PAPER-III
RABINDRA SANGIT
Signature and Name of Invigilator
1. (Signature) __________________________
(Name) ____________________________
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J A 097
Time : 2 1/2 hours]
1 7
Number of Pages in this Booklet : 32
Instructions for the Candidates
1. Write your roll number in the space provided on the top of
this page.
2. This paper consists of seventy five multiple-choice type of
questions.
3. At the commencement of examination, the question booklet
will be given to you. In the first 5 minutes, you are requested
to open the booklet and compulsorily examine it as below :
(i) To have access to the Question Booklet, tear off the paper
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(iii) After this verification is over, the Test Booklet Number
should be entered on the OMR Sheet and the OMR
Sheet Number should be entered on this Test Booklet.
(iv) The test booklet no. and OMR sheet no. should be same.
In case of discrepancy in the number, the candidate should
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4. Each item has four alternative responses marked (1), (2), (3)
and (4). You have to darken the circle as indicated below on
the correct response against each item.
Example :
where (3) is the correct response.
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however, allowed to carry original question booklet on
conclusion of examination.
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13. In case of any discrepancy in the English and Hindi versions,
English version will be taken as final.
JA-097-17 1 P.T.O.
OMR Sheet No. : ...............................................
(To be filled by the Candidate)
Roll No.
(In figures as per admission card)
Roll No.________________________________
(In words)
[Maximum Marks : 150
Number of Questions in this Booklet : 75
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 RABINDRA SANGIT
PAPER – III

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

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

(1) Purabi (2) Bhimpalasree
(3) Imankalyan (4) Tori

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

(1) Pipasa hai nahi mitilo (2) Chiro sakha, chero na more
(3) Sada thako Anande (4) Ke basile aji hridayasthane

3. ‘Prabhater Adim Abhas Arunbarna Abhar Abarane’

Trace out the source
(1) Chandalika (2) Chitrāngada
(3) Shapmochan (4) Shyama

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

(1) Puja (2) Bichitra
(3) Prem (4) Swadesh

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

.
(1) Phalguni (2) Nataraj riturangasala
(3) Nabin (4) Muktadhara

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

(1) E parabase robe ke (2) Bajilo kahara bina
(3) Andhojane deho alo (4) Thora pata go

Paper-III 2 JA-097-17

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 ¸¾Öß®¦ ÃÖÓÝÖߟÖ
¯ÖÏ¿®Ö¯Ö¡Ö – III

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

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

(1) ¯Ö㸠²Öß (2) ³Öß´Ö¯Ö»ÖÖÁÖß
(3) µÖ´Ö®Ö-Û »µÖÖÞÖ (4) ŸÖÖê›Ì ß

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

(1) ׯ֯ÖÖÃÖÖ Æî ®ÖÖ‡Ô ×´Ö×™»ÖÖê (2) דָÖê ÃÖÜÖÖ ”ê ¸ Öê ®ÖÖ ´ÖÖê¸ê
(3) ÃÖ¤Ö £ÖÖÛ Öê †Ö®ÖÓ¤ê (4) Ûê ¾Ö×ÃÖ»Öê †Ö•Öß Ç¤µÖÖãÖÖ®Öê

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

(1) “ÖÓ› Ö×»ÖÛ Ö (2) ד֡ÖÖÓÝÖ¤Ö
(3) ¿ÖÖ¯Ö´ÖÖê“Ö®Ö (4) ¿µÖÖ´ÖÖ

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

(1) ¯Öæ•ÖÖ (2) ײÖד֡Ö
(3) ¯ÖÏê´Ö (4) Ã¾Ö¤ê ¿Ö

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

(1) ± Ö»ÝÖã®Öß (2) ®Ö™¸Ö•Ö Š ŸÖã¸Ó ÝÖ¿ÖÖ»ÖÖ
(3) ®Ö²Öß®Ö (4) ´Ö㌟֬ÖÖ¸Ö

6. Û Öî®Ö ÃÖÖ ÝÖßŸÖ ÃÖŸµÖ•ÖßŸÖ ¸ê ®Öê †¯Ö®Öß ×± »´Ö †ÖÝÖÓŸÖãÛ ´Öë þֵÖÓ ÝÖÖµÖÖ £ÖÖ ?
(1) ‹ê ¯Ö¸²ÖÖÃÖê ¸Öê²Öê Ûê (2) ²ÖוֻÖÖê Û Æ¸Ö ×²Ö®ÖÖ
(3) †Ó¬ÖÖê•Ö®Öê ¤ê Æ Öê †Ö»ÖÖê (4) £ÖÖê¸ê ¯ÖŸÖÖ ÝÖÖê
JA-097-17 3 Paper-III

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7. How does ‘Tomar asime’ deviate from Behag ?
By the use of :
(1) Komal Dhaibat (2) Komal Nishad
(3) Komal Rishabh (4) Komal Gazdhar

8. Who played the veena along with singing ?

(1) Santi Dev Ghosh (2) Pankaj Kumar Mallik
(3) Anadi Kumar Dastidar (4) Shailajaranjan Mazumdar

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

(1) O amar desher mati (2) Eso shyamolo sundar
(3) Aay re mora phasal kati (4) Amar praner pare

10. ‘Srabonor borisona par hoye ki bani’ was written when Rabindranath Tagore was
(1) 58 (2) 38
(3) 33 (4) 63

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

(1) Bilabal/Dadra (2) Kafi/Ektal
(3) Bhupali/Dadra (4) Todi/Rupakra

12. ‘Rabirashmi’ is written by

(1) Nihar Ranjan Roy (2) Sarala Devi
(3) Prasanta Kumar Pal (4) Charuchandra Bandyopadhyay

13. “Ogo tomra Sabai bhalo” occurs in

(1) Raja o Rani (2) Gora–y galad

(3) Sonar tari (4) Chitra
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7. ‘ŸÖÖê´ÖÖ¸ †×ÃÖ´Öê’ ×²ÖÆÖÝÖ ÃÖê ×Û ÃÖ ¯ÖÏÛ Ö¸ ׳֮®Ö Æî ? ×Û ÃÖÛê ¯ÖϵÖÖêÝÖ ÃÖê
(1) Û Öê´Ö»Ö ¬Ö‡Ô²ÖŸÖ (2) Û Öê´Ö»Ö ×®ÖÂÖÖ¤
(3) Û Öê´Ö»Ö Š ÂÖ³Ö (4) Û Öê´Ö»Ö ÝÖ•Ö¬Ö¸

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

(1) ¿ÖÖÓ×ŸÖ¤ê ¾Ö ‘ÖÖêÂÖ (2) ¯ÖÓÛ •Ö Ûã ´ÖÖ¸ ´Ö×»ÖÛ
(3) †®ÖÖפ Ûã ´ÖÖ¸ ¤×ßָ֤ (4) ¿ÖÖê‡Ô»ÖÖê•Ö¸Ó •Ö®Ö ´Ö•Öã´Ö¤Ö¸

9. ± ÃÖ»Ö Û ß Û ™Ö‡Ô Û Ö ˆŸÃÖ¾Ö ´Ö®ÖÖ®Öê Ûê ×»Ö‹ ™î ÝÖÖê¸ «Ö¸Ö ×Û ÃÖ ÝÖßŸÖ Û ß ¸“Ö®ÖÖ Û ß ÝÖ‡Ô £Öß ?
(1) †Öê †´ÖÖ¸ ¤ê ¿Öê¸ ´ÖÖ™ß (2) ‹êÃÖÖê ¿µÖÖ´Ö»ÖÖê ÃÖ㮤¸
(3) †Ö‹ ¸ê ´ÖÖê¸ Ö ± ÃÖ»Ö Û Ö×™ (4) †´ÖÖ¸ ¯ÖÏÖ®Öê¸ ¯ÖÖ¸ê

10. “ÄÖÖ²ÖÖê®Öê¸ ²Öê׸ÃÖÖê®ÖÖ ¯ÖÖ¸ ÆÖêµÖê ×Û ²ÖÖ®Öß” Û ß ¸“Ö®ÖÖ Ûê ÃÖ´ÖµÖ ¸×²Ö®¦®ÖÖ£Ö ™î ÝÖÖê¸ Û ß ˆ´ÖÏ ŒµÖÖ £Öß ?
(1) 58 (2) 38
(3) 33 (4) 63

