All questions of Indian Music for BPSC (Bihar) Exam

Sushir vadya is related to flute

Explanation:

Tyagaraja, Muthuswami Dikshitar and Syama Sastri are the three great composers of classical Carnatic music. They were contemporaries and lived in the 18th century in South India.

Carnatic music:

The common thing among these personalities is their contribution to Carnatic music. Carnatic music is a form of classical music that originated in South India. It is one of the oldest forms of music in the world, with a history that dates back over 2,000 years. The three composers contributed to the development of Carnatic music by creating new compositions, setting new standards for the art form, and influencing future generations of musicians.

Tyagaraja:

Tyagaraja was a composer, musician, and devotee of Lord Rama. He is regarded as one of the greatest composers of Carnatic music and is known for his compositions in Telugu and Sanskrit. His compositions are characterized by their devotional content and their use of intricate melodic patterns. Some of his famous compositions include "Nagumomu Ganala" and "Endaro Mahanubhavulu".

Muthuswami Dikshitar:

Muthuswami Dikshitar was a composer and musician who was known for his compositions in Sanskrit. He was one of the Trinity of Carnatic music along with Tyagaraja and Syama Sastri. His compositions are known for their use of complex rhythms and intricate melodies. Some of his famous compositions include "Sri Rangapura Vihara" and "Vatapi Ganapatim".

Syama Sastri:

Syama Sastri was a composer and musician who was known for his compositions in Telugu. He was one of the Trinity of Carnatic music along with Tyagaraja and Muthuswami Dikshitar. His compositions are known for their use of intricate melodies and complex rhythms. Some of his famous compositions include "Kamakshi" and "Devi Brova Samayamide".

Conclusion:

In conclusion, the common thing among Tyagaraja, Muthuswami Dikshitar, and Syama Sastri is their contribution to Carnatic music. They were instrumental in the development of the art form and their compositions continue to be popular today.

Pandit Bhimsen Joshi and Gangubai Hangal
Pandit Bhimsen Joshi and Gangubai Hangal are renowned figures in the realm of Hindustani classical music, specifically associated with the Kirana Gharana.
What is the Kirana Gharana?
- The Kirana Gharana is one of the prominent gharanas (schools) of Hindustani classical music.
- It is known for its emphasis on the beauty of melody and the intricate use of ragas.
- The gharana’s style often incorporates a deep emotional expression, focusing on the nuances of vocal rendition.
Contribution of Pandit Bhimsen Joshi
- Pandit Bhimsen Joshi (1922-2011) was a legendary vocalist celebrated for his powerful voice and emotive renditions.
- He brought a unique flavor to the Kirana Gharana by blending traditional forms with his innovative approach.
- His performances were characterized by a deep understanding of ragas, along with improvisational skills.
Contribution of Gangubai Hangal
- Gangubai Hangal (1913-2009) was another stalwart of the Kirana Gharana, known for her distinct style and commitment to classical music.
- She was one of the first women to gain prominence in Hindustani classical music, paving the way for future generations.
- Her renditions often featured traditional compositions, showcasing her mastery over the art.
Conclusion
- Both musicians have significantly contributed to the legacy of the Kirana Gharana, making it an influential force in the classical music landscape.
- Their dedication and artistry continue to inspire aspiring musicians and music lovers alike.
This rich heritage of the Kirana Gharana is what firmly places both Pandit Bhimsen Joshi and Gangubai Hangal within its esteemed ranks.

Pandit Bhimsen Joshi and Gangubai Hangal are associated with Kirana Gharana.

The Kirana Gharana is one of the most prominent and influential schools (Gharana) of Hindustani classical music. It is known for its distinctive style and emphasis on melody, with a focus on the development and exploration of the raga (melodic structure) in its purest form.

