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HINDUSTANI MUSIC

(242)

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

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 and write true or false 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 and 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. Which of the following is not merely a musical scale? 1

(A) Thata                                                    (B) Raga

(C) Murchhana                                         (D) Aroh-Avaroh

Ans. (B) Raga

A raga is not just a musical scale; it has a distinct mood, set of rules for note progression, and characteristic phrases. In contrast, Thata, Murchhana, and Aroh-Avaroh are structural elements of music that primarily define scales and note sequences without a specific emotional or aesthetic expression.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

2. A set of ascending notes in a raga is called: 1

(A) Avaroh                                                 (B) Aroh

(C) Pakad                                                   (D) Jati

Ans. (B) Aroh

A set of ascending notes in a raga is called Aroh. It refers to the upward movement of notes in a specific order. In contrast, Avaroh is the descending sequence, Pakad is the characteristic phrase of a raga, and Jati classifies ragas based on the number of notes used.

OR

How old the concept of raga is?

(A) 3000 years                                                                       (B) 1000 years

(C) 2000 years                                                                        (D) 5000 years

Ans. (C) 2000 years

The concept of raga is believed to be around 2000 years old. It has its roots in ancient Indian musical traditions, with references found in texts like Bharata’s Natya Shastra (circa 2nd century BCE – 2nd century CE) and Dattilam, which discuss melodic structures that evolved into ragas.

3. Six notes in Aroh and five notes in Avaroh is called: 1

(A) Shadav-Audav Jati                                                              (B) Audav-Shadav Jati

(C) Audav-Audav Jati                                                                (D) Shadav-Sampurna Jati

Ans. (A) Shadav-Audav Jati

A raga with six notes in Aroh (ascending) and five notes in Avaroh (descending) is classified as Shadav-Audav Jati. Here, Shadav means six notes, and Audav means five notes.

4. The total number of parts (Prahar) of the day and night divided from the view point of the time theory of ragas is :

(A) 10                                 (B) 8                                   (C) 6                                   (D) 7

Ans. (B) 8

According to the time theory of ragas, the 24-hour day is divided into 8 Prahars, each lasting 3 hours. Different ragas are assigned to specific Prahars based on their mood and suitability for different times of the day and night.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

5. The Achal note is: 1

(A) Pancham                                                                 (B) Madhyam

(C) Dhaivat                                                                    (D) Nishad

Ans. (A) Pancham

An Achal note is one that remains fixed and does not have a Komal (flat) or Tivra (sharp) variation. In the Indian classical music system, Shadaj (Sa) and Pancham (Pa) are Achal notes, meaning they are always played in their natural (Shuddha) form.

6. The tala played with Dhrupad is: 1

(A) Ektala                                                                      (B) Teentala

(C) Jhaptala                                                                   (D) Sooltala

Ans. (D) Sooltala

Dhrupad, one of the oldest forms of Indian classical vocal music, is traditionally accompanied by Sooltala (also spelled as Sul Tala). It is a 10-beat tala commonly used in Dhrupad compositions.

OR

A Tala having two talis is :

(A) Jhaptal                                                                     (B) Chautal

(C) Teental                                                                     (D) Keharwa

Ans. (A) Jhaptal

A Tala with two Talis (claps) is Jhaptal. It is a 10-beat rhythmic cycle with Tali on the 1st and 6th beat. Other options:

• Chautal (12 beats) has more than two Talis.
• Teental (16 beats) has three Talis.
• Keharwa (8 beats) has only one Tali.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

7. Solo use of single Richa in Sama Gana was known as: 1

(A) Poorvarchik                                                           (B) Uttararchik

(C) Archik                                                                      (D) Gathik

Ans. (C) Archik

In Sama Gana (the musical chanting of Samaveda), the solo use of a single Richa (hymn/verse) is called Archik.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

8. Contribution of Pt. V.N. Bhatkhande to Hindustani Music was: 1

(A) Classification of ragas into 10 thats

(B) Re-invention of compositions to include Bhakti

(C) Popularity of Dhrupad

(D) Placement of Swaras on the wire length of Veena

Ans. (A) Classification of ragas into 10 Thāts

Pandit Vishnu Narayan Bhatkhande made a significant contribution to Hindustani classical music by classifying ragas into 10 Thāts (parent scales). His work helped systematize Indian classical music and made it easier for students and musicians to study and understand ragas.

