The theory paper carries forty of your hundred marks, and the objective section is where steady revision pays off fastest. These NIOS Class 10 Carnatic Music 243 Objective Type Questions have been prepared for the 2026 session so you can practise the exact formats the paper uses and sit the exam knowing what to expect.
By Prateek Talwar · Reviewed by Jyoti Sharma, Senior NIOS Counsellor · Last updated 17 July 2026
NIOS Class 10 Carnatic Music 243 Objective Type Questions for 2026 Exam
On this page you will find genuine sample questions taken from the booklet, drawn from four lessons of Module I and covering all four objective formats that appear in the paper. Read them, check the answers, and judge the quality yourself before you ask for the complete set.
They sit alongside our wider NIOS Study Material and are written in plain language, so a first-time Carnatic Music student can follow every answer without a teacher beside them.
How We Built These Carnatic Music 243 Objective Type Questions
These are not random questions pulled off the internet. Our team read the complete NIOS Carnatic Music (243) textbook for Module I, lesson by lesson, and noted every concept that examiners tend to return to year after year.
We then studied the pattern of the NIOS Previous Year Question Paper for this subject to see which ideas repeat and how they are framed, whether as a plain fact, a blank to fill, or a pair to match.
After that, we mapped every question back to the official NIOS Class 10 Syllabus so nothing sits outside what the board can actually ask in the written examination.
The result is a focused objective bank covering multiple choice questions, fill in the blanks, true or false statements and solved match the following, with a clear answer for every single one. The samples below show a few from each lesson so you can see how the full booklet is organised.
Lesson 1 Carnatic Music 243 Sample Objective Questions
Lesson 1 · Origin and Development of Indian Music
Multiple Choice Questions
Q1. Which of the following Vedas is identified as the primary source connected with the origin of Indian music?
- A. Rig Veda
- B. Yajur Veda
- C. Sama Veda
- D. Atharva Veda
Answer: C. Sama Veda
Among the four Vedas, Sama Veda is most closely related to the origin of Indian music. The hymns of the Sama Veda were sung rather than recited, and this musical chanting gradually evolved into structured musical systems.
Q2. In the Natya Shastra, musical instruments were classified into how many main categories?
- A. Two
- B. Three
- C. Four
- D. Five
Answer: C. Four
Bharata classified musical instruments into four categories: Tata, Sushira, Avanaddha and Ghana. This classification remains fundamental in Indian musicology and is still used today.
Q3. Who is honored as the “Karnataka Sangita Pitamaha” for organizing the teaching system of Carnatic music?
- A. Tyagaraja
- B. Venkatamakhi
- C. Purandara Dasa
- D. Govindacharya
Answer: C. Purandara Dasa
Purandara Dasa is called the father of Carnatic music pedagogy because he structured the teaching method for beginners. He introduced systematic exercises like Sarali Varisai, Alankaras and Gitas.
Fill in the Blanks
1. Indian classical music aims to unite the performer and listener through the experience of ______.
Answer: Bhava
2. Indian classical music has connections with other forms such as folk music, sacred music and ______ music.
Answer: Dance
3. Due to its sacred character, Indian music is associated with divine figures like Shiva, Krishna and ______.
Answer: Saraswati
True or False Statements
1. Indian classical music developed suddenly within a short period of time.
Answer: False
2. The emotional communication between the performer and the listener in Indian music is known as bhava.
Answer: True
3. Indian music is associated with divine personalities such as Shiva, Krishna, and Saraswati.
Answer: True
Match the Following
| Column A | Column B |
|---|---|
| 1. Sama Veda | (B) Main Veda connected with music |
| 2. Kutapa | (D) Early form of orchestra |
| 3. Silappadikaram | (A) Early Tamil literary source |
| 4. Kudumiyamalai inscriptions | (C) Historical source of musical information |
| 5. Seven-note system | (E) Basis of Indian classical music |
Answer: 1–B, 2–D, 3–A, 4–C, 5–E
Lesson 3 Carnatic Music 243 Sample Objective Questions
Lesson 3 · Biographies of Prominent Composers
Multiple Choice Questions
Q1. A ‘vaggeyakara’ is best understood in the chapter as one who:
- A. Performs only in temples
- B. Creates rhythm patterns for concerts
- C. Creates both words and music
- D. Specializes only in devotional literature
Answer: C. Creates both words and music
Vaggeyakara is defined as a creator of both word and music. The composers discussed in the lesson were not merely poets or musicians separately; they united lyric and melody in one act of creation.