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

(1) ײֻÖÖ²Ö»Ö/¤Ö¤¸ (2) Û Ö± ß / ‹Û ŸÖÖ»Ö
(3) ³Öæ¯ÖÖ»Öß / ¤Ö¤¸Ö (4) ™Öê› ß / ¹ ¯ÖÛ ›Ì Ö

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

(1) ×®ÖÆÖ¸ ¸Ó •Ö®Ö ¸ÖµÖ (2) ÃÖ¸»ÖÖ ¤ê ¾Öß
(3) ¯ÖÏ¿ÖÖÓŸÖ Ûã ´ÖÖ¸ ¯ÖÖ»Ö (4) “ÖÖ¹ “Ö®¦ ²Ö®¤Öê¯ÖÖ¬µÖÖµÖ

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

(1) ¸Ö•ÖÖ †Öë ¸Ö®Öß (2) ÝÖÖê¸ê ÝÖ»ÖÖ¤
(3) ÃÖÖê®ÖÖ¸ ŸÖÖ¸ß (4) ד֡Ö
JA-097-17 5 Paper-III

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14. ‘Ei tomari milano sudha roilo prane sanchita’ – this line is from the song
(1) Preme prane gane gandhe (2) Amar bela je jay
(3) Ei labhinu sango tabo (4) Ohe sundaro mano

15. The number of songs in ‘Prarthana’ is

(1) 59 (2) 10
(3) 36 (4) 143

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

(1) Yao re anantodhame (2) Nomi nomi bharoti
(3) Baje karuna sure (4) Eso shyamal sundar

17. What was Tagore’s age when he composed the song ‘Matrimandir punya Angana’ ?
(1) 52 (2) 76
(3) 56 (4) 53

18. “Yogi he, yogi he, ke tumi hridi-asane” in Kedar, Ektal occurs in the play …..
(1) Prakritir Pratishodh (2) Guru
(3) Achalayatan (4) Chirakumar Sabha

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

(1) Santideb Ghosh (2) Indira Debi Chaudhurani
(3) Pramatha Chaudhuri (4) Pulinbihari Sen

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

(1) gitali (2) gitimalya
(3) utsarga (4) naivedya

21. Where do you find the monsoon composition “Aowe piarawa, rimijhimi barakhana lage”,
tuned in the raga Nata-Malnar (as mentioned by Rabindranath) ?
(1) In the poem “Bhiru” (2) In the novel “Yogayog”
(3) In the play Shesh Barshan (4) In the book Chhelebela

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14. ‘‹‡Ô
ŸÖÖê´Ö׸ ×´Ö»Ö®Ö ÃÖã¬ÖÖ ¸Öê‡Ô»ÖÖê ¯ÖÏÖ®Öê ÃÖÓד֟ÖÖ’ – µÖÆ ¯ÖÓ׌ŸÖ ×Û ÃÖ ÝÖßŸÖ ÃÖê »Öß ÝÖ‡Ô Æî ?
(1) ¯ÖÏê´Öê ¯ÖÏÖÞÖê ÝÖÞÖê ÝÖ®¬Öê (2) †´ÖÖ¸ ²Öê»ÖÖ •Öê •ÖµÖ
(3) ‹ê‡Ô »Ö׳֮Öã ÃÖÓÝÖÖê ŸÖ²ÖÖê (4) †ÖêÆê ÃÖ㮤¸Öê ´Ö®ÖÖê

15. ¯ÖÏÖ£ÖÔ®ÖÖ ´Öë ÝÖߟÖÖë Û ß ÃÖÓܵÖÖ Æî

(1) 59 (2) 10
(3) 36 (4) 143

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

(1) •ÖÖ†Öê ¸ê †®ÖÓŸÖ ¬ÖÖ´Öê (2) ®ÖÖê×´Ö ®ÖÖê×´Ö ³ÖÖ¸ŸÖß
(3) ²ÖÖ•Öê Û ¹ ÞÖÖ ÃÖã¸ê (4) ‹êÃÖÖê ¿µÖÖ´Ö»Ö ÃÖãÓ¤ ¸

17. ™î ÝÖÖê¸ ®Öê ´ÖÖŸÖé´Ö×®¤¸ ¯ÖãÞµÖ †ÖÓÝÖ®Ö ÝÖßŸÖ Û ß ¸“Ö®ÖÖ ×Û ÃÖ ˆ´ÖÏ ´Öë Û ß £Öß ?
(1) 52 (2) 76
(3) 56 (4) 53

18. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×Û ÃÖ ®ÖÖ™Û ´Öë ‹Û ŸÖÖ»Ö Ûê Ûê ¤Ö¸ ´Öë “µÖÖêÝÖß Æê , µÖÖêÝÖß Æê , Ûê ŸÖã´Öß ×Çפ-†ÖÃÖ®Ö” ¯ÖÖµÖÖ •ÖÖŸÖÖ Æî
(1) ¯ÖÏÛé ןָ ¯ÖÏןֿÖÖê¬Ö (2) ÝÖã¹
(3) †“Ö»ÖÖµÖŸÖ®Ö (4) דָÛã ´ÖÖ¸ ÃÖ³ÖÖ

19. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×Û ÃÖ®Öê ™î ÝÖÖê¸ Ûê ´Ö¸ÞÖÖê¯Ö¸ÖÓŸÖ ˆ®ÖÛê ¯ÖÏÛ Ö¿Ö®Ö ‘ÃÖÓÝÖߟÖ-Ø“ÖŸÖÖ’ Û Ö ÃÖ´¯ÖÖ¤®Ö ×Û µÖÖ £ÖÖ ?
(1) ¿ÖÖÓ×ŸÖ¤ê ²Ö ‘ÖÖêÂÖ (2) ‡Óפ¸Ö ¤ê ²Öß “ÖÖî¬Ö㸠֮Öß
(3) ¯ÖÏ´Ö£Ö “ÖÖî¬Öã¸ ß (4) ¯Öã×»Ö®ÖײÖÆÖ¸ß ÃÖê®Ö

20. “¿Öã¬Öã ŸÖÖê´Ö¸ ¾ÖÖÞÖß ®ÖµÖ ÝÖÖê Æê ²ÖÓ¬Öã, Æê ׯÖϵ֔ ×Û ÃÖ´Öë ¯ÖÖµÖÖ •ÖÖŸÖÖ Æî ?
(1) ÝÖߟÖÖ»Öß (2) ÝÖßןִÖÖ»µÖ
(3) ˆŸÃÖÝÖÔ (4) ®ÖµÖ¾Öêª

21. “†Ö¾Öê ׯֵָ¾ÖÖ, ׸´Ö×—Ö´Ö ²Ö¸ÜÖ®Ö »ÖÖÝÖê” ®ÖÖ´ÖÛ ²Ö¸ÃÖÖŸÖ ¸“Ö®ÖÖ ×Û ÃÖ´Öë ¯ÖÖ‡Ô •ÖÖŸÖß Æî , וÖÃÖÛ Öê ®Ö™-´Ö»ÆÖ¸ ¸ÖÝÖ ´Öë
»ÖµÖ²Ö¨ ×Û µÖÖ ÝÖµÖÖ Æî (•ÖîÃÖÖ ×Û ™î ÝÖÖê¸ ®Öê ˆ»»ÖêÜÖ ×Û µÖÖ £ÖÖ)
(1) “³Öß¹ ” Û ×¾ÖŸÖÖ ´Öë (2) “µÖÖêÝÖÖµÖÖêÝÖ” ˆ¯Ö®µÖÖÃÖ ´Öë
(3) “¿ÖêÂÖ ²Ö¸ÂÖ®Ö” ®ÖÖ™Û ´Öë (4) “”ê »Öê ²Öê»ÖÖ” ¯ÖãßÖÛ ´Öë

