NIOS Class 10 Question Paper with Solution April 2024 Pdf

NIOS Class 10 Question Paper Carnatic Music 243 with Solution Exam 2024. Previous Year Nios Class 10 Solved Question Paper All Subjects 2024. Get Nios Last Year Solved Question Paper Secondary Class & also we have all subject solved tma assignment files 2026.

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Carnatic Music

(243)

Time : 1½ Hours]                                                                                                                                     [ Maximum Marks : 40

Note :

(i) This question paper consists of 27 questions in all.

(ii) All questions are compulsory.

(iii) Marks are given against each question.

(iv) Section – A consists of

(a) Q.No. 1 to 8 – Multiple Choice type questions (MCQs) carrying 1 mark each. Select and write the most appropriate option out of the four options given in each of these questions. An internal choice has been provided in some of these questions. You have to attempt only one of the given choices in such questions.

(v) Section – B consists of Objective type questions:

(a) Q.No. 9 to 12 – Read the passage carefully then Fill in the blanks carrying 1 mark each. An internal choice has been provided in some of these questions.

(b) Q.No. 13 to 16 – Read the passage carefully then Match the questions carrying 1 mark each. An internal choice has been provided in some of these questions.

(c) Q.No. 17 to 20 – Answer the following questions carrying 1 mark each to be answered in the range of 15 to 25 words. An internal choice has been provided in some of these questions.

(vi) Section – C consists of Subjective type questions:

(a) Q.No. 21 to 25 – Short Answer type questions carrying 2 marks each to be answered in the range of 30 to 40 words.

(b) Q.No. 26 to 27 – Long Answer type questions carrying 5 marks each to be answered in the range of 100 to 120 words.

(1) Answers of all questions are to be given in the Answer-Book given to you. (2) 15 minutes time has been allotted to read this question paper. The question paper will be distributed at 2:15 p.m. From 2:15 p.m. to 2:30 p.m., the students will read the question paper only and will not write any answer on the Answer-Book during this period.

SECTION – A

1. The composer of the musical opera “Kuchelopakhyanam”: 1

(A) Tyagaraja                                                (B) Swati Tirunal

(C) Kshetragna                                              (D) Syama Sastri

Ans. (B) Swati Tirunal

2. A dot above the swara indicates: 1

(A) Mandra swara                                        (B) Madhya swara

(C) Tara swara                                              (D) Anumandra swara

Ans. (C) Tara swara

3. (i) The author of “Swaramela Kalanidhi”: 1

(A) Ramamatya                                             (B) Venkatamakhi

(C) Bharata                                                     (D) Vidyaranya

Ans. (A) Ramamatya

OR

(ii) In the notation small letters correspond to:

(A) Deergha                                                                  (B) Suddha note

(C) Hrasva                                                                     (D) Tivra note

Ans. (C) Hrasva (short syllable)

4. (i) Sankirtanas are composed by: 1

(A) Jayadeva                                                  (B) Annamacharya

(C) Kshetragna                                              (D) Narayana Tirtha

Ans. (B) Annamacharya – NIOS Class 10 Question Paper Carnatic Music 243 with Solution Exam 2024

OR

(ii) In the musical form Kriti significance lies mainly in:

(A) Music                                                        (B) Sahitya

(C) Tala                                                            (D) Expression

Ans. (A) Music

5. The mudra used by Swati Tirunal in her compositions: 1

(A) Syamakrishna                                        (B) Guruguha

(C) Padmanabha                                           (D) Bhadrachala

Ans. (C) Padmanabha

6. (i) The composer of Lakshmisa tala tillana: 1

(A) Ramnad Srinivasa Iyengar                                (B) Maha Vaidyanatha Iyer

(C) Patnam Subramanya Iyer                                  (D) Lalgudi Jayaraman

Ans. (D) Lalgudi Jayaraman

OR

(ii) The symbol of Druta:

(A) Ʊ                                                    (B) 3

(C) 1                                                                  (D) 0

Ans. (D) 0

7. (i) The notation used in Western Music: 1

(A) Staff                                                                          (B) Solfa

(C) Musicography                                                       (D) Inscription

Ans. (A) Staff

OR

(ii) The type of Varnam which is sung at the commencement of a concert :

(A) Tana Varnam                                                         (B) Pada Varnam

(C) Chauka Varnam                                                    (D) Padam

Ans. (C) Chauka Varnam

8. Tillana corresponds to which musical form of Hindustani Music? 1

(A) Javali                                                                        (B) Tarana

(C) Bhajan                                                                      (D) Tarangam

Ans. (B) Tarana

SECTION – B

Read the passage carefully and fill in the blanks given below:

17th century saw the emergence of Chaturdandi Prakasika by Venkatamakhi. The treatise was a landmark and ushered in the modern era in the history of music. The treatise enumerated 72 Asampurna melakarta scheme, based on the 16 swarasthanas. All the 72 melas and their janya ragas, the vivadi melas were musical possibilities. The system was called Kanakambari-Ratnambari scheme. Later the system was revised and revamped by Govindacharya as 72 sampurna mela paddhati, known as Kanakangi-Ratnangi scheme, where the melas had krama sampurna Arohana and Avarohana. The 72 melakarta scheme opened the flood gates for the creation of unlimited number of janya ragas with specific lakshanas.

