All questions of Indian Music for BPSC (Bihar) Exam

Shehnai is a Sushir vadya, a type of wind instrument. It is a popular musical instrument in India and is commonly used in North Indian classical music as well as in weddings and processions.

Construction and Design:

The Shehnai is made of wood, brass or copper and consists of a double reed, which produces the sound. The instrument has a conical bore, which widens towards the lower end. It has a flared bell and seven or eight finger holes, which are played using the fingers of both hands.

Playing Technique:

The Shehnai is played by blowing air through the double reed and altering the pitch by opening and closing the finger holes. The player uses circular breathing technique to maintain a continuous flow of air into the instrument. The Shehnai is also played in an ensemble along with other instruments such as the tabla, dholak, and harmonium.

History and Evolution:

The Shehnai has a long history and is believed to have originated in Persia. It was introduced to India by the Mughals in the 16th century and has since become an integral part of Indian classical music. Some of the notable Shehnai players include Ustad Bismillah Khan, who is considered a legend in the Indian music industry.

Conclusion:

In conclusion, the Shehnai is a Sushir vadya, a wind instrument that is popular in Indian classical music. It has a unique construction and playing technique, which requires skill and practice to master. The Shehnai has a rich history and continues to be an important part of Indian music and culture.

Overview of the Personalities
In the context of Carnatic music, it's essential to distinguish between the artists associated with this classical music form and those associated with Hindustani music.
1. Bhimsen Joshi
- He is a renowned figure in Hindustani classical music, not Carnatic.
- His contributions primarily lie in the khayal genre and he is celebrated for his powerful voice and emotive renditions.
2. Gangubhai Hangal
- A notable figure in Hindustani music, she made significant contributions to the khayal style.
- Known for her profound understanding of music, she is not associated with Carnatic traditions.
3. M. S. Subbulakshmi
- She is a legendary Carnatic vocalist and is celebrated for her contributions to this genre.
- M. S. Subbulakshmi was the first musician ever to be awarded the Bharat Ratna, India's highest civilian honor, and is recognized globally for her performances.
Conclusion
Based on the information above, the correct answer is option 'b) 3 only'. M. S. Subbulakshmi is the sole personality listed who is famous for Carnatic music, while Bhimsen Joshi and Gangubhai Hangal are associated with Hindustani 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.

Sugam Sangeet is a genre of music that brings together classical and folk influences. It is a popular form of devotional music in India. Let's analyze each statement given in the question and determine which ones are correct.

1. It is a genre of devotional music, which brings classical and folk together.
- This statement is correct. Sugam Sangeet is indeed a genre of devotional music that combines classical and folk elements. It is known for its melodious tunes and soulful lyrics that evoke a sense of devotion and spirituality.

2. Bhajan, Shabad and Qawwali are different forms of Sugam Sangeet.
- This statement is correct. Bhajan, Shabad, and Qawwali are all forms of devotional music that fall under the umbrella of Sugam Sangeet. Bhajans are Hindu devotional songs, Shabads are devotional compositions in Sikhism, and Qawwalis are a form of devotional music in Sufism.

3. Tevaram is sung in praise of Lord Vishnu.
- This statement is incorrect. Tevaram is a collection of Tamil devotional poems composed by the Nayanars, a group of Shaivite saints. These hymns are sung in praise of Lord Shiva, not Lord Vishnu.

Therefore, the correct answer is option 'B' - 1 and 2 only.

In summary, Sugam Sangeet is a genre of devotional music that brings together classical and folk influences. It includes various forms such as Bhajan, Shabad, and Qawwali. However, Tevaram is not sung in praise of Lord Vishnu, but rather Lord Shiva.

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.

Statement Analysis:
Let's analyze each statement one by one:

Statement 1: The rhythmic groupings of emotions are called Tala.
Statement 2: These rhythmical cycles range from three to 108 beats.

Explanation:
- Statement 1 states that the rhythmic groupings of emotions are called Tala. Tala is a term used in Indian classical music to refer to the rhythmic patterns or cycles. It is a fundamental aspect of Indian music and plays a crucial role in organizing and structuring compositions.
- Statement 2 states that these rhythmical cycles range from three to 108 beats. This means that Tala can have different rhythmic cycles, ranging from as short as three beats to as long as 108 beats. The choice of Tala depends on the composition, style, and purpose of the musical performance.

Conclusion:
Neither of the statements is correct.

Explanation:
- While Tala is indeed related to rhythm in Indian classical music, it does not refer to the rhythmic groupings of emotions. Tala primarily refers to the rhythmic patterns or cycles that provide a framework for compositions and performances. It is a mathematical and structural aspect of music rather than an expression of emotions.
- Additionally, the range of rhythmical cycles in Tala is not fixed from three to 108 beats. Tala can have various rhythmic cycles, and the number of beats within a Tala can vary significantly. Different Talas have different structures and divisions, and they can range from simple to complex patterns.
- Therefore, both statements are incorrect.

Inferences:
- Tala is a term used in Indian classical music to refer to rhythmic patterns or cycles.
- Tala does not represent the rhythmic groupings of emotions.
- The range of rhythmical cycles in Tala is not fixed from three to 108 beats.

