JKSSB Tabla Assistant 2025 Solved Question Paper

Question 1

Out of the following, which is "Pushkar Vadya"?

Accepted Answer

Option D: Mridang. In Bharata's Natyashastra, Pushkar Vadyas represent ancient clay/wooden multi-faced percussion drums, the foremost of which is the Mridanga (Tripushkar: Ankika, Urdhwaka, and Alingya).

Question 2

Which among the following is not the part of "Mridang"?

Accepted Answer

Option A: Nisan. The three authentic structural drums of the ancient Tripushkar/Mridang are Ankika (horizontal), Urdhwaka (vertical), and Alingya (embraced); 'Nisan' is an independent kettle-drum, not a part of Mridang.

Question 3

Which part of Mridang is similar to "Tail of Cow"?

Accepted Answer

Option A: Ankik. In classical treatises, the Ankika pushkar drum is shaped like a cow's tail / barley grain (Gomukha / Yavakara shape).

Question 4

According to Natyashastra, how many Alankars are there in Pushkar Vadya?

Accepted Answer

Option A: Thirty two. Bharata Muni's Natyashastra (Chapter 33) codifies exactly 32 Pushkar Alankars (rhythmic embellishments for percussion drums).

Question 5

How many sounds (Boi/Varna) are there in Pushkar Vadya?

Accepted Answer

Option C: Sixteen. Ancient percussion theory enumerates 16 fundamental syllabic sound alphabets (Ksharaksharas / Varnas / Bois: Ka, Kha, Ga, Gha, Ta, Tha, Da, Dha, etc.) for Pushkar playing.

Question 6

How many Jatiyan are there in the playing of Avnadh Vadya?

Accepted Answer

Option D: Eighteen. Classical texts classify 18 distinct stylistic playing jati rhythmic patterns (Jatis) in ancient Avanaddha percussion.

Question 7

How many "Marjana" of Avnadh Vadya are there in Natya Shastra?

Accepted Answer

Option A: Three. Natyashastra describes 3 Marjanas (tuning paste applications for pitch resonance): Mayuri, Ardha-Mayuri, and Karmaravi.

Question 8

What is Atodya?

Accepted Answer

Option A: Vrinda Vadan. Atodya is the ancient Sanskrit term for musical instruments played together in an orchestral ensemble (Vrinda Vadan / Kutapa ensemble).

Question 9

What is the meaning of Tabla?

Accepted Answer

Option A: Dudungi. The term Tabla is etymologically derived from Arabic 'Tabl' (drum), historically evolving from ancient pair-drums like the Dudungi / Pakhawaj.

Question 10

Who was known as "The Master of Tabla"?

Accepted Answer

Option B: Ustad Siddhar Khan. Ustad Siddhar Khan Dhadi (18th century Delhi) is historically revered as the seminal founding father, architect, and 'Master of Tabla' who created the first systematic Tabla Baj.

Question 11

Who is the first prominent Female Tabla Player in India?

Accepted Answer

Option B: Anuradha Pal. Pandita Anuradha Pal (disciple of Ustad Alla Rakha and Ustad Zakir Hussain) is internationally celebrated as India's first prominent female professional Tabla maestro.

Question 12

According to Pt. Damodar, who was the originator of music?

Accepted Answer

Option C: Mahesh. In Sangeet Darpana, Pandit Damodar states that music originated from Lord Shiva (Mahesh / Nataraja: *Samavedadidam geetam samjagraha pitamahah... Shankarad gayanat*).

Question 13

According to Pt. Sharangdev, which music art is prominent?

Accepted Answer

Option A: Gayan. In Sangeet Ratnakar, Pt. Sharangdev declares vocal music supreme: *Nrityam vadanugam proktam, vadam gayanuvartinam, ato pradhanam gayanamaatra* (Gayan is prominent).

Question 14

How many Shruties are there in a Saptak?

Accepted Answer

Option D: Twenty two. Ancient and modern Indian musicology divides one Saptak (octave) into exactly 22 microtonal intervals known as Shrutis (*Chatushchatushchaiva Shadja-Madhyama-Panchamah...*).

Question 15

According to Pt. V.N. Bhatkhande, on which shruti is situated the Rishabh?

Accepted Answer

Option A: 7th shruti. Under Bhatkhande's modern swara-shruti allocation (where Shadja is on the 1st shruti Tivra), Shuddha Rishabh is established on the 7th shruti (Raktika).