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

(1) Bhikhari (2) Lila

(3) Lajjita (4) Kalpanik

23. Recognise the tune of the concerned song :

+ 2 0
’ GRI
II R G | M P P | DP –MP |M

I S - | R G M | P – M | G – RSN. I

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

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

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

(1) 23rd Falgun 1328 (2) 23rd Falgun 1327

(3) 23rd Falgun 1329 (4) 23rd Falgun 1326

25. “Tumi ki eshecho mor dware” occurs in

(1) Nabin (2) Tapati

(3) Natir Puja (4) Gora

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

(1) Swarabitan 31 (2) Swarabitan 30

(3) Swarabitan 29 (4) Swarabitan 27

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

(1) Gupta Dhan (2) Laboratory

(3) Megh o Raudra (4) Post Master

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22. “Ûê ®ÖÖê ²Ö•ÖÖ†Öê Û ÖÓÛ ®Ö Û ®Ö Û ®Ö Û ÖŸÖÖê ”»Ö ³Ö¸ê” Ûê ¿ÖßÂÖÔÛ Û Ö ¯ÖŸÖÖ »ÖÝÖÖ‡‹ :
(1) ׳ÖÜÖÖ¸ß (2) »Öß»ÖÖ
(3) »Öו•ÖŸÖÖ (4) Û Ö»¯Ö×®ÖÛ

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

+ 2 0
’ GRI
II R G | M P P | DP –MP |M

I S - | R G M | P – M | G – RSN. I

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

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

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

(1) 23 ± Ö»ÝÖã®Ö, 1328 (2) 23 ± Ö»ÝÖã®Ö, 1327
(3) 23 ± Ö»ÝÖã®Ö,1329 (4) 23 ± Ö»ÝÖã®Ö, 1326

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

(1) ®Ö²Öß®Ö (2) ŸÖ¯ÖŸÖß
(3) ®Ö™ß¸ ¯Öæ•ÖÖ (4) ÝÖÖê¸ Ö

26. ‘þָ ײ֟ÖÖ®Ö’ Ûê ×Û ÃÖ ³ÖÖÝÖ ´Öë ‘ŸÖÖê¸ ÝÖÖê¯Ö®Ö ¯ÖÏÖÞÖê ‹Û »ÖÖ ´ÖÖ®ÖãÂÖ’ ÝÖßŸÖ Û ß “ÖÛÎ Ö¾Öé×¢Ö ÃÖÓ¸ ×“ÖŸÖ Û ß ÝÖ‡Ô Æî ?
(1) þָײ֟ÖÖ®Ö 31 (2) þָײ֟ÖÖ®Ö 30
(3) þָײ֟ÖÖ®Ö 29 (4) þָײ֟ÖÖ®Ö 27

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

(1) ÝÖã¯ŸÖ ¬Ö®Ö (2) »Öê²ÖÖê¸ê ™Ò ß

(3) ´Öê‘Ö †Öê ¸Öî¦ (4) ¯ÖÖêÙ ´ÖÖÙ¸
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28. Match List – I with List – II :
List – I List – II
a. Nirabo rajani dekho magno i. Bramha Sangeet
b. Asima Kalsagare ii. Bibaho Utsab
c. O gan gasne-gasne iii. Bibidha Sangeet
d. Tumi acho kon para iv. Jatiya Sangeet
Codes :
a b c d
(1) i ii iii iv
(2) iii i iv ii
(3) iv iii ii i
(4) ii iv i iii

29. Match List – I with List – II :

List – I List – II
a. Yadi tor dak sune i. Gitasutrasar || 2
b. He mon, tare dekho ii. Kanthakoumudini
c. Saktirupo hero taro iii. Satagan
d. Tomari madhuro rupe iv. Sangeetmonjari
Codes :
a b c d
(1) ii iv i iii
(2) iv ii iii i
(3) i iii ii iv
(4) iii i iv ii

30. Match List – I with List – II :

List – I List – II
a. Tomari madhuro rupe i. E monke ankh
b. Shaktirup hero tanro ii. Tero ri nayanban
c. He mon, tanro dekho iii. Hari nam diye jagat
d. Yadi tor dak sune iv. Saptasur tingram
Codes :
a b c d
(1) i iii ii iv
(2) ii iv i iii
(3) iii i iv ii
(4) iv ii iii i

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28. ÃÖæ“Öß – I Û Öê ÃÖæ“Öß – II Ûê ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Û ßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ®Ö߸²ÖÖê ¸•Ö®Öß ¤ê ÜÖÖê ´ÖÝÖ®ÖÖê i. ²ÖÎÉ ÃÖÓÝÖߟÖ
b. †ÃÖß´Ö Û Ö»ÖÃÖÖÝÖ¸ê ii. ײ־ÖÖÆÖê ˆŸÃÖ¾Ö
c. †Öê ÝÖ®Ö ÝÖÖîÖê ÝÖÖîÖê iii. ×¾Ö×¾Ö¬Ö ÃÖÓÝÖߟÖ
d. ŸÖã×´Ö †“ÖÖê Û Öê®Ö ¯ÖÖ¸Ö iv. •ÖÖŸÖßµÖ ÃÖÓÝÖߟÖ
Ûæ ™ :
a b c d
(1) i ii iii iv
(2) iii i iv ii
(3) iv iii ii i
(4) ii iv i iii

29. ÃÖæ“Öß – I Û Öê ÃÖæ“Öß – II Ûê ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Û ßו֋ :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. µÖפ ŸÖÖê¸ ›ÖÛ ÃÖã®Öê i. ÝÖßŸÖ ÃÖæ¡ÖÃÖÖ¸ || 2
b. Æê ´Ö®Ö ŸÖÖ¸ê ¤ê ÜÖÖê ii. Û ÖÓš Û Öî´Öãפ®Öß
c. ¿Ö׌ŸÖº ¯Ö Æê ¸ Öê ŸÖÖ¸Öê iii. ÃÖŸÖÖêÝÖÞÖ
d. ŸÖÖê´Ö¸ß ´Ö¬Ö㸠Öê ¹ ¯Öê iv. ÃÖÓÝÖßŸÖ ´ÖÓ•Ö¸ß
Ûæ ™ :
a b c d
(1) ii iv i iii
(2) iv ii iii i
(3) i iii ii iv
(4) iii i iv ii

30. ÃÖæ“Öß – I Û Öê ÃÖæ“Öß – II Ûê ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Û ßו֋ :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ŸÖÖê´Ö¸ß ´Ö¬Ö㸠Öê ¹ ¯Öê i. ‹ ´Ö®ÖÛê †ÖÑÜÖ
b. ¿Ö׌ŸÖº ¯Ö Æê ¸ Öê ŸÖÖÓ¸ Öê ii. ŸÖê¸ Öê ׸ ®ÖµÖ®Ö ²Ö®Ö
c. Æê ´Ö®Ö, ŸÖÖÓ¸ Öê ¤ê ÜÖÖê iii. Æ׸ ®ÖÖ´Ö ¤ß•Öê •ÖÝÖŸÖ
d. µÖÖפ ŸÖÖê¸ ›ÖÛ ÃÖã®Öê iv. ÃÖ¯ŸÖÃÖ㸠ŸÖß®Ö ÝÖÏÖ´Ö
Ûæ ™ :
a b c d
(1) i iii ii iv
(2) ii iv i iii
(3) iii i iv ii
(4) iv ii iii i
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31. Match List – I with List – II :
List – I List – II
a. Sakhi Bhabana Kahare Bale i. Rudrachando
b. Basanto Prabhate Ek Malatir ii. Dakghar
c. Kothao amar hariye yaoyar iii. Falguni
d. Bhalo Manus Nai Re Mora iv. Bhagnahriday
Codes :
a b c d
(1) iii ii i iv
(2) i iii iv ii
(3) ii iv iii i
(4) iv i ii iii

32. Match List – I with List – II :

List – I List – II
a. Etodin ye bosechilem i. Ketaki
b. Emon dine tare bala ii. Shyama
c. Era sukher lagi chahe iii. Phalguni
d. Eto din Tumi sakha iv. Mayar Khela
Codes :
a b c d
(1) iii i iv ii
(2) i iii ii iv
(3) ii iv i iii
(4) iv ii iii i

