Easy2Siksha Sample Papers
GNDU Most Repeated (Important) Quesons
B.A. 3rd Semester
MUSIC (Vocal)
Based on 3-Year GNDU Queson Paper Trend (2022–2024)
Must-Prepare Quesons (80–100% Probability)
SECTION–A (Indian Music History & Basic Terms)
1. Akbar’s Period – Golden Age of Indian Music
Appeared in: 2022 (Q1), 2024 (Q1)
Probability for 2025: (100%)
2. Musical Terms – Alap / Upaj / Bol Alap / Bol Baant
Appeared in: 2022 (Q2), 2023 (Q2), 2024 (Q2)
Probability for 2025: (100%)
2025 Smart Predicon Table
(Based on GNDU 2022–2024 Trend)
No.
Queson Topic
Years
Appeared
Probability for 2025
1
Akbar’s Period – Golden Age of Indian
Music
2022, 2024
(100%)
2
Alap / Upaj / Bol Alap / Bol Baant
2022–2024
(100%)
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2025 GUARANTEED QUESTIONS (100% Appearance Trend)
Top 7 Must-Prepare Topics
1. Akbar’s Period – Golden Period of Indian Music
2. Alap, Upaj, Bol Alap & Bol Baant – Meaning and Features
GNDU Most Repeated (Important) Answers
B.A. 3rd Semester
MUSIC (Vocal)
Based on 3-Year GNDU Queson Paper Trend (2022–2024)
Must-Prepare Quesons (80–100% Probability)
SECTION–A (Indian Music History & Basic Terms)
Akbar’s Period – Golden Age of Indian Music
Appeared in: 2022 (Q1), 2024 (Q1)
Probability for 2025: (100%)
Ans: Akbar’s Period – The Golden Age of Indian Music
Long before microphones, recording studios, or YouTube existed, there was an emperor
whose court echoed with melodies so divine that even the birds stopped to listen. This
emperor was Akbar the Great — not only known for his power and polics but for his
unmatched love for art, especially music. His reign (1556–1605) marked a period when
Indian music reached such brilliance and renement that historians called it “The
Golden Age of Indian Music.”
But how did this magical era come to life? Let’s travel back in me and experience the
story of how Akbar’s heart and mind created a musical revoluon.
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A King Who Heard More Than Words
Akbar wasn’t just a ruler who wore a crown — he was a man who listened. As a child, he
couldn’t read or write, but he could hear and feel deeply. He would sit quietly and listen
to the channg of prayers, the beat of drums, and the songs of wandering saints. Those
sounds entered his soul.
When he grew up to be emperor, he didn’t forget that love. While other kings lled their
palaces with gold, Akbar lled his with music. He believed that music was not just
entertainment — it was a form of worship, a bridge between the human heart and the
divine spirit.
Under his rule, the Mughal court became a living concert hall where sounds from India,
Persia, and Central Asia met, blended, and blossomed into something enrely new and
beauful.
The Cultural Canvas of Akbar’s Court
Imagine Akbar’s court in Fatehpur Sikri — pillars decorated with delicate designs, the air
scented with jasmine, and a vast audience gathered to witness an evening performance.
The emperor sat on his throne, surrounded by poets, philosophers, painters, and
musicians.
This was no ordinary gathering. It was a melng pot of cultures. There were Hindu
pandits singing ragas, Muslim ustads performing qawwalis, and Persian arsts adding
their own delicate tunes. Akbar’s court became the symbol of unity — where art had no
religion, and music was the common language of love.
This was the secret behind why his age became so “golden” — it encouraged freedom,
respect, and innovaon in music.
Akbar’s Personal Love for Music
Akbar wasn’t a trained musician, but he had an extraordinary ear. His historian, Abul Fazl,
wrote in Ain-i-Akbari that the emperor’s understanding of rhythm, melody, and ragas
was so deep that even professional singers respected his opinions.
He listened to music almost every day, especially in the evenings. He believed that music
puried the soul and brought one closer to God. When musicians sang devoonal ragas
or qawwalis, Akbar oen closed his eyes in meditaon, feeling each note as if it were a
divine message.
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He also encouraged both Hindu and Muslim musicians equally, creang an atmosphere
of harmony and learning. No other Mughal emperor before or aer him supported music
with such open heart and deep respect.