Question 16

Which Avnadha Vadya is mentioned in Rig Veda?

Accepted Answer

Option C: Gargar. The Rigveda mentions ancient membranophones/drums including Dundubhi, Bhumi-Dundubhi, and Gargar (Gargara percussion instrument).

Question 17

Which Avnadh Vadya was mentioned in Yajur Veda?

Accepted Answer

Option A: Adambar. In the Yajurveda, the grand sacrificial battle drum Adambar (Aadambara) is prominently mentioned as a sacred Avanaddha Vadya.

Question 18

According to Natya Shastra, which laya is suitable for karun ras?

Accepted Answer

Option A: Bilambit. Natyashastra dictates: *Hasya-Shringarayo-madhyam, Karune tu Vilambitam, Raudra-Veer-Adbhuteshu Drutam* (Vilambit laya is prescribed for Karuna / sorrowful sentiment).

Question 19

Which among the following options is not included as laya?

Accepted Answer

Option D: Saptak laya. The three classical tempos of rhythm are Vilambit (slow), Madhya (medium), and Drut (fast); 'Saptak' refers to pitch octaves, not laya.

Question 20

How many Layas are there in Indian Classical Music?

Accepted Answer

Option C: Three. Indian classical music recognizes three fundamental speeds/layas of rhythm: Vilambit (slow), Madhya (medium), and Drut (fast).

Question 21

Which among the following belongs to the Delhi Gharana?

Accepted Answer

Option A: Ustad Ahmed Jan Thirakwa. Ustad Ahmed Jan Thirakwa, the legendary 'Mount Everest of Tabla', was trained in the Farrukhabad and Delhi Baj tradition under Ustad Munir Khan.

Question 22

Which Tabla Gharana is known as "Kinar Ka Baaj"?

Accepted Answer

Option B: Delhi Gharana. Delhi Gharana, founded by Ustad Siddhar Khan, is famously known as 'Dilli Baaj' or 'Kinar Ka Baaj' for its delicate, fast two-finger strokes played on the rim (Kinar/Chati).

Question 23

Which Tabla Gharana has "Tisra Jati Kaida" style mostly?

Accepted Answer

Option C: Ajrada Gharana. Ajrada Gharana (founded by Kallu Khan and Miru Khan) is celebrated for its intricate cross-rhythmic subdivisions, complex Bayan modulations, and mastery over Tisra Jati (3-subdivision) Kaidas.

Question 24

Which among the following are the founders of Lucknow Gharana?

Accepted Answer

Option D: Modu Khan and Bakshu Khan. Ustad Modu Khan and Ustad Bakshu Khan (grandsons of Ustad Siddhar Khan who moved from Delhi to Awadh) founded the Lucknow Tabla Gharana (Khula Baaj / Thap Baaj).

Question 25

Who was the famous Tabla Artist who started the Lucknow Tabla Gharana?

Accepted Answer

Option D: Ustad Siddhar Khan. The lineal root of Lucknow Gharana originates from Ustad Siddhar Khan's lineage (through his grandsons Modu Khan & Bakshu Khan).

Question 26

Which Tabla Gharana is famous for Chala and Raw?

Accepted Answer

Option D: Farrukhabad Gharana. Farrukhabad Gharana (founded by Ustad Vilayat Ali Khan 'Haji Sahib') is globally renowned for its specialized Gat, Chala, Raw, and Paran compositions.

Question 27

Which Tabla Gharana is known for Janani and Mardani Gat?

Accepted Answer

Option A: Lucknow Gharana. Lucknow Gharana features delicate, graceful feminine patterns (Janani Gat) influenced by Kathak alongside powerful, robust resonant strokes (Mardani Gat).

Question 28

Who was the originator of Farrukhabad Gharana?

Accepted Answer

Option A: Vilayat Ali. Ustad Vilayat Ali Khan (famously known as Haji Vilayat Ali Khan, son-in-law of Ustad Bakshu Khan) founded the Farrukhabad Tabla Gharana.

Question 29

Which Tabla Gharana is known for Lala Bhawani Das?

Accepted Answer

Option C: Punjab Gharana. Lala Bhawani Das, a great Pakhawaj and Tabla master of Punjab, heavily influenced the creation and repertoire of the Punjab Tabla Gharana.

Question 30

Who was the father of Ustad Zakir Hussain?

