UPSC STATIC QUIZ – Art and Culture : 18 April 2024

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We will post 5 questions daily on static topics mentioned in the UPSC civil services preliminary examination syllabus. Each week will focus on a specific topic from the syllabus, such as History of India and Indian National Movement, Indian and World Geography, and more.

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• Question 1 of 5 1. Question What are the differences between the Hindustani and Carnatic styles of classical music? Hindustani music uses the concepts of Sruti and Swara which are absent in Carnatic music. Origin of Carnatic music can be traced to Vedas; whereas Hindustani music is Medieval in origin. Which of the above statements is/are incorrect? a) 1 only b) 2 only c) Both 1 and 2 d) None of the above Correct Solution: c) These are two sub-genres of Indian music. Similarities between both Similar concepts like sruti, raga, swara, taal Origin of both can be traced to Vedas (SamaVeda) – The oldest hindu scriptures – and to 13-14th century. Both monophonic in nature i.e. based around a single melody line, quite elaborate and expressive However, differences exist in nature, style of singing, instruments and technique involved. Differences Hindustani Carnatic • North India • South India • Instruments uses are sitar, tabla, sarangi, Shehnai etc. • Chief source is Sangit Ratnakara of Sarangdeva • Instruments used are violin, veena, gottu, mridangam • Chief source is saint Puranasara Das and carnatic trinity • Emphasis on vocal music: songs are composed to be sung • Number of ragas less • It is not kirti based, it is raga based • Separate repertoire for instrumental and vocal • It has Persian and Islamic influence and is a cultural synthesis of vedic chanting and folk music • Meant to be performed on singing style when played on instruments • Number of ragas is more – 72 ragakarta • It is kirti based while Hindustani raga based • Less rhythmic and less structured • Accompanist do not play a major role • It can be sung in various styles known as gharanas such as gwalior gharana, jodhpur gharana etc. • More rhthmically structured and intensive than Hindustani • Accompanists have much larger role • It is sung in a single style Incorrect Solution: c) These are two sub-genres of Indian music. Similarities between both Similar concepts like sruti, raga, swara, taal Origin of both can be traced to Vedas (SamaVeda) – The oldest hindu scriptures – and to 13-14th century. Both monophonic in nature i.e. based around a single melody line, quite elaborate and expressive However, differences exist in nature, style of singing, instruments and technique involved. Differences Hindustani Carnatic • North India • South India • Instruments uses are sitar, tabla, sarangi, Shehnai etc. • Chief source is Sangit Ratnakara of Sarangdeva • Instruments used are violin, veena, gottu, mridangam • Chief source is saint Puranasara Das and carnatic trinity • Emphasis on vocal music: songs are composed to be sung • Number of ragas less • It is not kirti based, it is raga based • Separate repertoire for instrumental and vocal • It has Persian and Islamic influence and is a cultural synthesis of vedic chanting and folk music • Meant to be performed on singing style when played on instruments • Number of ragas is more – 72 ragakarta • It is kirti based while Hindustani raga based • Less rhythmic and less structured • Accompanist do not play a major role • It can be sung in various styles known as gharanas such as gwalior gharana, jodhpur gharana etc. • More rhthmically structured and intensive than Hindustani • Accompanists have much larger role • It is sung in a single style

#### 1. Question

What are the differences between the Hindustani and Carnatic styles of classical music?

• Hindustani music uses the concepts of Sruti and Swara which are absent in Carnatic music.

• Origin of Carnatic music can be traced to Vedas; whereas Hindustani music is Medieval in origin.

Which of the above statements is/are incorrect?

• c) Both 1 and 2

• d) None of the above

Solution: c)

These are two sub-genres of Indian music.

Similarities between both

• Similar concepts like sruti, raga, swara, taal

• Origin of both can be traced to Vedas (SamaVeda) – The oldest hindu scriptures – and to 13-14th century.

• Both monophonic in nature i.e. based around a single melody line, quite elaborate and expressive

However, differences exist in nature, style of singing, instruments and technique involved.

