IGNOU BHMCT-103 Solved Question Paper PDF Download

IGNOU BHMCT-103 Previous Year Solved Question Paper in Hindi

IGNOU BHMCT-103 Previous Year Solved Question Paper in English

Q1. Fill in the blanks with appropriate words from the options given below : (Options : Vishnu Digambar Paluskar, Sangeet Parijat, Shuddha Gandhar, Kafi, Margi, Sharangdev, Sourindra Mohun Thakur, Shadj-Pancham Bhava, Kakali Nishad, Sangeet Ratnakar) (i) … Music was sung following some special rules and it was dear to God. (ii) In ancient times there were only two Vikrita Swaras—Antar Gandhara and … (iii) The distance between two notes having an interval of 13 Shruti was called … (iv) By the time of Natyashastra, … Gram had become obsolete. (v) The author of ‘Sangeet Ratnakar’ is … (vi) The name of an instrument called Jalyantra, similar to the modern Jaltarang, is first mentioned in the medieval text … (vii) The medieval ten-fold Raga classification system is mentioned in the book … (viii) The efforts of … in introducing the harmonium instrument to the common people are noteworthy. (ix) The ticket system for watching a performance of classical music was first introduced by … (x) Raga Desh is a Raga of … Thaat.

Ans. (i) Margi Music was sung following some special rules and it was dear to God. (ii) In ancient times there were only two Vikrita Swaras—Antar Gandhara and Kakali Nishad . (iii) The distance between two notes having an interval of 13 Shruti was called Shadj-Pancham Bhava . (iv) By the time of Natyashastra, Shuddha Gandhar Gram had become obsolete. (Note: This question is flawed with the given options. The correct answer is ‘Gandhar Gram’, which is not in the options.) (v) The author of ‘Sangeet Ratnakar’ is Sharangdev . (vi) The name of an instrument called Jalyantra, similar to the modern Jaltarang, is first mentioned in the medieval text Sangeet Parijat . (vii) The medieval ten-fold Raga classification system is mentioned in the book Sangeet Ratnakar . (viii) The efforts of Sourindra Mohun Thakur in introducing the harmonium instrument to the common people are noteworthy. (ix) The ticket system for watching a performance of classical music was first introduced by Vishnu Digambar Paluskar . (x) Raga Desh is a Raga of Kafi Thaat. (Note: Although Raga Desh belongs to Khamaj Thaat, ‘Kafi’ is the only Thaat name among the given options, hence considered the intended answer.)

Q2. Match the followings : (i) Sourindra Mohun Thakur (ii) William Jones (iii) Fox Strangeways (iv) Vishnu Narayan Bhatkhande (v) Parshvadev (vi) Pt. Ahobal (vii) E. Clements (viii) Vishnu Digambar Paluskar (ix) Captain Willard (x) H.A. Popley — (a) Sangeet Parijat (b) The Music of Hindustan (c) On the Musical Modes of Hindus (d) A Treatise on the Music of India (e) The Music of India (f) Introduction to the Study of Indian Music (g) Kramik Pustak Malika (h) The Universal History of World Music (i) Sangeet Samay Saar (j) Sangeet Baal Prakash

Ans. (i) Sourindra Mohun Thakur – (h) The Universal History of World Music (ii) William Jones – (c) On the Musical Modes of Hindus (iii) Fox Strangeways – (b) The Music of Hindustan (iv) Vishnu Narayan Bhatkhande – (g) Kramik Pustak Malika (v) Parshvadev – (i) Sangeet Samay Saar (vi) Pt. Ahobal – (a) Sangeet Parijat (vii) E. Clements – (f) Introduction to the Study of Indian Music (viii) Vishnu Digambar Paluskar – (j) Sangeet Baal Prakash (ix) Captain Willard – (d) A Treatise on the Music of India (x) H.A. Popley – (e) The Music of India

Q3. Write short notes on any five of the following : (i) Anibaddha Gaan (ii) Ten characteristics of Jati (iii) Purvang Vadi Raga (iv) Moorchchhanas of Madhyam Gram (v) Shadj Gramin Shruti System by Bharat (vi) Description and Theka of any Taala of your syllabus (vii) According to Krishna Mat, six main Ragas and their Raginis. (viii) Features of Raag Alhaiya Bilawal

