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Twin Melodies Questions & Answers | Class 9 English | CBSE NCERT
Chapter-wise questions and answers for Twin Melodies in Class 9 English, with a clear summary, key points, and exam-ready model answers.
What you will find on this page: a clear chapter summary, revision notes, word meanings, important questions, MCQs, and exam-ready question answers for Class 9 English.
After reviewing the chapter explanation, answer the short-answer, long-answer, extract-based, and objective questions below.
About 121 min readTwin MelodiesUpdated 29 Sep 2026
Questions and answers
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1. (a) The opening scene of Act I takes place in ______.
a. Shruti's house b. Iqbal's room c. Sangeetika Music School d. a concert hall
The scene opens to the notes of a beautiful Indo-Western fusion music piece in its crescendo. There are four children on stage playing in a room that has a small rack and a wooden table stacked with books. On the wall are posters of famous Indian flute players Pandit Hariprasad Chaurasia and Shashank Subramanyam. The room belongs to Iqbal, who is playing the flute. On the tabla is Avinash, Peter on the keyboard, and Shruti on the violin. Soon they wind up their performance and are packing up their musical instruments. Shruti wears a look of distress on her face. Peter: That was a good rehearsal. Well done guys! Let's meet again tomorrow.
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b. Iqbal's room.
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2. (b) Which instrument does Peter play?
a. the flute b. the tabla c. the keyboard d. the violin
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c. the keyboard.
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3. (c) The posters on the wall of the room are of famous Indian ______.
a. violinists b. flute players c. tabla maestros d. singers
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b. flute players.
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4. (d) What kind of music are the children playing as the scene opens?
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They are playing a beautiful Indo-Western fusion music piece in its crescendo.
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5. (e) What does the word 'crescendo' mean?
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It means a piece of music that gets louder and louder.
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6. (f) How does Shruti look as the others pack up their instruments?
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She wears a look of distress on her face.
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7. (a) According to the newspaper, Shruti is the daughter of ______.
a. Leela Devi b. Guru Nabin Sharma c. Pandit Hariprasad Chaurasia d. Shashank Subramanyam
Iqbal: (picking up a newspaper from his desk) Wait wait, before anyone goes. Did any of you guys read what they wrote about Shruti's performance with her father yesterday in the Parbatpuri Daily Clarion? Ahem ahem, "Melody runs in the veins of Miss Shruti Sharma, daughter of the master violinist Nabin Sharma!" Avinash: Oh ho! Wow Shruti! You are a sensation now! The least you can do is throw a party! Peter: Shruti Sharma for the win, sweating on the vi-o-lin! (Shruti remains unaffected, lost in her thoughts. The boys surround her trying to distract her.)
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b. Guru Nabin Sharma.
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8. (b) Who playfully demands that Shruti throw a party?
a. Iqbal b. Peter c. Avinash d. Nabin
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c. Avinash.
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9. (c) Why do the boys surround Shruti?
a. to congratulate her formally b. to distract her from her worried thoughts c. to begin practice d. to show her the newspaper
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b. to distract her from her worried thoughts.
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10. (d) Which newspaper published the report on Shruti's performance?
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The Parbatpuri Daily Clarion.
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11. (e) What exactly did the newspaper write about Shruti?
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"Melody runs in the veins of Miss Shruti Sharma, daughter of the master violinist Nabin Sharma!"
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12. (f) How does Shruti respond to her friends' excitement and praise?
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She remains unaffected, lost in her thoughts.
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13. (a) Who calls out 'SHRUTI!' very loudly?
a. Peter b. Iqbal c. Avinash d. Nabin
Peter: Shruti! Iqbal (a little loudly): Shruti! Avinash (very loudly): SHRUTI! (Shruti is startled. There is silence for a few seconds while Shruti finds the words.) Avinash: Oh god, don't tell me you still haven't told Nabin sir about the concert! Peter: Does that mean you have still not told your parents about these practises? Just tell them you come for the practice from 4 to 5! Iqbal: Yes Shruti. Just tell them you practise with us. Tell them about the concert. There is no need to worry!
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c. Avinash.
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14. (b) What has Shruti not yet told her parents about?
a. her school results b. the practises and the concert c. the newspaper report d. her violin lessons
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b. the practises and the concert.
