Class 10 Hindustani Music (242) Solved Free Assignment 2024-25 (NIOS)

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

(a). Why it is said that singing properly and following set rules is Music? Write any one importance of Natyashastra. (See lesson 1)

Ans:- Singing properly and following set rules is considered music because music involves structure, rhythm, melody, and harmony that come together to create a pleasing auditory experience. These elements are guided by principles that give music its beauty, expression, and emotional depth.

One importance of *Natyashastra* is that it serves as a foundational text in Indian performing arts, outlining rules and techniques for dance, music, and drama, thus preserving and promoting India's cultural heritage across generations.

(b). Define the two Talas which have the same number of Matras? (See lesson 3)

Ans:-  Two talas with the same number of matras are *Kaharwa Tala* and *Dadra Tala*. 

- **Kaharwa Tala**: This tala has 8 matras and is commonly used in light classical music and folk music. It provides a rhythmic cycle that is simple and often lively.

- **Dadra Tala**: Also with 8 matras, Dadra Tala is popular in semi-classical music like thumri and ghazal. It has a gentle and soothing rhythm that complements expressive vocal styles.

Both talas share the same number of matras but differ in their mood, usage, and rhythmic patterns.

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

(a). The symbols are used in the notation of Hindustani music. Specify the symbols used to show the Udatta and Anudatta notes. (See lesson-5)

Ans:-  In Hindustani music notation, specific symbols are used to denote the emphasis or intonation of notes:

• Udatta (high or emphasized) notes are often shown with a dot (.) placed above the note, indicating that it should be sung with more emphasis or stress.

• Anudatta (low or de-emphasized) notes are represented with a dot (.) below the note, showing it should be sung softly or with less emphasis.

These symbols help in guiding the expressive quality and tonal variation in performances.

(b). Explain your viewpoint that the Nada is obtained from physical objects and reaches the ear through the medium of physical matter. (See lesson-1)

Ans:- Nada, or sound, originates from the vibration of physical objects, such as musical instruments, vocal cords, or natural elements like water or wind. When these objects vibrate, they create sound waves that travel through a physical medium, such as air, water, or solid matter, until they reach our ears. The ear then perceives these vibrations as sound. This principle shows how sound depends on both the source of vibration and a medium to travel through to reach us.

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

(a). Relate between the Sudhya Swara and Tivra Swara. (See lesson 1)  

Ans:- In Hindustani classical music, Shuddha Swara refers to the "pure" or natural notes without any alteration, representing the original pitch of each note in the octave. Tivra Swara, on the other hand, is a "sharp" note, which is one semitone higher than its corresponding Shuddha Swara. For example, in the Indian music scale, Ma (Madhyam) can have a Tivra version, denoted as Tivra Ma, which is sung at a higher pitch than Shuddha Ma.

(b). Give one reason why Sangeet Ratnakar is called ‘Saptadhyayi’. (See lesson-7) 

Ans:-  Sangeet Ratnakar is called "Saptadhyayi" because it is divided into seven chapters, each focusing on a different aspect of music, dance, and performance. This classical Sanskrit text, written by Sharangadeva, covers a comprehensive range of topics, including musical theory, instruments, vocal techniques, and rhythms, hence the name "Saptadhyayi," meaning "seven chapters."

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

(a). Specify the different types of Laya used in Hindustani classical music and explain each of the Layas.  (See lesson-3)

Ans:-   In Hindustani classical music, Laya refers to the tempo or speed at which a musical composition is played or sung. There are three main types of Laya:

1. Vilambit Laya (Slow Tempo): This is a slow tempo that allows for elaborate exploration and improvisation, especially in classical genres like Khayal. It provides the artist with the space to delve deeply into each note, giving a serene and meditative feel.

2. Madhya Laya (Medium Tempo): This tempo is moderate, providing a balanced rhythm that supports a smooth, flowing performance. Madhya Laya allows for both expression and rhythm, often transitioning between slow and fast tempos, and is commonly used in compositions like semi-classical Thumris.

3. Drut Laya (Fast Tempo): Drut Laya is a fast tempo, bringing energy and dynamism to the performance. It showcases the artist's skill in maintaining rhythm at high speed, often featured in the climax of performances or in fast-paced compositions.

These different Layas allow performers to bring varied emotional and rhythmic expressions to their music.

(b). Explain the Bols of Teen tala along with Matra. (See lesson-3)

Ans:-  *Teen Tala*, one of the most widely used talas in Hindustani classical music, consists of 16 *matras* (beats) divided into four equal parts, with each part containing 4 matras. The tala structure, also called a *theka*, is represented by a set of syllables or *bols* that guide the rhythm.

The Bols of Teen Tala are as follows:

1. **Dha Dhin Dhin Dha** (1st Vibhag - 4 Matras)  

2. **Dha Dhin Dhin Dha** (2nd Vibhag - 4 Matras)  

3. **Dha Tin Tin Ta** (3rd Vibhag - 4 Matras)  

4. **Ta Dhin Dhin Dha** (4th Vibhag - 4 Matras)  

In Teen Tala, the first beat, or *sam*, is accented, making it the starting and returning point in compositions. The 9th beat, or *khali*, is de-emphasized and represented by a wave of the hand, indicating a contrasting point within the cycle. This structure provides a balanced, rhythmic cycle for intricate compositions and improvisations.