Ans. (i) Anibaddha Gaan The term ‘Anibaddha Gaan’ literally means ‘unbound singing’. In the context of Indian classical music, it refers to music that is not bound by the strictures of tala (rhythmic cycle) and shabda (literary text). It is the conceptual opposite of ‘Nibaddha Gaan’, which is a composition bound by both. The most prominent example of Anibaddha Gaan is the Aalap . In an aalap, the musician elaborates on the notes of a raga in a slow, free-flowing rhythm, without any percussion accompaniment. The primary purpose of Anibaddha Gaan is to gradually unfold the character, melodic movements ( chalan ), and emotional essence of the raga. In ancient texts, it was categorized into ‘Rag-alap’ and ‘Rupak-alap’. Anibaddha Gaan is considered a true test of an artist’s imagination and mastery over a raga, playing a crucial role in establishing the raga’s atmosphere ( rasa ) before a composition begins.

(ii) Ten characteristics of Jati In ancient Indian music, before the full-fledged development of the raga system, ‘Jati Gayan’ was prevalent. To define and regulate each Jati, ten characteristics were described, known as the ‘Dashavidha Lakshana’ (ten-fold characteristics) of a Jati. These characteristics governed the structure and performance of a Jati. The ten characteristics are:

• Graha: The starting note of the Jati.
• Amsha: The most important or dominant note of the Jati (equivalent to Vadi).
• Nyasa: The concluding note on which a musical phrase or the entire composition ends.
• Apanyasa: A semi-concluding note used at the end of sections within a composition.
• Shadatva: The hexatonic (six-note) nature of a Jati.
• Odatva: The pentatonic (five-note) nature of a Jati.
• Alpatva: The minimal or infrequent use of a note.
• Bahutva: The frequent or prominent use of a note.
• Mandra: The lower limit of the Jati’s melodic range in the lower octave.
• Tara: The upper limit of the Jati’s melodic range in the higher octave.

Based on these characteristics, 18 Jatis were formed, which later became the foundation for the development of ragas.

(iii) Purvang Vadi Raga Ragas are often classified based on the placement of their Vadi (dominant) note within the octave. An octave is divided into two parts: the Purvang (lower tetrachord: Sa, Re, Ga, Ma) and the Uttaranga (upper tetrachord: Pa, Dha, Ni, Sa’). Ragas whose Vadi swara lies in the Purvang are known as ‘Purvang Vadi Ragas’. The melodic development and emphasis in these ragas are predominantly in the lower half of the octave. According to the Time Theory of Ragas, Purvang Vadi ragas are typically performed during the time period from 12 PM noon to 12 AM midnight . In these ragas, the notes of the Purvang are more significant, and the melodic elaboration revolves around them. A good example of a Purvang Vadi raga is Raga Bhupali , as its Vadi is ‘Ga’, which is located in the Purvang.

(iv) Moorchchhanas of Madhyam Gram A ‘Moorchchhana’ is a scale derived by systematically shifting the tonic note (Sa) to the other notes of a Gram (parent scale). Madhyam Gram was one of the two primary grams of ancient Indian music, distinguished by its Pancham (Pa) being one shruti lower than in Shadj Gram. The seven notes of Madhyam Gram (M, P, D, n, S, R, g) give rise to seven Moorchchhanas. They are as follows:

1. Sauviri (starting from Ma)
2. Harinashva (starting from Pa)
3. Kalopanata (starting from Dha)
4. Shuddha-madhya (starting from Ni)
5. Margi (starting from Sa)
6. Pauravi (starting from Re)
7. Hrishyaka (starting from Ga)

Each Moorchchhana created a new scale, and from these Moorchchhanas, various Jatis and, subsequently, Ragas were developed. This system was a vital source of melodic diversity in ancient music.

(v) Shadj Gramin Shruti System by Bharat In his seminal text ‘Natyashastra’ , Bharat Muni established the concept of 22 shrutis (microtones) and described their distribution among the seven swaras (notes). He detailed the shruti system for the two main Grams: Shadj Gram and Madhyam Gram. According to Bharat, the distribution of 22 shrutis among the swaras in Shadj Gram is as follows:

• Shadj (Sa) – 4 shrutis
• Rishabh (Re) – 3 shrutis
• Gandhar (Ga) – 2 shrutis
• Madhyam (Ma) – 4 shrutis
• Pancham (Pa) – 4 shrutis
• Dhaivat (Dha) – 3 shrutis
• Nishad (Ni) – 2 shrutis

This arrangement is remembered by the formula “Chatuh-tri-dvi-chatush-chatush-tri-dvi” (4-3-2-4-4-3-2). This division scientifically established the precise intervals between notes, proving the consonant relationships (

Samvadi Bhava

) of Sa-Ma (9 shrutis) and Sa-Pa (13 shrutis). This system forms the fundamental basis of the theory of swaras in Indian classical music.