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15. (c) Peter suggests that Shruti tell her parents that practice is held ______.
a. early in the morning b. from 4 to 5 c. on weekends d. at school
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b. from 4 to 5.
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16. (d) What happens immediately after Shruti is startled?
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There is silence for a few seconds while Shruti finds the words.
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17. (e) What does Avinash fear?
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That Shruti still hasn't told Nabin sir about the concert.
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18. (f) According to Iqbal, what should Shruti simply do?
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Tell her parents that she practises with them and about the concert — there is no need to worry.
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19. (a) Shruti fears her father will see the violin played to Western tunes as a ______.
a. celebration b. desecration c. tradition d. duty
Shruti: There is need to worry Iqbal! You don't know papa. He is very strict about these things. He will think it a desecration of the violin to be played to Western tunes. Papa firmly believes that Classical Hindustani music, with its ragas and aalaaps, is the only kind of music that an artist of any worth should play. I don't want papa to feel that I don't care about his opinions, because I do. It's just that I want to give this a try too. I just don't know how to tell him in the right way!
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b. desecration.
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20. (b) According to Shruti, her father believes that only ______ is worthy of a true artist.
a. Western music b. film music c. Classical Hindustani music d. fusion music
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c. Classical Hindustani music.
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21. (c) Shruti's state of mind in this extract is best described as ______.
a. confident b. carefree c. angry d. in a dilemma
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d. in a dilemma.
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22. (d) What does the word 'desecration' mean?
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It means disrespect towards something sacred.
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23. (e) What are 'ragas and aalaaps'?
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They are elements of Hindustani classical music, which Shruti's father reveres.
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24. (f) Why does Shruti hesitate to speak to her father about the fusion group?
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She cares deeply about his opinions and does not want him to feel she disregards them; she wants to give fusion a try but cannot find the right way to tell him.
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25. (a) Who says, "All ways are right ways, Shruti"?
a. Peter b. Iqbal c. Avinash d. Leela
Iqbal: All ways are right ways, Shruti. He is your father, he will understand. Avinash: I agree. You are making matters worse for yourself by not talking to him. What's the worst that can happen? He will scold you a little, maybe. But he will eventually come round. Iqbal: Yes Shruti. And what is a little bit of scolding? I basically have a little bit of scolding for breakfast every day! (all laugh) Shruti: You are right guys; I guess it is time to bite the bullet. Thanks for encouraging me again! Tonight, at dinner, I promise to bring this up. Peter: That's the spirit!
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b. Iqbal.
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26. (b) The phrase 'come round' means ______.
a. to visit someone b. to change one's opinion and become agreeable c. to turn around d. to return home
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b. to change one's opinion and become agreeable.
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27. (c) 'To bite the bullet' means ______.
a. to eat in a hurry b. to face a difficult situation bravely c. to lose one's temper d. to run away
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b. to face a difficult situation bravely.
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28. (d) What does Iqbal joke that he has for breakfast every day?
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A little bit of scolding.
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29. (e) When does Shruti promise to bring up the matter of the concert?
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That very night, at dinner.
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30. (f) What does Peter's remark "That's the spirit!" express?
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His warm approval and encouragement of Shruti's decision to speak to her father that very night.
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31. (a) Act II is set ______.
a. in Iqbal's room b. at Shruti's home after dinner c. at the music school d. at the concert
Shruti's parents are cleaning the table after dinner, going to and fro from the kitchen to the dining room. Shruti is still stuck on the last bite and is seemingly lost in thoughts. Nabin: Shruti, staring at the dosa is not going to make it disappear. I am afraid you will have to eat it. Leela: Shruti, why are you lost in thought, my dear child? If you are trying to find the right words to tell your dad that I make much better dosa than him, I suggest you abandon the mission. He doesn't have the strength to face the truth.
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b. at Shruti's home after dinner.
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32. (b) Who makes the joke about making better dosas?
a. Nabin b. Shruti c. Leela d. Avinash
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c. Leela.
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33. (c) Shruti is stuck on the last bite because she is ______.
a. unwell b. full c. lost in thoughts d. angry
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c. lost in thoughts.
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34. (d) What are Shruti's parents doing as Act II opens?
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They are cleaning the table after dinner, going to and fro from the kitchen to the dining room.