SECTION – B

Read the passage carefully and fill in the blanks :

“In the beginning only three swaras were used for Sama Gana viz – Udatta, Anudatta and Swarit. Udatta denoted high, Anudatta low and Swarit was medium, in which there was a combination of high and low. To indicate these three swaras the numbers 1, 2 and 3 were used for Udatta, Anudatta and Swarit respectively above syllables of Mantras. The usage of Udatta, Anudatta and Swarit swaras gave rise to three fold structure of

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

Samaveda – Archik Gana, Gathik Gana and Samik Gana. When only one note was used, it constituted Archik, when two notes were used it constituted Gathik and when three notes were used it constituted Samik. According to “Tattariya Pratishakhya” slowly from these three notes, seven Samavedic swaras developed”.

9. The three swaras used in Sama Gana were __________, __________ and __________. 1

Ans. The three swaras used in Sama Gana were Udatta, Anudatta, and Swarit.

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10. The numbers used for Udatta, Anudatta and Swarit were __________, __________ and__________. 1

Ans. The numbers used for Udatta, Anudatta, and Swarit were 1, 2, and 3.

11. Sama Gana sung with one note was called __________. 1

Ans. Sama Gana sung with one note was called Archik.

12. Sama Gana sung with three notes was called __________. 1

Ans. Sama Gana sung with three notes was called Samik.

OR

As per __________ Seven Samavedic Swaras were evolved from basic three Swaras.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

Read the passage carefully and answer the questions as True/False.

“Dhrupad and Dhamar both have a distinct style of rendition. In the beginning the raga executed with the help of mnemonic syllables viz. Nom, Tom, Dere, Na etc. This portion of singing is known as Alap and is without and rhythmic accompaniment. The Alap culminates into fast rhythmic singing of mnemonics in the “Jod” pattern of

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

Instrumental music. This is followed by composition. The composition is sung with various improvisations taking phrases of lyrics; this part is known as “Upaj” which is unique to Dhrupad singing. The improvisations are done by doubling, tripling or quadrupling the actual tempo before returning to original tempo. Dhamar is also rendered in a similar manner”.

13. In Dhrupad and Dhamar Raga is executed with the help of syllables like Nom, Tom, Dere etc. (True/False)

Ans. True
In Dhrupad and Dhamar, the raga is executed with the help of syllables like Nom, Tom, Dere, etc.

14. The portion of the execution of Raga through Alap in Dhrupad and Dhamar is accompanied with rhythmic accompaniment. (True/False) 1

Ans. False
The portion of the execution of Raga through Alap in Dhrupad and Dhamar is not accompanied with rhythmic accompaniment.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

15. The improvisation of lyrics in Dhrupad is called as “Upaj”. (True/False) 1

Ans. True
The improvisation of lyrics in Dhrupad is called “Upaj”.

16. Double, Triple and quadruple of actual tempo are not used in improvisation of Dhrupad singing. (True/False) 1

Ans. False
Double, Triple, and quadruple of actual tempo are used in the improvisation of Dhrupad singing.

OR

The execution of Raga in fast rhythmic singing of the mnemonics (Nom, Tom etc.) resembles the “Jod” pattern of Instrumental music. (True/False)

Ans. The execution of Raga in fast rhythmic singing of the mnemonics (Nom, Tom, etc.) resembles the “Jod” pattern of Instrumental music. True.