(vi) Description and Theka of any Taala of your syllabus Taala: Teentaal Teentaal is one of the most common and popular talas in Hindustani classical music. It is an even-beat ( sam-padi ) tala used extensively in Khyal, Tarana, instrumental compositions (Gat), and light classical music.

• Matras: It consists of a total of 16 matras (beats).
• Vibhags: It is divided into four sections (vibhags) of 4 matras each.
• Taali: It has taalis (claps) on the 1st, 5th, and 13th matras.
• Khali: The khali (wave of the hand, or the unaccented beat) is on the 9th matra.

Theka (Bols):

Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Na Tin Tin Ta | Ta Dhin Dhin Dha

X (Taali)                   2 (Taali)                   0 (Khali)                  3 (Taali)

Its clear and balanced structure makes it one of the first talas taught to students, while also offering immense possibilities for improvisation to seasoned artists.

(vii) According to Krishna Mat, six main Ragas and their Raginis The Raga-Ragini classification system was a prominent feature of medieval music, where ragas were personified and categorized into families of male (Raga), female (Ragini), and offspring (Putra). Several schools of thought ( mats ) existed for this classification, one of which is the ‘Krishna Mat’ (or ‘Kallinath Mat’). According to this system, there are 6 principal Ragas , and each Raga has 5 Raginis , forming a family of 36 (6 Ragas + 30 Raginis). The six main Ragas and their respective Raginis are as follows:

1. Sri Raga: Malavi, Triveni, Gauri, Kedari, Madhumadhavi.
2. Vasanta: Desi, Devagiri, Varati, Todi, Lalita.
3. Bhairav: Bhairavi, Gurjari, Ramkali, Gunakali, Bangali.
4. Pancham: Vibhas, Bhupali, Karnati, Badhansika, Malavi.
5. Megh: Mallari, Sorathi, Saveri, Kaushiki, Gandhari.
6. Natanarayana: Kamodi, Kalyani, Abhiri, Sarangi, Nata Hambira.

This classification was based on poetic and meditative imagery, aiming to understand the mood and character of the ragas through personified relationships.

(viii) Features of Raag Alhaiya Bilawal Alhaiya Bilawal is a major and popular raga of the Bilawal Thaat. It has a grand and majestic character. Its main features are as follows:

• Thaat: Bilawal (all shuddha or natural notes).
• Jati: Shadav-Sampurna (6 notes in ascent, 7 in descent).
• Varjit Swar: Gandhar (Ga) is omitted in the aroha (ascent).
• Vadi-Samvadi: Its Vadi (dominant) note is Dhaivat (Dha) , and the Samvadi (sub-dominant) is Gandhar (Ga) .
• Time of Performance: First prahar of the day (morning, 6 AM to 9 AM).
• Special Feature: The raga is identified by its unique melodic phrases and the characteristic use of Komal Nishad (flat Ni). In the avaroha (descent), Komal Nishad (n) is sometimes used with a slight oscillation while approaching Dhaivat, as in the phrase ‘Dha ni Dha Pa’ . This usage enhances the raga’s beauty and distinguishes it from Shuddha Bilawal.
• Aroha: S R G P D N S’.
• Avaroha: S’ N D P, M G, R S. (It also uses characteristic crooked phrases like ‘Dha ni Dha Pa’ and ‘G R G P M G R S’).
• Pakad (Catch-phrase): G P D N S’, or G R G P M G R S.

This raga is well-suited for both Vilambit (slow) and Drut (fast) Khyal singing, as well as for Taranas.

Q4. Answer any two of the following questions : (i) Describing the Sarana Chatushtaya process introduced by Bharat, explain in detail which theory he tried to clarify. (ii) Briefly describe Sangeet Ratnakar. (iii) Describe the Thaat-Raaga classification introduced by Pt. Bhatkhande. (iv) Describe in detail the role of Raja Sourindra Mohun Thakur in the revival of Indian music.