Differences

Hindustani | Carnatic

• North India | • South India

• Instruments uses are sitar, tabla, sarangi, Shehnai etc. • Chief source is Sangit Ratnakara of Sarangdeva | • Instruments used are violin, veena, gottu, mridangam • Chief source is saint Puranasara Das and carnatic trinity • Emphasis on vocal music: songs are composed to be sung

• Number of ragas less • It is not kirti based, it is raga based • Separate repertoire for instrumental and vocal • It has Persian and Islamic influence and is a cultural synthesis of vedic chanting and folk music | • Meant to be performed on singing style when played on instruments • Number of ragas is more – 72 ragakarta • It is kirti based while Hindustani raga based

• Less rhythmic and less structured • Accompanist do not play a major role • It can be sung in various styles known as gharanas such as gwalior gharana, jodhpur gharana etc. | • More rhthmically structured and intensive than Hindustani • Accompanists have much larger role • It is sung in a single style

• Chief source is Sangit Ratnakara of Sarangdeva

• Chief source is saint Puranasara Das and carnatic trinity

• Emphasis on vocal music: songs are composed to be sung

• It is not kirti based, it is raga based

• Separate repertoire for instrumental and vocal

• It has Persian and Islamic influence and is a cultural synthesis of vedic chanting and folk music

• Number of ragas is more – 72 ragakarta

• It is kirti based while Hindustani raga based

• Accompanist do not play a major role

• It can be sung in various styles known as gharanas such as gwalior gharana, jodhpur gharana etc.

• Accompanists have much larger role

• It is sung in a single style

Solution: c)

These are two sub-genres of Indian music.

Similarities between both

• Similar concepts like sruti, raga, swara, taal

• Origin of both can be traced to Vedas (SamaVeda) – The oldest hindu scriptures – and to 13-14th century.

• Both monophonic in nature i.e. based around a single melody line, quite elaborate and expressive

However, differences exist in nature, style of singing, instruments and technique involved.

Differences

Hindustani | Carnatic

• North India | • South India

• Chief source is Sangit Ratnakara of Sarangdeva

• Chief source is saint Puranasara Das and carnatic trinity

• Emphasis on vocal music: songs are composed to be sung

• It is not kirti based, it is raga based

• Separate repertoire for instrumental and vocal

• It has Persian and Islamic influence and is a cultural synthesis of vedic chanting and folk music

• Number of ragas is more – 72 ragakarta

• It is kirti based while Hindustani raga based

• Accompanist do not play a major role

• It can be sung in various styles known as gharanas such as gwalior gharana, jodhpur gharana etc.

• Accompanists have much larger role

• It is sung in a single style

• Question 2 of 5 2. Question Consider the following pairs List I List II Brihaddeshi Sarangadeva Sangeeta Makaranda Narada Swaramela-Kalanidhi Ramamatya Which of the pairs given above is/are matched correctly? a) 1 and 2 only b) 2 and 3 only c) 3 only d) None of the above Correct Solution: b) Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’. The 11th century text, Sangeeta Makaranda was composed by Narada (Nanda) who enumerated 93 ragas and classified them into feminine and masculine forms. Swaramela-Kalanidhi written by Ramamatya in the 16th century which again deals primarily with ragas. Incorrect Solution: b) Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’. The 11th century text, Sangeeta Makaranda was composed by Narada (Nanda) who enumerated 93 ragas and classified them into feminine and masculine forms. Swaramela-Kalanidhi written by Ramamatya in the 16th century which again deals primarily with ragas.

#### 2. Question

Consider the following pairs

List I List II

• Brihaddeshi Sarangadeva

• Sangeeta Makaranda Narada

• Swaramela-Kalanidhi Ramamatya

Which of the pairs given above is/are matched correctly?

• a) 1 and 2 only

• b) 2 and 3 only

• d) None of the above

Solution: b)

Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’.

The 11th century text, Sangeeta Makaranda was composed by Narada (Nanda) who enumerated 93 ragas and classified them into feminine and masculine forms.

Swaramela-Kalanidhi written by Ramamatya in the 16th century which again deals primarily with ragas.

Solution: b)

Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’.

The 11th century text, Sangeeta Makaranda was composed by Narada (Nanda) who enumerated 93 ragas and classified them into feminine and masculine forms.

Swaramela-Kalanidhi written by Ramamatya in the 16th century which again deals primarily with ragas.