Answer the following questions:

17. Write the names of the two types of Sangeet as mentioned in Sangeet Ratnakar with their short introduction. 1

Ans. In Sangeet Ratnakar, Sharngadeva mentions two types of Sangeet:

1. Marga Sangeet
   • Marga Sangeet refers to the traditional, classical style of music that follows strict rules of ragas and talas. It is considered the higher or more refined form of music, associated with the well-established principles of raga, tala, and grammar of music. It emphasizes purity and is often performed in formal settings like courts and temples.
2. Desi Sangeet
   • Desi Sangeet is the folk or regional style of music. Unlike Marga Sangeet, it is less structured and varies greatly depending on the geographical region. It incorporates local traditions, rhythms, and melodies, making it more accessible to the common people. Desi Sangeet often has simpler compositions and is more emotionally expressive.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

18. According to Sangeet Parijat write the names of the three Gramas and the number of Murchhanas evolved from them.

1

Ans. According to Sangeet Parijat, the three Gramas and the number of Murchhanas evolved from them are:

1. Mandra Grama
   • Number of Murchhanas: 4
     This Grama is characterized by the lower range of notes and leads to the development of four Murchhanas.
2. Madhya Grama
   • Number of Murchhanas: 4
     This Grama represents the middle range of notes and gives rise to four Murchhanas.
3. Taar Grama
   • Number of Murchhanas: 4
     This Grama corresponds to the higher range of notes and also leads to the development of four Murchhanas.

Each Grama serves as a foundation for creating various Murchhanas, which are derived by altering the positions of the notes and their relationships within the octave.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

19. Describe the qualities of an excellent singer and composer as explained by Mansingh Tomar in Manakutuhala. Also mention his period of ruling Gwalior. 1

 Ans. Mansingh Tomar (ruler of Gwalior from 1486-1516) described an excellent singer as one with mastery over pitch, rhythm, expression, and emotion. A good composer should be creative, knowledgeable in ragas and talas, and create simple yet harmonious, meaningful compositions. He emphasized innovation and lyrical beauty in music.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

20. Write the names of four Varnas as applicable in classical music along with their short description. 1

Ans. The four Varnas in classical music, as per the Natya Shastra, are:

1. Sancari
   • A fast-paced type of composition, characterized by quick transitions and rhythmic complexity.
2. Chaya
   • A slow-paced composition with simple rhythms, focusing on emotional expression.
3. Kriti
   • A medium-tempo composition, usually composed in three parts: Pallavi, Anupallavi, and Charanam.
4. Chittasvara
   • A composition containing melodic phrases and often used for elaborating a raga. It is instrumental or vocal with repetitive melodic structures.

OR

“Impact of the efforts of Pt. V.N. Bhatkhande and Pt. V.D. Paluskar on present day Hindustani Music.” Write a short note.

 

Ans. Pandit V.N. Bhatkhande and Pandit V.D. Paluskar had a profound impact on modern Hindustani music.

• Bhatkhande systematized classical music by classifying ragas into 10 Thāts and introduced a standardized notation system. His work bridged the gap between theoretical knowledge and practical performance, making music more accessible to students.
• Paluskar focused on popularizing classical music through his institutions and efforts to simplify and promote ragas in a manner that could be understood by the general public. He made classical music more inclusive and emphasized vocal traditions.

Together, they laid the foundation for modern Hindustani music education, preserving its rich heritage while adapting it for contemporary audiences.

SECTION – C

 

Answer the following questions:                                                                                                                                    5×2=10

 

21. Write a note on the meaning and concept of Notation. 2

Ans. Notation in music refers to a system of writing down music, enabling it to be preserved, shared, and performed by others. It represents the sounds, rhythms, and pitches of a musical composition using symbols such as notes, rests, and other markings.

In Indian classical music, notation is often a combination of swaras (notes), taals (rhythmic cycles), and alankar (ornamentations), written in a way that captures the essence of the raga and tala. The most common notation system for Hindustani music was introduced by Pandit V.N. Bhatkhande, which helped standardize musical education.