Q2. Which statement best explains why Purandaradasa is called “Sangita Pitamaha” in the chapter?
- A. He composed only in Sanskrit and established court music
- B. He systematized the teaching of music in Mayamalavagoula
- C. He introduced Western melodies into Carnatic music
- D. He was the first among the Trinity composers
Answer: B. He systematized the teaching of music in Mayamalavagoula
Purandaradasa is called Sangita Pitamaha, meaning the grandfather of music, because the chapter credits him with systematizing music teaching, specifically in Mayamalavagoula raga.
Q3. The transformation of Srinivasa Nayaka into Purandaradasa is linked in the chapter with:
- A. A royal invitation to Tanjavur
- B. A dream of Rama and Lakshmana
- C. The incident of Saraswati Bai’s nose ring
- D. His pilgrimage to Varanasi with a yogi
Answer: C. The incident of Saraswati Bai’s nose ring
The chapter presents the nose-ring incident as the decisive turning point in Purandaradasa’s life. He then gave up wealth and greed and became a devotional wandering singer.
Fill in the Blanks
1. A composer who creates both lyrics and music is called a __________.
Answer: Vaggeyakara
2. In a Carnatic composition, the lyric or textual component is called __________.
Answer: Matu
3. The musical component of a composition is known as __________.
Answer: Dhatu
True or False Statements
1. A vaggeyakara is a composer who creates both the lyrics and the music of a composition.
Answer: True
2. In Carnatic music performance, musicians perform only improvisation and do not depend on fixed compositions.
Answer: False
3. A mudra is a special identifying word used by composers in their compositions.
Answer: True
Match the Following
| Column A | Column B |
|---|---|
| (i) Vaggeyakara | (B) Composer who creates both lyrics and music |
| (ii) Matu | (D) Lyric or textual part |
| (iii) Dhatu | (A) Musical component |
| (iv) Mudra | (C) Identifying signature in a composition |
Answer: (i)–B, (ii)–D, (iii)–A, (iv)–C
Lesson 5 Carnatic Music 243 Sample Objective Questions
Lesson 5 · Introduction to Sabha Gana
Multiple Choice Questions
Q1. Sabha Gana is best understood as the branch of Carnatic music which is mainly connected with:
- A. temple architecture
- B. concert performance
- C. notation writing only
- D. dance costume design
Answer: B. concert performance
Sabha Gana refers to music intended to be performed in concerts before an audience. It follows the stage of Abhyasa Gana, where the student builds accuracy, voice culture, swara knowledge and tala knowledge before entering the concert domain.
Q2. Before entering the stage of Sabha Gana, the learner must first pass through:
- A. Manodharma Gana alone
- B. only dance training
- C. Abhyasa Gana
- D. only Kriti singing
Answer: C. Abhyasa Gana
Before studying Sabha Gana, one has to go through Abhyasa Gana. This is the training phase in which a student practices forms like Sarali varisai, Janta varisai, Alankaras, Gitas, Swarajati and Varnam.
Q3. Which of the following is not listed in the chapter as a form included in Sabha Gana?
- A. Tana Varnam
- B. Kirtana
- C. Tarangam
- D. Alankaram
Answer: D. Alankaram
The chapter lists the main forms of Sabha Gana as Tana Varnam, Kirtana, Kriti, Javali, Tarangam and Tillana. Alankaram belongs to the earlier training stage and is associated with Abhyasa Gana.
