Home
Class 7
PHYSICS
Assertion (A) : Rama Raju loves listenin...

Assertion (A) : Rama Raju loves listening to Carnatic music played on Mridangam whereas his daughter Neeta gets irritated by it.
Reason (R) : The sound that produces pleasant effect on our ears is called music and the sound that produces an unpleasant effect on our ears is called noise.

A

Both A and R are correct and R is the correct explanation of A.

B

Both A and R are correct but R is not the correct explanation of A.

C

A is correct and R is incorrect.

D

Both A and R are incorrect.

Text Solution

Verified by Experts

The correct Answer is:
B
The correct reason for A is that it is difficult to classify a given sound as music or noise as they may produce a pleasant effect on one person and an unpleasant effect on another person. Hence, A and R are correct but R is not the correct reason for A.
Doubtnut Promotions Banner Mobile Dark
|

Topper's Solved these Questions

  • SOUND

    PEARSON IIT JEE FOUNDATION|Exercise ASSESSMENT TESTS (TEST -1)|15 Videos

  • OUR UNIVERSE

    PEARSON IIT JEE FOUNDATION|Exercise ASSESSMENT TEST (TEST 2)|14 Videos

Similar Questions

Explore conceptually related problems

Assertion (A): The musical notes produced by two musical instruments, like guitar and sitar are different even if the length and the thickness of the strings in both instruments are the same. Reason (R): The difference in two sounds of equal pitch and loudness can be distinguished by a characteristic property called quality of sound or timbre.

Assertion (A): Different musical sounds are produced from percussioninstruments by exciting the stretched membrane at different tensions. Reason (R): Flute, bassoon, oboes are examples of drum instruments.

Knowledge Check

  • Assertion : Our ears cannot distinguish two notes,one produced by a violin and other by a sitar, if they have exactly the same intensity and same frequency Reason:When a musical instrument is played it produces a fundamental note which is accompanied by number of overtones called harmonics

    A
    Assertion is true,Reason is true, Reason is a correct explanation for Assertion
    B
    Assertion is True Reason is True : Reason is not a correct explanation for Assertion
    C
    Assertion is True ,Reason is False
    D
    Assertion is False but , Reason is True

  • Assertion: Our ears cannot distinguish two notes, one produced by a viloin and other by a sitar, if they have exactly the same intensity and the same frequeucny. Reason: When a musical instrument is played, if produces a fundamental note which is accompanied by a number of overtones called harmonics.

    A
    Assertion is True, Reason is True, Reason is a correct explanation for Assertion
    B
    Assertion is True, Reason is True, Reason is not a correct explanation for Assertion
    C
    Assertion is True, Reason is False
    D
    Assertion is False but, Reason is True.

  • Assertion (A): The musical notes produced by two musical instruments, like guitar and sitar are different even if the length and the thickness of the strings in both instruments are the same. Reason (R) : The difference in two sounds of equal pitch and loudness can be distinguished by a characteristic property called quality of sound ro timbre.

    A
    Both A and R are correct and R is the correct explanation of A.
    B
    Both A and R are correct but R is not the correct explanation of A.
    C
    A is correct and R is incorrect.
    D
    Both A and R are incorrect.

    • Similar Questions

    Explore conceptually related problems

    Assertion (A): Different musical sounds are produced from percussion instruments by exciting the stretched membrane at different tensions. Reason (R): Flute, bassoon, oboes are examples of drum instruments.

    A jolly musicologist by the entirely unobjectionable name of Henry Pleasants has written a book called of Modern Music'. That word ‘agony' is right. Much of it. just not written down but improvised. Much of what passes for music of these times is raucous noise and the excuse for persisting with it is that every common youngster understands and likes it. That pleasant fellow concedes that 'serious' music is virtually dead. This may be dismissed as yet another pleasantry which the undirected young indulge in. Paul Hindesmith, possibly one of the last of the classical giants, once said that some composers tended to develop an over-sublimated technique which produces images of emotions that are far removed from any emotional experience, a relatively normal human being ever has. That is just the point. High art can never be totally democratised. There is a barrier between the egghead and the hoi polloi and it would be lazy idealism to ignore this. When Bach played and Beethoven roared, who was then the gentleman? The pity of it is that while talking music to the masses, all known rules are broken and improvisation becomes king. That, roughly speaking, is how jazz was born, by dropping discipline, inspiration, deep personal emotions and every element of creative art and adopting improvisation as its main rationale. Why, they even tried to smuggle bits of jazz into serious music so that the composers could somehow survive. Now, they are going one step further : learn it by ear, don't write down the stuff, make it up as you go along and hope, by these shoddy techniques, that everyone present will applaud and thus provide the composer and the performers with their daily bread. They tried to introduce bits of jazz in serious music so that