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35. (e) According to Nabin, what will staring at the dosa not do?
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It will not make the dosa disappear — she will have to eat it.
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36. (f) How does Leela try to lighten the mood?
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She teases that Shruti must be finding the right words to say that Leela makes much better dosas than Nabin, and jokes that he cannot face that truth.
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37. (a) How does Nabin respond to the mention of a concert?
a. with delight b. with a calm but firm refusal c. with indifference d. with curiosity and support
Shruti: Yes, actually I … er … was finding the right words to say something to you … to you papa. But please promise to not get too angry with me. Nabin: (suddenly serious. Sits down opposite to Shruti in an upright formal manner) No promises, child. But speak up. Shruti: Papa, actually … there … there is a concert next week. I… Nabin: (calmly but firmly) No is the answer. You know my rule — one performance in every six months. More than that, familiarity breeds contempt. Work on your art and everything will follow. And which concert is this anyway, of which I haven't heard?
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b. with a calm but firm refusal.
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38. (b) Nabin's rule allows Shruti ______.
a. no performances at all b. one performance in every six months c. unlimited performances d. two performances a year
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b. one performance in every six months.
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39. (c) 'Familiarity breeds contempt' means ______.
a. too much of something reduces respect for it b. family always supports us c. practice makes perfect d. old friends are the best
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a. too much of something reduces respect for it.
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40. (d) How does Nabin sit when he turns serious?
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He sits down opposite Shruti in an upright, formal manner.
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41. (e) What is Nabin's immediate answer to Shruti's request?
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"No is the answer."
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42. (f) What does Nabin advise Shruti to do instead of performing often?
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To work on her art, saying that everything else will follow.
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43. (a) The concert Shruti speaks of is a/an ______.
a. solo violin recital b. vocal concert c. Indo-western fusion group performance d. school function
Shruti: It is a group performance papa, next week. Nabin: And this is what you have judged best for yourself? To drown your individual style in the hubbub of an orchestra is hardly a wise choice, Shruti. Besides, what exactly is this concert? I don't know of any scheduled next week. Shruti: (timidly) Papa, it's an … an … Indo-western fusion concert. (silence) Nabin: (getting up) I never thought any of my students, let alone my own child, would lose their sense of musicality to such an extent. Since my views on fusion music have been iterated in this house on several occasions, I think there remains nothing for me to say now.
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c. Indo-western fusion group performance.
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44. (b) The word 'hubbub' means ______.
a. perfect harmony b. a loud, confusing noise c. a slow melody d. a classical raga
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b. a loud, confusing noise.
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45. (c) Who finally names the kind of concert it is?
a. Nabin b. Leela c. Iqbal d. Shruti
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d. Shruti.
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46. (d) What is Nabin's immediate reaction on hearing the word 'fusion'?
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There is silence; then he gets up, shocked that any student of his — let alone his own child — could lose her sense of musicality to such an extent.
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47. (e) What had been 'iterated' in the house on several occasions?
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Nabin's views on fusion music.
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48. (f) Why does Nabin feel there is nothing left for him to say?
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Because his disapproval of fusion music has already been repeated many times in the house, and he expected his own child to have understood it.
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49. (a) What does Shruti request her father to do?
a. buy her a new violin b. attend one practice before deciding c. allow a party d. meet her friends
Shruti: Please papa! I request you to consider. Just attend the practice only once and then you can decide! Nabin: (with a slight mocking tone) Sure, there'll be a practice, for 'phoo' music when making noise starts needing practice. (Nabin gets up with a start and leaves. Shruti looks at her mom.) Leela: Shruti! Why did you have to get yourself into this without your father's knowledge in the first place! Shruti: I know. I should have asked him. If he doesn't let me participate, our group won't be able to perform. All our practice will go down the drain. Leela: Oh of course, practice! Or should I call it "practice classes"!
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b. attend one practice before deciding.
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50. (b) Nabin mockingly calls fusion music ______.
a. soulful b. 'phoo' music c. sweet d. new-age
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b. 'phoo' music.
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51. (c) Shruti fears that all their practice will ______.
a. be praised b. go down the drain c. continue d. be extended
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b. go down the drain.
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52. (d) With what tone does Nabin deliver his parting line?
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A slight mocking tone.
