Class 10 Carnatic Music (243) Solved Free Assignment 2024-25 (NIOS)

1. Answer any one of the following questions in about 40-60 words. 

(a) Specify the element that beautifies the Svara phrases and the Raga of Indian music. (See lesson-2)

Ans:- The element that beautifies the Svara (notes) phrases and the Raga in Indian music is called *Gamak*. Gamaks are ornamentations or embellishments applied to notes, adding depth and expression to the music. They bring out the emotions of a Raga, allowing the notes to resonate with a certain fluidity and grace, enhancing the overall beauty and appeal of the composition.

(b). Identify the song for the practice to increase the voice quality in the Carnatic music system. (See lesson-4)

Ans:- In Carnatic music, the song commonly practiced to improve voice quality is the *"Sarali Varisai"*. These are basic exercises involving simple note patterns, helping singers develop voice control, strength, and clarity. Regular practice of *Sarali Varisai* enhances tonal quality, pitch accuracy, and breath control, forming a strong foundation for further learning in Carnatic music.

2. Answer any one of the following questions in about 40-60 words:-

(a). Why it is said that Raga is easy for the beginners to learn? Specify. (See lesson-4)

Ans:- Raga is considered easy for beginners to learn because it follows a structured scale with a specific set of notes, making it easier to grasp. Each Raga has a distinct mood and pattern, which guides learners on how to sing or play the notes. This structure helps beginners understand and remember the basic movements and emotions of the music, making the learning process smoother.

(b) Specify the Svaras that should be arranged in proper ascending and descending order in Carnatic Music. (See lesson-2)

Ans:- In Carnatic music, the Svaras (notes) are arranged in ascending (Arohana) and descending (Avarohana) order to form the structure of a Raga. The seven basic Svaras are *Sa* (Shadja), *Ri* (Rishabha), *Ga* (Gandhara), *Ma* (Madhyama), *Pa* (Panchama), *Da* (Dhaivata), and *Ni* (Nishada). Each Raga has a unique combination of these Svaras arranged in a specific Arohana and Avarohana sequence, giving it its distinctive melody and character.

3. Answer any one of the following questions in about 40-60 words.  

(a) Explain any two instruments in which the strings are made to vibrate and produce sound. (See lesson-6)

Ans:- Two string instruments where sound is produced by vibrating strings are the *Veena* and the *Sitar*. 

The *Veena* is a traditional Indian instrument with a hollow body and a long neck with frets. When the strings are plucked, they vibrate, producing resonant tones unique to classical Indian music. 

The *Sitar*, another Indian string instrument, has a long neck and several sympathetic strings that resonate when the main strings are played. This vibration creates a rich, layered sound that is characteristic of Indian classical music.

(b) List out the different kinds of materials (any four) used in the manufacture of musical instruments. (See lesson-6) 

Ans:-  Four common materials used in the manufacture of musical instruments are:

1. **Wood** - Often used for instruments like guitars, violins, and flutes, providing a warm, resonant sound.

2. **Metal** - Used in instruments such as trumpets, flutes, and cymbals for a bright, sharp tone.

3. **Animal Skin** - Commonly stretched over drums like the tabla and dholak to create percussion sounds.

4. **Strings** - Made of materials like nylon, steel, or gut, used in instruments like the violin, sitar, and guitar to produce vibrating tones. 

Each material contributes uniquely to the instrument's sound quality.

4. Answer any one of the following questions in about 100-150 words..

(a)  ‘Harmonium and Clarinet did not become so popular in India’. Give any four reasons. (See lesson-6)

Ans:- The *Harmonium* and *Clarinet* did not become very popular in India for several reasons:

1. **Cultural Compatibility**: The tonal qualities and tuning systems of the harmonium and clarinet differ from Indian classical music’s traditional instruments, which often employ microtones and intricate variations that are difficult to produce on these Western instruments.

2. **Melodic Limitations**: Indian classical music relies on continuous, flowing sound called *meend* or glides between notes. The harmonium, being a keyed instrument, lacks this flexibility, while the clarinet's limited range for gliding notes restricts its suitability for Indian melodies.