The Nine Jewels – Musical Stars of Akbar’s Court
Akbar’s court was famous for his “Navratnas” or Nine Gems — nine extraordinary
talents who shone brightly in dierent elds. Among them, one man stood out as the
brightest musical star — Tansen.
Let’s meet a few of these legendary arsts who made Akbar’s court glow with musical
brilliance:
Miyan Tansen – The Miracle of Music
Tansen, originally named Ramtanu Pandey, was born in Gwalior and trained under the
saint-musician Swami Haridas. His voice was said to perform miracles. People believed
that when he sang Raga Deepak, lamps lit up on their own, and when he sang Raga
Megh Malhar, rain began to fall.
Akbar admired him so much that he gave him the tle “Miyan”, meaning “master.”
Tansen composed hundreds of new ragas and developed the Dhrupad style, which
became the foundaon of Hindustani classical music.
He also created ragas like Miyan ki Todi, Miyan ki Malhar, and Miyan ki Sarang — all
named in his honor. His music wasn’t just skill — it was spiritual power turned into
sound.
Swami Haridas
He was Tansen’s teacher and one of the purest souls in Indian musical history. Swami
Haridas believed that singing was a way to worship God. His bhajans (devoonal songs)
lled hearts with peace. His teachings inuenced not only Tansen but the enre spiritual
tone of Akbar’s court.
Baj Bahadur and Roopma
Their love story added a romanc melody to this era. Baj Bahadur, a ruler and musician,
and Roopma, a singer, were famous for their love and music. Akbar admired their
devoon to each other and to art, and their tale became part of Mughal cultural history.
The Musical Fusion – Birth of Hindustani Music
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Before Akbar, Indian classical music existed mostly in temples and royal courts of Hindu
kings, while Persian and Central Asian music ourished among the Mughals. Akbar
brought these two worlds together.
Under his reign, Hindustani classical music was born — a beauful blend of the Indian
raga system and Persian maqam (melodic paern). This fusion created a fresh, soulful
sound that shaped North Indian music for centuries to come.
Persian instruments like Rabab and Sitar were mixed with Indian ones like Veena and
Pakhawaj. Even the language of songs became hybrid — combining Sanskrit, Hindi, Braj,
and Persian words.
It was during Akbar’s me that music truly became a universal art, crossing all social and
religious boundaries.
Development of Musical Forms
Akbar’s reign saw the growth and perfecon of several musical styles:
1. Dhrupad – The most respected classical form of that me. It was devoonal,
serious, and based on deep ragas. Tansen made it royal.
2. Khayal – Though it developed fully later, the seeds were planted during this era as
musicians began to experiment with freedom of expression.
3. Qawwali – The Su devoonal music gained immense popularity, performed in
both court and shrine.
4. Instrumental Music – Instruments like Veena, Rabab, Sitar, Pakhawaj, and Tabla
became essenal in performances.
Each of these forms carried Akbar’s spirit of inclusiveness — where every sound had a
place and every voice was heard.
Akbar’s Patronage – The Foundaon of the Golden Age
The secret behind this golden age was Akbar’s unmatched patronage. He gave arsts not
only fame but also freedom.
• He honored musicians with tles and rewards.
• He invited arsts from across India — from Kashmir to Bengal, from Gujarat to
Deccan — making his court a naonal stage.
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• He encouraged innovaon, allowing musicians to experiment and create new
ragas.
• He recorded musical tradions in Ain-i-Akbari, ensuring that future generaons
remembered this era.
Akbar also founded a group of expert musicians to preserve dierent musical tradions,
almost like an academy. This showed his vision of art not just as entertainment but as
heritage.
Music as a Symbol of Peace and Unity
Akbar’s dream was not only to rule land but to rule hearts. Through music, he found a
way to unite his people. In his court, a Hindu sang alongside a Muslim, and a Persian
instrument played beside an Indian one. Music became the thread that wove the
diverse fabric of India into one beauful design.
This was the essence of Akbar’s philosophy of Sulh-i-Kul — universal peace. In a world
oen divided by religion, music became the voice of harmony.
The Timeless Legacy
Even aer Akbar’s death in 1605, the melodies of his age did not fade. His musical
innovaons shaped the future of Indian classical music. The styles developed then — the
ragas, the fusion, the instruments — are sll the foundaon of Hindustani music today.