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53. (e) What does Nabin do after his mocking reply?
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He gets up with a start and leaves.
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54. (f) Why is Leela upset with Shruti?
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Because Shruti got involved in the fusion group without her father's knowledge, instead of asking him first.
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55. (a) What does Shruti promise her mother?
a. to practise daily b. never to hide anything again c. to give up fusion music d. to sleep early
Shruti: Sorry mummy, won't hide from you again. I promise! Leela: You better not. Now you should go to sleep. Hurry up now, it's too late already! (At Iqbal's house. Avinash and Peter are there too. Shruti entering.) Iqbal: Look, Shruti is here too. Did you tell your parents finally? Peter: Tell us later. Let's start practice first. Avinash: Yes, we'd better start right away. I have to leave early today. Shruti: (Aside) Oh, how much I enjoy performing this piece. Perhaps I can practise one last time and soon after that I will tell them that I can't join them for the performance.
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b. never to hide anything again.
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56. (b) Act III takes place at ______.
a. Shruti's home b. Sangeetika Music School c. Iqbal's house d. the concert venue
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c. Iqbal's house.
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57. (c) Shruti's aside reveals that she plans to ______.
a. perform confidently b. enjoy one last practice and then withdraw from the performance c. argue with her father d. change her group
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b. enjoy one last practice and then withdraw from the performance.
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58. (d) Why does Avinash want practice to start right away?
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Because he has to leave early that day.
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59. (e) What is an 'aside' in a play?
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A dramatic device in which a character shares thoughts directly with the audience while the other characters on stage supposedly do not hear.
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60. (f) What does Shruti's aside tell us about her state of mind?
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She loves performing the piece, yet believes her father's refusal is final; she plans one last practice before telling her friends she cannot join them — resigned, but honest and loyal.
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61. (a) What do Shruti's parents do on entering the room?
a. interrupt the practice b. stand quietly in a corner and watch c. call Shruti away d. leave at once
(They begin practice. In the middle of the performance, Shruti's parents enter the room and stand in a corner. Slowly, her parents become engrossed and Shruti's father taps his feet and is seen evidently enjoying. As soon as the performance comes to an end, her parents move towards the centre of the stage in the room as they clap. Nabin claps furiously. He wears an expression of pride on his face. Shruti is startled at once with the clapping.) Nabin: Wah, how soulful! You all have done a wonderful job! You too Shruti! You did not lose sight of the notes of the raga even once and performed it to excellence.
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b. stand quietly in a corner and watch.
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62. (b) What shows that Nabin is enjoying the music?
a. he closes his eyes b. he taps his feet c. he sits down d. he reads a newspaper
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b. he taps his feet.
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63. (c) Nabin specially praises Shruti because she ______.
a. played the loudest b. did not lose sight of the notes of the raga even once c. sang beautifully d. led the group
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b. did not lose sight of the notes of the raga even once.
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64. (d) How does Nabin clap at the end of the performance?
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He claps furiously, wearing an expression of pride on his face.
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65. (e) How does Shruti react to the sudden clapping?
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She is startled at once.
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66. (f) What is Nabin's overall verdict on the performance?
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"Wah, how soulful!" — he says they have all done a wonderful job and performed the piece to excellence.
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67. (a) What does Nabin offer the children?
a. new instruments b. the music room c. a concert hall d. money
Leela: Oh yes children. You all were amazing! If this is the result, then we can say you have run your practice sessions very successfully! (Children giggle) Nabin: Yes, Leela. In fact, I was planning to offer the children the music room. (To the children) You'll have more equipment there and will be able to practise regularly. Avinash: Thank you so much! Means a lot to us! Shruti: Guys, if you don't mind, why don't you start the practice in a while. Just need to have a word. (pointing towards her parents) Peter: Of course! No issues.
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b. the music room.
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68. (b) According to Leela, the performance proves that the children's practice sessions were ______.
a. unsuccessful b. very successful c. unnecessary d. irregular
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b. very successful.
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69. (c) Why does Shruti ask her friends to start practice in a while?
a. she is tired b. she wants a private word with her parents c. she is angry d. the room is needed
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b. she wants a private word with her parents.
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70. (d) What advantage will the music room give the children?
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They will have more equipment there and will be able to practise regularly.
