious martial tradition. Ankiya Nat: Ankiya Nat is a traditional form of Assamese one-act play initiated by Sankardeva, but it is not a martial dance form. Jumu Nach: Jumur or Jumu Nach is a dance of tea garden workers, particularly prevalent in the northeastern states like Assam and Mizoram, but it is not a martial dance form. Dandiya: Dandiya is a traditional folk dance of Gujarat, usually performed during Navaratri, but it is not a martial dance form. Hence, option (b) is correct.
#### 24. Question
Consider the following dance forms:
• Ankiya Nat
Which of the above are martial dance forms of India?
• a) 1,3 and 6 only
• b) 1,3 and 4 only
• c) 2,3,4 and 6 only
• d) 1,2,3,4 and 5 only
Explanation:
Martial Dances of India
• Kalarippayattu: It is a famous Indian martial art from land of attraction Kerala and one of the oldest fighting systems in existence.
• Silambam: It is a weapon-based Indian martial art from Tamil Nadu.
• Gatka: It is weapon-based Indian martial art basically created by the Sikhs of Punjab.
• Thang Ta: It is popular term for the ancient Manipuri Martial Art also known as Huyen Lallong. Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art.
• Mardani Khel: It is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra is practiced in kolhapur.
• Paika Dance: It is a martial art form of Orissa, which has withstood the test of time.
• Paika Akhadas thrive in several villages of the state till today. As early as the15th century CE, Gajapati Raja was believed to have raised an army of Paika warriors.
• The brave Paikas raise their voice of rebellion against the British rulers as early as 1817, four decades before the Sepoy Mutiny broke out. Buxi Jagabandhu Bidyadhar Mahapatra Bhramarabar Roy led the Paika Bidroha.
• The Paiks of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. The heroism of these warriors influenced the art, architecture and literature of Orissa.
• The carvings that adorn the Konark Temple depict the martial prowess of the Paikas. Many of the performing art froms of Orissa, namely the Mayurbhanj dance, Ranapa dance etc., have been influenced by this glorious martial tradition.
• Ankiya Nat: Ankiya Nat is a traditional form of Assamese one-act play initiated by Sankardeva, but it is not a martial dance form.
• Jumu Nach: Jumur or Jumu Nach is a dance of tea garden workers, particularly prevalent in the northeastern states like Assam and Mizoram, but it is not a martial dance form.
• Dandiya: Dandiya is a traditional folk dance of Gujarat, usually performed during Navaratri, but it is not a martial dance form.
• Hence, option (b) is correct.
Explanation:
Martial Dances of India
• Kalarippayattu: It is a famous Indian martial art from land of attraction Kerala and one of the oldest fighting systems in existence.
• Silambam: It is a weapon-based Indian martial art from Tamil Nadu.
• Gatka: It is weapon-based Indian martial art basically created by the Sikhs of Punjab.
• Thang Ta: It is popular term for the ancient Manipuri Martial Art also known as Huyen Lallong. Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art.
• Mardani Khel: It is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra is practiced in kolhapur.
• Paika Dance: It is a martial art form of Orissa, which has withstood the test of time.
• Paika Akhadas thrive in several villages of the state till today. As early as the15th century CE, Gajapati Raja was believed to have raised an army of Paika warriors.
• The brave Paikas raise their voice of rebellion against the British rulers as early as 1817, four decades before the Sepoy Mutiny broke out. Buxi Jagabandhu Bidyadhar Mahapatra Bhramarabar Roy led the Paika Bidroha.
• The Paiks of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. The heroism of these warriors influenced the art, architecture and literature of Orissa.
• The carvings that adorn the Konark Temple depict the martial prowess of the Paikas. Many of the performing art froms of Orissa, namely the Mayurbhanj dance, Ranapa dance etc., have been influenced by this glorious martial tradition.
• Ankiya Nat: Ankiya Nat is a traditional form of Assamese one-act play initiated by Sankardeva, but it is not a martial dance form.
• Jumu Nach: Jumur or Jumu Nach is a dance of tea garden workers, particularly prevalent in the northeastern states like Assam and Mizoram, but it is not a martial dance form.
