UPSC Static Quiz – Art and Culture : 26 June 2024
Kartavya Desk Staff
UPSC Static Quiz – Art and Culture : 26 June 2024 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.
We are excited to bring you our daily UPSC Static Quiz, designed to help you prepare for the UPSC Civil Services Preliminary Examination. Each day, we will post 5 questions on static topics mentioned in the UPSC syllabus. This week, we are focusing on Indian and World Geography.
Why Participate in the UPSC Static Quiz?
Participating in daily quizzes helps reinforce your knowledge and identify areas that need improvement. Regular practice will enhance your recall abilities and boost your confidence for the examination. By covering various topics throughout the week, you ensure a comprehensive revision of the syllabus.
#### Quiz-summary
0 of 5 questions completed
Questions:
#### Information
Best of 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 5 questions answered correctly
Your time:
Time has elapsed
You have reached 0 of 0 points, (0)
#### Categories
• Not categorized 0%
• Question 1 of 5 1. 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.
#### 1. 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.
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.
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 2 of 5 2. Question Consider the following about Purandara Dasa, a major figure associated with Carnatic music. He was a contemporary of Kanakadasa. He was a staunch opposer of idol worship as practiced in Vaishnavism. He is associated with the introduction of Svaravalis and Alankaras in Carnatic music teaching. Select the correct answer using the codes below. a) 1 and 2 only b) 1 and 3 only c) 3 only d) 1, 2 and 3 Correct Solution: b) There is much speculation about where Purandara Dasa, regarded as the pitamaha of Carnatic music, was born. An expert committee was constituted by Kannada University, Hampi. Purandara Dasa (1484–1564) was a Haridasa, great devotee of Lord Krishna and a saint (S2 is wrong). He was a disciple of the celebrated Madhwa philosopher-saint Vyasatirtha, and a contemporary of yet another great Haridasa, Kanakadasa. Purandaradasa was the pioneer who blended the rich musical streams, namely the Dravidian and Aryan music, into a single stream known as Carnatic music. Prior to his initiation to Haridasa tradition, Purandara Dasa was a rich merchant and was called as Srinivasa Nayaka. Contributions to Indian Music: He formulated the basic lessons of teaching Carnatic music by structuring graded exercises known as Svaravalis and Alankaras. He introduced the raga Mayamalavagowla as the first scale to be learnt by beginners in the field – a practice that is still followed today. He also composed Gitas (simple songs) for novice students. He is noted for composing Dasa Sahithya, as a Bhakti movement vocalist, and a music scholar. Incorrect Solution: b) There is much speculation about where Purandara Dasa, regarded as the pitamaha of Carnatic music, was born. An expert committee was constituted by Kannada University, Hampi. Purandara Dasa (1484–1564) was a Haridasa, great devotee of Lord Krishna and a saint (S2 is wrong). He was a disciple of the celebrated Madhwa philosopher-saint Vyasatirtha, and a contemporary of yet another great Haridasa, Kanakadasa. Purandaradasa was the pioneer who blended the rich musical streams, namely the Dravidian and Aryan music, into a single stream known as Carnatic music. Prior to his initiation to Haridasa tradition, Purandara Dasa was a rich merchant and was called as Srinivasa Nayaka. Contributions to Indian Music: He formulated the basic lessons of teaching Carnatic music by structuring graded exercises known as Svaravalis and Alankaras. He introduced the raga Mayamalavagowla as the first scale to be learnt by beginners in the field – a practice that is still followed today. He also composed Gitas (simple songs) for novice students. He is noted for composing Dasa Sahithya, as a Bhakti movement vocalist, and a music scholar.
#### 2. Question
Consider the following about Purandara Dasa, a major figure associated with Carnatic music.
• He was a contemporary of Kanakadasa.
• He was a staunch opposer of idol worship as practiced in Vaishnavism.
• He is associated with the introduction of Svaravalis and Alankaras in Carnatic music teaching.
Select the correct answer using the codes below.
• a) 1 and 2 only
• b) 1 and 3 only
• d) 1, 2 and 3
Solution: b)
There is much speculation about where Purandara Dasa, regarded as the pitamaha of Carnatic music, was born. An expert committee was constituted by Kannada University, Hampi.
Purandara Dasa (1484–1564) was a Haridasa, great devotee of Lord Krishna and a saint (S2 is wrong). He was a disciple of the celebrated Madhwa philosopher-saint Vyasatirtha, and a contemporary of yet another great Haridasa, Kanakadasa.