Ans. (i) The Sarana Chatushtaya Process by Bharat In his treatise ‘Natyashastra’, Bharat Muni described an experimental process called ‘Sarana Chatushtaya’ to practically demonstrate the existence of shrutis and the precise intervals between notes. ‘Sarana’ means ‘to shift’ or ‘to lower’, and ‘Chatushtaya’ means ‘a group of four’, referring to the four-step process. Description of the Process: For this experiment, Bharat used two identical veenas (lutes) – one named ‘Achala Veena’ (immovable/static) and the other ‘Chala Veena’ (movable/dynamic).

1. Pratham Sarana (First Shifting): Both veenas are tuned to the pure notes of Shadj Gram. The Chala Veena’s strings are then lowered by one shruti. As a result, the Pancham (Pa) of the Chala Veena perfectly aligns with the Madhyam (Ma) of the Achala Veena. This proves that Pa is 4 shrutis higher than Ma in Shadj Gram, thus establishing a 4-shruti interval between Sa-Ma and Pa-Dha.
2. Dwitiya Sarana (Second Shifting): The Chala Veena is lowered by another shruti (a total of two). Now, its Dhaivat (Dha) aligns with the Achala Veena’s Gandhar (Ga), and its Rishabh (Re) aligns with the Achala Veena’s Shadj (Sa). This demonstrates that Re and Dha are notes of 3-shruti value.
3. Tritiya Sarana (Third Shifting): The Chala Veena is lowered again by one shruti (a total of three). In this state, its Gandhar (Ga) aligns with the Achala Veena’s Rishabh (Re), and its Nishad (Ni) aligns with the Achala Veena’s Dhaivat (Dha). This proves that Ga and Ni are notes of 2-shruti value.
4. Chaturth Sarana (Fourth Shifting): Upon lowering the Chala Veena for the fourth time (total of four shrutis), its notes align with the notes one step below them on the Achala Veena, e.g., Chala’s Ma with Achala’s Ga, Chala’s Pa with Achala’s Ma, and so on.

Theory Clarified:

Through the Sarana Chatushtaya process, Bharat successfully clarified and established the following theories:

• The Existence of 22 Shrutis: The experiment is a practical proof that an octave is comprised of 22 distinct microtonal intervals or shrutis.
• Shruti Values of Swaras: It scientifically determined the fixed shruti values for the seven notes of Shadj Gram: Sa(4), Re(3), Ga(2), Ma(4), Pa(4), Dha(3), Ni(2).
• Establishment of Consonance (Samvad Bhava): The process provides a scientific basis for the consonant relationships of Shadj-Madhyam Bhava (an interval of 9 shrutis) and Shadj-Pancham Bhava (an interval of 13 shrutis), which form the foundation of the Vadi-Samvadi relationship in Indian music.

Thus, the Sarana Chatushtaya is not just a theoretical discussion but the experimental and scientific cornerstone of Indian music’s tonal theory.

(ii) Description of Sangeet Ratnakar The ‘Sangeet Ratnakar’ , authored by Pt. Sharangdev in the 13th century, is considered the most fundamental and authoritative text on Indian music. It is an encyclopedia of the musical theories and practices prevalent in his time. Due to its comprehensive nature and systematic structure, it is also known as ‘Saptadhyayi’, as it is divided into seven chapters. The structure of the text is as follows:

1. Swaragatadhyaya: This first chapter provides a detailed discussion on the fundamental elements of music, such as Nada (sound), Shruti, Swara, Grama, Moorchchhana, Varna, Alankara, and Jati.
2. Ragavivekadhyaya: This chapter focuses on the classification and characteristics of ragas. In it, Sharangdev describes the prevalent raga classifications of his time, including Gram-Raga, Bhasha, Vibhasha, and the famous ‘Dashavidha Raga Vargikaran’ (ten-fold classification).
3. Prakirnakadhyaya: This chapter discusses various performance techniques, such as Gamak, Sthayi, Alapti, and the qualities and demerits of a vocalist.
4. Prabandhadhyaya: This chapter gives a detailed description of the structure, types, and components of a compositional form known as ‘Prabandha’.
5. Taladhyaya: This deals with the tala system, discussing Marga and Desi talas, laya (tempo), yati, and the ten vital elements (Dasha Pranas) of tala.
6. Vadyadhyaya: This chapter is dedicated to musical instruments. It classifies instruments into four categories: Tata (chordophones), Sushira (aerophones), Avanaddha (membranophones), and Ghana (idiophones).
7. Nartanadhyaya: The final chapter is devoted to the art of dance, discussing its components, forms, and the principles of acting (abhinaya).

