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

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

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2026 Statistics

Key Facts: Odisha CHSE +2 Vocational Odissi Vocal Exam

Odissi Vocal trade

CHSE Odisha +2 vocational Performing Art subject (Part-1-3 catalog)

CHSE Vocational Courses Part-1-3

40 + 60

Theory Full Marks 40 and Practical Full Marks 60 per paper in the published outline

CHSE Odissi Vocal Papers I–IV scheme

Papers I–IV

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

CHSE Odissi Vocal Courses of Studies outline

Y1 ragas

Sankarabharana, Kaphi, Khamaja (Year-1 applied theory)

CHSE Odissi Vocal Paper I

Y2 ragas

Kalyan, Mohana, Mukhari, Bihaga (Year-2 applied theory)

CHSE Odissi Vocal Paper III

MCQ adaptation

This bank trains theory knowledge only—not practical singing replacement

OpenExamPrep study adaptation disclosure

CHSE Odisha +2 vocational Odissi Vocal: Theory 40 + Practical 60 per paper across Papers I–IV (Part-1-3 performing art; confirm circular). Covers prescribed ragas/talas, Champu/Chhanda, notation, nada–shruti theory, and composers. Free 2026 MCQ bank is a theory study adaptation—not a singing practical replacement.

Sample Odisha CHSE +2 Vocational Odissi Vocal Practice Questions

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

1In Odissi vocal theory, Sangeeta is classically described as the combination of:
A.Melody, rhythm, and dance (gita, vadya, and nritya) as a unified performing art idea
B.Only percussion solos without pitch
C.Western harmony textbooks only
D.Stage lighting design only
Explanation: Classical definitions of sangeeta link song (gita), instrumental sound (vadya), and dance (nritya). Odissi vocal theory papers treat this as a foundational definition.
2Ahata Nada and Anahata Nada primarily distinguish:
A.Produced (struck/vibrated) musical sound versus unstruck/inner sound in classical discussion
B.Only major versus minor chords in Western theory
C.Only tabla bols versus mardal bols
D.Only dance mudras versus abhinaya
Explanation: Paper-IV theory treats Nada in detail: Ahata (produced) versus Anahata (unstruck). This is core Year-2 general theory.
3Apa Nada and Sangitika Nada distinguish:
A.Non-musical noise/sound versus musically usable sound
B.Only fast versus slow tempo
C.Only fixed versus free composition forms
D.Only male versus female voice ranges
Explanation: Syllabus Paper IV Unit I pairs Apa Nada with Sangitika Nada: musical usability of sound, not tempo or gender.
4Classical discussion of Nada commonly highlights three qualities. Which triad is standard?
A.Pitch (height), intensity (volume), and timbre (tonal colour)
B.Only length, width, and depth of a drum shell
C.Only costume colour, stage size, and lighting
D.Only lyric language, poet name, and page number
Explanation: Three qualities of Nada—commonly pitch, intensity, and timbre—are listed under detailed Nada knowledge in Year-2 theory.
5Shruti in Odissi/Indian classical pitch theory primarily means:
A.The microtonal pitch unit finer than a full swara step, of which tradition counts twenty-two in an octave framework
B.A complete 16-matra tala only
C.A wind-instrument family name
D.The written stage-direction cue for dancers
Explanation: Year-2 units require naming 22 Odissi shruties and principles of distributing swaras among them. Shruti is microtonal pitch theory.
6In swara classification, Chala Swara versus Achala Swara mainly contrasts:
A.Movable/alterable pitches versus fixed/immovable reference pitches (classically Sa and Pa as achala)
B.Only dance speeds versus song speeds
C.Only prose lyrics versus metrical lyrics
D.Only mardal bols versus vocal bols
Explanation: Paper IV details Chala–Achala, Suddha–Bikruta, and Komala–Tibra swara pairs. Sa and Pa are traditionally achala (fixed) reference swaras.
7Suddha Swara and Bikruta Swara refer to:
A.Natural (unaltered) swaras versus altered (flattened/sharpened) forms such as komala or tibra
B.Only correct versus incorrect tala thekas
C.Only major versus minor dance bhangis
D.Only written versus oral examination formats
Explanation: Suddha = natural; bikruta = altered (komala/tibra variants). This is explicit in Year-2 detailed swara knowledge.
8Mandra, Madhya, and Tara name which concept?
A.The three saptaka (octave) registers: lower, middle, and upper
B.Three prescribed Odissi talas only
C.Three types of champu poetry only
D.Three parts of a mardal shell only
Explanation: Saptaka knowledge (Mandra–Madhya–Tara) is a dedicated Paper-IV unit. They are octave registers for vocal placement.
9Badi (vadi) and Sambadi (samvadi) in raga theory are:
A.The primary (sonant) and consonant co-sonant pitches that help characterise a raga
B.Only the first and last matras of every tala
C.Only two names for the same tala theka
D.Only left-hand and right-hand mardal strokes
Explanation: Year-1 definitions include Badi, Sambadi, Anubadi, Bibadi, and Barjita swara—core raga pitch roles.
10Anubadi and Bibadi swaras in raga discussion typically mean:
A.Supporting/neutral pitches versus opposing/dissonant pitches relative to the raga’s main notes
B.Only even versus odd matra counts
C.Only rising versus falling dance steps
D.Only male versus female poets
Explanation: Definitions unit lists Anubadi and Bibadi alongside Badi/Sambadi—supporting versus conflicting pitch roles.

About the Odisha CHSE +2 Vocational Odissi Vocal Practice Questions

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