Purandaradasa was the pioneer who blended the rich musical streams, namely the Dravidian and Aryan music, into a single stream known as Carnatic music. Prior to his initiation to Haridasa tradition, Purandara Dasa was a rich merchant and was called as Srinivasa Nayaka.
Contributions to Indian Music: He formulated the basic lessons of teaching Carnatic music by structuring graded exercises known as Svaravalis and Alankaras.
He introduced the raga Mayamalavagowla as the first scale to be learnt by beginners in the field – a practice that is still followed today. He also composed Gitas (simple songs) for novice students. He is noted for composing Dasa Sahithya, as a Bhakti movement vocalist, and a music scholar.
Solution: b)
There is much speculation about where Purandara Dasa, regarded as the pitamaha of Carnatic music, was born. An expert committee was constituted by Kannada University, Hampi.
Purandara Dasa (1484–1564) was a Haridasa, great devotee of Lord Krishna and a saint (S2 is wrong). He was a disciple of the celebrated Madhwa philosopher-saint Vyasatirtha, and a contemporary of yet another great Haridasa, Kanakadasa.
Purandaradasa was the pioneer who blended the rich musical streams, namely the Dravidian and Aryan music, into a single stream known as Carnatic music. Prior to his initiation to Haridasa tradition, Purandara Dasa was a rich merchant and was called as Srinivasa Nayaka.
Contributions to Indian Music: He formulated the basic lessons of teaching Carnatic music by structuring graded exercises known as Svaravalis and Alankaras.
He introduced the raga Mayamalavagowla as the first scale to be learnt by beginners in the field – a practice that is still followed today. He also composed Gitas (simple songs) for novice students. He is noted for composing Dasa Sahithya, as a Bhakti movement vocalist, and a music scholar.
• Question 3 of 5 3. Question Match the following folk traditions to their main feature. Pankhida is sung by peasants of Assam during harvest. The tradition of singing Rasiya Geet flourished in Braj. In Pandavani, tales from Mahabharata are sung as a ballad and one or two episodes are chosen for the performance. Select the correct answer using the codes below. a) 1 and 2 only b) 2 and 3 only c) 3 only d) 1, 2 and 3 Correct Solution: b) Statement 1: Sung by the peasants of Rajasthan while doing work in the fields, the peasants sing and speak even while playing algoza and manjira. The literal meaning of the word ‘Pankhida’ is lover. Statement 2: The rich tradition of singing Rasiya Geet flourished in Braj which is the sacred land of Lord Krishna’s charming leelas from time immemorial. This is not confined to any particular festival, but is closely woven into the very fabric of daily life and day to day chores of its people. ‘Rasiya’ word is derived from the word rasa (emotion) because rasiya means that which is filled with rasa or emotion. Statement 3: In Pandavani, tales from Mahabharata are sung as a ballad and one or two episodes are chosen for the night’s performance. The main singer continuously sits throughout the performance and with powerful singing and symbolic gestures he assumes all the characters of the episode one after another. Incorrect Solution: b) Statement 1: Sung by the peasants of Rajasthan while doing work in the fields, the peasants sing and speak even while playing algoza and manjira. The literal meaning of the word ‘Pankhida’ is lover. Statement 2: The rich tradition of singing Rasiya Geet flourished in Braj which is the sacred land of Lord Krishna’s charming leelas from time immemorial. This is not confined to any particular festival, but is closely woven into the very fabric of daily life and day to day chores of its people. ‘Rasiya’ word is derived from the word rasa (emotion) because rasiya means that which is filled with rasa or emotion. Statement 3: In Pandavani, tales from Mahabharata are sung as a ballad and one or two episodes are chosen for the night’s performance. The main singer continuously sits throughout the performance and with powerful singing and symbolic gestures he assumes all the characters of the episode one after another.
#### 3. Question
Match the following folk traditions to their main feature.
• Pankhida is sung by peasants of Assam during harvest.
• The tradition of singing Rasiya Geet flourished in Braj.
• In Pandavani, tales from Mahabharata are sung as a ballad and one or two episodes are chosen for the performance.
Select the correct answer using the codes below.
• a) 1 and 2 only
• b) 2 and 3 only
• d) 1, 2 and 3
Solution: b)
Statement 1: Sung by the peasants of Rajasthan while doing work in the fields, the peasants sing and speak even while playing algoza and manjira. The literal meaning of the word ‘Pankhida’ is lover.
Statement 2: The rich tradition of singing Rasiya Geet flourished in Braj which is the sacred land of Lord Krishna’s charming leelas from time immemorial.