33. Recognise the tune of the concerned song :

+. 2 0 3
∪
P II S – N | DP D – | M – P | G M – I

∪
I P S – | M G – M | R – GR |S––I

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

(3) Katobara Bhebechinu (4) Purano Sei Diner Katha
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31. ÃÖæ“Öß – I Û Öê ÃÖæ“Öß – II Ûê ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Û ßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ÃÖÜÖß ³ÖÖ²Ö®ÖÖ Û ÆÖ¸ê ²ÖÖ»Öê i. ¹ ¦“ÖÓ› Öê
b. ²ÖÃÖÓŸÖÖê ¯ÖϳÖÖŸÖê ‹Û ´ÖÖ»ÖŸÖ߸ ii. ›ÖÛ ‘Ö¸
c. Û £ÖÖ†Öê †´ÖÖ¸ ÆָߵÖê µÖÖ†ÖêµÖ¸ iii. ± Ö»ÝÖã®Öß
d. ³ÖÖ»ÖÖê ´ÖÖ®ÖãÂÖ ®ÖÖ‡Ô ¸ê ´ÖÖê¸ Ö iv. ³ÖÝ®ÖǤµÖ
Ûæ ™ :
a b c d
(1) iii ii i iv
(2) i iii iv ii
(3) ii iv iii i
(4) iv i ii iii

32. ÃÖæ“Öß – I Û Öê ÃÖæ“Öß – II Ûê ÃÖÖ£Ö ÃÖã´Öê×»ÖŸÖ Û ßו֋ :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. ‹êŸÖÖê פ®Ö •Öê ²ÖÖêÃÖê דֻÖê´Ö i. Ûê ŸÖÛ ß
b. ‹´ÖÖ®Ö ×¤®Öê ŸÖÖ¸ê ²ÖÖê»ÖÖ ii. ¿µÖÖ´ÖÖ
c. ‹ê¸ Ö ÃÖãÜÖê¸ »ÖÖ×ÝÖ “ÖÖÆê iii. ± Ö»ÝÖã®Öß
d. ‹êŸÖÖê פ®Ö ŸÖã×´Ö ÃÖÜÖÖ iv. ´ÖÖµÖÖ¸ ÜÖê»ÖÖ
Ûæ ™ :
a b c d
(1) iii i iv ii
(2) i iii ii iv
(3) ii iv i iii
(4) iv ii iii i

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

+. 2 0 3
∪
P II S – N | DP D – | M – P | G M – I

∪
I P S – | MG – M | R – GR |S––I

(1) ÃÖÛ ×»Ö ±ã ¸Ö»ÖÖê þ֯®Ö ¯Ö¸Ö‡Ô (2) †Öê, ¤ê ÜÖ×²Ö ¸ê ³ÖÖ‡Ô
(3) Û ŸÖÖê²ÖÖ¸Ö ³Öê²Öêד֮Öã (4) ¯Ö㸠֮ÖÖê ÃÖê‡Ô פ®Öê¸ Û £ÖÖ
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34. “Kato barne kato gandhe, kato gane kato chhande” – this line is from the song :
(1) Tai tomar anando amar por (2) Amar milan lagi tumi
(3) Nishar swapan chutlo re ei (4) Simar majhe, asim, tumi

35. “Ami sansare mon diyechinu” occurs in

(1) Kshanika (2) Gora
(3) Kalpana (4) Chirokumar Sabha

36. “Yabar bela sesh kathati” occurs in

(1) Natarajriturangashala (2) Sesher Kabita
(3) Seshraksha (4) Tapati

37. Which song is based on Brindabani sarang ?

(1) Bipulo taranga re (2) Mahasinghasone basi
(3) Jayataba bichitra (4) Tomaro asime

38. Match the following :

List – I List – II
a. Chokh je oder chhute chale i. Shephali
b. Akash amay bhorlo aloy ii. Tapati
c. Jago alasha shayana iii. Phalguni
d. Ananderi sagar hote iv. Arup ratan
Codes :
a b c d
(1) iii ii i iv
(2) iv iii ii i
(3) ii i iii iv
(4) i iv iii ii

39. ‘Madhura rupe birajo’ is mainly based on

(1) Behag (2) Khambaj
(3) Tilak Kamod (4) Desh
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34. “Û ŸÖÖê ¾ÖÞÖì Û ŸÖÖê ÝÖÓ¬Öê, Û ŸÖÖê ÝÖ®Öê Û ŸÖÖê ”®¤ê” – µÖÆ ¯ÖÓ׌ŸÖ ×Û ÃÖ ÝÖßŸÖ ÃÖê »Öß ÝÖ‡Ô Æî ?
(1) ŸÖÖ‡Ô ŸÖÖê´ÖÖ¸ †Ö®ÖÓ¤ Öê †´ÖÖ¸ ¯ÖÖê¸ (2) †´ÖÖ¸ ×´Ö»Ö®Ö »ÖÖ×ÝÖ ŸÖã×´Ö
(3) ×®Ö¿ÖÖ¸ Ã¾Ö¯Ö®Ö “Öã™ »ÖÖê ¸ê ‹ê‡Ô (4) ×ÃÖ´Ö¸ ´ÖÖ—Öê, †×ÃÖ´Ö, ŸÖã×´Ö

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

(1) õÖ×ÞÖÛ Ö (2) ÝÖÖê¸ Ö
(3) Û »¯Ö®ÖÖ (4) דָÛã ´ÖÖ¸ ÃÖ³ÖÖ

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

(1) ®Ö™¸Ö•ÖŠ ŸÖã¸Ó ÝÖ¿ÖÖ»ÖÖ (2) ¿ÖêÂÖê¸ Û ×¾ÖŸÖÖ
(3) ¿ÖêÂÖ¸õÖÖ (4) ŸÖ¯ÖŸÖß

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

(1) ×¾Ö¯Öã»Ö ŸÖ¸Ó ÝÖ ¸ê (2) ´ÖÆÖØÃÖÆÃÖÖê®Öê ²ÖÃÖß
(3) •ÖµÖŸÖ²Ö ײÖ×“Ö¡Ö (4) ŸÖÖê´ÖÖ¸Öê †Ö×ÃÖ´Öê

38. ×®Ö´®Ö×»Ö×ÜÖŸÖ Û Öê ÃÖã´Öê×»ÖŸÖ Û ßו֋ :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. “ÖÖêÜÖ •Öê †Öê›ê ¸ ”ã ™ê “Ö»Öê i. ¿Öê± Ö»Öß
b. †ÖÛ Ö¿Ö †´ÖÖµÖ ³Ö¸»ÖÖê †»ÖÖêµÖ ii. ŸÖ¯ÖŸÖß
c. •ÖÖÝÖê †»Ö¿ÖÖ ¿ÖµÖ®ÖÖ iii. ± Ö»ÝÖã®Öß
d. †Ö®ÖÓ¤ê ׸ ÃÖÖÝÖ¸ ÆÖêŸÖê iv. †¹ ¯Ö ¸ŸÖ®Ö
Ûæ ™ :
a b c d
(1) iii ii i iv
(2) iv iii ii i
(3) ii i iii iv
(4) i iv iii ii

39. ‘´Ö¬Ö㸠º ¯Öê ײָ֕ÖÖê’ ´ÖãÜµÖ º ¯Ö ÃÖê ×Û ÃÖ ¯Ö¸ †Ö¬ÖÖ׸ŸÖ Æî ?

