Indian Music — Set 2
Arts & Culture · भारतीय संगीत · Questions 11–20 of 60
Who among the following is known as the 'Father of Carnatic Music' (Karnataka Sangeeta Pitamaha)?
Correct Answer: A. Purandara Dasa
Purandara Dasa formalized the teaching methodology and basic exercises of Carnatic music that are still used today. He composed thousands of devotional songs known as 'Dasa Sahitya' in the Kannada language. His work laid the systematic foundation for the entire South Indian classical tradition.
Which musical instrument is Ustad Bismillah Khan associated with?
Correct Answer: C. Shehnai
Ustad Bismillah Khan is credited with elevating the Shehnai from a ceremonial instrument to the concert stage. He was awarded the Bharat Ratna, India's highest civilian honor, for his contributions. The Shehnai is a double-reed wind instrument traditionally played at weddings and temples.
The 'Trinity of Carnatic Music' refers to which three great composers?
Correct Answer: A. Tyagaraja, Muthuswami Dikshitar, Syama Sastri
The correct answer is 'Tyagaraja, Muthuswami Dikshitar, Syama Sastri'. These three composers lived in Tiruvarur during the 18th and 19th centuries and revolutionized Carnatic music. They created a vast repertoire of Kritis that define the modern aesthetic of the tradition. Their compositions are celebrated for their intricate Raga structures and deep spiritual themes.
Which string instrument is traditionally played by Kashmiri musicians and has about a hundred strings?
Correct Answer: B. Santoor
The Santoor is a trapezoid-shaped hammered dulcimer that originated in the folk music of Kashmir. Pandit Shivkumar Sharma is the most famous musician who adapted it for Indian classical music. It is played by striking the strings with two delicate wooden mallets.
What is the semi-classical vocal style known for its romantic and emotional themes, often associated with the Braj region?
Correct Answer: A. Thumri
Thumri is a lyrical style that focuses on expressions of love and devotion, often based on the life of Krishna. It uses a flexible approach to Ragas to maximize the emotional impact of the lyrics. It reached its peak of popularity in the royal courts of Lucknow and Varanasi.
The 'Gharana' system in Hindustani music primarily refers to which of the following?
Correct Answer: A. A lineage or school of style
A Gharana is a community of performers who share a common musical style passed down through generations. Famous Gharanas include Gwalior, Agra, Jaipur-Atrauli, and Kirana. Each Gharana is distinguished by its unique emphasis on either rhythm, melody, or vocal technique.
Which percussion instrument is used as the primary rhythmic accompaniment in Hindustani classical music?
Correct Answer: D. Tabla
The Tabla consists of a pair of small drums, the 'Dayan' (treble) and the 'Bayan' (bass). It allows for a vast range of tonal colors and complex rhythmic patterns. Legends like Ustad Zakir Hussain have brought international recognition to this instrument.
In Carnatic music, the primary percussion instrument known as the 'King of Percussion' is the?
Correct Answer: A. Mridangam
The Mridangam is a double-sided barrel drum made of wood and skin. It is the lead rhythmic instrument in South Indian classical concerts. It is highly valued for its ability to produce deep resonant tones and sharp percussive sounds.
Which famous Persian poet and musician is often credited with inventing the Sitar and the Khayal style of singing?
Correct Answer: D. Amir Khusrau
Amir Khusrau was a 13th-century polymath who blended Indian and Persian musical elements. He is also regarded as the 'Father of Qawwali' and is associated with the invention of several musical instruments. His contributions significantly shaped the medieval musical landscape of the Indian subcontinent.
The term 'Alap' in a classical music performance refers to which phase?
Correct Answer: B. The slow, introductory exploration of a Raga
Alap is the unmetered, improvisational opening where the musician establishes the identity and mood of the Raga. It is performed without any rhythmic accompaniment to allow for total focus on melody. This phase is followed by 'Jod' and 'Jhala' in instrumental music.