From temples to concerts, from classical singers to lm composers, every note carries a
lile echo of Akbar’s golden age. Musicians even today begin their training by learning
ragas composed by Tansen — a direct gi from Akbar’s court.
Conclusion – When the Empire Sang
Akbar’s period truly deserves to be called “The Golden Age of Indian Music.” It was a
me when an emperor listened not to the noise of war but to the rhythm of harmony.
He made his court a sanctuary where devoon met art, and where music became the
voice of India’s soul.
His love for music, his open-mindedness, and his respect for arsts turned his empire
into a stage of divine creavity.
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Even centuries later, the story of Akbar and his musicians reminds us that power may
fade, empires may fall, but the melody of art — once played — echoes forever.
2. Musical Terms – Alap / Upaj / Bol Alap / Bol Baant
Appeared in: 2022 (Q2), 2023 (Q2), 2024 (Q2)
Probability for 2025: (100%)
Ans: Musical Terms – Alap / Upaj / Bol Alap / Bol Baant
Imagine this — it’s a calm evening. The stage is dimly lit. A tanpura hums softly in the
background, filling the air with a peaceful drone. A sitar player sits cross-legged, eyes
closed, lost in thought. The audience is silent, waiting. The concert hasn’t truly begun
yet, but something magical is about to unfold.
He plucks the first note — Sa. It vibrates in the air, slow and deep. Then comes another
note — Re, followed by Ga — each one melting into the other like colors in a painting.
This slow, emotional unfolding of melody before rhythm begins is called Alap — the soul
of Indian classical music.
And just like that, our story about Alap, Upaj, Bol Alap, and Bol Baant begins — not as
technical terms, but as living expressions of emotion, creativity, and beauty.
1. Alap – The Soul’s First Breath in Music
Let’s start with Alap.
In simple words, Alap means the introduction or slow unfolding of a raga. It’s the part
of a performance where the artist explores the raga — slowly, patiently, and deeply —
without the use of rhythm (taal) or percussion.
If the raga is a person, then Alap is like getting to know that person — their moods,
their emotions, their unique character.
The Nature of Alap:
• It is free from rhythm — there’s no fixed beat or tempo.
• It begins slowly, moving from lower notes (mandra saptak) to higher ones (tar
saptak).
• It helps the listener feel the mood (rasa) of the raga — whether it’s joyful,
devotional, or sad.
• It allows the artist to express their inner feelings through pure sound.
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The Experience of Alap:
When Tansen, the great musician of Akbar’s court, performed Alap, people said the
lamps began to flicker and nature itself paused to listen. That’s the power of Alap — it’s
not about showing skill, it’s about touching hearts.
In instrumental music, Alap is played slowly and gracefully — for example, on sitar,
sarod, or flute. In vocal music, Alap is sung using syllables like aa, na, or ta, instead of
actual words.
Alap is like sunrise — it starts softly in the darkness and slowly fills the world with light.
It sets the emotional tone for everything that follows.
2. Upaj – The Spark of Spontaneity
After the calm and steady Alap comes a moment of excitement — Upaj.
The word Upaj literally means “to grow” or “to arise.” In music, it refers to
improvisation or spontaneous creation by the artist during the performance.
If Alap is like a calm river flowing steadily, Upaj is like the ripples that form when a
breeze touches the surface. It adds life, freshness, and energy to the music.
What Happens in Upaj:
• The artist begins to create variations on the spot, within the boundaries of the
raga.
• There is more movement and rhythm, though not yet tied to a fixed taal.
• It shows the artist’s creativity, imagination, and command over the raga.
• Each Upaj is unique — no two performances are ever exactly the same!
The Spirit of Upaj:
Upaj is where the artist’s personality shines. It’s like a painter suddenly deciding to add a
stroke of gold to a blue sky.
A good musician balances technical perfection with emotional expression during Upaj.
It’s not rehearsed — it’s born in the moment, which is what makes Indian classical music
so magical.
For example, when a sitar player suddenly weaves in a beautiful pattern of notes that
surprises even himself, that’s Upaj. It’s the art of surprise, yet still rooted in discipline.