(1) ײÖÆÖÝÖ (2) ÜÖ´²Ö•Ö
(3) ןֻÖÛ Û Ö´ÖÖê¤ (4) ¤ê ¿Ö

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

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

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

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

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

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

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

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

. . . .
(3) Buddham Sharanam gachchhami (4) Pari purnam anandwam

43. Select the correct pair from the following :

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

(2) Dekona amare dekona – Dance drama mayarkhela

(3) Ogo dekona more dekona – Drama sapmochan

(4) Kon bandhaner granthi – Dance drama chandalika

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

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

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

45. Find out the wrong pair :

(1) Thakurmoshay deri na say – Hunter’s

(2) Sakti Sadh Kore Jaha dibe – Kumar

(3) Danrao Kotha Chalo tomra ke – Bajrasen

(4) Satdeshete Khunje Khunje go – Anuchar

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40. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖßŸÖ ¯Öæ•ÖÖ ¯ÖµÖÖÔµÖ ´Öë ®ÖÆà Æî ?
(1) Û ®®ÖÖ Æ×ÃÖ¸ ›Öê»Ö ›Öê»ÖÖ®ÖÖ (2) ¯ÖÏ£Ö´ÖÖ •ÖãÝÖê¸ ˆ›ÖµÖÖ
(3) ¯ÖϳÖã †´Ö¸Ö ׯÖϵÖÖê †´Ö¸Ö (4) †®ŸÖ¸ ´Ö´Ö ×¾ÖÛ ×ÃÖŸÖÖê Û ¸Öê

41. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖßŸÖ šã ´Ö¸ß ¿Öî»Öß ¯Ö¸ †Ö¬ÖÖ׸ŸÖ Æî ?
(1) דָÖê ÃÖÜÖÖ Æê ”ê ¸ Öê®ÖÖ (2) ŸÖÖê²Öã ´ÖÖê®Öê ¸ê ÜÖÖê
(3) Ûê ²ÖÖê×ÃÖ»Öê †Ö×•Ö Ç¤µÖÖÃÖ®Öê (4) ÜÖê»ÖÖ¸ ÃÖÖ£Öß ×¾Ö¤ÖµÖ «Ö¸

42. ˆÃÖ ÝÖßŸÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë •ÖÖê †®µÖ ŸÖß®Ö Ûê ÃÖÖ£Ö ´Öê»Ö ®ÖÆà ÜÖÖŸÖß Æî ?
(1) ²Ö㨠ÃÖã¿Öã²¬Ö Û ¹ ÞÖÖ (2) ®Ö´ÖÖê ®Ö´ÖÖê ²Ö㨠פ²ÖÖÛ ¸ÖµÖ
(3) ²Ö㨠´Ö ¿Ö¸ÞÖÓ ÝÖ“”Ö×´Ö (4) ¯Ö׸¯ÖæÞÖÔ´ÖË †Ö®Ö®«´Ö

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

(1) ®ÖÖ •Öê†Öê ®ÖÖ •Öê†Öê®ÖÖ ÝÖÖê (i) ®ÖéŸµÖ ®ÖÖ×™Û Ö ¿µÖÖ´ÖÖ
(2) ¤ê Û Öê®ÖÖ †´Ö¸ê ¤ê Û Öê®ÖÖ (ii) ®Ö韵֮ÖÖ×™Û Ö ´ÖÖµÖÖ¸ÜÖê»ÖÖ
(3) †ÖêÝÖÖê ¤ê Û Öê®ÖÖ ´ÖÖê¸ê ¤ê Û Öê®ÖÖ (iii) ®ÖÖ™Û ¿ÖÖ¯Ö´ÖÖê“Ö®Ö
(4) Û Öê®Ö ²Ö®¬Ö®Öê¸ ÝÖÏÓ×£Ö (iv) ®Ö韵֮ÖÖ×™Û Ö “ÖÓ› Ö×»ÖÛ Ö

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

(1) ²ÖÖÝÖêÁÖß – †Ö›Öšê Û Ö (2) ײÖÆÖÝÖ – “Ö¾ÖŸÖÖ»Ö
(3) ¯Öæ¸ ²Öß – ‹Û ŸÖÖ»Ö (4) ´Ö㻟ÖÖ®Ö – —Ö¯ÖŸÖÖ»Ö

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

(1) šÖÛã ¸ ´ÖÖê¿ÖÖµÖ ¤ê ׸ ®ÖÖ ÃÖÖµÖ – Æ®™¸
(2) ¿Ö׌ŸÖ ÃÖ¬Ö Û Öê¸ê •ÖÆÖ ×¤²Öê – Ûã ´ÖÖ¸
(3) ¤Ö®Ö¸Ö¾Ö Û Öê£ÖÖ “Ö»ÖÖê ŸÖÖê´Ö¸Ö Ûê – ²Ö•ÖÏ ÃÖê®Ö
(4) ÃÖÖŸÖ¤ê ¿ÖêŸÖê ÜÖ㮕Öê ÜÖ㮕Öê ÝÖÖê – †®Öã“Ö¸

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46. Match the following :
List – I List – II
a. oi maraner sagar pare i. Valmiki Pratira
b. oi re tari dilo khule ii. Basanta
c. oi bhanglo hasir Bandh iii. Gitanjali
d. oi megh kare bujhi gagane iv. Grihaprabesh
Codes :
a b c d
(1) i ii iii iv
(2) iv iii ii i
(3) iii ii i iv
(4) ii iv i iii

47. Match the following :

List – I List – II
a. Lachhasar i. Sanshay timiro majhe
b. Adana ii. Jagate ananda yajne
c. Sarfarda iii. Nityo satye chintana karo
d. Rajbijoy iv. Bahe nirantara ananta
Codes :
a b c d
(1) iv iii ii i
(2) iii iv i ii
(3) ii i iii iv
(4) i ii iv iii

48. Who established Sangita-Sangha ?

(1) Sarala Devi (2) Pratibha Devi
(3) Pratima Devi (4) Mrinalini Devi

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46. ×®Ö´®Ö×»Ö×ÜÖŸÖ Û Öê ÃÖã´Öê×»ÖŸÖ Û ßו֋ :
ÃÖæ“Öß – I ÃÖæ“Öß – II
a. †Öê‡Ô ´ÖÖ¸Ö®Öê¸ ÃÖÖÝÖ¸ ¯ÖÖ¸ê i. ¾ÖÖ×»´ÖÛ ß ¯ÖסÖÛ Ö
b. †Öê‡Ô ¸ê ŸÖ׸ פ»ÖÖê ÜÖã»Öê ii. ²ÖÃÖÓŸÖ
c. †Öê‡Ô ³ÖÓÝÖ»ÖÖê ÆÖ×ÃÖ¸ ²ÖÓ¬Ö iii. ÝÖߟÖÖÓ•Ö»Öß
d. †Öê‡Ô ´Öê‘Ö Û ¸ê ²Öã×—Ö ÝÖÝÖ®Öê iv. ÝÖéÆ ¯ÖϾÖê¿Ö
Ûæ ™ :
a b c d
(1) i ii iii iv
(2) iv iii ii i
(3) iii ii i iv
(4) ii iv i iii

47. ×®Ö´®Ö×»Ö×ÜÖŸÖ Û Öê ÃÖã´Öê×»ÖŸÖ Û ßו֋ :

ÃÖæ“Öß – I ÃÖæ“Öß – II
a. »Ö”ÖÃÖÖ¸ i. ÃÖÓ¿ÖµÖ ×ŸÖ×´Ö¸Öê ´ÖÖ—Öê
b. †›Ö®ÖÖ ii. •ÖÝÖŸÖê †Ö®Ö®¤ •ÖÖ•Ö®Öê
c. ÃÖ¸± ¸¤Ö iii. ×®ÖŸµÖÖê ÃÖŸµÖê ד֮ŸÖ®ÖÖ Û ¸Öê
d. ¸Ö•Ö×²Ö•ÖµÖ iv. ²ÖÆê ×®Ö¸Ó ŸÖ¸ †®Ö®ŸÖ
Ûæ ™ :
a b c d
(1) iv iii ii i
(2) iii iv i ii
(3) ii i iii iv
(4) i ii iv iii

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

(1) ÃÖ¸»ÖÖ ¤ê ¾Öß (2) ¯ÖÏןֳÖÖ ¤ê ¾Öß
(3) ¯ÖÏןִÖÖ ¤ê ¾Öß (4) ´ÖéÞÖÖ×»Ö®Öß ¤ê ¾Öß

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49. Find out the song not composed by Rabindra Nath Tagore.
(1) Antara mamo bikoshito karo (2) Tumi nirmala karo mangala kare
(3) Anek diechho nath amar (4) Satya mongala prema mayo tumi

50. The song of Kazi Nazrul Islam ‘Sunnyo e buke pakhi mor’ resembles the Tagore song :
(1) Ami tomari matira kanya (2) Ami kemon karia janabo
(3) Alpa laiya thaki Tai (4) Amay chha jonay mile