This is not confined to any particular festival, but is closely woven into the very fabric of daily life and day to day chores of its people.
‘Rasiya’ word is derived from the word rasa (emotion) because rasiya means that which is filled with rasa or emotion.
Statement 3: In Pandavani, tales from Mahabharata are sung as a ballad and one or two episodes are chosen for the night’s performance. The main singer continuously sits throughout the performance and with powerful singing and symbolic gestures he assumes all the characters of the episode one after another.
Solution: b)
Statement 1: Sung by the peasants of Rajasthan while doing work in the fields, the peasants sing and speak even while playing algoza and manjira. The literal meaning of the word ‘Pankhida’ is lover.
Statement 2: The rich tradition of singing Rasiya Geet flourished in Braj which is the sacred land of Lord Krishna’s charming leelas from time immemorial.
This is not confined to any particular festival, but is closely woven into the very fabric of daily life and day to day chores of its people.
‘Rasiya’ word is derived from the word rasa (emotion) because rasiya means that which is filled with rasa or emotion.
Statement 3: In Pandavani, tales from Mahabharata are sung as a ballad and one or two episodes are chosen for the night’s performance. The main singer continuously sits throughout the performance and with powerful singing and symbolic gestures he assumes all the characters of the episode one after another.
• Question 4 of 5 4. Question With reference to the ‘Sugam Sangeet’, consider the following statements It is the genre of devotional music, which brings classical and modernity together. Sugam Sangeet is a form of Ghazal. Tevaram is sung in the praise of Lord Vishnu. Which of the statements given above is/are correct? a) 1 only b) 1 and 2 only c) 3 only d) 1,2 and 3 Correct Solution: b) Sugam Sangeet is one such form of music which combines classicism and modernity in right balance. Of great lyrical quality, the Sugam Sangeet is a Gujarati form of the Ghazal and is extremely soothing to the ears and the soul as well. Tevaram denotes the first seven volumes of the Tirumurai, the twelve-volume collection of Lord Shiva devotional poetry. All seven volumes are dedicated to the works of the three most prominent Tamil poets of the 7th century, the Nayanars – Sambandar, Tirunavukkarasar and Sundarar. Incorrect Solution: b) Sugam Sangeet is one such form of music which combines classicism and modernity in right balance. Of great lyrical quality, the Sugam Sangeet is a Gujarati form of the Ghazal and is extremely soothing to the ears and the soul as well. Tevaram denotes the first seven volumes of the Tirumurai, the twelve-volume collection of Lord Shiva devotional poetry. All seven volumes are dedicated to the works of the three most prominent Tamil poets of the 7th century, the Nayanars – Sambandar, Tirunavukkarasar and Sundarar.
#### 4. Question
With reference to the ‘Sugam Sangeet’, consider the following statements
• It is the genre of devotional music, which brings classical and modernity together.
• Sugam Sangeet is a form of Ghazal.
• Tevaram is sung in the praise of Lord Vishnu.
Which of the statements given above is/are correct?
• b) 1 and 2 only
• d) 1,2 and 3
Solution: b)
Sugam Sangeet is one such form of music which combines classicism and modernity in right balance. Of great lyrical quality, the Sugam Sangeet is a Gujarati form of the Ghazal and is extremely soothing to the ears and the soul as well.
Tevaram denotes the first seven volumes of the Tirumurai, the twelve-volume collection of Lord Shiva devotional poetry. All seven volumes are dedicated to the works of the three most prominent Tamil poets of the 7th century, the Nayanars – Sambandar, Tirunavukkarasar and Sundarar.
Solution: b)
Sugam Sangeet is one such form of music which combines classicism and modernity in right balance. Of great lyrical quality, the Sugam Sangeet is a Gujarati form of the Ghazal and is extremely soothing to the ears and the soul as well.
Tevaram denotes the first seven volumes of the Tirumurai, the twelve-volume collection of Lord Shiva devotional poetry. All seven volumes are dedicated to the works of the three most prominent Tamil poets of the 7th century, the Nayanars – Sambandar, Tirunavukkarasar and Sundarar.