The concept of notation ensures that music is not only transmitted orally but can also be documented for future generations, making it easier for students and performers to learn and interpret compositions accurately. It serves as a bridge between oral tradition and written preservation.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

22. Describe in short the contents of “Ragagitavichar Khand” of Sangeet Parijat. 2

Ans. The “Ragagitavichar Khand” of Sangeet Parijat deals with the analysis and classification of ragas and gitas (songs). It provides a detailed discussion on the nature, structure, and emotional characteristics of various ragas, explaining how each raga evokes specific moods (rasa) and is suited for different times of the day or seasons. The section also categorizes ragas based on their compositional forms and musical elements, such as aalaap (introduction), dhrupad (formal composition), and others, and discusses the proper method of rendering ragas to bring out their full emotional expression.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

23. What is the contribution of Pt. V.D. Paluskar to Hindustani Music? Explain. 2

Ans. Pandit V.D. Paluskar made significant contributions to Hindustani music through his efforts in reviving and popularizing classical music in India. His key contributions include:

1. Institutionalizing Classical Music: He founded the Gayan Uttejak Mandal in 1901 and later the Madhav Music College, which played a pivotal role in teaching and promoting Hindustani classical music.
2. Popularizing Ragas and Talas: He simplified complex ragas and talas, making them accessible to a broader audience. His focus on vocal music helped re-establish the importance of dhrupad and other traditional forms.
3. Reforming Music Education: Paluskar advocated for systematic music education based on traditional principles, with a strong emphasis on vocal training. He encouraged students to perform compositions with emotional depth and authenticity.
4. Reviving Traditional Compositions: He revived traditional dhrupad compositions and emphasized their importance in classical music. His teachings preserved the richness of Indian classical music while adapting it to contemporary contexts.

Pandit Paluskar’s efforts led to the growth of classical music education and its wider acceptance across India, ensuring the preservation and evolution of Hindustani music.

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

24. Give a short description of Vadyadhyaya’ of Sangeet Ratnakar. 2

Ans. The “Vadyadhyaya” (Chapter on Instruments) of Sangeet Ratnakar by Sharngadeva is a comprehensive section that discusses the various musical instruments used in Indian classical music. It categorizes instruments into three main types:

1. Tata Vadyas (stringed instruments) – e.g., Veena, Sitar.
2. Sushira Vadyas (wind instruments) – e.g., Bansuri, Shankh.
3. Avanaddha Vadyas (percussion instruments) – e.g., Mridangam, Tabla.

This chapter also provides details on the construction, playing techniques, and classification of these instruments. It emphasizes the importance of instruments in complementing vocal music and enhancing the overall performance in Indian classical music.

25. Write the definition of tala and its importance in Hindustani Music. 2

Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

Ans. Tala in Hindustani music refers to the rhythmic cycle or pattern that serves as the framework for a musical composition or performance. It consists of a fixed number of beats, which are organized into vibhags (sections), and is marked by taali (claps) and khali (empty beats).

Importance of Tala in Hindustani Music:

1. Rhythmic Foundation: Tala provides the rhythmic structure to a raga, helping to organize the music in time and guiding the performer.
2. Enhances Expression: The interaction between melody (raga) and rhythm (tala) adds emotional depth to the music. The rhythmic variations within a tala also allow for improvisation and creativity.
3. Synchronization: It ensures synchronization between the performer(s) and accompanists (e.g., tabla players), maintaining the tempo and rhythm throughout the performance.
4. Defines Musical Form: Different talas lend themselves to specific styles of music (e.g., Teentaal for classical compositions, Dadra for lighter forms), shaping the musical experience.

Tala is essential for both composition and performance in Hindustani music, creating a dynamic and structured rhythm that complements the melodic elements of the raga.

OR

Write the theka of Ektal or Keharwa marking the symbols of Bhatkhande notation system.