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71. (e) How does Avinash respond to Nabin's offer?
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"Thank you so much! Means a lot to us!"
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72. (f) Why do the children giggle at Leela's remark?
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At her playful irony — she teases that their "practice sessions", which they had kept secret, have clearly been run very successfully.
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73. (a) 'To practise in mime' means to ______.
a. speak loudly b. act without sound c. sing softly d. stop practising
(Shruti and her parents move to one side of the stage in the room and the other children move to another. They practise in mime, that is, only their actions are seen without sound.) Shruti: Thank you for coming papa and mama! And papa I want to tell you that I will always take my art seriously no matter what I do. And I am glad that you support my decision to play in a fusion group.
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b. act without sound.
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74. (b) Shruti assures her father that she will ______.
a. give up music b. always take her art seriously, whatever she does c. play only classical music d. obey him blindly
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b. always take her art seriously, whatever she does.
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75. (c) Shruti is glad because ______.
a. she won a prize b. her father supports her decision to play in a fusion group c. practice is over d. her friends left early
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b. her father supports her decision to play in a fusion group.
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76. (d) What does Shruti mean by "no matter what I do"?
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Whether she plays classical music or fusion, she will always treat her art with dedication and seriousness.
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77. (e) Why do the other children move to another side of the room?
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To give Shruti privacy for a word with her parents while they continue to practise silently.
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78. (f) For what does Shruti thank her parents?
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For coming to watch the practice, and for supporting her decision to play in a fusion group.
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79. (a) Whom does Nabin credit for changing his mind?
a. Shruti b. himself c. Leela d. his students
Nabin: (warmly placing his hand on her shoulder) There is no need to thank me child. I must admit it was Leela who opened my eyes. I had forgotten my own past. It is your mother you should thank. Leela: Your own father, Shruti, had to go against his family's wishes to play the violin. His was a family of vocalists. Your grandfather, his father, and your uncles were all vocalists belonging to a highly traditional school. They painstakingly nurtured the flame of musical heritage and kept it alive through thick and thin.
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c. Leela.
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80. (b) Nabin's family traditionally belonged to a school of ______.
a. violinists b. tabla players c. vocalists d. flautists
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c. vocalists.
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81. (c) The phrase 'through thick and thin' means ______.
a. in good times and bad times alike b. very quickly c. in winter d. with great difficulty
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a. in good times and bad times alike.
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82. (d) What had Nabin forgotten, by his own admission?
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His own past — how he too had once gone against his family's wishes to play the violin.
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83. (e) How did Nabin's family keep their musical heritage alive?
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They painstakingly nurtured the flame of musical heritage through thick and thin.
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84. (f) How does Nabin place his hand on Shruti's shoulder?
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Warmly — a gesture of affection and reconciliation.
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85. (a) Nabin's father regarded the violin as a betrayal because ______.
a. it was expensive b. it was a Western instrument not yet part of Indian classical music c. it was broken d. Nabin played badly
Leela: You see, at that time the violin had not yet been incorporated into classical Indian music. Your grandfather saw this choice as a kind of betrayal of family values and tradition. But your father worked his fingers to the bone and see where the violin got him. Nabin: I underestimated the power of our own music. I was afraid you would be lost to us. I realise that my fears were baseless. After all each bay, its own wind. I trust you Shruti and I will root for your group at the concert! (Shruti hugs both of her parents) CURTAIN DOWN
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b. it was a Western instrument not yet part of Indian classical music.
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86. (b) 'Worked his fingers to the bone' means ______.
a. injured his hands b. worked extremely hard c. played very fast d. gave up music
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b. worked extremely hard.
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87. (c) The proverb 'Each bay, its own wind' suggests that ______.
a. everyone must follow the same path b. each person has a unique calling of their own c. the sea is dangerous d. music is easy
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b. each person has a unique calling of their own.
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88. (d) What does Nabin admit he underestimated?
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The power of their own (classical Indian) music.
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89. (e) What does Nabin promise Shruti?
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His trust, and that he will root for her group at the concert.
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90. (f) How does the play end?
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Nabin promises to support the group, Shruti hugs both her parents, and the curtain falls.