• Question 5 of 5 5. Question As per classical texts, to present nritya and natya effectively, a dancer should be trained to communicate the navarasas. Which of the following is NOT a navarasa? a) Karuna b) Bibhatsa c) Shaanta d) Lasya Correct Solution: d) As per the ancient treatises, dance is considered as having three aspects: natya, nritya and nritta. Natya highlights the dramatic element and most dance forms do not give emphasis to this aspect today with the exception of dance-drama forms like Kathakali. Nrityais essentially expressional, performed specifically to convey the meaning of a theme or idea. Nritta on the other hand, is pure dance where body movements do not express any mood (bhava), nor do they convey any meaning. To present nritya and natya effectively, a dancer should be trained to communicate the navarasas. These are: love (shringaara), mirth (haasya), compassion (karuna), valour(veera), anger (roudra), fear (bhayanak), disgust (bibhatsa), wonder (adbhuta) and peace (shaanta). Option D: An ancient classification followed in all styles is of Tandava and Lasya. Tandava the masculine, is heroic bold and vigorous. Lasya the feminine is soft, lyrical and graceful. Abhinaya, broadly means expression. This is achieved through angika, the body and limbs, vachikasong and speech and aharya, costume and adornment; and satvika, moods and emotions. Incorrect Solution: d) As per the ancient treatises, dance is considered as having three aspects: natya, nritya and nritta. Natya highlights the dramatic element and most dance forms do not give emphasis to this aspect today with the exception of dance-drama forms like Kathakali. Nrityais essentially expressional, performed specifically to convey the meaning of a theme or idea. Nritta on the other hand, is pure dance where body movements do not express any mood (bhava), nor do they convey any meaning. To present nritya and natya effectively, a dancer should be trained to communicate the navarasas. These are: love (shringaara), mirth (haasya), compassion (karuna), valour(veera), anger (roudra), fear (bhayanak), disgust (bibhatsa), wonder (adbhuta) and peace (shaanta). Option D: An ancient classification followed in all styles is of Tandava and Lasya. Tandava the masculine, is heroic bold and vigorous. Lasya the feminine is soft, lyrical and graceful. Abhinaya, broadly means expression. This is achieved through angika, the body and limbs, vachikasong and speech and aharya, costume and adornment; and satvika, moods and emotions.
#### 5. Question
As per classical texts, to present nritya and natya effectively, a dancer should be trained to communicate the navarasas. Which of the following is NOT a navarasa?
• b) Bibhatsa
• c) Shaanta
Solution: d)
As per the ancient treatises, dance is considered as having three aspects: natya, nritya and nritta. Natya highlights the dramatic element and most dance forms do not give emphasis to this aspect today with the exception of dance-drama forms like Kathakali. Nrityais essentially expressional, performed specifically to convey the meaning of a theme or idea. Nritta on the other hand, is pure dance where body movements do not express any mood (bhava), nor do they convey any meaning. To present nritya and natya effectively, a dancer should be trained to communicate the navarasas. These are: love (shringaara), mirth (haasya), compassion (karuna), valour(veera), anger (roudra), fear (bhayanak), disgust (bibhatsa), wonder (adbhuta) and peace (shaanta).
Option D: An ancient classification followed in all styles is of Tandava and Lasya. Tandava the masculine, is heroic bold and vigorous. Lasya the feminine is soft, lyrical and graceful. Abhinaya, broadly means expression. This is achieved through angika, the body and limbs, vachikasong and speech and aharya, costume and adornment; and satvika, moods and emotions.
Solution: d)
As per the ancient treatises, dance is considered as having three aspects: natya, nritya and nritta. Natya highlights the dramatic element and most dance forms do not give emphasis to this aspect today with the exception of dance-drama forms like Kathakali. Nrityais essentially expressional, performed specifically to convey the meaning of a theme or idea. Nritta on the other hand, is pure dance where body movements do not express any mood (bhava), nor do they convey any meaning. To present nritya and natya effectively, a dancer should be trained to communicate the navarasas. These are: love (shringaara), mirth (haasya), compassion (karuna), valour(veera), anger (roudra), fear (bhayanak), disgust (bibhatsa), wonder (adbhuta) and peace (shaanta).
Option D: An ancient classification followed in all styles is of Tandava and Lasya. Tandava the masculine, is heroic bold and vigorous. Lasya the feminine is soft, lyrical and graceful. Abhinaya, broadly means expression. This is achieved through angika, the body and limbs, vachikasong and speech and aharya, costume and adornment; and satvika, moods and emotions.
Join our Official Telegram Channel HERE for Motivation and Fast Updates
Join our Twitter Channel HERE
Follow our Instagram Channel HERE
Stay Consistent
Consistency is key in UPSC preparation. By making the UPSC Static Quiz a part of your daily routine, you will steadily improve your knowledge base and exam readiness. Join us every day to tackle new questions and make your journey towards UPSC success more structured and effective.