Ans. Here is the Theka of Ektal and Keharwa marked with symbols from Bhatkhande’s notation system:

1. Ektal (12 beats):

Ektal consists of 12 beats, divided into 6 + 4 + 2 beats. The notation in Bhatkhande system is:

2. Keharwa (8 beats):

Keharwa consists of 8 beats, divided into 4 + 4 beats. The notation in Bhatkhande system is:

The Bhatkhande notation system is primarily used to indicate the rhythmic structure of compositions, allowing for accurate performance across various styles.

Answer the questions given below:                                                                                                                          2×5=10

26. Give a detailed description of the different parts of Ganasamhita of Samaveda. 5

 Ans. The Ganasamhita of the Samaveda is a key section of the Vedic texts that deals with the musical aspects and ritualistic singing of the hymns. It is an important text that outlines the structure, style, and performance of Sama Gana (the Vedic chanting of the Samaveda). The Ganasamhita is divided into several parts, each with its own function and importance. Here is a detailed description of the different parts of Ganasamhita:

1. Sama Gana:

• This refers to the style of chanting in the Samaveda, where the hymns are sung with specific melodies and rhythmic patterns. Sama Gana is often performed in a manner similar to chanting but with a distinctive melodic component.
• Sama Gana is considered the musical interpretation of the Vedic hymns. It combines the chanting of Vedic texts with the use of swaras (musical notes) and rhythmic cycles (talas). The hymns in Sama Veda are set to specific melodies known as Sama.

2. Richa:

• The Richa refers to the verses of the Vedic hymns themselves. In the context of the Ganasamhita, these verses are sung or chanted using the musical techniques of the Samaveda.
• Each Richa is composed of lines of syllables that are sung in different melodic patterns, and their performance depends on the specific Gana (melodic structure) chosen for the ritual.

3. Upanishads (Uttararchik):

• The Upanishads describe the higher form of Sama Gana where multiple notes are used in the melody. It focuses on the improvised musical expression within the established framework of the hymns.
• The Upanishads are considered a form of advanced chanting that includes the blending of the Udatta, Anudatta, and Swarit swaras in a refined manner, adding musicality to the Vedic chants.

4. Alap:

• The Alap is an introductory portion where the melody of the Sama is elaborated without any rhythmic accompaniment. It allows for free expression of the raga and creates the atmosphere for the following musical sections.
• It is a slow, improvised section that prepares the listener and performer for the more structured parts of the chanting.

5. Gathik:

• The Gathik portion of Sama Gana is characterized by faster tempo and involves the use of two notes or two-note combinations in the chanting. This section marks the shift from the free-flowing Alap to more rhythmic and structured chanting.
• Gathik is often a more lively part of the performance that engages both the performers and the audience.

6. Samik:

• The Samik is the final section in Sama Gana, incorporating three notes in its structure. This section is the most rhythmic and structured part of the chant, and it involves the intricate interplay of melody and rhythm.
• The Samik portion brings a sense of closure to the performance, emphasizing the cyclical nature of the Vedic chanting.

7. Jati:

• The Jati refers to the classification of the musical modes or scales used in Sama Gana. It outlines the specific ways in which the notes and rhythms are utilized for chanting.
• The Jati determines the emotional and ritualistic character of the Sama Gana performance, guiding the performer on the most appropriate musical setting for each hymn.

8. Murchhana:

• Murchhana is a technique used in Sama Gana to create variation and transformation of the melody. It involves the alteration of the pitch of the notes to create different moods and effects in the chanting.
• Murchhana adds richness and complexity to the performance, enhancing the expressiveness of the hymns.

9. Prahar and Timing:

• The Ganasamhita also discusses the division of the day and night into praharas (periods), during which certain hymns are sung to correspond with the appropriate time or phase of the day.
• The timing is crucial to the performance of Sama Gana, as certain melodies and swaras are believed to be more effective or auspicious at specific times of the day or during certain seasons.