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91. Q1. Describe the setting of Act I of the play. (2 marks)
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Act I is set in Iqbal's room, which has a small rack and a wooden table stacked with books. On its wall are posters of flute players Pandit Hariprasad Chaurasia and Shashank Subramanyam. The four children rehearse fusion music there.
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92. Q2. Who are the members of the fusion group, and what does each one play? (2 marks)
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The fusion group has four young members — Iqbal plays the flute, Avinash the tabla, Peter the keyboard, and Shruti the violin. Together they perform Indo-Western fusion music at their practice sessions in Iqbal's room.
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93. Q3. Why is Shruti afraid to tell her father about the fusion concert? (2 marks)
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Shruti's father is strict about music: he believes only classical Hindustani music, with its ragas and aalaaps, is worthy of a true artist, and would see Western tunes on the violin as a desecration. She fears hurting him.
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94. Q4. "There is need to worry, Iqbal!" says Shruti. How do her friends ease her worry? (2 marks)
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Iqbal assures her that "all ways are right ways"; Avinash argues that hiding only makes matters worse, for at most he will scold her a little. Their encouragement and humour give Shruti courage to speak at dinner.
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95. Q5. How does Leela lighten the atmosphere at the dinner table in Act II? (2 marks)
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Leela jokes that Shruti must be finding words to tell her father that Leela makes better dosas than he does — and that he lacks the strength to face the truth. Her gentle teasing contrasts with Nabin's gravity.
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96. Q6. What was Nabin's reaction when Shruti told him about the concert? (2 marks)
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Nabin turned suddenly serious and refused flatly — "No is the answer" — citing his rule of one performance in six months. He called the fusion choice unwise, mocked it as "'phoo' music", and left the room with a start.
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97. Q7. Why does Shruti say, "All our practice will go down the drain"? What does the idiom mean? (2 marks)
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Shruti means that without her father's permission the group cannot perform, so all their hard work will be wasted. "Go down the drain" is an idiom meaning effort or work is lost or rendered useless.
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98. Q8. What does Shruti's aside in Act III reveal about her state of mind? (2 marks)
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The aside reveals Shruti's resignation and honesty. She loves the piece too much to stop mid-practice, yet believes her father's refusal is final, so she plans one last performance before withdrawing — loyal to her friends, but without hope.
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99. Q9. How did Nabin's behaviour change during the rehearsal in Act III? (2 marks)
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Entering quietly with Leela, Nabin slowly became engrossed, tapped his feet, and was evidently enjoying himself. At the end he clapped furiously with pride, praised the performance as soulful, and offered the children the music room of his school.
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100. Q10. What role does Leela play in resolving the conflict between Shruti and her father? (2 marks)
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Leela is the quiet peacemaker. She gently scolds Shruti for hiding things, then takes Nabin to the rehearsal and opens his eyes by reminding him of his own past — how he had defied his family to play the violin.
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101. Q11. What does the proverb "Each bay, its own wind" mean in the context of the play? (2 marks)
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The proverb means every person must follow his or her own unique path; no single rule suits everyone, just as every bay is filled by its own wind. Nabin accepts that Shruti's path may rightly differ from his.
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102. Q12. How is Nabin's past similar to Shruti's present? (2 marks)
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Nabin's family were traditional vocalists, and his father saw his choice of the Western violin as betrayal. Years later, Nabin opposed Shruti's fusion music exactly as his father had opposed him — until Leela reminded him of this irony.
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103. Q13. Why does Nabin thank Leela rather than accepting Shruti's gratitude? (2 marks)
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When Shruti thanks him, Nabin admits that it was Leela who "opened his eyes" by reminding him of his forgotten past. Recognising that his change of heart came from his wife's wisdom, he directs his daughter's gratitude to her mother.
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104. Q14. What do the stage directions in the play tell the reader that the dialogues alone cannot? (2 marks)
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Stage directions reveal that Nabin sits "in an upright formal manner", speaks "calmly but firmly" and claps "furiously"; that Shruti is "startled"; that the children practise "in mime". Dialogues alone cannot convey gesture, tone and movement.
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105. Q15. What did the Parbatpuri Daily Clarion write about Shruti? (2 marks)
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The newspaper wrote, "Melody runs in the veins of Miss Shruti Sharma, daughter of the master violinist Nabin Sharma!" — praising her performance with her father the previous day, and calling her a born musician.