Correct answer: Option D - Neither of them.

• 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.

Kirana Gharana have had a long line of great singers, but the most famous are Pandit Bhimsen Joshi and Gangubai Hangal.

Introduction:
Amir Khusrau was a prominent 13th-century Persian poet, musician, and scholar who lived during the Delhi Sultanate. He made significant contributions in the fields of literature, music, and culture. Let's analyze each statement to determine its correctness.

Statement 1: He introduced new musical ragas - Ghora and Sanam.
The first statement is incorrect. Amir Khusrau did introduce several new musical ragas, but Ghora and Sanam are not among them. Some of the ragas he introduced include Yaman Kalyan, Sarparda, and Zilaf. He is considered the father of Qawwali, a form of devotional music that blends Persian and Indian elements.

Statement 2: He created a new style of Persian poetry called Sabaq-i-Hindi.
The second statement is incorrect. Amir Khusrau did not create a new style of Persian poetry called Sabaq-i-Hindi. However, he was known for his mastery of Persian poetry and his ability to blend Persian and Indian literary traditions. He is credited with popularizing the ghazal form of poetry in the Indian subcontinent.

Statement 3: He authored the work Tughlaqnama.
The third statement is correct. Amir Khusrau authored the work Tughlaqnama, a historical account of the reign of Sultan Muhammad bin Tughlaq. It provides valuable insights into the political and cultural climate of the time and is considered one of the most important historical texts from the Delhi Sultanate period.

Conclusion:
In conclusion, only statement 3 is correct. Amir Khusrau did not introduce the ragas Ghora and Sanam, nor did he create a style of Persian poetry called Sabaq-i-Hindi. However, he did author the work Tughlaqnama, which is an important historical text.

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.

Introduction:
Swaramela Kala Nidhi is a treatise on music that was written by Ramamatya. This text holds great significance in the field of Indian classical music and provides valuable insights into the musical concepts and traditions of the time. Ramamatya was a notable musicologist and composer who lived during the 16th century.

Explanation:
1. Authorship:
The correct answer to the question is option 'D' - Ramamatya. Ramamatya was a prominent scholar and musician from South India who is known for his contributions to the field of musicology. He is believed to have composed the Swaramela Kala Nidhi, which is considered to be one of his most significant works.

2. Content and Significance:
Swaramela Kala Nidhi is a comprehensive treatise on music that covers various aspects of Indian classical music. It provides detailed explanations of ragas, melodic structures, rhythmic patterns, and other foundational elements of music. The text also includes guidance on vocal techniques, improvisation, and composition.

Ramamatya's work is highly regarded for its systematic approach to music theory and its emphasis on the importance of practice and discipline in musical training. Swaramela Kala Nidhi is considered a valuable resource for both musicians and scholars interested in understanding the intricacies of Indian classical music.

3. Influence and Legacy:
Ramamatya's Swaramela Kala Nidhi has had a lasting impact on the development of Indian classical music. His work provided a foundation for subsequent musicologists and composers to build upon. It contributed to the evolution and refinement of music theory and helped shape the pedagogical methods used in music education.

The concepts and principles outlined in Swaramela Kala Nidhi continue to be studied and practiced by musicians and scholars today. Ramamatya's work played a significant role in preserving and transmitting the rich musical heritage of India, making it an important contribution to the cultural legacy of the country.

Conclusion:
In conclusion, Swaramela Kala Nidhi was written by Ramamatya, a renowned musicologist and composer. His treatise on music has had a profound influence on Indian classical music and continues to be a valuable resource for musicians and scholars. The work showcases Ramamatya's deep understanding of music theory and his dedication to preserving and promoting the art form.

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.

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.

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.

Explanation:

Dhrupad is a genre in Hindustani classical music that has significant historical and cultural importance. Let's analyze each statement to understand why option A is the correct answer.

Statement 1: It finds mention in Ain-e-Akbari.
Ain-e-Akbari is a detailed document that provides insights into the court of Emperor Akbar. It mentions various aspects of music, including Dhrupad. This indicates that Dhrupad has a long history and was recognized during the Mughal era. Therefore, statement 1 is correct.

Statement 2: The phrases of Dhrupad alapa are slow and contemplative initially, but the tempo increases in stages.
Alapa is the introductory part of a Dhrupad performance. It involves improvised melodic phrases without percussion accompaniment. In Dhrupad alapa, the phrases start slow and contemplative, allowing the artist to explore the raga and create a meditative atmosphere. As the performance progresses, the tempo gradually increases, showcasing the artist's expertise and building up the energy of the composition. Therefore, statement 2 is also correct.

Statement 3: It is a subset of the Khyal form of classical singing.
Khyal and Dhrupad are two distinct genres within Hindustani classical music. Khyal is a more popular and prevalent form, characterized by intricate improvisations and emotive compositions. On the other hand, Dhrupad is an ancient form that predates Khyal and has a more structured and devotional approach. The two genres have different compositions, styles, and performance techniques. Therefore, statement 3 is incorrect.

Conclusion:
Considering the analysis of each statement, we can conclude that only statements 1 and 2 are correct. Therefore, the correct answer is option A (1 and 2 only).