About Pandit Bhimsen Joshi:
- Pandit Bhimsen Joshi was one of the greatest Hindustani classical vocalists of the 20th century. He was born in 1922 in Gadag, Karnataka, and was trained in the Kirana Gharana style of music.
- Joshi's singing style was characterized by his powerful and emotive voice, his mastery over complex taans (fast melodic patterns), and his ability to evoke deep emotions through his renditions.
- He was known for his renditions of khayal, a popular form of Hindustani classical music, which helped establish him as one of the leading vocalists of his time.
- Joshi received numerous accolades and awards throughout his career, including the Bharat Ratna, India's highest civilian award, in 2008. He passed away in 2011, leaving behind a rich legacy of musical excellence.

About Gangubai Hangal:
- Gangubai Hangal was a renowned Hindustani classical vocalist, born in 1913 in Dharwad, Karnataka. She also belonged to the Kirana Gharana and trained under Sawai Gandharva, a prominent disciple of the legendary Ustad Abdul Karim Khan.
- Hangal was known for her soulful and emotive renditions, often exploring the depths of emotions through her music. She had a deep understanding of ragas and was particularly known for her renditions of thumri and bhajans.
- Despite facing several challenges as a female artist in a male-dominated field, Hangal persevered and became one of the leading female vocalists of her time.
- Like Pandit Bhimsen Joshi, Gangubai Hangal received several awards and honors during her lifetime, including the Padma Vibhushan, the second-highest civilian award in India. She passed away in 2009, leaving behind a lasting impact on the world of Hindustani classical music.

Conclusion:
Pandit Bhimsen Joshi and Gangubai Hangal, both hailing from Karnataka, were stalwarts of the Kirana Gharana. Their contributions to Hindustani classical music have been immense, and their musical legacies continue to inspire generations of musicians.

Explanation:

Wanawan is a folk music form that is popular in the state of Karnataka, India. It is especially sung during wedding ceremonies and is known for its lively and celebratory nature.

Statement 1: Wanawan is the Folk music from the state of Karnataka

This statement is incorrect. Wanawan is not a folk music form from Karnataka. It is actually a form of folk music from the state of Rajasthan in North India. It is closely associated with the Meena community, a tribal group that resides in the region. Wanawan is characterized by its rhythmic beats and energetic melodies, and it is often performed during festivals and other celebratory occasions.

Statement 2: Wanawan is especially sung during wedding ceremonies

This statement is correct. Wanawan is indeed sung during wedding ceremonies, particularly among the Meena community in Rajasthan. It is considered an integral part of the wedding festivities and is performed to celebrate the union of the bride and groom. The lively and joyous nature of Wanawan adds to the overall festive atmosphere of the wedding ceremony.

Conclusion:

In conclusion, only statement 2 is correct. Wanawan is a folk music form from Rajasthan and is especially sung during wedding ceremonies. It is important to note that statement 1 is incorrect as Wanawan is not associated with the state of Karnataka.

The correct answer is option 'C', Gana sangeet.

Gana sangeet is a form of fusion music sung in chorus or groups and large numbers. It is a popular form of music in India, particularly in the states of Maharashtra and Gujarat. Gana sangeet is characterized by its lively and energetic nature, with a focus on creating a sense of unity and togetherness among the performers and the audience.

Gana sangeet is often associated with patriotic feelings and nationalistic themes. Many songs in this genre celebrate the spirit of India and its rich cultural heritage. These songs evoke a sense of pride and love for the country among the listeners. They often highlight the achievements and struggles of the nation, paying tribute to the heroes and martyrs who sacrificed their lives for the country.

In addition to patriotic themes, Gana sangeet also includes songs of protest against the malpractices and injustices prevailing in society. These songs serve as a platform for expressing dissent and raising awareness about social issues. They address topics such as corruption, inequality, and discrimination, urging people to stand up and fight for justice.

Gana sangeet is known for its catchy tunes, rhythmic beats, and vibrant melodies. It often incorporates a variety of musical instruments such as harmonium, tabla, dholak, and flute, creating a rich and dynamic musical experience. The lyrics of Gana sangeet are usually in the local languages of Maharashtra and Gujarat, adding a regional flavor to the music.