• Question 3 of 5 3. Question Which of the following is/are common between Dhrupad and Khyal genre of Indian classical music? Both come from the court of Amir Khusrou of the 13th century. Both are associated with the extensive use of the Been and Pakhawaj musical instruments. Select the correct answer using the codes below. a) 1 only b) 2 only c) Both 1 and 2 d) Neither 1 nor 2 Correct Solution: d) Both statements are wrong. The description of the two styles below will clarify the difference. “ Dhrupad is believed to have been a further elaboration of the prabandha structure. While it might have had an impetus for popularity even by the 14th century, it finds a blossoming period from 15th century onwards to about the 18th century. During these centuries we meet the most respected and renowned singers and patrons of this form. There was Man Singh Tomar, the Maharaja of Gwalior. It was he who was mainly responsible for the enormous vogue of dhrupad. The dhrupad is even now highly respected and can be heard on the concert platform but more often in temples of North India. The dhrupad has somewhat receded to the background and is not so popular with the masses. The Been and Pakhawaj which were closely associated with the dhrupad also do not find much patronage these days. Today the pride of place in classical Hindustani Music is occupied by the Khyal. We are really not sure about the beginning of the Khyal. The word is alien and means ‘imagination’. And as you will find when you hear it is more lyrical than the dhrupad. But whether the musical form itself is foreign. is a matter of doubt. Some scholars are of the opinion that in fact, it has its roots in the ancient Indian roopaka alaps. It is also said that Amir Khusrou of the 13th century gave it an impetus. Sultan Mohammed Sharkhi of the 15th century is credited with encouraging this form. However, it attained its maturity at the hands of Niyamat Khan Sadarang and Adarang of the 18th century.” Incorrect Solution: d) Both statements are wrong. The description of the two styles below will clarify the difference. “ Dhrupad is believed to have been a further elaboration of the prabandha structure. While it might have had an impetus for popularity even by the 14th century, it finds a blossoming period from 15th century onwards to about the 18th century. During these centuries we meet the most respected and renowned singers and patrons of this form. There was Man Singh Tomar, the Maharaja of Gwalior. It was he who was mainly responsible for the enormous vogue of dhrupad. The dhrupad is even now highly respected and can be heard on the concert platform but more often in temples of North India. The dhrupad has somewhat receded to the background and is not so popular with the masses. The Been and Pakhawaj which were closely associated with the dhrupad also do not find much patronage these days. Today the pride of place in classical Hindustani Music is occupied by the Khyal. We are really not sure about the beginning of the Khyal. The word is alien and means ‘imagination’. And as you will find when you hear it is more lyrical than the dhrupad. But whether the musical form itself is foreign. is a matter of doubt. Some scholars are of the opinion that in fact, it has its roots in the ancient Indian roopaka alaps. It is also said that Amir Khusrou of the 13th century gave it an impetus. Sultan Mohammed Sharkhi of the 15th century is credited with encouraging this form. However, it attained its maturity at the hands of Niyamat Khan Sadarang and Adarang of the 18th century.”

#### 3. Question

Which of the following is/are common between Dhrupad and Khyal genre of Indian classical music?

• Both come from the court of Amir Khusrou of the 13th century.

• Both are associated with the extensive use of the Been and Pakhawaj musical instruments.

Select the correct answer using the codes below.

• c) Both 1 and 2

• d) Neither 1 nor 2

Solution: d)

Both statements are wrong. The description of the two styles below will clarify the difference.

“ Dhrupad is believed to have been a further elaboration of the prabandha structure. While it might have had an impetus for popularity even by the 14th century, it finds a blossoming period from 15th century onwards to about the 18th century. During these centuries we meet the most respected and renowned singers and patrons of this form. There was Man Singh Tomar, the Maharaja of Gwalior. It was he who was mainly responsible for the enormous vogue of dhrupad.

The dhrupad is even now highly respected and can be heard on the concert platform but more often in temples of North India. The dhrupad has somewhat receded to the background and is not so popular with the masses. The Been and Pakhawaj which were closely associated with the dhrupad also do not find much patronage these days.

Today the pride of place in classical Hindustani Music is occupied by the Khyal. We are really not sure about the beginning of the Khyal. The word is alien and means ‘imagination’. And as you will find when you hear it is more lyrical than the dhrupad. But whether the musical form itself is foreign. is a matter of doubt.

Some scholars are of the opinion that in fact, it has its roots in the ancient Indian roopaka alaps. It is also said that Amir Khusrou of the 13th century gave it an impetus. Sultan Mohammed Sharkhi of the 15th century is credited with encouraging this form. However, it attained its maturity at the hands of Niyamat Khan Sadarang and Adarang of the 18th century.”

Solution: d)

Both statements are wrong. The description of the two styles below will clarify the difference.

