The Principal rewarded/the dance teacher because teaching/the children, to/perform so well. ?->(Show Answer!)

1. The Principal rewarded/the dance teacher because teaching/the children, to/perform so well.

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MCQ-> Read the following passage and provide appropriate answers for the questionsThere is an essential and irreducible ‘duality’ in the normative conceptualization of an individual person. We can see the person in terms of his or her ‘agency’, recognizing and respecting his or her ability to form goals, commitments, values, etc., and we can also see the person in terms of his or her ‘well-being’. This dichotomy is lost in a model of exclusively self- interested motivation, in which a person’s agency must be entirely geared to his or her own well-being. But once that straitjacket of self-interested motivation is removed, it becomes possible to recognize the indisputable fact that the person’s agency can well be geared to considerations not covered - or at least not fully covered - by his or her own well-being. Agency may be seen as important (not just instrumentally for the pursuit of well-being, but also intrinsically), but that still leaves open the question as to how that agency is to be evaluated and appraised. Even though the use of one’s agency is a matter for oneself to judge, the need for careful assessment of aims, objective, allegiances, etc., and the conception of the good, may be important and exacting. To recognize the distinction between the ‘agency aspect’ and the ‘well-being aspect’ of a person does not require us to take the view that the person’s success as an agent must be independent, or completely separable from, his or her success in terms of well-being. A person may well feel happier and better off as a result of achieving what he or she wanted to achieve - perhaps for his or her family, or community, or class, or party, or some other cause. Also it is quite possible that a person’s well-being will go down as a result of frustration if there is some failure to achieve what he or she wanted to achieve as an agent, even though those achievements are not directly concerned with his or her well-being. There is really no sound basis for demanding that the agency aspect and the well-being aspect of a person should be independent of each other, and it is, I suppose, even possible that every change in one will affect the other as well. However, the point at issue is not the plausibility of their independence, but the sustainability and relevance of the distinction. The fact that two variables may be so related that one cannot change without the other, does not imply that they are the same variable, or that they will have the same values, or that the value of one can be obtained from the other on basis of some simple transformation. The importance of an agency achievement does not rest entirely on the enhancement of well-being that it may indirectly cause. The agency achievement and well-being achievement, both of which have some distinct importance, may be casually linked with each other, but this fact does not compromise the specific importance of either. In so far as utility - based welfare calculations concentrate only on the well- being of the person, ignoring the agency aspect, or actually fails to distinguish between the agency aspect and well-being aspect altogether, something of real importance is lost.According to the ideas in the passage, the following are not true expect:
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MCQ->The Principal rewarded/the dance teacher because teaching/the children, to/perform so well.....

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words have been printed in bold to help you locate them while answering some of the questions. Keshava, the washerman had a donkey. They worked together all day, and Keshava would pour out his heart to the donkey. One day, Keshava was walking home with the donkey when he felt tired. He tied the donkey te=a tree and sat down to rest fora while, near a school. A window was open, and through it, a teacher could be heard scolding the students. “Here I am, trying to turn you donkeys into human beings, but you just won’t study!” As soon as Keshava heard these words, his ears pricked up. A man who could actually turn, donkeys into humans! This was the answer to his prayers. Impatiently, he waited for school to be over that day. When everyone had gone home, and only the teacher remained behind to check some papers, Keshava entered the classroom. “How can I help you?” asked the teacher. Keshava scratched his head and said. “I heard what you said to the children. This donkey is my companion. If you made it human, we could have such good times together.” The teacher decided to trick Keshava. He pretended to think for a while and then said, “Give me six months and it will cost you a thousand rupees.” The washerman agreed and rushed home to get the money. He then left the donkey in the teacher’s care. After the six months were up, Keshava went to the teacher. The teacher had been using the donkey for his own work. Not wanting to give it up, he said, “Oh, your doilkey became so clever that it ran away. He is the headman of the next village. “When Keshava reached the next village he found the village elders sitting under a -tree, discussing serious problems: How surprised they were when Keshava marched up to the headman, grabbed his arm and said. “How dare you? You think you are so clever that you ran away? Come home at once!” The headman understood someone had played a trick on Keshava. “I am not your donkey!” he said. “Go find the sage in the forest. “Keshava found the sage sitting under a tree with his eyes closed, deep in meditation: He crept up and grabbed the sage’s beard.”Come back home now!” he shouted. The startled sage somehow calmed Keshava. When he heard what had happened, he had a good laugh. Then he told the washerman kindly, “The teacher made a fool of you. Your donkey must be still with him. Go and take it back from him. Try to make some real friends, who will talk with you and share your troubles. A donkey will never be able to do that!” Keshava returned home later that day with his donkey, sadder and wiser.Which of the following can be said about the teacher?
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MCQ-> Questions are based on a set of conditions. In answering some of the questions, it may be useful to draw a rough diagram. Choose the response that most accurately and completely answers each question. Seven bands were scheduled to perform during the week long music festival at XLRI. The festival began on a Monday evening and ended on the Sunday evening. Each day only one band performed. Each band performed only once. The organizing committee had the task of scheduling the performances of the seven bands - Cactus, Axis, Enigma, Boom, Fish, Dhoom and Bodhi Tree. The festival schedule followed the following conditions: the performance of Bodhi. Tree, the home band of XLRI, did not precede the performance of any other band. Among the visiting bands three were rock bands and the other three were fusion bands. All three bands of the same genre were not allowed to perform consecutively. Boom, which was a rock band, refused to perform immediately before or after Fish. Meet, who was a lead vocalist with a rock band, refused to perform after Angelina. Angelina, the only female lead vocalist in the music fest besides Bony, was with the band Enigma. Angelina refused to perform after Thursday citing personal reasons. Ali, who was the lead vocalist of a rock band, was not with the band Dhoom, and did not perform on Saturday. Sid, the lead vocalist of the rock band Cactus, could perform only on Monday. Rupam, the only male among the lead vocalists of the fusion bands, was with Fish and performed on Wednesday. None of the bands performed in absence of their lead vocalist.All of the following statements can be true except:
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