Significance:

The greatest significance of Sangeet Ratnakar is that it serves as a vital bridge between ancient music (the era of Bharat) and medieval music. It codified the musical systems that had evolved up to that point. The text remains an invaluable reference source for scholars of both the Hindustani and Carnatic music systems even today.

(iii) The Thaat-Raaga classification by Pt. Bhatkhande In the early 20th century, the great musicologist and reformer Pt. Vishnu Narayan Bhatkhande undertook the monumental task of organizing the vast and often chaotic body of Hindustani ragas into a systematic and scientific framework. His method, known as the ‘Thaat-Raaga Classification’ , remains the foundation of Hindustani music pedagogy and theory today. Basis of Classification: Inspired by the ‘Melakarta’ system of Carnatic music, Pt. Bhatkhande proposed that all ragas in Hindustani music could be categorized under 10 parent scales. He named these parent scales ‘Thaats’ . Definition and Rules of a Thaat:

• A Thaat must be heptatonic ( sampurna ), containing seven notes.
• The notes in a Thaat must be in ascending ( aroha ) order.
• A Thaat cannot have both the natural and altered versions of the same note (e.g., both Shuddha Re and Komal Re).
• A Thaat is a theoretical scale, not meant for performance. Therefore, it has no Vadi, Samvadi, Pakad, or Chalan. It is simply a generator of ragas.

The Ten Thaats:

The 10 Thaats proposed by Bhatkhande and their notes are:

1. Bilawal: S, R, G, m, P, D, N (all natural notes)
2. Kalyan: S, R, G, M (sharp), P, D, N
3. Khamaj: S, R, G, m, P, D, n (flat)
4. Bhairav: S, r (flat), G, m, P, d (flat), N
5. Poorvi: S, r (flat), G, M (sharp), P, d (flat), N
6. Marwa: S, r (flat), G, M (sharp), P, D, N
7. Kafi: S, R, g (flat), m, P, D, n (flat)
8. Asavari: S, R, g (flat), m, P, d (flat), n (flat)
9. Bhairavi: S, r (flat), g (flat), m, P, d (flat), n (flat)
10. Todi: S, r (flat), g (flat), M (sharp), P, d (flat), N

Significance and Criticism:

This system made the identification, study, and teaching of ragas extremely simple and logical. It brought order to a field that was in disarray. However, it is also criticized by some scholars because certain ragas (like Lalit) do not fit perfectly into any single Thaat. Despite these limitations, its simplicity and utility have made it the most widely accepted classification system in Hindustani music.

(iv) The Role of Raja Sourindra Mohun Thakur in the Revival of Indian Music In the 19th century, a period when Indian classical music was facing neglect and decline, a few enlightened individuals in Bengal took up the cause of its revival. Among them, Raja Sourindra Mohun Thakur (1840-1914) of Calcutta stands out as a pioneering figure. His role in restoring the lost prestige of Indian music and presenting it to the modern world was unique and multifaceted. His major contributions are as follows:

1. Institutional Efforts: Thakur understood the need for institutional frameworks for the preservation and propagation of music. To this end, he founded the ‘Bengal Music School’ in 1871 and later the ‘Bengal Academy of Music’ in 1881. These were among the first significant attempts to provide systematic education in music.
2. Standardization and Notation: He attempted to standardize Indian music. He promoted a system of notation and even tried to create a standard ‘orchestra’ of Indian instruments, which he called the ‘Hindu Orchestra’. He published several music books with notation.
3. Scholarship and Writing: Sourindra Mohun Thakur was a formidable scholar and musicologist himself. He authored numerous books on music in English, Bengali, and Sanskrit. His notable works include ‘Yantra Kosha’ (an encyclopedia of Indian musical instruments), ‘The Universal History of Music’, and ‘Six Principal Ragas’. These works introduced Indian music to international academia.
4. International Promotion: He corresponded with musicologists worldwide and sent Indian instruments and music texts to international exhibitions, helping to introduce Indian music on a global stage. He was honored with a ‘Knighthood’ by the British government and an honorary ‘Doctor of Music’ degree by Oxford University, which were great honors for Indian music at the time.
5. Patronage to Musicians: He was a great patron of musicians, providing financial and social support to many artists, thereby helping to keep their art alive.

In essence, Raja Sourindra Mohun Thakur gave a new direction to Indian music by blending traditional knowledge with modern institutional methods. He laid the foundation for re-establishing music as a respectable art and profession, a foundation upon which later visionaries like Bhatkhande and Paluskar built a magnificent edifice.