The performances of Gana sangeet are typically accompanied by energetic dance movements and choreography. The performers engage the audience by encouraging them to clap, sing along, and participate in the performance. This creates a festive and interactive atmosphere, bringing people together in a shared musical experience.

In conclusion, Gana sangeet is a form of fusion music sung in chorus or groups and large numbers. It encompasses patriotic themes as well as songs of protest against social malpractices. With its lively tunes and energetic performances, Gana sangeet aims to create a sense of unity and togetherness among the performers and the audience.

Tillana in Carnatic Classical Music
Tillana is a popular form of composition in Carnatic classical music. It is usually performed as an energetic and rhythmic piece, often serving as an introductory item in concerts. Tillana is known for its fast-paced tempo, intricate rhythmic patterns, and lively melodies. It is typically performed towards the end of a concert, after the main compositions like varnam, kriti, and ragam-tanam-pallavi.

Khyal and Pallavi
Khyal and Pallavi are two different forms of composition in Hindustani and Carnatic classical music, respectively. They have distinct characteristics and serve different purposes in their respective musical traditions.

- Khyal: Khyal is a popular form of composition in Hindustani music. It is characterized by its improvisational nature and the use of intricate melodic patterns. Khyal compositions are usually performed in a free rhythm style, allowing the artist to explore the nuances of the raga and showcase their skill in improvisation. It often includes bol-baant (syllables used to depict rhythms) and taans (fast melodic passages).

- Pallavi: Pallavi is a form of composition in Carnatic music. It is the central and most important part of the ragam-tanam-pallavi (RTP) format. Pallavi is characterized by its melodic elaboration, rhythmic complexity, and exploration of the raga's nuances. It is often performed in a slow tempo, allowing the artist to showcase their mastery over the raga through imaginative improvisations. Pallavi is typically preceded by alapana (melodic exploration of the raga) and followed by tanam (rhythmic exploration of the raga).

Tanam and Raga Alapana
Tanam and raga alapana are both forms of melodic exploration in Carnatic classical music. While they are related, they have distinct characteristics and serve different purposes.

- Raga Alapana: Raga alapana is the melodic exploration of a raga in Carnatic music. It is a free-flowing improvisation where the artist explores the various nuances, phrases, and characteristics of the chosen raga. Raga alapana is usually performed before the main composition (such as kriti or pallavi) and sets the mood and framework for the composition. It does not have a fixed rhythm or pulse and allows the artist to showcase their creativity and knowledge of the raga.

- Tanam: Tanam is a rhythmic exploration of the raga in Carnatic music. It is usually performed after the raga alapana and before the pallavi in the RTP format. Tanam is characterized by its rhythmic flow, intricate patterns, and use of syllables like ta, nam, and tom to depict the rhythmic structure. Unlike raga alapana, tanam incorporates a rhythmic element and is often performed in a medium to fast tempo. It showcases the artist's ability to navigate the raga's rhythmic complexities while maintaining the melodic integrity.

Conclusion
Based on the explanations above, the correct statements are:
1. Tillana usually finds a place in Carnatic classical music concerts as an introductory piece.
3. Tanam is a branch of raga alapana which shows the rhythmic flow of music.

Therefore,

• It was set up by the Indian education ministry on 31 May 1952 and became functional the following year, with its first chairman, Dr P. V. Rajamannar. Dr Rajendra Prasad, the first President of India, inaugurated it on 28 January 1953 in a special function held in the Parliament House. The academy's Fellowship and Award are considered very prestigious.
• The academy functions as the apex body of the performing arts in the country to preserve and promote India's vast cultural heritage expressed in music, dance and drama. It also works with governments and art academies in states and territories of the country.
• Sangeet Natak Akademi established several institutions over the years:
  1. Manipur Dance Academy, Imphal
  2. Sattriya Centre
  3. Kathak Kendra (National Institute of Kathak Dance), New Delhi in 1964
  4. Ravindra Rangshala

• National School of Drama (NSD) is a theatre training institute situated at New Delhi, India. It is an autonomous organization under the Ministry of Culture, Government of India.
• It was set up in 1959 by the Sangeet Natak Akademi and became an independent school in 1975.