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106. Q16. Why does Shruti remain unaffected by her friends' congratulations in Act I? (2 marks)
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Shruti is preoccupied with worry: she has not told her father about the fusion concert, and she fears his strict disapproval of Western tunes. The newspaper praise cannot reach her while her mind is lost in her thoughts.
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107. Q17. What is Nabin's rule about performances? What reason does he give for it? (2 marks)
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Nabin allows Shruti only one performance in every six months. His reason is that "familiarity breeds contempt" — performing too often cheapens the art. He advises her to work on her art, and everything else will follow.
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108. Q18. What does Leela reveal about Nabin's family and his choice of instrument? (2 marks)
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Leela reveals that Nabin's was a family of traditional vocalists. Against their wishes, he chose the Western violin — then not part of classical Indian music — which his father saw as a betrayal of family values and tradition.
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109. Q19. What does Nabin mean when he says, "I was afraid you would be lost to us"? (2 marks)
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Nabin feared that fusion music would draw Shruti away from her classical roots and from the family's musical heritage — that she would drift from the tradition he had lovingly taught her, and be lost to them.
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110. Q20. What is the significance of Nabin offering the music room to the children? (2 marks)
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The music room belongs to Sangeetika Music School, of which Nabin is Principal. By offering it, he converts his approval into concrete, public support — the classical institution itself now welcomes the young fusion group.
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111. Q1. Trace Shruti's state of mind through Act I, supporting your answer with evidence from the text. (3 marks)
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Shruti moves from distress to resolution. Though the newspaper praises her, she is "lost in her thoughts" and is startled when called. She confesses her fear of her father's strictness, is reassured by her friends, and finally declares it is "time to bite the bullet", promising to speak at dinner.
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112. Q2. How do Iqbal, Avinash and Peter each try to help Shruti? What does each one's advice reveal about him? (3 marks)
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Iqbal, the gentle idealist, says "all ways are right ways" and trusts a father's understanding. Avinash, the practical optimist, warns that silence worsens matters and jokes about having "scolding for breakfast". Peter offers a direct, practical tactic. Their advice reveals optimism, loyalty and warm friendship.
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113. Q3. Describe the dinner-table scene at the beginning of Act II. What does it tell us about Shruti's state of mind? (3 marks)
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After dinner, her parents clean the table, going to and fro, while Shruti sits "stuck on the last bite", lost in thoughts. Nabin teases that staring will not make the dosa disappear, and Leela jokes about her dosas. The light banter contrasts with Shruti's visible worry before her confession.
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114. Q4. "I never thought any of my students, let alone my own child, would lose their sense of musicality to such an extent." What does Nabin's outburst reveal about his character? (3 marks)
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The outburst reveals Nabin's deep disappointment and wounded pride. As a purist who has "iterated" his views on fusion at home, he expected his own child to uphold classical values. His hurt is that of a dedicated teacher and father who feels betrayed, not merely of an angry parent.
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115. Q5. How does Act II end? What mixed feelings mark the close of the act? (3 marks)
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Nabin refuses Shruti's plea, mocks fusion as "'phoo' music" and leaves angrily. Leela scolds Shruti gently for hiding the matter, and Shruti fears their practice will "go down the drain". Yet affection remains — she promises never to hide again, and her mother sends her lovingly off to bed.
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116. Q6. Bring out the change in Nabin's attitude from his entry in Act III to his offer of the music room. (3 marks)
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Entering silently during the rehearsal, Nabin slowly becomes engrossed, taps his feet and is "seen evidently enjoying". He then claps furiously with pride, praises the performance as "soulful", notes Shruti never lost the raga's notes, and offers the children the music room — his contempt turned into wholehearted, practical support.
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117. Q7. What is an 'aside' in drama? What purpose does Shruti's aside in Act III serve? (3 marks)
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An aside is a dramatic device in which a character shares private thoughts with the audience unheard by the others on stage. Shruti's aside reveals her love for the piece and her plan to practise once more before withdrawing; her friends remain unaware.
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118. Q8. How is the conflict between tradition and modernity finally resolved in the play? (3 marks)
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The conflict is resolved through experience, not argument. Nabin watches the rehearsal and discovers that fusion does not destroy tradition — Shruti "did not lose sight of the notes of the raga even once". He admits his fears were baseless, trusts Shruti, and supports the group with his music room.