• Question 4 of 5 4. Question With reference to the semi-classical music form Thumri, consider the following statements It is inspired by Bhakti Movement It is based on the romantic literature Thumri is one of the division of Carnatic music How many of the above statements is/are correct? a) Only one b) Only two c) All three d) None Correct Solution: b) Statement 3 is incorrect. Indian Hindustani Classical Music has various divisions like Khyaal, Thumari/Thumri, Tappa, Tarana, etc. The thumri is based on the romantic-devotional literature inspired by the bhakti movement. The text is usually derived from the Radha-Krishna theme and is of primary importance. The semi-classical music form ‘thumr is known to have derived its name from thumakna. Loosely translated the word means, “dance-like movements”. Thumri was about mild eroticism and dramatic gestures and was the invention of courtesans. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha. Incorrect Solution: b) Statement 3 is incorrect. Indian Hindustani Classical Music has various divisions like Khyaal, Thumari/Thumri, Tappa, Tarana, etc. The thumri is based on the romantic-devotional literature inspired by the bhakti movement. The text is usually derived from the Radha-Krishna theme and is of primary importance. The semi-classical music form ‘thumr is known to have derived its name from thumakna. Loosely translated the word means, “dance-like movements”. Thumri was about mild eroticism and dramatic gestures and was the invention of courtesans. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

#### 4. Question

With reference to the semi-classical music form Thumri, consider the following statements

• It is inspired by Bhakti Movement

• It is based on the romantic literature

• Thumri is one of the division of Carnatic music

How many of the above statements is/are correct?

• a) Only one

• b) Only two

• c) All three

Solution: b)

Statement 3 is incorrect.

Indian Hindustani Classical Music has various divisions like Khyaal, Thumari/Thumri, Tappa, Tarana, etc. The thumri is based on the romantic-devotional literature inspired by the bhakti movement.

The text is usually derived from the Radha-Krishna theme and is of primary importance. The semi-classical music form ‘thumr is known to have derived its name from thumakna. Loosely translated the word means, “dance-like movements”.

Thumri was about mild eroticism and dramatic gestures and was the invention of courtesans. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

Solution: b)

Statement 3 is incorrect.

Indian Hindustani Classical Music has various divisions like Khyaal, Thumari/Thumri, Tappa, Tarana, etc. The thumri is based on the romantic-devotional literature inspired by the bhakti movement.

• Question 5 of 5 5. Question Which of the following personalities is/are famous for the Hindustani Music? 1. Bhimsen Joshi 2. Gangubhai Hangal 3. M. S. Subbalakshmi How many of the above statements is/are correct? a) Only one b) Only two c) All three d) None Correct Solution: b) Statement 3 is incorrect. Pandit Bhimsen Gururaj Joshi was a legendary Indian vocalist from Karnataka in the Hindustani classical tradition. He is known for the khayal form of singing, as well as for his popular renditions of devotional music. He received the Bharat Ratna, India’s highest civilian honour, in 2009. Gangubai Hangal was an Indian singer of the khyal genre of Hindustani classical music, who was known for her deep and powerful voice. Hangal belonged to the Kirana gharana. Madurai Shanmukhavadivu Subbulakshmi was an Indian Carnatic singer from Madurai, Tamil Nadu. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour. Incorrect Solution: b) Statement 3 is incorrect. Pandit Bhimsen Gururaj Joshi was a legendary Indian vocalist from Karnataka in the Hindustani classical tradition. He is known for the khayal form of singing, as well as for his popular renditions of devotional music. He received the Bharat Ratna, India’s highest civilian honour, in 2009. Gangubai Hangal was an Indian singer of the khyal genre of Hindustani classical music, who was known for her deep and powerful voice. Hangal belonged to the Kirana gharana. Madurai Shanmukhavadivu Subbulakshmi was an Indian Carnatic singer from Madurai, Tamil Nadu. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour.

#### 5. Question

Which of the following personalities is/are famous for the Hindustani Music?

1.Bhimsen Joshi 2. Gangubhai Hangal 3. M. S. Subbalakshmi

How many of the above statements is/are correct?

• a) Only one

• b) Only two

• c) All three

Solution: b)

Statement 3 is incorrect.

Pandit Bhimsen Gururaj Joshi was a legendary Indian vocalist from Karnataka in the Hindustani classical tradition. He is known for the khayal form of singing, as well as for his popular renditions of devotional music. He received the Bharat Ratna, India’s highest civilian honour, in 2009.

Gangubai Hangal was an Indian singer of the khyal genre of Hindustani classical music, who was known for her deep and powerful voice. Hangal belonged to the Kirana gharana.

Madurai Shanmukhavadivu Subbulakshmi was an Indian Carnatic singer from Madurai, Tamil Nadu. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour.

Solution: b)

Statement 3 is incorrect.

Gangubai Hangal was an Indian singer of the khyal genre of Hindustani classical music, who was known for her deep and powerful voice. Hangal belonged to the Kirana gharana.

Madurai Shanmukhavadivu Subbulakshmi was an Indian Carnatic singer from Madurai, Tamil Nadu. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour.

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