• Dandiya: Dandiya is a traditional folk dance of Gujarat, usually performed during Navaratri, but it is not a martial dance form.
• Hence, option (b) is correct.
• Question 25 of 30 25. Question 1 points Consider the following statements with regard to the Maibi dance of North-East India: Maibi dance is a spiritual dance form originating from Assam and Manipur. It is traditionally performed during child birth by Kukis of Manipur. Maibi dancers are believed to be in a trance-like state during their performance. How many of the above given statements are correct? a) Only one b) Only two c) All three d) None Correct Answer: a Explanation: Maibi dance is an Indian spiritual dance form originating from Manipur. Maibi dance indeed originates from Manipur, but not from Assam. Hence, statement 1 is incorrect. It is traditionally performed during the celebration of the festival Lai-Haraoba, which is an annual ritual festival of the Meitei Manipuris. Hence, statement 2 is incorrect. The Maibis, who are priestesses considered as spiritual mediums, perform the Maibi dance. The selection process to become a Maibi involves showing definite signs of being spiritually predisposed. During Maibi dance ceremonies, the Maibis summon the spirits of the Gods in an earthen pot and tie threads as part of the ritual. The performance of Maibi dance consists of slow, controlled, and lyrical movements. Maibi dancers begin their performance from a kneeling position and gradually rise, holding their hands near their navel with thumbs and forefingers touching. Throughout the dance, Maibi dancers skillfully hold a leaf of a sacred plant between their fingers. Maibi dancers are believed to be in a trance-like state during their performance, invoking deities and urging them to sanctify the entire community. Hence, statement 3 is correct. The Maibi dance performance symbolizes the cosmogony of the Meitei people of Manipur and their way of life, depicting the creation of houses, temples, and various occupations. Hence, option (a) is correct. Incorrect Answer: a Explanation: Maibi dance is an Indian spiritual dance form originating from Manipur. Maibi dance indeed originates from Manipur, but not from Assam. Hence, statement 1 is incorrect. It is traditionally performed during the celebration of the festival Lai-Haraoba, which is an annual ritual festival of the Meitei Manipuris. Hence, statement 2 is incorrect. The Maibis, who are priestesses considered as spiritual mediums, perform the Maibi dance. The selection process to become a Maibi involves showing definite signs of being spiritually predisposed. During Maibi dance ceremonies, the Maibis summon the spirits of the Gods in an earthen pot and tie threads as part of the ritual. The performance of Maibi dance consists of slow, controlled, and lyrical movements. Maibi dancers begin their performance from a kneeling position and gradually rise, holding their hands near their navel with thumbs and forefingers touching. Throughout the dance, Maibi dancers skillfully hold a leaf of a sacred plant between their fingers. Maibi dancers are believed to be in a trance-like state during their performance, invoking deities and urging them to sanctify the entire community. Hence, statement 3 is correct. The Maibi dance performance symbolizes the cosmogony of the Meitei people of Manipur and their way of life, depicting the creation of houses, temples, and various occupations. Hence, option (a) is correct.
#### 25. Question
Consider the following statements with regard to the Maibi dance of North-East India:
• Maibi dance is a spiritual dance form originating from Assam and Manipur.
• It is traditionally performed during child birth by Kukis of Manipur.
• Maibi dancers are believed to be in a trance-like state during their performance.
How many of the above given statements are correct?
• a) Only one
• b) Only two
• c) All three
Explanation:
• Maibi dance is an Indian spiritual dance form originating from Manipur. Maibi dance indeed originates from Manipur, but not from Assam. Hence, statement 1 is incorrect.
• It is traditionally performed during the celebration of the festival Lai-Haraoba, which is an annual ritual festival of the Meitei Manipuris. Hence, statement 2 is incorrect.
• The Maibis, who are priestesses considered as spiritual mediums, perform the Maibi dance.
• The selection process to become a Maibi involves showing definite signs of being spiritually predisposed.
• During Maibi dance ceremonies, the Maibis summon the spirits of the Gods in an earthen pot and tie threads as part of the ritual.
• The performance of Maibi dance consists of slow, controlled, and lyrical movements.
• Maibi dancers begin their performance from a kneeling position and gradually rise, holding their hands near their navel with thumbs and forefingers touching.