    A jolly musicologist by the entirely unobjectionable name of Henry Pleasants has written a book called of Modern Music'. That word ‘agony' is right. Much of it. just not written down but improvised. Much of what passes for music of these times is raucous noise and the excuse for persisting with it is that every common youngster understands and likes it. That pleasant fellow concedes that 'serious' music is virtually dead. This may be dismissed as yet another pleasantry which the undirected young indulge in. Paul Hindesmith, possibly one of the last of the classical giants, once said that some composers tended to develop an over-sublimated technique which produces images of emotions that are far removed from any emotional experience, a relatively normal human being ever has. That is just the point. High art can never be totally democratised. There is a barrier between the egghead and the hoi polloi and it would be lazy idealism to ignore this. When Bach played and Beethoven roared, who was then the gentleman? The pity of it is that while talking music to the masses, all known rules are broken and improvisation becomes king. That, roughly speaking, is how jazz was born, by dropping discipline, inspiration, deep personal emotions and every element of creative art and adopting improvisation as its main rationale. Why, they even tried to smuggle bits of jazz into serious music so that the composers could somehow survive. Now, they are going one step further : learn it by ear, don't write down the stuff, make it up as you go along and hope, by these shoddy techniques, that everyone present will applaud and thus provide the composer and the performers with their daily bread. The author uses the word 'improvisation' to suggest

    A jolly musicologist by the entirely unobjectionable name of Henry Pleasants has written a book called of Modern Music'. That word ‘agony' is right. Much of it. just not written down but improvised. Much of what passes for music of these times is raucous noise and the excuse for persisting with it is that every common youngster understands and likes it. That pleasant fellow concedes that 'serious' music is virtually dead. This may be dismissed as yet another pleasantry which the undirected young indulge in. Paul Hindesmith, possibly one of the last of the classical giants, once said that some composers tended to develop an over-sublimated technique which produces images of emotions that are far removed from any emotional experience, a relatively normal human being ever has. That is just the point. High art can never be totally democratised. There is a barrier between the egghead and the hoi polloi and it would be lazy idealism to ignore this. When Bach played and Beethoven roared, who was then the gentleman? The pity of it is that while talking music to the masses, all known rules are broken and improvisation becomes king. That, roughly speaking, is how jazz was born, by dropping discipline, inspiration, deep personal emotions and every element of creative art and adopting improvisation as its main rationale. Why, they even tried to smuggle bits of jazz into serious music so that the composers could somehow survive. Now, they are going one step further : learn it by ear, don't write down the stuff, make it up as you go along and hope, by these shoddy techniques, that everyone present will applaud and thus provide the composer and the performers with their daily bread. According to the author, high art cannot be democratised because

    A jolly musicologist by the entirely unobjectionable name of Henry Pleasants has written a book called of Modern Music'. That word ‘agony' is right. Much of it. just not written down but improvised. Much of what passes for music of these times is raucous noise and the excuse for persisting with it is that every common youngster understands and likes it. That pleasant fellow concedes that 'serious' music is virtually dead. This may be dismissed as yet another pleasantry which the undirected young indulge in. Paul Hindesmith, possibly one of the last of the classical giants, once said that some composers tended to develop an over-sublimated technique which produces images of emotions that are far removed from any emotional experience, a relatively normal human being ever has. That is just the point. High art can never be totally democratised. There is a barrier between the egghead and the hoi polloi and it would be lazy idealism to ignore this. When Bach played and Beethoven roared, who was then the gentleman? The pity of it is that while talking music to the masses, all known rules are broken and improvisation becomes king. That, roughly speaking, is how jazz was born, by dropping discipline, inspiration, deep personal emotions and every element of creative art and adopting improvisation as its main rationale. Why, they even tried to smuggle bits of jazz into serious music so that the composers could somehow survive. Now, they are going one step further : learn it by ear, don't write down the stuff, make it up as you go along and hope, by these shoddy techniques, that everyone present will applaud and thus provide the composer and the performers with their daily bread. Which of the following words can best replace the word 'raucous' in the paragraph?

    Home
    Profile