The Oldest and Grandest Forms of Hindustani Classical Music

Introduction
Hindustani classical music is a traditional form of music that originated in the northern regions of the Indian subcontinent. It has a rich history and is known for its intricate melodies, rhythmic patterns, and improvisation. Among the various forms of Hindustani classical music, Dhrupad stands out as one of the oldest and grandest forms.

Dhrupad
Dhrupad is a form of Hindustani classical music that dates back to the 15th century. It originated in the royal courts of northern India and was initially performed by the Dhrupad singers who were patronized by the Rajput kings. Dhrupad is characterized by its slow and meditative style, focusing on the exploration of ragas (melodic patterns) and the use of Sanskrit poetry in its compositions.

Characteristics of Dhrupad
- Alap: Dhrupad starts with an alap, which is a slow and melodic exploration of the raga. The alap is a non-rhythmic improvisation that allows the artist to showcase the nuances of the raga and create a mood for the performance.
- Bandish: After the alap, the singer moves on to the bandish, which is a structured composition in a specific rhythm. The bandish is often divided into sections, each with its own melodic and rhythmic patterns.
- Pakhawaj: Dhrupad is accompanied by the pakhawaj, a traditional Indian percussion instrument. The pakhawaj provides a rhythmic foundation for the singer and adds depth and texture to the performance.
- Emphasis on Voice: Dhrupad places a strong emphasis on the voice of the singer. The singer uses various techniques such as meend (glides), gamak (ornamentation), and layakari (rhythmic variations) to bring out the full potential of the raga.
- Spiritual Connection: Dhrupad is often regarded as a spiritual form of music. It is believed to have the power to create a deep connection between the performer, the audience, and the divine.

Importance of Dhrupad
Dhrupad holds a significant place in the realm of Hindustani classical music. It is considered the oldest and grandest form due to its historical lineage, intricate compositions, and spiritual essence. Dhrupad has influenced other forms of classical music and continues to be revered by musicians and enthusiasts alike.

Conclusion
Dhrupad, with its ancient roots and profound musicality, stands as one of the oldest and grandest forms of Hindustani classical music. Its slow and meditative style, emphasis on ragas, and spiritual connection make it a unique and revered art form. As the custodian of a rich musical heritage, Dhrupad continues to captivate audiences and contribute to the cultural tapestry of India.

Thumri Style of Music
Thumri is a popular style of music heard in concerts, especially in North India. It is known for its expressive and emotive nature, making it a favorite among classical music lovers.

Characteristics of Thumri Style

• It is set to different ragas observing the moods of the mind: Thumri music is known for its ability to capture and reflect the various moods and emotions of the singer. It is often set to different ragas that help convey the sentiments and feelings of the song.

Therefore, option 2 only is the correct choice as it accurately describes the characteristics of Thumri style of music.

Pandit Rattan Mohan Sharma is also known as Tarana Ka Badshah. He is a renowned Indian classical vocalist who has made significant contributions to the field of Hindustani classical music.

Pandit Rattan Mohan Sharma belongs to the Mewati Gharana, which is a school of music known for its unique style and approach. He was trained in music by his grandfather, Pandit Jasraj, who is one of the most celebrated vocalists in Indian classical music. Under his guidance, Pandit Rattan Mohan Sharma developed a deep understanding of the intricacies of classical music and honed his vocal skills.