Accepted Answer

Option C: Ustad Allarakha. Ustad Zakir Hussain's father and legendary guru was the renowned Punjab Gharana maestro Ustad Alla Rakha Qureshi.

Question 31

Which Tabla Artist is known as "Gudai Maharaj"?

Accepted Answer

Option C: Pt. Samta Prasad. Pandit Samta Prasad of the Banaras Gharana is universally and affectionately celebrated throughout the music world by his title 'Gudai Maharaj'.

Question 32

Which among the following term is NOT among the Ten Pranas of Tal?

Accepted Answer

Option B: Zarb. The Tala Dasa Pranas (10 vital life-forces of rhythm) are: Kala, Marga, Kriya, Anga, Graha, Jati, Kala (Kaala), Laya, Yati, and Prastara; 'Zarb' is an Urdu/Persian term for stroke/beat, not a classical Prana.

Question 33

Consider the following pairs:
i. Marg
ii. Ang
iii. Grah
iv. Kriya

Prana components:
1. Annudrut, Drut, Laghu, Guru, Plut, Kakpad
2. Dhruv, Chatura, Dakshina, Vrittika
3. Sashabd, Nishabd
4. Sam, Visham, Atit, Anagat

Select the correct pairs:

Accepted Answer

Option A: i-2, ii-1, iii-4, iv-3. i -> 2 (Marga = Dhruva, Chitra, Vartika, Dakshina), ii -> 1 (Shadangas = Anudrutam, Drutam, Laghu, Guru, Pluta, Kakapada), iii -> 4 (Graha = Sama, Vishama, Atita, Anagata), iv -> 3 (Kriya = Sashabda and Nishabda beats).

Question 34

Consider the laya of the following pairs:
i. Strotogata
ii. Mridanga
iii. Pipeelika
iv. Gopuccha

Laya flow:
1. Drut, Madhya, Vilambit
2. Vilambit, Drut, Vilambit
3. Drut, Vilambit, Drut
4. Vilambit, Madhya, Drut

Select the correct pairs of the above:

Accepted Answer

Option A: i-4, ii-3, iii-2, iv-1. Yati rhythmic shapes: Srotovaha/Strotogata -> River widening (Vilambit -> Madhya -> Drut, 4); Mridanga -> Broad in middle (Vilambit -> Drut -> Vilambit / 3); Pipilika -> Ant-shaped (Drut -> Vilambit -> Drut, 2); Gopuccha -> Cow's tail tapering (Drut -> Madhya -> Vilambit, 1).

Question 35

Which Taal has seventeen matras and four divisions?

Accepted Answer

Option C: Shikhar Taal. Shikhar Taal consists of 17 matras divided into 4 vibhags ($6|6|2|3$ or $6|4|4|3$), with 3 claps (Tali) and 1 wave (Khali).

Question 36

Consider the following statements:
I) Matt Taal has eighteen matras
II) Matt Taal is the taal of Pakhawaj
III) Matt Taal has eighteen divisions
IV) Matt Taal is used in folk songs
Now, choose the correct statement:

Accepted Answer

Option C: I and II. Matt Taal is a majestic classical Pakhawaj/Tabla tala comprising 18 matras (9 vibhags of 2 matras each). Statements I and II are correct.

Question 37

How many Matras of Laghu are there in Khand Jati Taal?

Accepted Answer

Option B: Five matras. In the Carnatic Tala system, Khanda Jati defines the Laghu ($I_5$) as possessing exactly 5 matras/aksharas.

Question 38

How many Talas can be prepared from the Jhampa Taal according to Jati Bheda?

Accepted Answer

Option A: Five. By applying the 5 Jatis (Tisra, Chatusra, Khanda, Misra, Sankirna) to Jhampa Taal ($I\ U\ O$), exactly 5 derivative talas are generated.

Question 39

Consider the following pair:
i. Dhruv Taal Chaturashra Jati
ii. Matt Taal Mishra Jati
iii. Roopak Taal Sankirna Jati
iv. Ektal Khand Jati

Matras:
1. Sixteen Matras
2. Eleven Matras
3. Five Matras
4. Fourteen Matras

Now, select the correct pairs:

Accepted Answer

Option A: i-4, ii-1, iii-2, iv-3. i -> 4 (Chaturasra Dhruva $I_4 O I_4 I_4 = 4+2+4+4 = 14$ matras), ii -> 1 (Mishra Matya $I_7 O I_7 = 7+2+7 = 16$ matras), iii -> 2 (Sankirna Rupaka $O I_9 = 2+9 = 11$ matras), iv -> 3 (Khanda Eka $I_5 = 5$ matras).