3. **Historical Preference**: Indian music has a deep-rooted tradition with indigenous instruments like the sitar, veena, and tabla, which already serve classical and folk music well, reducing the demand for foreign instruments like the harmonium and clarinet.

4. **Adaptation Challenges**: Adapting these instruments for Indian music would require considerable modifications, making them less accessible and practical, thus hindering their widespread acceptance in Indian musical circles.

(b) ‘Abhyasa Gana introduces the basic knowledge of the Art music’, justify the statement. (See lesson-4)

Ans:- *Abhyasa Gana*, a foundational component in Indian classical music training, introduces learners to the essential principles of art music. This collection of structured exercises focuses on basic Svara (note) patterns, rhythm, and scale practices, helping students build control over pitch and voice. Through regular practice of *Abhyasa Gana* exercises like *Sarali Varisai*, *Janta Varisai*, and *Alankaras*, beginners develop a strong understanding of musical scales, timing, and note intervals.

These exercises form the groundwork for more complex Ragas and compositions, enabling students to gradually internalize the intricate rules of Indian classical music. By mastering the basics through *Abhyasa Gana*, learners gain the discipline and foundational skills necessary for advanced musical exploration, making it an essential first step in the journey of art music.

5. Answer any one of the following questions in about 100-150 words.

(a) Define important four features of Sarali Varisai in the sequence. (See lesson-4)

Ans:- *Sarali Varisai* is a foundational exercise in Carnatic music that helps students develop their vocal skills and understanding of Svara (note) patterns. Here are four important features of *Sarali Varisai*:

1. **Basic Note Patterns**: *Sarali Varisai* consists of simple, repetitive patterns of notes (Svara) that form the basis for mastering pitch and intonation. This helps beginners become familiar with the Svara system in Indian classical music.

2. **Vocal Flexibility**: The exercises are designed to enhance vocal flexibility, allowing singers to move smoothly between notes. This flexibility is crucial for performing complex compositions and improvisations later on.

3. **Rhythmic Structure**: *Sarali Varisai* is often practiced with different rhythmic cycles (*talas*), helping learners develop their sense of timing and rhythm, essential for any musician.

4. **Gradual Complexity**: As students progress, *Sarali Varisai* can be expanded to include variations and embellishments, encouraging creativity and deeper musical understanding while maintaining a focus on the basics. This gradual introduction to complexity makes it an effective tool for learning Carnatic music.

(b) Relate a string instrument with a wind instrument used in Carnatic music and write in detail. (See lesson-6)

Ans:- In Carnatic music, the *Veena* (a string instrument) and the *Nadaswaram* (a wind instrument) are often related through their roles in ensemble performances and their cultural significance.

 Veena

The *Veena* is a traditional string instrument that has a deep cultural history in Indian classical music. Typically made of wood, it features a long neck and multiple strings (usually seven), which are plucked to produce sound. The *Veena* allows for intricate melodic expressions and is known for its rich and resonant tone. It is capable of executing a variety of ornamentations, which are essential in Carnatic music. The performer can also create complex Ragas by bending the strings, which produces microtones that are characteristic of Indian music.

 Nadaswaram

The *Nadaswaram* is a large, double-reed wind instrument, often played in temple festivals and auspicious ceremonies. It is made from wood, with a long cylindrical body and multiple finger holes, allowing the musician to create a range of notes. The *Nadaswaram* produces a powerful, vibrant sound that can be heard over long distances, making it ideal for outdoor performances. Like the *Veena*, it is also deeply tied to the traditional repertoire of Carnatic music and is capable of playing complex Ragas and intricate rhythmic patterns.

 Relationship in Carnatic Music

Both instruments complement each other beautifully in ensemble settings. The *Veena*, with its melodic capabilities, provides a rich harmonic foundation, while the *Nadaswaram* adds a dynamic, celebratory element to the performance. They often participate in dialogues, where the *Veena* introduces a phrase and the *Nadaswaram* responds, showcasing the improvisational skills of the musicians.