Explanation:

Carnatic form of music:
- Gitam, Suladi, Jatiswaram, and Vamam are all forms of compositions in Carnatic music.
- Carnatic music is a classical music form popular in the southern parts of India, particularly in states like Tamil Nadu, Karnataka, Kerala, and Andhra Pradesh.
- Gitam is a simple form of Carnatic music composition usually taught to beginners.
- Suladi is a type of composition in Carnatic music that is set to specific talas or rhythmic patterns.
- Jatiswaram is a type of composition that focuses on rhythmic elements and is often used for dance performances.
- Vamam is a type of composition in Carnatic music that is characterized by intricate rhythmic patterns and melodic phrases.

Therefore, the correct answer is option 'A' - Carnatic form of music.

Answer:

The correct answer is option 'B': Tappa.

Origin and Folk Songs of Camel Riders:
The Tappa originated from the folk songs of the camel riders of Northwest India. The camel riders were nomadic people who traveled long distances on camels and entertained themselves by singing songs. These songs were known as Tappa and were characterized by their lively and rhythmic nature.

Legitimacy at the Mughal Court:
However, the Tappa gained legitimacy as a semi-classical vocal specialty once it was introduced to the Mughal court of Emperor Mohammed Shah. The Mughal court was known for its patronage of arts and music, and the introduction of Tappa to the court elevated its status as a respected form of vocal music.

Characteristics of Tappa:
Tappa is known for its intricate and fast-paced melodies. It is sung in a lively and energetic manner, often with accompanying instruments such as the tabla and harmonium. The lyrics of Tappa are usually in Punjabi or Urdu and often revolve around themes of love, nature, and social issues.

Evolution and Popularity:
Over time, Tappa evolved and incorporated elements of classical music, making it a unique blend of folk and classical styles. It became popular not only in the Mughal court but also among the general public. Today, Tappa is performed by professional musicians and is considered an important genre in the Indian classical music tradition.

Conclusion:
In conclusion, the Tappa originated from the folk songs of the camel riders of Northwest India and gained legitimacy as a semi-classical vocal specialty when it was introduced to the Mughal court. Its lively melodies, fast-paced rhythms, and themes of love and nature make Tappa a unique and popular genre in Indian classical music.

Introduction:
Daskathia is a traditional form of ballad singing that is prevalent in the state of Odisha, India. It is a popular form of folk entertainment that combines storytelling, music, and dance. Daskathia performances are usually carried out by itinerant performers or troupes who travel from village to village, entertaining the local people with their captivating performances.

Origin and History:
The origins of Daskathia can be traced back to the 16th century when it emerged as a popular form of entertainment in the rural areas of Odisha. It is believed to have been influenced by the Vaishnava Bhakti movement that swept across the region during that time. The advent of Daskathia can be attributed to the efforts of the Mahari community, a group of temple dancers who were instrumental in developing this art form.

Performances and Themes:
Daskathia performances are typically held in open spaces like village squares or temple courtyards. The performers, known as Kandhas, are accompanied by musicians who play traditional instruments like the mardal (a percussion instrument) and harmonium. The Kandhas, dressed in vibrant costumes, sing and dance while narrating stories from Hindu epics like the Ramayana and Mahabharata.

Style and Technique:
Daskathia is characterized by its unique style of singing and storytelling. The performers use a combination of prose, poetry, and song to narrate the stories. They employ various techniques like dialogues, monologues, and soliloquies to bring the characters and events to life. The rhythmic and melodious singing is accompanied by energetic dance movements, adding to the overall visual appeal of the performance.

Significance:
Daskathia plays a significant role in preserving and promoting the cultural heritage of Odisha. It serves as a platform for the oral transmission of traditional stories, legends, and moral values from one generation to another. The performances are not only entertaining but also serve as a means of educating and enlightening the audience about the rich cultural and mythological traditions of the region.

Conclusion:
Daskathia is a unique and vibrant form of ballad singing that is prevalent in Odisha. It combines music, dance, and storytelling to create an immersive and captivating experience for the audience. Through its performances, Daskathia keeps alive the rich cultural heritage of the region and continues to be an integral part of the social and cultural fabric of Odisha.