Question 40

How many Talas can be prepared with five Talas according to Jati Bheda?

Accepted Answer

Option B: Twenty five. Applying the 5 Jatis to 5 core Talas generates $5 	imes 5 = 25$ distinct Talas (and $7 	imes 5 = 35$ for the Sapta Talas).

Question 41

How many types of Talas can be prepared from Triput Taal Sankirn according to Panchagatibheda?

Accepted Answer

Option D: Five Talas. Applying the 5 Gatis (Tisra, Chatusra, Khanda, Misra, Sankirna) to Sankirna Triputa Taal yields 5 distinct Gati variations.

Question 42

Consider the following statements:
I) There are no khali in Karnataki Taal System
II) Matras of Laghu can be changed according to Jatibheda in Karnataki Taal system
III) There are five Talas in Karnataki music only
IV) There are seven jatis in each Karnataki taal
Now, choose the wrong statement among the above given statements:

Accepted Answer

Option C: III and IV. Statements III and IV are false: Carnatic music has 7 Sapta Talas (not 5) and 5 Jatis (not 7).

Question 43

How many matras will be there in Sankirna Dhruv Taal from Sankirna Gati?

Accepted Answer

Option B: Two hundred sixty one. Sankirna Jati Dhruva Tala has structure $I_9 O I_9 I_9 = 9 + 2 + 9 + 9 = 29	ext{ aksharas}$. In Sankirna Gati ($9	ext{ swaras/matra}$), total pulses $= 29 	imes 9 = 261	ext{ matras/pulses}$.

Question 44

How many matras are required for Biadi Laya in Deep Chandi Taal?

Accepted Answer

Option A: Eight. Deepchandi Taal has 14 matras. In Biadi Laya ($1\frac{3}{4} = \frac{7}{4}$ speed), 1 cycle of 14 matras is completed in $\frac{14 	imes 4}{7} = 8	ext{ matras}$.

Question 45

Which matra is perfect to start the Kuad Laya from Jhap Taal?

Accepted Answer

Option D: Sixth Matra. Jhaptaal has 10 matras. Kuad Laya ($1\frac{1}{4} = \frac{5}{4}$ speed) takes $\frac{10 	imes 4}{5} = 8	ext{ matras}$ to complete, meaning Kuad starts from the 6th matra to land on Sam at 10+1.

Question 46

How many Matras are required for Ada Laya in Chautal?

Accepted Answer

Option D: Eight matras. Chautaal has 12 matras. Ada Laya ($1\frac{1}{2} = \frac{3}{2}$ speed) completes 12 matras in $\frac{12 	imes 2}{3} = 8	ext{ matras}$.

Question 47

How many matras are required for Tigun of Sool Taal?

Accepted Answer

Option C: Three and one third of a Matra. Sooltaal has 10 matras. In Tigun (3 times speed), the entire 10-matra cycle requires $\frac{10}{3} = 3\frac{1}{3}$ (Three and one third of a Matra).

Question 48

Which Taal is used in dhrupad singing?

Accepted Answer

Option C: Chautal. Dhrupad singing is traditionally accompanied on the Pakhawaj in Chautaal (Char Taal / 12 matras), Dhamar (14 matras), or Sooltaal (10 matras).

Question 49

How many Matras are there in Ganesh Taal and Rudra Taal respectively?

Accepted Answer

Option B: Twenty one and eleven. Ganesh Taal consists of 21 matras, while Rudra Taal consists of 11 matras.

Question 50

Which taal is NOT used in khayal singing?

Accepted Answer

Option C: Laxmi Taal. Laxmi Taal (18 matras) is an ancient Pakhawaj taal not used in Khayal (Khayal uses Tilwada, Jhaptaal, Ektaal, Teentaal, Ada Chautaal).

Question 51

How many Ras are there according to Acharaya Bharat?

Accepted Answer

Option A: Eight. Bharata Muni's Natyashastra enumerates exactly 8 primary aesthetic sentiments (Rasas: Shringar, Hasya, Karuna, Raudra, Veera, Bhayanaka, Bibhatsa, Adbhuta).