• Throughout the dance, Maibi dancers skillfully hold a leaf of a sacred plant between their fingers.
• Maibi dancers are believed to be in a trance-like state during their performance, invoking deities and urging them to sanctify the entire community. Hence, statement 3 is correct.
• The Maibi dance performance symbolizes the cosmogony of the Meitei people of Manipur and their way of life, depicting the creation of houses, temples, and various occupations.
Hence, option (a) is correct.
Explanation:
• Maibi dance is an Indian spiritual dance form originating from Manipur. Maibi dance indeed originates from Manipur, but not from Assam. Hence, statement 1 is incorrect.
• It is traditionally performed during the celebration of the festival Lai-Haraoba, which is an annual ritual festival of the Meitei Manipuris. Hence, statement 2 is incorrect.
• The Maibis, who are priestesses considered as spiritual mediums, perform the Maibi dance.
• The selection process to become a Maibi involves showing definite signs of being spiritually predisposed.
• During Maibi dance ceremonies, the Maibis summon the spirits of the Gods in an earthen pot and tie threads as part of the ritual.
• The performance of Maibi dance consists of slow, controlled, and lyrical movements.
• Maibi dancers begin their performance from a kneeling position and gradually rise, holding their hands near their navel with thumbs and forefingers touching.
• Throughout the dance, Maibi dancers skillfully hold a leaf of a sacred plant between their fingers.
• Maibi dancers are believed to be in a trance-like state during their performance, invoking deities and urging them to sanctify the entire community. Hence, statement 3 is correct.
• The Maibi dance performance symbolizes the cosmogony of the Meitei people of Manipur and their way of life, depicting the creation of houses, temples, and various occupations.
Hence, option (a) is correct.
• Question 26 of 30 26. Question 1 points In the context of cultural history of India, a pose in dance called ‘Nagabhanda mudra ‘has been a favourite of Indian artists. Which one of the following statements best describes this pose? a) One leg is bent and the body is slightly but oppositely curved at waist and neck b) Facial expressions, hand gestures and make up are combined to symbolize certain epic or historic characters c) Movements of body and hands are used to form curves in the shape of eight. d) A little smile, slightly curved waist and certain hand gestures are emphasized to express the feelings of love or eroticism. Correct Answer: c Explanation: In Manipuri dance, the NagaBandha mudra, in which the body is joined through curves in the shape of a ‘8,’ is an essential stance. Hence, option(c) is correct. Incorrect Answer: c Explanation: In Manipuri dance, the NagaBandha mudra, in which the body is joined through curves in the shape of a ‘8,’ is an essential stance. Hence, option(c) is correct.
#### 26. Question
In the context of cultural history of India, a pose in dance called ‘Nagabhanda mudra ‘has been a favourite of Indian artists. Which one of the following statements best describes this pose?
• a) One leg is bent and the body is slightly but oppositely curved at waist and neck
• b) Facial expressions, hand gestures and make up are combined to symbolize certain epic or historic characters
• c) Movements of body and hands are used to form curves in the shape of eight.
• d) A little smile, slightly curved waist and certain hand gestures are emphasized to express the feelings of love or eroticism.
Explanation:
• In Manipuri dance, the NagaBandha mudra, in which the body is joined through curves in the shape of a ‘8,’ is an essential stance.
• Hence, option(c) is correct.
Explanation:
• In Manipuri dance, the NagaBandha mudra, in which the body is joined through curves in the shape of a ‘8,’ is an essential stance.
• Hence, option(c) is correct.