3. Bol Alap – The Alap Using Words (Bols)
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Now, let’s move to Bol Alap, which combines the emotional depth of Alap with the
power of words.
In Hindi, Bol means “word” or “syllable.” So, Bol Alap means Alap sung using the actual
words of the composition (bandish) instead of meaningless syllables.
If Alap is like sketching with pencil, then Bol Alap is like coloring the sketch with real
shades — giving it meaning and emotion.
What Happens in Bol Alap:
• The artist takes the lyrics (bols) of the song and sings them slowly, exploring how
each word can express the feeling of the raga.
• The rhythm is still free — it’s not bound by taal yet.
• The focus is on meaning, pronunciation, and emotional expression.
• It connects the audience more deeply because they can understand the words
being sung.
Example:
Let’s say the bandish (composition) is “Payo ji maine Ram ratan dhan payo.”
In Bol Alap, the singer would slowly sing each word — “Paa...yo... ji... maine...” —
stretching and bending the notes to bring out devotion and peace.
Bol Alap allows the musician to express not just sound, but feeling — love, devotion,
separation, or joy — all through the words of the song.
4. Bol Baant – The Art of Division and Pattern
Finally, we reach Bol Baant — another form of improvisation, but with a touch of
rhythm and structure.
The word Baant means “division” or “distribution.” So, Bol Baant literally means dividing
and arranging the words (bols) of the composition in rhythmic patterns.
While Bol Alap was free and emotional, Bol Baant is rhythmic and playful. Here, the
artist starts to introduce taal (rhythmic cycle) into the performance.
Characteristics of Bol Baant:
• It is performed after the Alap and Bol Alap, once rhythm (taal) is introduced.
• The artist divides the lyrics of the composition into creative rhythmic patterns.
• It shows the singer’s mastery over rhythm (layakari) — playing with slow,
medium, and fast tempos.
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• It’s both intellectual and musical — a test of skill and imagination.
Example:
If the words are “Payo ji maine,” the singer may break them in rhythmic forms like:
• “Pa-yo... ji... maine”
• “Pa-yo ji... Pa-yo ji... maine”
• “Payo... Payo... maine ji...”
Each repetition changes slightly with rhythm, creating a musical dance between words
and beats.
Importance:
Bol Baant makes the performance lively and dynamic. The audience starts tapping their
feet; the tabla joins in; and the concert reaches its energetic peak.
It’s like watching the sunrise turn into a bright day full of energy after the calm dawn of
Alap.
How They All Connect
You can think of Alap, Upaj, Bol Alap, and Bol Baant as four stages of a musical journey
— each one deeper and more vibrant than the last.
Stage
Meaning
Emotion
Rhythm
Alap
Introduction of raga
Calm & devotional
No rhythm
Upaj
Improvised creativity
Energetic & free
Optional rhythm
Bol Alap
Alap using words
Expressive & lyrical
No rhythm
Bol Baant
Division of words in rhythm
Playful & skillful
With rhythm
Each stage adds a new layer to the music — from peaceful exploration to joyful rhythm.
Together, they make an Indian classical performance feel like a living story told through
sound.
Why These Terms Are Important
These four terms are not just musical techniques; they are expressions of life itself.
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• Alap teaches patience — starting slowly and letting beauty unfold.
• Upaj inspires creativity — trusting your instincts.
• Bol Alap reminds us to express emotion through meaning.
• Bol Baant celebrates discipline and rhythm — the harmony of life’s structure and
freedom.
In Indian music, every performance becomes a journey of self-expression, moving from
silence to sound, from emotion to joy.
Conclusion – The Living Heartbeat of Indian Music
So, when we talk about Alap, Upaj, Bol Alap, and Bol Baant, we’re not just talking about
musical terms — we’re describing the heartbeat of Indian classical tradition.
They show how deeply Indian music connects emotion, imagination, and rhythm. Each
term represents a step in the artist’s conversation with the divine — a dialogue between
the soul and sound.
Every time a musician begins with Alap and ends with Bol Baant, it’s like reliving the
cycle of life — from birth (Alap) to maturity (Bol Baant), with creativity (Upaj) and
emotion (Bol Alap) guiding the way.
This is what makes Indian music timeless — it doesn’t just enter the ears; it enters the
heart.
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