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

(a). According to the Bhatkhande notation system mention any four characteristics of Khali and Tali. (See lesson-3)

Ans:- In the Bhatkhande notation system, Khali and Tali are essential components of rhythm in Indian classical music, particularly in talas. Here are four characteristics of each:

Tali:

1. Accented Beat: Tali represents the emphasized beats in a tala cycle. It is where the main emphasis is placed during the performance.
2. Symbol Representation: In notation, Tali is indicated with a downward stroke or a dot on the beat, signifying its importance in the rhythm.
3. Regular Timing: Tali occurs at regular intervals throughout the tala cycle, providing a consistent structure that guides the performance.
4. Musical Interplay: Musicians often elaborate their compositions around Tali, using it as a reference point for improvisation and rhythmic variation.

Khali:

1. Unaccented Beat: Khali is the empty beat in the tala cycle, indicating a moment of pause or silence where the usual emphasis is lifted.
2. Symbol Representation: Khali is represented by an upward stroke in notation, signifying its contrasting nature to Tali.
3. Positioning: Khali typically occurs after a set number of Tali beats, creating a dynamic shift in the rhythm, enhancing the overall musicality.
4. Expressive Element: The inclusion of Khali adds depth and complexity to a performance, allowing for expressive timing and rhythm play among musicians.

Together, Tali and Khali form the backbone of rhythmic patterns, enriching the texture and expressiveness of Indian classical music.

(b). In India, teaching music has always been oral in the form of Guru-Shishya tradition’, justify the statement. (See lesson-5) 

Ans:-  The Guru-Shishya tradition in India emphasizes oral transmission of knowledge, particularly in music and other arts. This method involves a close mentor-student relationship, where the guru (teacher) imparts knowledge directly to the shishya (student) through live demonstrations and personal interaction.

In this tradition, music is taught through practical experience rather than written notation. Students learn intricate details, including nuances of rhythm, pitch, and expression, by listening and imitating their guru's performances. This immersive approach fosters deep understanding and emotional connection to the music, as students receive immediate feedback and guidance.

Moreover, the oral tradition preserves cultural heritage, ensuring that traditional forms of music are passed down authentically through generations. It cultivates not only technical skills but also the spiritual and emotional aspects of music, making the Guru-Shishya relationship vital in maintaining the richness of Indian classical music. This system emphasizes dedication, discipline, and respect for the art form, ensuring its continuity and evolution.

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

a). Collect photographs of any four famous instruments of Hindustani Sangeet, paste the Photos in A4 size sheet and write about them in brief. (See lesson-7) 

Ans:-    Project: Famous Instruments of Hindustani Sangeet

 1. Sitar

The sitar is a plucked string instrument known for its rich, melodic sound and is widely used in Hindustani classical music. It has a long neck, a gourd resonator, and typically features 18 to 21 strings, of which only a portion are played while others serve as sympathetic strings that enhance resonance. The sitar is often associated with notable musicians like Ravi Shankar, who popularized it globally.

2. Tabla

The tabla is a pair of hand-played drums, consisting of the smaller **dayan** (right hand drum) and the larger **bayan** (left hand drum). It is a versatile percussion instrument that provides rhythm in various forms of Indian music. The tabla is characterized by intricate finger techniques and is central to many classical and semi-classical performances. Renowned tabla players include Zakir Hussain and Alla Rakha.

#### 3. Harmonium

The harmonium is a free-reed instrument that produces sound by forcing air through reeds when keys are pressed. Commonly used in Indian music for vocal accompaniment, it allows for expressive melodies and is integral to many forms of traditional music, including devotional songs and folk music. Its portability and ease of use have made it popular among musicians of various genres.

 4. Sarangi

The sarangi is a bowed string instrument with a hollow wooden body and approximately 35 strings, of which around 3 to 4 are played, while the others act as sympathetic strings. Known for its expressive and emotive sound, the sarangi is often used in classical performances to evoke deep feelings. Its close resemblance to the human voice makes it a favored instrument for vocal accompaniment. Notable sarangi players include Sabri Khan and Ram Narayan.

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Presentation Format

- Use an A4 size sheet for the project.

- Paste the photographs of the instruments alongside their descriptions.

- Ensure the text is neatly written and well-organized.

- You can enhance the project with decorative borders or a title like "Famous Instruments of Hindustani Sangeet." 

This project will give you a visual and informative representation of significant instruments used in Hindustani classical music.

(b). Collect information on any three Talas of Hindustani Music. Write the Matra and Bols of those Talas in a table form. (See lesson-3) 

Ans:-  Here is a table summarizing three talas of Hindustani music, along with their matras and bols:

Talas of Hindustani Music

Explanation of Talas:

- **Teentaal**: Comprising 16 matras, Teentaal is widely used in classical performances. Its rhythmic structure allows for intricate compositions and improvisation, making it a favorite among musicians.

- **Dadra**: With a total of 6 matras, Dadra is light and rhythmic, often used in expressive pieces. Its straightforward structure enables musicians to focus on lyrical and emotive interpretations.

- **Kaharwa**: This 8-matra tala is prevalent in folk and light classical music. Its rhythmic pattern is engaging, allowing for both melodic and rhythmic improvisation, making it suitable for a variety of musical styles.

This table provides an overview of the selected talas, highlighting their matras, bols, and unique characteristics within Hindustani music.