• Question 27 of 30 27. Question 1 points What role does the alap play in a Dhrupad performance? a) It marks the end of the performance b) It is sung with words, setting the theme for the raga c) It gradually increases the tempo of the music d) It sets the mood of the raga without the distraction of words Correct Answer: d Explanation: Dhrupad is one of the oldest and grandest known forms of Hindustani classical music and finds mention even in Natyashastra (200 BC-200 AD). It is said that dhrupad owes its roots to older forms such as Prabhanda and Dhruvapada. Dhrupad consolidated its position as a classical form of music in the 13th century, it reached its zenith in the court of Emperor Akbar. Akbar employed and patronised musical masters including Swami Haridas and Mian Tansen. Tansen (one of the Navaratna or nine gems in Akbar’s court) and Baiju Bawra were the students of Swami Haridas and were major proponents of dhrupad music during the 15th-16th centuries. Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a raga. Dhrupad starts with alap which is sung without words. The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is being performed. Alap is a pure music without the distraction of words. Then, after some time, Dhrupad begins and Pakhawaj is played. Hence, option (d) is correct. Incorrect Answer: d Explanation: Dhrupad is one of the oldest and grandest known forms of Hindustani classical music and finds mention even in Natyashastra (200 BC-200 AD). It is said that dhrupad owes its roots to older forms such as Prabhanda and Dhruvapada. Dhrupad consolidated its position as a classical form of music in the 13th century, it reached its zenith in the court of Emperor Akbar. Akbar employed and patronised musical masters including Swami Haridas and Mian Tansen. Tansen (one of the Navaratna or nine gems in Akbar’s court) and Baiju Bawra were the students of Swami Haridas and were major proponents of dhrupad music during the 15th-16th centuries. Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a raga. Dhrupad starts with alap which is sung without words. The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is being performed. Alap is a pure music without the distraction of words. Then, after some time, Dhrupad begins and Pakhawaj is played. Hence, option (d) is correct.
#### 27. Question
What role does the alap play in a Dhrupad performance?
• a) It marks the end of the performance
• b) It is sung with words, setting the theme for the raga
• c) It gradually increases the tempo of the music
• d) It sets the mood of the raga without the distraction of words
Explanation:
• Dhrupad is one of the oldest and grandest known forms of Hindustani classical music and finds mention even in Natyashastra (200 BC-200 AD). It is said that dhrupad owes its roots to older forms such as Prabhanda and Dhruvapada. Dhrupad consolidated its position as a classical form of music in the 13th century, it reached its zenith in the court of Emperor Akbar.
• Akbar employed and patronised musical masters including Swami Haridas and Mian Tansen. Tansen (one of the Navaratna or nine gems in Akbar’s court) and Baiju Bawra were the students of Swami Haridas and were major proponents of dhrupad music during the 15th-16th centuries.
• Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a raga.
• Dhrupad starts with alap which is sung without words. The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is being performed. Alap is a pure music without the distraction of words. Then, after some time, Dhrupad begins and Pakhawaj is played.
• Hence, option (d) is correct.
Explanation:
• Dhrupad is one of the oldest and grandest known forms of Hindustani classical music and finds mention even in Natyashastra (200 BC-200 AD). It is said that dhrupad owes its roots to older forms such as Prabhanda and Dhruvapada. Dhrupad consolidated its position as a classical form of music in the 13th century, it reached its zenith in the court of Emperor Akbar.
• Akbar employed and patronised musical masters including Swami Haridas and Mian Tansen. Tansen (one of the Navaratna or nine gems in Akbar’s court) and Baiju Bawra were the students of Swami Haridas and were major proponents of dhrupad music during the 15th-16th centuries.
• Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a raga.
• Dhrupad starts with alap which is sung without words. The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is being performed. Alap is a pure music without the distraction of words. Then, after some time, Dhrupad begins and Pakhawaj is played.
• Hence, option (d) is correct.