51. Who wrote “The Music of India” chapter in The New Oxford History of Music ?
(1) Nikhil Banerjee (2) Damodar Hota
(3) Rabindralal Ray (4) Arnold Adrian Bake

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

(1) Marguerite Wilkinson (2) Ethel Rozenthal
(3) Alice Richardson (4) Mrs. Thompson

Read the notation and answer the following :

. . . .
I P S N | S NS NR I S' R' S' – | N – DP I
IPDP|M–G|R––|–––I
53. Recognize the song
(1) Badal dhara holo sara (2) Badala Meghe madala baje
(3) Barisha dhara majhe shantira bari (4) Barshana mandrita andhakare

54. Recognize the raga of the song

(1) Imam (2) Desh-pilu
(3) Khambaj (4) Purabi

55. Recognize the tala of the song :

(1) Dadra (2) Shasthi
(3) Ektal (4) Kaharwa
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49. Û Öî®Ö ÃÖÖ ÝÖßŸÖ ¸²Öß®¦ ®ÖÖ£Ö ™î ÝÖÖê¸ «Ö¸Ö ¸×“ÖŸÖ ®ÖÆà Æî ?
(1) †®ŸÖ¸ ´Ö´ÖÖê ×¾ÖÛ Öê׿֟ÖÖê Û ¸Öê (2) ŸÖã×´Ö ×®Ö´ÖÔ»Ö Û ¸Öê ´ÖÓÝÖ»Ö Û Ö¸ê
(3) †®ÖêÛ ¤ß‹”Öê ®ÖÖ£Ö †´ÖÖ¸ (4) ÃÖŸµÖ ´ÖÓÝÖ»ÖÖ ¯ÖÏê´ÖÖ ´ÖÖµÖÖê ŸÖã×´Ö

50. Û Ö•Öß ®Ö•Ö¹ »Ö ‡Ã»ÖÖ´Ö Û Ö ÝÖßŸÖ ‘ÃÖã®Ö†Öê ‹ ²ÖãÛê ¯ÖÖÜÖß ´ÖÖê¸ ’ ™î ÝÖÖê¸ Ûê ×Û ÃÖ ÝÖßŸÖ Û ß ŸÖ¸Æ »ÖÝÖŸÖÖ Æî ?
(1) †Ö×´Ö ŸÖÖê´Ö׸ ´ÖÖ×™¸ Û ®µÖÖ (2) †Ö×´Ö Ûê ´ÖÖê®Ö Û ×¸† •ÖÖ®Ö²ÖÖê
(3) †»¯ÖÖ »ÖîµÖÖ £Ö×Û ŸÖÖ‡Ô (4) †´ÖÖµÖ ”Ö •ÖÖê®Öê ×´Ö»Öê

51. “פ®µÖæ †ÖŒÃÖ± Öê›Ô ×ÆÃ™Ò ß †Öò± ´µÖæוÖÛ ” ´Öë ‘×¤ ´µÖæוÖÛ †Öò± ‡Ó×›µÖÖ’ †¬µÖÖµÖ ×Û ÃÖ®Öê ×»ÖÜÖÖ ?
(1) ×®Ö×ÜÖ»Ö ²Ö®Ö•Öá (2) ¤Ö´ÖÖê¤ ¸ ÆÖêŸÖÖ
(3) ¸²Öß®¦»ÖÖ»Ö ¸ê (4) †Ö®ÖÔ»› ‹×›Ò µÖ®Ö ²ÖÛ

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

(1) ´ÖÖÝÖÔ¸ Ö‡™ ×¾Ö×»Û ®ÖÃÖ®Ö (2) ‹£Öê»Ö ¸Öê•ÖꮣֻÖ
(3) ‹×»ÖÃÖ ×¸“Ö›Ô ÃÖ®Ö (4) ÁÖß´ÖŸÖß £ÖÖ´¯ÖÃÖ®Ö

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

. . . .
I P S N | S NS NR | S' R' S' – | N – DP I
IPDP|M–G|R––|–––I
53. ÝÖßŸÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë
(1) ²ÖÖ¤»Ö ¬ÖÖ¸Ö ÆÖê»ÖÖê ÃÖÖ¸Ö (2) ²ÖÖ¤»Ö ´Öê‘Öê ´ÖÖ¤»Ö ²ÖÖ•Öê
(3) ²ÖÖ׸¿Ö ¬ÖÖ¸Ö ´ÖÖ—Öê ÃÖ×®ŸÖ¸Ö ²ÖÖ׸ (4) ²Ö¸¿ÖÖ®ÖÖ ´Ö®¤×¸ŸÖÖ †Ó¬ÖÛ Ö¸ê

54. ÝÖßŸÖ Ûê ¸ÖÝÖ Û ß ¯ÖÆ“ÖÖ®Ö Û ¸ë :

(1) ‡´ÖÖ®Ö (2) ¤ê ¿Ö-ׯֻÖã
(3) ÜÖ´²Ö•Ö (4) ¯Öæ¸ ²Öß

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

(1) ¤Ö¤¸Ö (2) ÂÖšß
(3) ‹Û ŸÖÖ»Ö (4) Û Æ¸¾ÖÖ
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56. Who is the author of the book On the Edges of Time, published by Visva-Bharati ?

(1) Rabindranath Tagore (2) Rathindranath Tagore

(3) Satyendranath Tagore (4) Supriya Tagore

57. What is the title of the song Visva-Vina-Rabe Visvajana mohichhe as per Herbert A.
Popley’s book The Music of India (the Heritage of India Series) ?

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

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

58. Arrange sequentially as per Gitabitan :

(a) Bandhu (b) Gaan

(c) Antarmukhe (d) Prarthana

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

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

59. Sort out the asymmetrical one in tonal mode :

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

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

60. Find out the odd one :

(1) Jogajog (2) Pratham Alo

(3) Char Adhyay (4) Malancha

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56. ×¾Ö¿¾Ö ³ÖÖ¸ŸÖß «Ö¸Ö ¯ÖÏÛ Ö×¿ÖŸÖ †Ö®Ö פ ‹•Öê•Ö †Öò± ™Ö‡´Ö ¯ÖãßÖÛ Ûê »ÖêÜÖÛ Û Öî®Ö Æï ?
(1) ¸²Öß®¦®ÖÖ£Ö ™î ÝÖÖê¸ (2) ¸ŸÖß®¦®ÖÖ£Ö ™î ÝÖÖê¸
(3) ÃÖŸµÖꮦ®ÖÖ£Ö ™î ÝÖÖê¸ (4) ÃÖãׯÖϵÖÖ ™î ÝÖÖê¸

57. ƲÖÔ™ ‹. ¯ÖÖê¯Ö»Öß Û ß ¯ÖãßÖÛ : פ ´µÖæוÖÛ †Öò± ‡Ó×›µÖÖ (פ Æê ׸™ê •Ö †Öò± ‡Ó×›µÖÖ ÃÖ߸ߕÖ) Ûê †®ÖãÃÖÖ¸ ‘×¾Ö¿¾Ö-¾ÖßÞÖÖ-¸²Öê
×¾Ö¿¾Ö•Ö®Ö ´ÖÖê×Æ”ê ’
ÝÖßŸÖ Û Ö ¿ÖßÂÖÔÛ ŒµÖÖ Æî ?
(1) פ Û Öò×ôÖÛ ´µÖæוÖÛ (2) ´µÖæוÖÛ †Öò± Ã±ê µÖ¸
(3) פ »ÖÖµÖ¸ (¾ÖßÞÖÖ) †Öò± פ µÖæ×®Ö¾ÖÃÖÔ (4) ×¾Ö¿¾Ö ¾ÖßÞÖÖ

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

(a) ²Ö®¬Öã (b) ÝÖÖ®Ö
(c) †®ŸÖ¸´ÖãÜÖê (d) ¯ÖÏÖ£ÖÔ®ÖÖ
(1) (a), (b), (c), (d) (2) (b), (c), (a), (d)

