SEBA Class 9 English Chapter 2 The Sound of Music

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SEBA Class 9 English Chapter 2 The Sound of Music

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The Sound of Music

Chapter: 2

PROSE SECTION

Part – I Evelyn Glennie Listens To Sound Without Hearing It

I. Answer in a few words or a couple of sentences:

1. How old was Evelyn when she went to the Royal Academy of Music?

Ans. Evelyn was sixteen years old when she went to the Royal Academy of Music.

2. When was her deafness first noticed? When was it confirmed?

Ans. Evelyn’s deafness was first noticed when she was eight years old. It was confirmed when her marks dropped and she was eleven years old.

II. Answer in 30–40 words:

1. Who helped her to continue with music? What did he do and say?

Ans. Percussionist Ron Forbes helped Evelyn. He hit two big drums tuned to different notes and told her not to use her ears, but to feel the sounds through her body. Evelyn discovered that she could sense vibrations in different parts of her body.

2. Name the various places and causes for which Evelyn performs.

Ans. Evelyn performs in concerts all over the world. She also gives free performances in hospitals and prisons. She encourages young musicians and inspires deaf children. She moved from orchestral music to solo performances and has won many awards.

III. Answer in 100–150 words:

1. How does Evelyn hear music?

Ans. Evelyn became hard of hearing at the age of eight, and by eleven her deafness was confirmed. Although she could not hear normally, she did not give up her dream of learning music. Percussionist Ron Forbes understood her talent and helped her in a special way. He told her to stop listening with her ears and instead feel the sound through her body.

Evelyn realised that she could sense different notes as vibrations in different parts of her body. She felt the higher notes in the upper body and the deeper sounds in the lower body. She trained herself to use her mind, skin, bones, and feet to understand music. Slowly, she learnt to recognise every vibration clearly.

This is how Evelyn “heard” music—not through her ears, but through her heart and body.

Part – II BISMILLAH KHAN

Thinking about the Text I. 

Tick the right answer. 

1. The (shehnai, pungi) was a ‘reeded noisemaker.’ 

Ans: Pungi. 

2. (Bismillah Khan, A barber, Ali Bux) transformed the pungi into a shehnai. 

Ans: A barber named Ali Bux.

3. Bismillah Khan’s paternal ancestors were (barbers, professional musicians). 

Ans: Professional musicians.

4. Bismillah Khan learnt to play the shehnai from (Ali Bux, Paigambar Bux, Ustad Faiyaaz Khan). 

Ans: Ali Bux.

5. Bismillah Khan’s first trip abroad was to (Afghanistan, U.S.A., Canada). 

Ans: Afghanistan.

II. Find the words in the text which show Ustad Bismillah Khan’s feelings about the items listed below. Then mark a tick (✔) in the correct column. Discuss your answers in class.

Bismillah Khan’s feelings about	Positive	Negative	Neutral
1. teaching children music
2. the film world
3. migrating to the U.S.A.
4. playing at temples
5. getting the Bharat Ratna
6. the banks of the Ganga
7. leaving Benaras and Dumraon

Ans: 

Bismillah Khan’s feelings about	Positive	Negative	Neutral
1. teaching children music	✔
2. the film world		✔
3. migrating to the U.S.A.		✔
4. playing at temples	✔
5. getting the Bharat Ratna	✔
6. the banks of the Ganga	✔
7. leaving Benaras and Dumraon		✔

III. Answer these questions in 30–40 words. 

1. Why did Aurangzeb ban the playing of the pungi? 

Ans: Aurangzeb banned the playing of the pungi because its sound was shrill and unpleasant. He found it unsuitable for performances in royal courts, so he prohibited its use.

2. How is a shehnai different from a pungi? 

Ans: The shehnai is longer and broader than the pungi and is made from a natural hollow stem. It has seven holes which allow greater variation of notes, giving it a soft and melodious tone unlike the harsh sound of the pungi.

3. Where was the shehnai played traditionally? How did Bismillah Khan change this? 

Ans: Traditionally, the shehnai was played in temples and on auspicious occasions. Bismillah Khan elevated it to the classical stage by inventing new ragas and performing at national and international platforms, giving the instrument global recognition.