Conclusion:

The Ganasamhita of the Samaveda offers a detailed framework for the chanting and performance of the hymns with musical precision. It outlines the methods for rendering Vedic chants in a structured, musical form, emphasizing rhythm, melody, and emotional expression through the use of Alap, Gathik, Samik, and other components. These parts collectively form the essence of Sama Gana, preserving the deep connection between Vedic chanting and music.

OR

Write a note on Prabandhadhyaya of Sangeet Ratnakar.

Ans. Prabandhadhyaya is a significant chapter in Sangeet Ratnakar, written by Sharngadeva, a prominent musicologist. This section of the text focuses on the concept of Prabandh, which is a type of composed musical work that plays a pivotal role in Indian classical music, especially in the development of vocal and instrumental compositions.

Key Aspects of Prabandhadhyaya:

1. Definition of Prabandh:
   • A Prabandh is a structured musical composition that typically follows a specific meter (tala) and melody (raga). It is characterized by its formal structure and is often composed in multiple parts, with each section designed to maintain a consistent theme while offering scope for improvisation.
2. Components of Prabandh:
   • The Prabandh is divided into three major parts:
     • Sthayi (the main theme or refrain),
     • Antara (the middle section with variation or development),
     • Sanchari (the concluding part, which provides further elaboration or a return to the original theme).
   • These sections may involve complex interplays of melody and rhythm, allowing for artistic expression and interpretation within a structured format.
     

     Nios Last Year Solved Question Paper Hindustani Music 242 Class 10 – https:/

3. Importance of Prabandh in Music:
   • The Prabandh forms the foundation for later musical compositions such as dhrupad, khayal, and other classical forms. It integrates melodic development with rhythmic sophistication and establishes a balance between composition and improvisation.
   • It laid the groundwork for the evolution of more complex musical forms, guiding musicians in the art of structured improvisation.
4. Relation to Tala and Raga:
   • The Prabandhadhyaya also emphasizes the relationship between raga (melody) and tala (rhythm), which are central to Indian classical music. Sharngadeva explains how the Prabandh should be performed in accordance with specific ragas and talas, maintaining harmony between both musical elements.
     

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5. Educational Significance:
   • This chapter provides a comprehensive guide for music students and practitioners on how to compose and perform structured musical works, balancing both melodic content and rhythmic precision. It offers a framework for understanding classical music’s compositional techniques, which are still relevant in contemporary practices.

Conclusion:

The Prabandhadhyaya of Sangeet Ratnakar is an essential text in the study of Indian classical music, particularly for understanding the evolution of formal musical compositions. It outlines the structure, significance, and performance techniques of the Prabandh, shaping the development of future musical forms in Hindustani classical music.

27. Write the definitions of Vadi, Samvadi, Anuvadi and Vivadi Swaras and their importance in Raga. 5

Ans. In Indian classical music, particularly in the context of a raga, specific notes play distinct roles. The terms Vadi, Samvadi, Anuvadi, and Vivadi describe the relationship between the notes used in a raga and their significance in shaping its emotional and melodic expression.

1. Vadi Swara (Most Important Note):

• Definition: The Vadi is the most important or dominant note in a raga. It is the note that carries the primary emphasis and is often repeated during the performance to establish the character of the raga.
• Importance: The Vadi swara is central to the emotional impact of the raga. It is often emphasized during improvisation and melodic exploration. The raga’s mood or bhava is primarily driven by the Vadi swara, and it is often highlighted in both Aroh (ascending) and Avaroh (descending) movements.

2. Samvadi Swara (Second Most Important Note):

• Definition: The Samvadi is the second most important note, which is in close relationship with the Vadi. The Samvadi is usually a note that complements and balances the Vadi swara.
• Importance: The Samvadi swara provides harmonic balance and consonance with the Vadi, supporting its emotional expression. It creates a sense of harmony and resonance within the raga. Often, the Samvadi appears in the lower or middle octave, helping to stabilize the raga’s mood.