In conclusion, the *Veena* and *Nadaswaram* represent the diverse sounds and textures of Carnatic music. Together, they create a harmonious blend of melody and rhythm, enriching the musical experience and reflecting the deep cultural heritage of Indian classical music.

6. Prepare any one project of the following projects given below.

(a). Collect three photographs of Wind instruments and paste them into your project file. Now write in brief about each of these instruments. (See lesson 4)

Ans:-  Here’s a project outline that you can use for the assignment on wind instruments. You can follow this structure and add photographs of the instruments as specified.

Project: Wind Instruments in Carnatic Music

Introduction

Wind instruments play a vital role in Carnatic music, contributing to its rich soundscape. This project explores three prominent wind instruments: the Nadaswaram, the Shehnai, and the Flute. Each instrument has unique characteristics and cultural significance.

 Instrument 1: Nadaswaram

The Nadaswaram is a large, double-reed wind instrument traditionally played in South Indian classical music. It is often used in temple ceremonies and festive occasions. The instrument consists of a long wooden body with finger holes and two reeds at one end. The Nadaswaram produces a loud, vibrant sound that resonates beautifully in outdoor settings. Musicians typically play it in pairs, creating a rich melodic dialogue. The Nadaswaram is known for its ability to play intricate Ragas and is a symbol of auspiciousness in South Indian culture.

 Instrument 2: Shehnai

The Shehnai is a double-reed wind instrument with a long history in Indian classical music. Similar in appearance to the Nadaswaram but smaller, the Shehnai is made of wood and has a flared bell at one end. It produces a soft, melodious sound that is often associated with weddings and religious ceremonies. The Shehnai player uses their breath control and finger techniques to create expressive phrases and ornamentations. It is celebrated for its emotional depth and is commonly played in traditional Indian ensembles.

Instrument 3: Flute

The Flute is a simple yet elegant wind instrument made of bamboo or metal. In Carnatic music, the Indian bamboo flute, or *bansuri*, is commonly used. It consists of a long cylindrical body with several finger holes, allowing the player to produce a wide range of notes. The Flute has a soft, soothing sound that blends beautifully with other instruments. Its versatility makes it suitable for both classical and contemporary music. Flute players employ various techniques, including blowing, finger movements, and breath control, to convey different emotions through their music.

(b) Visit your nearby library and select six technical terms used in Carnatic Music. Write two sentences about each of the terms. (See lesson 4)

Ans:- Here are six technical terms used in Carnatic music, along with a brief description of each:

 1. Raga

A Raga is a melodic framework in Carnatic music, characterized by a specific set of notes and unique patterns of movement. Each Raga evokes a particular mood or emotion and is essential for improvisation and composition in classical performances.

2. Tala

Tala refers to the rhythmic cycle in Carnatic music, which structures the timing of the music. Each Tala has a specific number of beats, and the combination of various Talas allows musicians to create intricate rhythmic patterns and variations.

 3. Alankara

Alankara refers to the ornamental embellishments added to the Svara (notes) in a melody. These embellishments enhance the expressiveness of the performance, showcasing the artist's creativity and skill in interpreting the Raga.

 4. Varnam

Varnam is a type of musical composition in Carnatic music that serves as both a practice piece and a performance item. It typically consists of a melody and rhythm that showcase the Raga and allow for improvisation, making it an essential part of a musician's repertoire.

 5. Kriti

Kriti is a structured composition in Carnatic music, usually featuring lyrics that express devotion or emotions. Composed in various Ragas and Talas, Kriti serves as a cornerstone of performance and is often used to convey the spiritual and cultural themes of Indian classical music.

 6. Bhava

Bhava refers to the emotional expression conveyed through music in Carnatic performances. It encompasses the feelings and sentiments that a Raga evokes, and skilled musicians can manipulate Bhava to create a profound emotional connection with the audience during a performance.

Feel free to adjust or expand on these definitions based on your research in the library!