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100+ Free Odisha CHSE +2 Vocational Hindustani Vocal Practice Questions

Council of Higher Secondary Education, Odisha — Higher Secondary (+2) Vocational Hindustani Vocal Music (Performing Arts) practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: Odisha CHSE +2 Vocational Hindustani Vocal Exam

Hindustani Vocal trade

CHSE Odisha +2 vocational Performing Arts trade (Part-1-3)

CHSE Part-1-3 Vocational Courses catalog

40 + 60

Theory Full Marks 40 and Practical Full Marks 60 per trade paper in Part-1-3 scheme

CHSE Odisha Vocational Courses Part-III scheme of studies

~2 h / ~3 h

About 2 hours for 40-mark theory; about 3 hours for 60-mark practical (confirm timetable)

CHSE Part-1-3 examination duration table

Papers I–IV

First-year Papers I–II and second-year Papers III–IV cover applied + general theory and practicals

Part-1-3 Hindustani Vocal Music syllabus pages

20 ragas / 12 talas

Ten prescribed ragas and six talas per year across the two-year trade outline

Part-1-3 Hindustani Vocal applied theory units

MCQ adaptation

This bank trains theory knowledge only—not practical performance replacement

OpenExamPrep study adaptation disclosure

CHSE Odisha +2 vocational Hindustani Vocal: theory 40 + practical 60 per trade paper under Part-1-3 (confirm circular). Covers swara, prescribed ragas/talas, alankar, bandish notation, forms, and biographies. Free 2026 MCQ bank is a theory study adaptation—not a performance practical replacement.

Sample Odisha CHSE +2 Vocational Hindustani Vocal Practice Questions

Try these sample questions to test your Odisha CHSE +2 Vocational Hindustani Vocal exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In CHSE Hindustani Vocal theory, Sangeet is classically understood as the combined art of:
A.Vocal music, instrumental music, and dance
B.Only western staff-notation harmony
C.Only percussion without melody
D.Only theatrical dialogue without pitch
Explanation: Traditional Indian definition of sangeet links gayan (vocal), vadan (instrumental), and nritya (dance) as interrelated musical arts.
2Nada in Hindustani music theory is best described as:
A.Musically usable sound discussed as a foundation of raga and tala practice
B.Any random street noise without musical intention
C.Only the written symbol for a rest
D.A membrane-drum classification name only
Explanation: Nada is musical sound—the acoustic basis from which shruti, swara, and raga practice are discussed in theory papers.
3Shruti in Indian music theory primarily refers to:
A.The name of a single tala theka
B.Only the volume (loudness) of a concert hall
C.The microtonal pitch intervals traditionally counted as twenty-two in a saptak framework
D.A type of tabla bol only
Explanation: Shruti denotes microtonal pitch gradations; classical theory often references twenty-two shrutis within the octave framework used to place swaras.
4How many Shuddha (natural) swaras form the basic saptak scale in Hindustani music?
A.5
B.7
C.12
D.22
Explanation: There are seven shuddha swaras: Sa, Re, Ga, Ma, Pa, Dha, Ni (Shadja through Nishad).
5Which pair of swaras is traditionally treated as Achala (immovable / fixed) in Hindustani theory?
A.Re and Dha
B.Sa and Pa
C.Ga and Ni
D.Ma and Ni only
Explanation: Shadja (Sa) and Pancham (Pa) are achala swaras—they do not take komal/tivra variants in standard practice (unlike Re, Ga, Ma, Dha, Ni).
6Vikrit swaras are those that:
A.Can never appear in any raga
B.Are flattened (komal) or sharpened (tivra) relative to their shuddha form
C.Exist only in Western equal temperament labels
D.Are identical to tala matras
Explanation: Vikrit means altered: komal Re/Ga/Dha/Ni and tivra Ma are the standard vikrit pitches used in many thaats and ragas.
7The three saptaks commonly taught in +2 Hindustani vocal theory are:
A.Mandra, Madhya, and Tara
B.Vilambit, Madhya, and Drut only
C.Sthayi, Antara, and Abhog only
D.Sam, Tali, and Khali only
Explanation: Saptak registers are mandra (lower), madhya (middle), and tara (upper)—essential for alankar and raga expansion.
8Aroha and Avaroha of a raga respectively mean:
A.Ascending and descending ordered movement of its swaras
B.Only the lyrics of a bandish
C.Only the theka bols of a tala
D.Only the names of gharanas
Explanation: Aroha is the ascent and avaroha (abaroha) the descent that outline a raga’s scale path for theory and performance.
9Pakad (pakkad) in raga theory is best defined as:
A.The name of a notation clef
B.The total number of matras in a tala
C.A type of tabla solo only
D.A characteristic catch-phrase of swaras that helps identify the raga
Explanation: Pakad is the identifying melodic phrase (catch phrase) used to recognize a raga quickly in theory and listening tests.
10In raga grammar, the Vadi swara is:
A.The most important (sonant) note of the raga
B.Always Sa in every raga
C.Always the same as the tala sam
D.A percussion bol only
Explanation: Vadi is the principal/sonant note; samvadi is the consonant counterpart. Together they shape raga identity.

About the Odisha CHSE +2 Vocational Hindustani Vocal Practice Questions

Verified exam format metadata for Council of Higher Secondary Education, Odisha — Higher Secondary (+2) Vocational Hindustani Vocal Music (Performing Arts) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.