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

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

(1) ´Ö®Ö •ÖÖÝÖÖê ´ÖÓÝÖ»Ö »ÖÖêÛê (2) ¤Ö†Öê Æê ǤµÖ ³ÖÖê¸ê ¤Ö†Öê
(3) †Ó×ÜÖ•Ö»Ö ´Öã” Ö‡»Öê (4) ÃÖÓ¬µÖÖ ÆÖê»ÖÖê †Öê ´ÖÖ

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

(1) •ÖÖêÝÖ •ÖÖêÝÖ (2) ¯ÖÏ£Ö´Ö †Ö»ÖÖê
(3) “ÖÖ¸ †¬µÖÖµÖ (4) ´Ö»ÖÖ®“ÖÖ
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61. Find out the wrong pair :

(1) Shilpotsav – Kathir Loha Kathin Ghume

(2) Halakarshan – Amra Chash Kari Anande

(3) Briksharopan – Ahwan Asilo Mahotsabe

(4) Maghotsav – Marubijayera Ketana Urao

62. Pick the odd paryay out :

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

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

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

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

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

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

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

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

65. Single out the song thema. tically different from the other three :

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

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

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61. ÝÖ»ÖŸÖ •ÖÖê›Ì Ö “Öã®Öë :

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

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

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

(4) ´ÖÖ‘ÖÖêŸÃÖ¾Ö – ´ÖÖ¹ ײֵ֕Öê¸ Ö Ûê ŸÖ®ÖÖ ‰ ¸Ö†Öê

62. ²Öê´Öê»Ö ¯ÖµÖÖÔµÖ “Öã®Öë :

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

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

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

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

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

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

(1) ŸÖã×´Ö ×Û “Öã פµÖê •ÖÖ†Öê (2) †Ö®Ö ÝÖÖê ŸÖÖê¸ Û ¸ ×Û †“Öê

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

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

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

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

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66. “Ar nahe, ar nay” occurs in

(1) Natir Puja (2) Muktadhara

(3) Nabin (4) Achalayatan

67. Match the following :

a. Arup Ratan i. Swarabitan 34

b. Basanta ii. Swarabitan 14

c. Gitabithika iii. Swarabitan 6

d. Nabagitika – I iv. Swarabitan 42

Codes :
a b c d

(1) i ii iii iv

(2) ii i iv iii

(3) iv iii i ii

(4) iii iv ii i

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

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

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

69. Arrange sequentially as per Gitabitan –

(a) Dao he hriday bhore dao

(b) Tomay gaan sonabo

(c) Se din amay bolechhile

(d) Keno bani tabo nahi shuni

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

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

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66. “†¸ ®ÖÆê, †¸ ®ÖµÖ” ×Û ÃÖ´Öë †ÖŸÖÖ Æî ?
(1) ®Ö™ß¸ ¯Öæ•ÖÖ (2) ´Ö㌟֬ÖÖ¸Ö
(3) ®Ö¾Öß®Ö (4) †“Ö»ÖÖµÖŸÖ®Ö

67. ×®Ö´®Ö×»Ö×ÜÖŸÖ Û Öê ÃÖã´Öê×»ÖŸÖ Û ßו֋ :

a. †¹ ¯Ö ¸ŸÖ®Ö i. þָ ײ֟ÖÖ®Ö 34

b. ²ÖÃÖÓŸÖ ii. þָ ײ֟ÖÖ®Ö 14
c. ÝÖߟֲÖß×£ÖÛ Ö iii. þָ ײ֟ÖÖ®Ö 6
d. ®Ö¾ÖÝÖßןÖÛ Ö – I iv. þָ ײ֟ÖÖ®Ö 42
Ûæ ™ :
a b c d
(1) i ii iii iv
(2) ii i iv iii
(3) iv iii i ii
(4) iii iv ii i

68. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê Û Öî®Ö ÃÖÖ ÝÖßŸÖ “´Ö¬µÖ´ÖÖ®Ö” ¯Ö¸ †Ö¬ÖÖ׸ŸÖ Æî ?
(1) †×ÃÖ´ÖÖê Û Ö»ÖÃÖÝÖ¸ê (2) ²ÖÓ¬Öã, ¸ÆÖê ¸ÆÖê ÃÖÖ£Öê
(3) ¸ÖêÆ ß ¸ÖêÆ ß †Ö®ÖÓ¤ Ö ŸÖ¸Ó ÝÖÖê (4) ²Ö›Ì Öê †Ö¿ÖÖ Û Öê¸ê

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

(a) ¤Ö†Öê Æê ǤµÖ ³ÖÖê¸ê ¤Ö†Öê
(b) ŸÖÖê´ÖµÖ ÝÖÖ®Ö ÃÖÖê®ÖÖ²ÖÖê
(c) ÃÖê פ®Ö †´ÖÖµÖ ²ÖÖê»Öê×”»Öê
(d) Ûê ®ÖÖê ²ÖÖ®Öß ŸÖ²ÖÖê ®ÖÆà ¿Öã®Öß
(1) (d), (c), (b), (a) (2) (b), (a), (d), (c)
(3) (d), (b), (c), (a) (4) (a), (b), (c), (d)

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70. Find out the wrong pair :

(1) Tumi amarer pita – Om pita no asi

(2) Shono Shono suro loka – Shrinwontu Visve

(3) Yadi jharer me gher mato – Yademi Prasfuranniba

(4) Ananda dhara bohichhe – Sangachi chhadhwang Sambadadhwang

71. Assertion (A) : Tagore’s certificate to Kesar Bai (23.4.1938) and his letter to Sahana
Devi (29.4.1938) regarding Kesar Bai’s singing are contradictory and confusing.

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

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

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

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

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

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

72. Assertion (A) : Tagore has composed many songs which have defied the canons of
orthodox propriety and good people are disgusted at the impedance of a man who is
audacious only because he is untrained. “Possibly that is the best way of doing
things in the sphere of art.”

Reason (R) : We do not hesitate to say that Tagore-songs have found their place in the
heart of his land along with her flowers that are never exhausted.

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

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

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

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

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

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70. ÝÖ»ÖŸÖ •ÖÖê›Ìê Û Ö ¯ÖŸÖÖ »ÖÝÖÖ‹ :
(1) ŸÖã×´Ö †´ÖÖ¸ê ¸ ׯ֟ÖÖ – †Öê´Ö ׯ֟ÖÖ ®ÖÖê †ÖÃÖß
(2) ¿ÖÖê®ÖÖê ¿ÖÖê®ÖÖê ÃÖ㸠Öê »ÖÖêÛ Ö – ÁÖ߮־ÖÖꮟÖã ×¾Ö¿¾Öê
(3) •Öפ —Ö¸ê ¸ ´Öê ‘Öê¸ ´ÖÖ™Öê – •Ö¤ê ´Öß ¯ÖÏÃÖ ±ã ¸×®®Ö²ÖÖ
(4) †Ö®ÖÓ¤ ¬ÖÖ¸Ö ²ÖÖê×Æ”ê – ÃÖÓÝÖÖ“Öß ”Ö¬Ö¾ÖÖÓÝÖ ÃÖÓ²ÖÖ¤Ö¬Ö¾ÖÖÓÝÖ