9. 17th century saw the emergence of __________ by __________. ½+½

Ans. 17th century saw the emergence of Chaturdandi Prakasika by Venkatamakhi.

10. The treatise enumerated __________ based on __________ swarasthanas. ½+½

Ans. The treatise enumerated 72 Asampurna melakarta based on 16 swarasthanas.

11. All the __________ , vivadi melas were musical possibilities. The system was called __________. ½+½

Ans. All the 72 melas, vivadi melas were musical possibilities. The system was called Kanakambari-Ratnambari scheme.

12. Later the system was revised and revamped by __________ as 72 Sampurna mela paddhati, known as __________.

Ans. Later the system was revised and revamped by Govindacharya as 72 Sampurna mela paddhati, known as Kanakangi-Ratnangi scheme.

OR

The __________ opened the flood gates for the creation of unlimited number of __________, with specific lakshanas.

Ans. The 72 melakarta scheme opened the flood gates for the creation of an unlimited number of janya ragas, with specific lakshanas.

Read the passage carefully and match the following: – NIOS Class 10 Question Paper Carnatic Music 243 with Solution Exam 2024

Sabhagana comes under the performance part of Carnatic Music where the musical forms like Varna, Kriti, Padam, Javali, Tillana, Tarangam, Kirtanas etc. are performed. Among these some of the forms are used for dance concerts also. These forms are Padam, Javali, Tillana etc. Among these musical forms Kriti ranges supreme in a concert, where major portion of the programme is occupied by Kriti along with Manodharma Sangita like Raga Alapana, Swara Kalpana, Niravel etc. The lighter musical forms like Padam, Javali, Tillana, Tarangam, Kirtana etc. comes towards the end of a music concert.

13. (i) Sabhagana (a) Supreme in a concert                                              1
14. (ii) Padam (b) Lighter musical form                                              1
15. (iii) Kriti (c) Performance part of Carnatic Music                                              1
16. (iv) Manodharma Sangita (d) Both music and dance concerts                                              1

OR

(v) Tarangam                                 (e) Swara Kalpana

Ans. 13. (i) Sabhagana – (c) Performance part of Carnatic Music

14. (ii) Padam – (b) Lighter musical form
15. (iii) Kriti – (a) Supreme in a concert
16. (iv) Manodharma Sangita – (e) Swara Kalpana

OR

17. (v) Tarangam – (d) Both music and dance concerts

Answer the following questions:

17. Name the upanishad which mentions about Saptaswaras for the first time. 1

Ans. The Upanishad which mentions about Saptaswaras for the first time is the Naradiya Upanishad.

18. How the closing of Tala Avarta is indicated in notation? 1

Ans. The closing of a Tala Avarta is indicated in notation by a vertical line (|).

19. What is the theme of a Padam? 1

Ans. The theme of a Padam is typically devotional or romantic, often expressing longing or devotion to a deity.

20. (a) Name the composer of Kovur Pancharatnam. 1

Ans. (a) The composer of Kovur Pancharatnam is Kovur Narayana Iyer.

OR

(b) Who brought the Sampurna Mela Paddhati into vogue? NIOS Class 10 Question Paper Carnatic Music 243 with Solution Exam 2024

Ans. (b) The Sampurna Mela Paddhati was brought into vogue by Govindacharya.

SECTION – C

21. Explain the importance of the treatise Chaturdandi Prakasika by Venkatamakhi. 2

Ans. Importance of Chaturdandi Prakasika by Venkatamakhi:
Chaturdandi Prakasika is a significant treatise in Carnatic music written by Venkatamakhi in the 17th century. It provides a comprehensive system of classification for ragas and their corresponding melodic structures. It introduced the 72 Asampurna Melakarta scheme, laying the foundation for the systematic arrangement of ragas in Carnatic music. The treatise also contributed to the understanding of ragalakshanas (the characteristics of ragas), offering a framework that influences the construction of ragas even today.

22. Write a short note on Divya Nama Kirtana. 2

Ans. Short note on Divya Nama Kirtana:
Divya Nama Kirtanas are devotional compositions, often in praise of a deity, that are an integral part of the Bhakti movement. These compositions are associated with the practice of chanting or singing the names of the divine. They were popularized by saints such as Tiruppan Alvar and Nammalvar. These kirtanas aim to invoke divine blessings and are characterized by simple, repetitive melodies that facilitate easy participation by the community.