Fill in the Blanks
1. Before entering Sabha Gana, a learner must first pass through __________ Gana.
Answer: Abhyasa
2. The knowledge of notes developed through training is called __________.
Answer: Swarajnanam
3. One of the important forms included in Sabha Gana is __________.
Answer: Kriti
True or False Statements
1. Sabha Gana represents the training stage of Carnatic music where basic exercises are practiced.
Answer: False
2. Abhyasa Gana helps in developing Swarajnanam and Talajnanam.
Answer: True
3. Javali and Tillana are not included in Sabha Gana forms.
Answer: False
Match the Following
| Column A | Column B |
|---|---|
| (i) Varnam | (C) Grammatical guide to raga |
| (ii) Kirtana | (D) Emphasis on sahitya |
| (iii) Kriti | (B) Gives importance to music |
| (iv) Javali | (A) Lively light classical form |
| (v) Sabha Gana | (E) Concert performance |
Answer: (i)–C, (ii)–D, (iii)–B, (iv)–A, (v)–E
Lesson 7 Carnatic Music 243 Sample Objective Questions
Lesson 7 · Notation System of Carnatic Music
Multiple Choice Questions
Q1. In Carnatic music, notation is primarily understood as:
- A. only a method of tuning instruments
- B. the visual or written form of music
- C. a system used only for tala marking
- D. a method of voice training only
Answer: B. the visual or written form of music
Notation is explained as the visual or written representation of music. It includes the written presentation of swaras, duration, sthayi, and tala structure, serving as a complete written aid to preserve and communicate music.
Q2. In earlier times, Carnatic music was mainly transmitted through:
- A. printed manuals
- B. staff notation books
- C. lip-ear method
- D. mechanical instruments
Answer: C. lip-ear method
In ancient times music was mostly taught through the lip-ear method, meaning the student learned by listening to the teacher and repeating. Oral tradition was central to musical training.
Q3. Which statement best reflects the condition of notation in ancient and medieval music works?
- A. They contained complete and detailed chapters on notation.
- B. They mostly avoided full and systematic notation treatment.
- C. They used only staff notation throughout.
- D. They gave full details of note duration and sthayi in all compositions.
Answer: B. They mostly avoided full and systematic notation treatment.
Ancient and medieval musical works did not contain full chapters on notation. Even where some form of notation appeared, important details like duration and sthayi were often missing.
Fill in the Blanks
1. Notation in Carnatic music is also known as __________.
Answer: Sangita Lipi
2. In earlier times, music was mainly taught through the __________ method.
Answer: lip-ear
3. Written notation was __________ in earlier times.
Answer: not encouraged
True or False Statements
1. Notation in Carnatic music refers to the written form of music.
Answer: True
2. Sangita Lipi is different from notation.
Answer: False
3. Written notation was widely encouraged in earlier times.
Answer: False
Match the Following
| Column A | Column B |
|---|---|
| (i) Lip-ear method | (B) Oral transmission |
| (ii) Kudimiyamalai inscription | (C) Early crude notation |
| (iii) Sangita Sampradaya Pradarshini | (D) Recognizable notation system |
| (iv) Tachchur Brothers | (A) Musical Trinity compositions |
Answer: (i)–B, (ii)–C, (iii)–D, (iv)–A
Chapter Wise List of NIOS Carnatic Music 243 Lessons
The written paper is built entirely on Module I, which the board divides into seven lessons. The table below lists every lesson so you can plan revision in order, and you can cross-check it against the full NIOS Syllabus before you begin.
| Lesson | Lesson name | What it covers | Sample on this page |
|---|---|---|---|
| 1 | Origin and Development of Indian Music | Vedic roots, Samaveda, Natya Shastra, growth of raga and tala | Yes |
| 2 | Key Concepts of Carnatic Music | Swara, raga, Melakarta, tala, laya and gamakas | In full booklet |
| 3 | Biographies of Prominent Composers | Purandara Dasa, the Trinity and later composers | Yes |
| 4 | Introduction to Abhyasa Gana | Sarali and Janta Varisai, Alankarams, Geetams, Swarajatis | In full booklet |
| 5 | Introduction to Sabha Gana | Varnam, Kriti, Kirtana, Javali, Tarangam and Tillana | Yes |
| 6 | General Classification of Musical Instruments | Tat, Avanaddha, Sushir and Ghana categories | In full booklet |
| 7 | Notation System of Carnatic Music | Sangita Lipi, swara symbols, octave and duration marking | Yes |
Preview Pages from the Carnatic Music 243 Question Booklet
A quick look at the real pages tells you more than any description. The screenshots below are taken straight from the booklet, so you can see the layout, the answer style and the level of detail you receive.