• Question 28 of 30 28. Question 1 points Which term refers to the central system from which all other related sounds in music are produced? a) Swara b) Raga c) Shruti d) Tala Correct Answer: c Explanation: Generally, Classical music is based on 4 elements like: Shruti Swara Raga Tala Shruti or pitch of the music is actually a central system from which all the other related sounds are produced. Shruti is the most important element to be noted while learning music because it is considered as the basement of music. On the other hand, swaras are the categories of musical sounds related to the music. There are mainly seven swaras namely Sa Ri Ga Ma Pa Da Ni which are the short forms of shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada respectively. Ragas are basically the arrangement of these swaras in different sequences. All the ragas are categorized in such a way that there will be an increasing and decreasing array of swaras and are normally called ‘arohanam and avarohanam. Most of the ragas have all the seven notes in the scale and they are called sampoorna ragas. The rhythm element of music is mainly known as Tala. It is actually a sequence of beats performed by the singers using hands and fingers at fixed time cycles. Adi tala is the most common type of tala used in Carnatic music and it consist of 8 beats per cycle. Apart from this, there are Dhruva tala, Eka tala Jhampa tala, Matya tala, Rupaka tala and Triputa tala, each uses different number of beats per cycle. Hence, option (c) is correct. Incorrect Answer: c Explanation: Generally, Classical music is based on 4 elements like: Shruti Swara Raga Tala Shruti or pitch of the music is actually a central system from which all the other related sounds are produced. Shruti is the most important element to be noted while learning music because it is considered as the basement of music. On the other hand, swaras are the categories of musical sounds related to the music. There are mainly seven swaras namely Sa Ri Ga Ma Pa Da Ni which are the short forms of shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada respectively. Ragas are basically the arrangement of these swaras in different sequences. All the ragas are categorized in such a way that there will be an increasing and decreasing array of swaras and are normally called ‘arohanam and avarohanam. Most of the ragas have all the seven notes in the scale and they are called sampoorna ragas. The rhythm element of music is mainly known as Tala. It is actually a sequence of beats performed by the singers using hands and fingers at fixed time cycles. Adi tala is the most common type of tala used in Carnatic music and it consist of 8 beats per cycle. Apart from this, there are Dhruva tala, Eka tala Jhampa tala, Matya tala, Rupaka tala and Triputa tala, each uses different number of beats per cycle. Hence, option (c) is correct.
#### 28. Question
Which term refers to the central system from which all other related sounds in music are produced?
Explanation:
• Generally, Classical music is based on 4 elements like:
• Shruti or pitch of the music is actually a central system from which all the other related sounds are produced. Shruti is the most important element to be noted while learning music because it is considered as the basement of music.
• On the other hand, swaras are the categories of musical sounds related to the music. There are mainly seven swaras namely Sa Ri Ga Ma Pa Da Ni which are the short forms of shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada respectively.
• Ragas are basically the arrangement of these swaras in different sequences. All the ragas are categorized in such a way that there will be an increasing and decreasing array of swaras and are normally called ‘arohanam and avarohanam. Most of the ragas have all the seven notes in the scale and they are called sampoorna ragas.
• The rhythm element of music is mainly known as Tala. It is actually a sequence of beats performed by the singers using hands and fingers at fixed time cycles. Adi tala is the most common type of tala used in Carnatic music and it consist of 8 beats per cycle. Apart from this, there are Dhruva tala, Eka tala Jhampa tala, Matya tala, Rupaka tala and Triputa tala, each uses different number of beats per cycle.
• Hence, option (c) is correct.
Explanation:
• Generally, Classical music is based on 4 elements like:
• Shruti or pitch of the music is actually a central system from which all the other related sounds are produced. Shruti is the most important element to be noted while learning music because it is considered as the basement of music.
• On the other hand, swaras are the categories of musical sounds related to the music. There are mainly seven swaras namely Sa Ri Ga Ma Pa Da Ni which are the short forms of shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada respectively.
• Ragas are basically the arrangement of these swaras in different sequences. All the ragas are categorized in such a way that there will be an increasing and decreasing array of swaras and are normally called ‘arohanam and avarohanam. Most of the ragas have all the seven notes in the scale and they are called sampoorna ragas.
• The rhythm element of music is mainly known as Tala. It is actually a sequence of beats performed by the singers using hands and fingers at fixed time cycles. Adi tala is the most common type of tala used in Carnatic music and it consist of 8 beats per cycle. Apart from this, there are Dhruva tala, Eka tala Jhampa tala, Matya tala, Rupaka tala and Triputa tala, each uses different number of beats per cycle.
• Hence, option (c) is correct.