23. How the swaras of different sthayis are represented in notation? 2

Ans. Representation of Swaras of Different Sthayis in Notation:
In notation, the swaras of different sthayis (octaves) are represented by using capital letters for higher octaves (Tara Sthayi), small letters for middle octaves (Madhya Sthayi), and a combination of both for low octaves (Mandra Sthayi). For example, S for Shadja in Madhya Sthayi, S’ for Shadja in Tara Sthayi, and s for Shadja in Mandra Sthayi. This distinction helps in identifying the pitch range of each note.

24. Explain the term “Sabha Gana”. 2

Ans. Explanation of the term “Sabha Gana”:
Sabha Gana refers to the performance aspect of Carnatic music, where musical compositions such as Varnams, Kritis, Padams, Javalis, and Tillanas are performed in a formal concert setting. It is the presentation of music within a sabha (a gathering or concert hall) and often includes both vocal and instrumental performances. It is a vital part of Carnatic music culture, highlighting the interaction between the performer and the audience.

25. (a) How did the Sampurna mela paddhati came into vogue? 2

Ans. (a) How did the Sampurna Mela Paddhati come into vogue?
The Sampurna Mela Paddhati, which involves the complete arrangement of all seven notes in both Arohana (ascending) and Avarohana (descending) sequences, came into vogue through the works of Govindacharya. He refined and expanded the 72 Asampurna melakarta scheme of Venkatamakhi, making the system more systematic and comprehensive, and leading to its widespread use in Carnatic music.

OR

(b) Define “Tana Varnam”.

Ans. (b) Definition of “Tana Varnam”:
A Tana Varnam is a type of Varnam in Carnatic music that is characterized by its fast tempo and lively, energetic rendition. It is usually performed at the beginning of a concert and serves as a warm-up for the performers. It combines both melodic and rhythmic elements, with tana sections (improvisational passages) and pallavi and anupallavi sections, often composed in praise of a deity.

26. (a) Briefly explain the contribution of Muthuswami Dikshitar to the world of Carnatic Music.

Ans. (a) Contribution of Muthuswami Dikshitar to Carnatic Music:
Muthuswami Dikshitar was one of the most influential composers in Carnatic music, known for his profound contributions to the genre. He composed numerous Kritis in various ragas, establishing a connection between musical theory and practice. His compositions, mostly in Sanskrit, are revered for their lyrical beauty, intricate ragas, and precise use of rhythm. Dikshitar also contributed to the development of the Melakarta system and composed in different formats, including the Varnam and Kriti, which continue to be integral parts of Carnatic music concerts.

OR

(b) Explain in detail the musical form ‘Tillana’.

Ans. (b) Musical form ‘Tillana’:
The Tillana is a rhythmic and fast-paced composition that is typically performed towards the end of a Carnatic music concert. It is marked by its lively, dynamic nature and is often used as a concluding piece. Tillanas are composed in different ragas and are characterized by complex rhythmic patterns, tani avartanams (rhythmic improvisations), and a dance-like quality. It can be performed in both vocal and instrumental formats and is closely associated with classical dance performances as well.

27. (a) Briefly explain the medieval period in the history of Indian Music. 5

Ans. (a) Brief explanation of the medieval period in the history of Indian Music:
The medieval period in Indian music spans from the 12th to the 16th century and is marked by significant cultural, social, and political changes. During this time, music experienced the influence of Persian and Mughal cultures, leading to the development of Hindustani classical music as distinct from Carnatic music. The fusion of Persian, Afghan, and Indian musical traditions gave rise to the Dhrupad style and the further development of ragas. The period also saw the rise of prominent composers such as Tansen and Surdas and the establishment of the dhrupad and khayal genres in Hindustani music.

OR

(b) Discuss the characteristics of the musical forms Padam and Javali.

Ans. (b) Characteristics of the musical forms Padam and Javali:
Padam and Javali are lighter, lyrical forms of Carnatic music.

• Padam typically deals with themes of devotion, love, and longing, often expressing the devotion of a lover to the deity or a lover’s emotional experiences. It is slow-paced and has a strong emotional expression.
• Javali is a lighter, more playful form that often explores themes of romance and love. It is characterized by a faster tempo compared to Padam and has a more rhythmic and melodic focus. Both forms are often performed with dance, especially Bharatanatyam, as they are expressive and convey deep emotions through movement and song.

अब बिना समय गंवाए, अपने पसंदीदा विषयों के पेपर्स चुनें और अपनी तैयारी को और भी प्रभावी बनाएं।

अभी ऑर्डर करें और अपनी परीक्षा की तैयारी को बेहतर बनाएं!

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