Multiple choice questions with worked answers
Fill in the blanks with passage and answers
Solved match the following
Want to see every lesson at this quality? Message us and we will send the complete Carnatic Music 243 objective set, plus a no-cost sample of any lesson you choose first.
Why These NIOS Class 10 Carnatic Music 243 Objective Type Questions Help You Pass
Objective questions are the most scoring part of the theory paper because the answer is either right or wrong, with no marks lost to weak handwriting or an unclear explanation. Practising the exact formats first means you protect those marks and free up time for the longer written answers.
Every sample here carries a direct answer, and the full booklet adds a short reason for each one, so you are not just memorising a letter but understanding why it is correct. That habit is what carries you through questions the board words a little differently on the day.
They form part of our wider NIOS Class 10 Objective Type Questions collection, so the same clear style and answer format follow you across every subject you revise with us.
Get the Complete Carnatic Music 243 Objective Question Set
The preview above is a small slice of the material. The complete booklet covers the lessons of Module I with a fuller set of multiple choice questions, fill in the blanks, true or false statements and solved match the following, each with a worked answer.
Send a message on WhatsApp and tell us which lesson you want to focus on first. We will share the complete Carnatic Music 243 objective set and answer any question about the 2026 exam.
Frequently Asked Questions on Carnatic Music 243 Objective Type Questions
Are these NIOS Class 10 Carnatic Music 243 Objective Type Questions based on the latest 2026 pattern?
Yes, the Carnatic Music 243 questions on this page are prepared for the 2026 session. We built them by reading the current Module I textbook, studying the pattern of recent question papers, and matching every item to the official syllabus. Each sample follows the four objective formats the board uses, so you practise exactly what the written theory paper is likely to ask.
What question types are covered in the Carnatic Music 243 objective set?
The Carnatic Music 243 objective set covers four formats: multiple choice questions, fill in the blanks, true or false statements, and solved match the following. These are the formats the objective section of the paper uses. Each question comes with a clear answer, and the full booklet adds a short reason so you understand the concept rather than only memorising the correct option.
How many lessons of Carnatic Music 243 does the full booklet cover?
The theory paper is drawn from Module I, which the board organises into seven lessons ranging from the origin of Indian music to the notation system. The samples on this page come from four of those lessons, and the complete booklet extends across the module. The chapter wise table above lists every lesson so you can plan your revision in a sensible order.
Can I pass the Carnatic Music 243 theory paper using only these Objective Type Questions?
These Carnatic Music 243 questions strengthen the objective section, which is the most scoring part of the theory paper, and give you a solid revision base. For the best result, pair them with the textbook and previous year papers so you are also ready for the short and long written answers. Used together, they cover the written examination thoroughly.
How do I get the complete Carnatic Music 243 Objective Type Questions with answers?
You can get the complete Carnatic Music 243 set by messaging us on WhatsApp at 9654279279 or 9899436384. Tell us the lesson you want to start with and we will share the full objective booklet with worked answers. You may also ask for a no-cost sample first if you would like to see more of the material before you decide.
Sources: Questions prepared by analysing the NIOS Carnatic Music (243) textbook (Module I) and previous year question papers. Syllabus reference: National Institute of Open Schooling, nios.ac.in.
Disclaimer: Unnati Educations is an independent academic support platform. We are not affiliated with, endorsed by, or officially associated with the National Institute of Open Schooling (NIOS). All subject names, course codes and trademarks belong to their respective owners. The sample questions here are our own preparation material created for revision support and do not reproduce any official NIOS examination paper.