71. †×³ÖÛ £Ö®Ö (A) : ™î ÝÖÖê¸ «Ö¸Ö (23.4.1938) ´Öë Ûê ÃÖ¸²ÖÖ‡Ô Û Öê ¯ÖÏ¿ÖÓÃÖÖ¯Ö¡Ö †Öî¸ ÃÖÆÖ®ÖÖ ¤ê ¾Öß (29.4.1938) Û Öê
Ûê ÃÖ¸²ÖÖ‡Ô Ûê ÝÖÖµÖ®Ö Ûê ×¾ÖÂÖµÖ ´Öë ×»ÖÜÖÖ ÝÖµÖÖ ¯Ö¡Ö ˆ»Ö—Ö®Ö ³Ö¸Ö Æî …
ŸÖÛÔ (R) : †¯Ö®Öê ¯ÖÏ¿ÖÓÃÖÖ¯Ö¡Ö ´Öë Ûê ÃÖ¸²ÖÖ‡Ô Ûê ÝÖÖµÖ®Ö Û ß ³Öæ׸-³Öæ׸ ¯ÖÏ¿ÖÓÃÖÖ Û ß Æî ×Û ®ŸÖã †¯Ö®Öê ¯Ö¡Ö ´Öë ¾Öê Ûê ÃÖ¸²ÖÖ‡Ô Ûê
ÝÖÖµÖ®Ö Û ß ‘ÖÖê¸ Ø®Ö¤Ö Û ¸ŸÖê Æï …
(A) ŸÖ£ÖÖ (R) Û Öê ¬µÖÖ®Ö ´Öë ¸ÜÖŸÖê Æã ‹ ÃÖ¾ÖÖÔ׬ÖÛ †ÖÃÖÖ®Ö ŸÖ£ÖÖ Ã¾ÖßÛ ÖµÖÔ ˆ¢Ö¸ ¤ë …
(1) Æ´Öë (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë Û Öê þÖßÛ Ö¸ Û ¸®ÖÖ “ÖÖ×Æ‹ ŒµÖÖë×Û µÖÆ ‘ÃÖÓÝÖߟ֒ Ø“ÖŸÖÖ ÝÖÏÓ£Ö ´Öë ×»Ö×ÜÖŸÖ Æî …
(2) (A) ÃÖÆß ŸÖ£ÖÖ (R) ÝÖ»ÖŸÖ Æî …
(3) (A) ÝÖ»ÖŸÖ Æî ŸÖ£ÖÖ (R) ÃÖÆß Æî …
(4) ÃÖÓÝÖߟÖ-Ø“ÖŸÖÖ Ûê ¯ÖÖšÛ Ûê º ¯Ö ´Öë Æ´Öë (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë Û Öê ®Ö•Ö¸ †Ó¤ Ö•Ö Û ¸ ¤ê ®ÖÖ “ÖÖ×Æ‹ …

72. †×³ÖÛ £Ö®Ö (A) : ™î ÝÖÖê¸ ®Öê †®ÖêÛ ÝÖߟÖÖë Û ß ¸“Ö®ÖÖ Û ß Æî וÖÃÖ´Öë ¹ œÌ ß¾ÖÖ¤ß ˆÃŸÖÖ¤Öë Û ß ×®Ö¬ÖÖÔ׸ŸÖ Û Ö ÃÖß´ÖÖê»ÖÓ‘Ö®Ö ×Û µÖÖ
Æî ŸÖ£ÖÖ ³Ö¦ »ÖÖêÝÖÖë ®Öê ‹Û ÝÖî¸ ¯ÖÏ׿Ö×õÖŸÖ ÆÖê®Öê Ûê Û Ö¸ÞÖ Æß ˆ®ÖÃÖê ïÖ™ ÆÖê ÝÖ‹ Æï :
“ÃÖÓ³Ö¾ÖŸÖ: Û »ÖÖ Ûê õÖê¡Ö Û ÖµÖÔ Û ¸®Öê Û Ö µÖÆ ÃÖ¾ÖÖÔ׬ÖÛ ˆ¢Ö´Ö ´ÖÖÝÖÔ Æî …”
ŸÖÛÔ (R) : Æ´Öë µÖÆ Û Æ®Öê ´Öë Û Öê‡Ô ¿ÖÓÛ Ö ®ÖÆà ÆÖê®Öß “ÖÖ×Æ‹ ×Û ™îÝÖÖê¸ Ûê ÝÖߟÖÖë ®Öê µÖÆÖÑ Û ß ³Öæ×´Ö Ûê »ÖÖêÝÖÖë Ûê ǤµÖ ´Öë
ãÖÖ®Ö ²Ö®ÖÖµÖÖ Æî ŸÖ£ÖÖ µÖê Û ³Öß ®Ö ´Ö㸠—ÖÖ®Öê ¾ÖÖ»Öê ¯ÖãÂ¯Ö ²Ö®Ö “ÖãÛê Æï …
ˆ¯Ö¸ÖêŒŸÖ (A) ŸÖ£ÖÖ (R) Ûê †Ö¬ÖÖ¸ ¯Ö¸ ÃÖÆß ×ÃÖ¨ÖÓŸÖ Û Ö “ÖµÖ®Ö Û ¸ë :
(1) (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë ÃÖÆß Æï …
(2) (A) ŸÖ£ÖÖ (R) ¤Öê®ÖÖë ÝÖ»ÖŸÖ Æï …
(3) (A) ÃÖÆß ŸÖ£ÖÖ (R) †ÖÓ׿ÖÛ º ¯Ö ÃÖê ÃÖÆß Æî …
(4) (A) ŸÖ£ÖÖ (R) †ÖÓ׿ÖÛ º ¯Ö ÃÖê ÃÖÆß ŸÖ£ÖÖ †ÖÓ׿ÖÛ º ¯Ö ÃÖê ÝÖ»ÖŸÖ Æî …
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73. Assertion (A) : “Diner seshe ghumer deshe” despite being written by Rabindranath,
cannot be called a Rabindra-Sangit.

Reason (R) : It is just a poem. Tagore did not set it into musical tune. The poem is that of
day-ending but the tune given by Pankaj Kumar Mallik is that of morning.

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

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

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

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

74. Who scored the “Piano Arrangement and symphony orchestra” for Janagana mana
adhinayaka jaya he, (published by Visva-Bharati) ?

(1) Alan Danielou

(2) Rabi Shankar

(3) Alauddin Khan

(4) Bhimrao Shastri

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

(1) Peggy Hobroyde, Indian Music

(2) Subhankar, Sangit Damodar

(3) Susanne K. Langer, Feeling and Form

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

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

ŸÖÛÔ (R) : µÖÆ ‹Û Û ×¾ÖŸÖÖ ´ÖÖ¡Ö Æî … ™î ÝÖÖê¸ ®Öê ‡ÃÖê ÃÖÓÝÖßŸÖ Û ß ¬Öã®Ö ´Öë ŸÖîµÖÖ¸ ®ÖÆà ×Û µÖÖ … Û ×¾ÖŸÖÖ ×¤®Ö Û ß ÃÖ´ÖÖׯŸÖ
(פ®Öê¸ ¿ÖêÂÖê) Û ß Æî … ¯Ö¸Ó ŸÖã ¯ÖÓÛ •Ö Ûã ´ÖÖ¸ «Ö¸Ö ¤ß ÝÖ‡Ô ¬Öã®Ö ÃÖã²ÖÆ Û ß Æî …

(1) (A) †Öî¸ (R) ¤Öê®ÖÖë †Öîד֟µÖ¯ÖæÞÖÔ Æï …

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

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

(4) ‡ÃÖê ÝÖߟÖײ֟ÖÖ®Ö †Öî¸ Ã¾Ö¸ ײ֟ÖÖ®Ö ´Öë ÃÖ×´´Ö×»ÖŸÖ ×Û µÖÖ •ÖÖ®ÖÖ “ÖÖ×Æ‹ £ÖÖ …

74. “•Ö®ÖÝÖÞÖ ´Ö®Ö †×¬Ö®ÖÖµÖÛ •ÖµÖ Æê ” Ûê ×»Ö‹ ׯֵÖÖ®ÖÖê ×¾Ö®µÖÖÃÖ †Öî¸ ×ÃÖ´± ®Öß †ÖÛì Ã™Ò Ö Ã¾Ö¸×»Ö×¯Ö ×Û ÃÖ®Öê ¤ß £Öß (×¾Ö¿¾Ö-
³ÖÖ¸ŸÖß «Ö¸Ö ¯ÖÏÛ Ö׿֟Ö)

(1) ‹»Öê®Ö ›ê ×®Ö‹»ÖÖ‰

(2) ¸×¾Ö ¿ÖÓÛ ¸

(3) †»ÖÖˆ§ß®Ö ÜÖÖ®Ö

(4) ³Öß´Ö¸Ö¾Ö ¿ÖÖáÖß

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

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

(2) ¿Öã³ÖÖÓÛ ¸, ÃÖÓÝÖßŸÖ ¤Ö´ÖÖê¤ ¸

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

(4) •Öß.›²»µÖæ.‹± . Æê ÝÖê»Ö, »Öꌓָ †Öò®Ö ± Ö‡®Ö †Ö™Ô

______________
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 Space For Rough Work

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