Question 52

Match the following according to the Natya Shastra:
i) Sa, Re
ii) Dha
iii) Ga, Ni
iv) Ma, Pa

Ras:
1. Karun Ras
2. Hasya Shringar Ras
3. Veer, Raudra, Adbhut Ras
4. Bibhats, Bhayanak Ras

Options:

Accepted Answer

Option B: i-3, ii-4, iii-1, iv-2. Natyashastra Swara-Rasa correlation: i -> 3 (Sa, Re produce Veera, Raudra, Adbhuta); ii -> 4 (Dha produces Bibhatsa, Bhayanaka); iii -> 1 (Ga, Ni produce Karuna); iv -> 2 (Ma, Pa produce Hasya, Shringara).

Question 53

Which among the following are the four main Ras according to Acharya Bharat?

Accepted Answer

Option A: Shringar, Raudra, Veer, Bibhats. Bharata Muni identified 4 primary root Rasas from which the other four emerge: Shringara (giving rise to Hasya), Raudra (giving rise to Karuna), Veera (giving rise to Adbhuta), and Bibhatsa (giving rise to Bhayanaka).

Question 54

Which swar promotes the Shringar Ras according to Pt. V.N. Bhatkhande?

Accepted Answer

Option D: Shudha Ga, Ni. Shuddha Gandhar (Ga) and Shuddha Nishad (Ni) (along with Madhyam/Pancham) prominently evoke Shringara and pleasant aesthetic moods.

Question 55

Which three among the following Bhav produce the Ras?

Accepted Answer

Option C: Vibhav, Anubhav, Vyabhicharibhav. Bharata's Rasasutra (*Vibhavanubhava-vyabhichari-samyogad rasa-nishpattih*) states that Rasa is produced by the union of Vibhava, Anubhava, and Vyabhicharibhava.

Question 56

Which among the following taals is used in Tappa singing?

Accepted Answer

Option B: Punjabi Taal. Tappa semiclassical vocal music (characterized by rapid, intricate rolling taans) is traditionally set to Punjabi Taal (Tappa Taal / Sitarkhani).

Question 57

Which Gharana of Tabla is regarded as Gharana of Pashchim Baj?

Accepted Answer

Option A: Ajrada Gharana. Delhi and Ajrada Gharanas constitute the 'Pashchim Baj' (Western style - delicate kinar/two-finger technique), while Lucknow, Farrukhabad, and Banaras form the 'Purab Baj'.

Question 58

Which laya is used for Masit Khani Gat?

Accepted Answer

Option D: Vilambit Laya. The Masitkhani Gat (invented by Ustad Masit Khan of the Senia Gharana for Sitar) is strictly performed in Vilambit Laya (slow tempo in Teentaal).

Question 59

Which Taal has fifteen matras?

Accepted Answer

Option A: Gaj Jhampa Taal. Gaj Jhampa Taal (and Pancham Sawari) consists of exactly 15 matras (4 vibhags: $4|4|4|3$).

Question 60

Which is the native place of Pt. Anokhe Lal Mishra?

Accepted Answer

Option B: Varanasi. Pandit Anokhelal Mishra (the legendary master of the 'Dhere Dhere' na-dhil-dhil bol) was born and lived in Varanasi (Banaras), Uttar Pradesh.

Question 61

Who was the guru of Pt. Kanthe Maharaj?

Accepted Answer

Option B: Pt. Baldev Sahay. Pandit Kanthe Maharaj (pioneering virtuoso of Banaras Gharana) was the disciple of Pandit Baldev Sahay Mishra.

Question 62

Ajrada Gharana emerged as one of the prominent Tabla artist gharanas of india from which of the following cities of India?

Accepted Answer

Option D: Meerut. Ajrada Gharana originated in village Ajrada in Meerut district, Uttar Pradesh, founded by brothers Kallu Khan and Miru Khan.

Question 63

Energetic, bold, and intricate rhythmic patterns in Tabla playing is the key feature of which one of the following gharanas?

Accepted Answer

Option B: Punjab Gharana. The Punjab Gharana (steeped in the martial Pakhawaj tradition of Lala Bhawani Das and Mian Qadir Baksh) is celebrated for its powerful, bold, open-handed, and complex mathematical layakaris.

Question 64

Recognise the Bol of Sawari Taal:

Accepted Answer

Option A: Tit , Kat , Gadi , Gan. Sawari Taal (15 matras / Pancham Sawari or 16 matras Chhoti Sawari) features signature Pakhawaj bols starting with: 'Tit, Kat, Gadi, Gan...'.

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