• Question 29 of 30 29. Question 1 points Which of the following styles of Hindustani Music originated from the folk songs of the camel riders? a) Tarana b) Tappa c) Thumri d) Khayal Correct Answer: b Explanation: Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah, the Nawab of Awadh. Tappa is catchy to the ear, due to its unusual aspect of bounce and re-bounce of musical notes. Tappa, understood to have been the staple diction of the erstwhile camel drivers, has since come to a ripened age, by being nurtured in the hands of some of the legendary masters in this genre. The word tappa stands for jumping, bouncing and skipping, implying the extraordinary rule of unremitting attempts made by a singer on the musical notes, not stopping or taking a pause for once. This outstanding formation is unique to tappa only, absent in the other Hindustani classical forms. It is thus composed of rhythmic and rapid notes, and such a style calls for immense and extreme hold over the singing diction. Among the living performers of this style are Laxmanrao Pandit, Shamma Khurana, Manvalkar, Girija Devi, Ishwarchandra Karkare, and Jayant Khot. Hence, option (b) is correct. Incorrect Answer: b Explanation: Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah, the Nawab of Awadh. Tappa is catchy to the ear, due to its unusual aspect of bounce and re-bounce of musical notes. Tappa, understood to have been the staple diction of the erstwhile camel drivers, has since come to a ripened age, by being nurtured in the hands of some of the legendary masters in this genre. The word tappa stands for jumping, bouncing and skipping, implying the extraordinary rule of unremitting attempts made by a singer on the musical notes, not stopping or taking a pause for once. This outstanding formation is unique to tappa only, absent in the other Hindustani classical forms. It is thus composed of rhythmic and rapid notes, and such a style calls for immense and extreme hold over the singing diction. Among the living performers of this style are Laxmanrao Pandit, Shamma Khurana, Manvalkar, Girija Devi, Ishwarchandra Karkare, and Jayant Khot. Hence, option (b) is correct.
#### 29. Question
Which of the following styles of Hindustani Music originated from the folk songs of the camel riders?
Explanation:
• Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction.
• It originated from the folk songs of the camel riders and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah, the Nawab of Awadh.
• Tappa is catchy to the ear, due to its unusual aspect of bounce and re-bounce of musical notes. Tappa, understood to have been the staple diction of the erstwhile camel drivers, has since come to a ripened age, by being nurtured in the hands of some of the legendary masters in this genre.
• The word tappa stands for jumping, bouncing and skipping, implying the extraordinary rule of unremitting attempts made by a singer on the musical notes, not stopping or taking a pause for once.
• This outstanding formation is unique to tappa only, absent in the other Hindustani classical forms. It is thus composed of rhythmic and rapid notes, and such a style calls for immense and extreme hold over the singing diction.
• Among the living performers of this style are Laxmanrao Pandit, Shamma Khurana, Manvalkar, Girija Devi, Ishwarchandra Karkare, and Jayant Khot.
• Hence, option (b) is correct.
Explanation:
• Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction.
• It originated from the folk songs of the camel riders and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah, the Nawab of Awadh.
• Tappa is catchy to the ear, due to its unusual aspect of bounce and re-bounce of musical notes. Tappa, understood to have been the staple diction of the erstwhile camel drivers, has since come to a ripened age, by being nurtured in the hands of some of the legendary masters in this genre.
• The word tappa stands for jumping, bouncing and skipping, implying the extraordinary rule of unremitting attempts made by a singer on the musical notes, not stopping or taking a pause for once.
• This outstanding formation is unique to tappa only, absent in the other Hindustani classical forms. It is thus composed of rhythmic and rapid notes, and such a style calls for immense and extreme hold over the singing diction.
• Among the living performers of this style are Laxmanrao Pandit, Shamma Khurana, Manvalkar, Girija Devi, Ishwarchandra Karkare, and Jayant Khot.
• Hence, option (b) is correct.