3. Anuvadi Swara (Supporting Note):

• Definition: The Anuvadi swaras are the secondary notes in a raga, which support and enhance the overall structure of the raga. They are used less prominently than the Vadi and Samvadi but still contribute to the melodic flow.
• Importance: The Anuvadi swaras play a supportive role, adding to the richness of the raga. They help in creating smooth transitions between the Vadi and Samvadi, filling in the melodic structure and allowing for more freedom in improvisation.

4. Vivadi Swara (Dissonant Note):

• Definition: The Vivadi swaras are the dissonant or clashing notes in a raga. These notes do not blend harmoniously with the other notes and often create a sense of tension or dissonance when used.
• Importance: The Vivadi swaras are rarely used, and their function is to create emotional contrast or tension within a raga. In many ragas, the Vivadi swaras are avoided or used sparingly to maintain the raga’s overall mood. However, their occasional inclusion can add drama or intensity to the performance.

Conclusion:

These swaras (notes)—Vadi, Samvadi, Anuvadi, and Vivadi—play a crucial role in defining the melodic structure and emotional expression of a raga. The Vadi and Samvadi are the foundational notes that shape the raga’s character, while the Anuvadi supports the melody, and the Vivadi adds contrast, creating a dynamic and rich musical experience. The interplay of these swaras is essential to creating the unique mood or bhava that each raga evokes in the listener.

OR

Describe the contents of Nartanadhyaya of Sangeet Ratnakar.

Ans. The Nartanadhyaya is the seventh chapter of the Sangeet Ratnakar, a seminal 13th-century treatise on Indian music authored by Sharngadeva. This chapter is dedicated to the art of dance, providing comprehensive insights into its various elements and sub-elements.

Key Contents of Nartanadhyaya:

1. Definitions of Dance Forms:
   • Natya: A dramatic performance that combines music, dance, and dialogue, typically enacted during festivals.
   • Nritya: Expressive dance that conveys emotions and stories through gestures and facial expressions, often performed during festivals.
   • Nritta: Pure dance focusing on rhythmic movements and patterns, performed without any narrative or emotional expression.

2. Elements of Dance:

   • Anga: The main limbs used in dance, including the head, torso, arms, and legs.
   • Pratyanga: The secondary limbs, such as the shoulders, elbows, knees, and ankles.
   • Upanga: The smaller parts like fingers, toes, and face.
   • Sthana: The positions or postures assumed during dance.
   • Chari: The movements or steps executed by the dancer.
   • Mandala: The geometric patterns formed by the dancer’s movements.
   • Vinyasa: The arrangement of movements in a sequence.
   • Mudra: The symbolic hand gestures used to convey meaning.
   • Abhinaya: The art of expression through gestures, facial expressions, and body movements.

3. Performance Guidelines:

   • Rasa: The aesthetic experience or emotional flavor conveyed through dance.
   • Bhava: The emotional states or sentiments expressed by the dancer.
   • Vibhava: The stimuli that evoke emotions.
   • Anubhava: The physical manifestations of emotions.
   • Vyabhichari Bhava: The transient emotions that support the main sentiment.

4. Dance Styles and Schools:

   • Sharngadeva discusses various traditional dance styles and schools, emphasizing their unique characteristics and regional variations.
5. Role of Music in Dance:
   • The chapter highlights the integral relationship between music and dance, detailing how rhythmic patterns (tala) and melodic structures (raga) complement and enhance the dance performance.
6. Aesthetic Principles:
   • Sharngadeva outlines the principles of aesthetics in dance, focusing on the balance between form and expression, and the importance of discipline and training.

The Nartanadhyaya serves as a foundational text for understanding classical Indian dance, offering detailed descriptions of its components and performance techniques. It underscores the significance of dance as a performing art that integrates physical movement, emotional expression, and musical accompaniment.

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