• Question 30 of 30 30. Question 1 points Which of the following gharanas is considered the oldest and the mother of all other gharanas in Hindustani Music? a) Kirana b) Gwalior c) Bhendibazaar d) Patiala Correct Answer: b Explanation: A Gharana is a system of social organisation linking musicians by lineage or apprenticeship, and by adherence to a particular musical style. Function in guru-shishya parampara, i.e. disciples learning under a particular guru, transmitting his musical knowledge and style. The Gwalior Gharana is one of the oldest and most traditional schools of Hindustani classical music. The Gwalior Gharana emphasizes the purity of ragas and adheres to the traditional approach of ‘gayaki’ or singing style. Renowned for its simplicity and clarity, this Gharana played a significant role in shaping the fundamentals of Hindustani music. Ustad Hassu Khan and Ustad Haddu Khan are attributed to be the Founders of the Gwalior Gharana. The gharana considered the oldest and the mother of all other gharanas in Hindustani Music is Gwalior. This gharana has deep historical roots and has significantly contributed to the development and preservation of Hindustani classical music. Many prominent musicians and vocalists have emerged from the Gwalior gharana, making it a pivotal influence on other gharanas as well. Gharanas are unique feature of Hindustani music. In Carnatic music no such gharanas are found. Hence, option (b) is correct. Incorrect Answer: b Explanation: A Gharana is a system of social organisation linking musicians by lineage or apprenticeship, and by adherence to a particular musical style. Function in guru-shishya parampara, i.e. disciples learning under a particular guru, transmitting his musical knowledge and style. The Gwalior Gharana is one of the oldest and most traditional schools of Hindustani classical music. The Gwalior Gharana emphasizes the purity of ragas and adheres to the traditional approach of ‘gayaki’ or singing style. Renowned for its simplicity and clarity, this Gharana played a significant role in shaping the fundamentals of Hindustani music. Ustad Hassu Khan and Ustad Haddu Khan are attributed to be the Founders of the Gwalior Gharana. The gharana considered the oldest and the mother of all other gharanas in Hindustani Music is Gwalior. This gharana has deep historical roots and has significantly contributed to the development and preservation of Hindustani classical music. Many prominent musicians and vocalists have emerged from the Gwalior gharana, making it a pivotal influence on other gharanas as well. Gharanas are unique feature of Hindustani music. In Carnatic music no such gharanas are found. Hence, option (b) is correct.
#### 30. Question
Which of the following gharanas is considered the oldest and the mother of all other gharanas in Hindustani Music?
• b) Gwalior
• c) Bhendibazaar
• d) Patiala
Explanation:
• A Gharana is a system of social organisation linking musicians by lineage or apprenticeship, and by adherence to a particular musical style.
• Function in guru-shishya parampara, i.e. disciples learning under a particular guru, transmitting his musical knowledge and style.
• The Gwalior Gharana is one of the oldest and most traditional schools of Hindustani classical music. The Gwalior Gharana emphasizes the purity of ragas and adheres to the traditional approach of ‘gayaki’ or singing style. Renowned for its simplicity and clarity, this Gharana played a significant role in shaping the fundamentals of Hindustani music.
• Ustad Hassu Khan and Ustad Haddu Khan are attributed to be the Founders of the Gwalior Gharana.
• The gharana considered the oldest and the mother of all other gharanas in Hindustani Music is Gwalior. This gharana has deep historical roots and has significantly contributed to the development and preservation of Hindustani classical music. Many prominent musicians and vocalists have emerged from the Gwalior gharana, making it a pivotal influence on other gharanas as well.
• Gharanas are unique feature of Hindustani music. In Carnatic music no such gharanas are found.
• Hence, option (b) is correct.
Explanation:
• A Gharana is a system of social organisation linking musicians by lineage or apprenticeship, and by adherence to a particular musical style.
• Function in guru-shishya parampara, i.e. disciples learning under a particular guru, transmitting his musical knowledge and style.
• The Gwalior Gharana is one of the oldest and most traditional schools of Hindustani classical music. The Gwalior Gharana emphasizes the purity of ragas and adheres to the traditional approach of ‘gayaki’ or singing style. Renowned for its simplicity and clarity, this Gharana played a significant role in shaping the fundamentals of Hindustani music.
• Ustad Hassu Khan and Ustad Haddu Khan are attributed to be the Founders of the Gwalior Gharana.
• The gharana considered the oldest and the mother of all other gharanas in Hindustani Music is Gwalior. This gharana has deep historical roots and has significantly contributed to the development and preservation of Hindustani classical music. Many prominent musicians and vocalists have emerged from the Gwalior gharana, making it a pivotal influence on other gharanas as well.
• Gharanas are unique feature of Hindustani music. In Carnatic music no such gharanas are found.
• Hence, option (b) is correct.
Join our Official Telegram Channel HERE
Please subscribe to Our podcast channel HERE
Follow our Twitter Account HERE
Follow our Instagram ID HERE