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119. Q9. What role does music itself play in bringing about the reconciliation between Shruti and her father? (3 marks)
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Music is the true peacemaker. Words fail — Nabin refuses to listen and leaves in anger. But the performance convinces him: he is drawn in, taps his feet, and applauds furiously with pride. Seeing the raga alive within fusion, his conviction that it "desecrates" the violin collapses, and reconciliation follows.
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120. Q10. Draw a brief character sketch of Leela Devi. (3 marks)
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Leela is warm, witty and wise. She lightens tense moments with dosa humour, yet scolds Shruti gently for concealment. Crucially, she mediates without taking sides — taking Nabin to the rehearsal and reminding him of his own past — and modestly lets him take credit for the change she caused.
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121. Q1. Justify the title 'Twin Melodies'. How does the play explore the theme of tradition and modernity? (5 marks)
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The title works on several levels. Literally, it suggests two kinds of music existing side by side — classical Hindustani music with its ragas and aalaaps, and modern Indo-Western fusion. The play proves they are twins, not rivals: Shruti performs fusion without once "losing sight of the notes of the raga". The title also suggests the twin generations — Nabin and Shruti — who inherit the same love of music but express it differently, and the twin journeys of father and daughter, both defying family expectations for their chosen instruments. Mitra Phukan shows that tradition and modernity need not clash. When Nabin watches the rehearsal, he discovers that the old and the new can enrich each other, and he offers the young group his music room — the traditional institution itself sheltering the modern experiment. The melodies, like the family, are finally reconciled in harmony.
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122. Q2. Analyse the character of Nabin Sharma. How does his attitude towards music evolve throughout the play? (5 marks)
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Nabin Sharma begins as a strict purist. He believes classical Hindustani music is "the only kind of music that an artist of any worth should play". He imposes rigid rules — one performance in six months — dismisses Shruti's group performance as drowning her "individual style in the hubbub of an orchestra", and mocks fusion as "'phoo' music". Yet he is no villain: a loving father whose harshness springs from fear of losing his daughter to something unworthy of her talent. The turning point comes through Leela, who reminds him of his own youth: he too had defied his family to take up the Western violin, working his fingers to the bone. Watching the rehearsal, he finds the raga intact in fusion and admits his fears were "baseless". He ends by trusting Shruti, offering the music room, and promising to "root for" her group — evolving from rigidity to trust and humility.
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123. Q3. What are the different perspectives of Peter, Iqbal and Avinash regarding confronting figures of authority? What do their attitudes reveal about their characters? (5 marks)
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Each friend offers a different strategy for facing authority, revealing his own nature. Iqbal is the gentle idealist: "All ways are right ways, Shruti. He is your father, he will understand" — he believes honesty and the bond of love are enough. Avinash, the tabla player, is the practical optimist: he warns that "you are making matters worse for yourself by not talking to him", argues that the worst outcome is a little scolding, and jokes that he has "a little bit of scolding for breakfast every day" — showing resilience and humour. Peter, the keyboardist, is the straightforward problem-solver: he suggests a simple tactic — just tell your parents practice is from 4 to 5 — and later cooperates when Shruti needs a private word with her parents. Together, the trio displays the optimism, loyalty and open-mindedness of youth — a warmth that finally helps soften the older generation's rigidity.
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124. Q4. How does the playwright use Shruti's internal conflict to explore the theme of duty towards family versus personal passion? (5 marks)
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Shruti's conflict is the heart of the play. She deeply respects her father — "I don't want papa to feel that I don't care about his opinions, because I do" — yet she is drawn to Indo-Western fusion, which he despises. Her distress is visible: she is lost in her thoughts even after newspaper praise, sits stuck on the last bite at dinner, and hesitates with "I … er … was finding the right words". Torn between the duty of an obedient daughter and the pull of personal passion, she first hides, then confesses, then almost withdraws ("I will tell them that I can't join them"). Mitra Phukan resolves the conflict wisely: duty and passion are not opposites. Nabin learns that supporting a child's honest passion is a parent's duty, and Shruti promises she "will always take my art seriously no matter what I do".
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125. Q5. Evaluate the effectiveness of the play's conclusion. Does it realistically address the conflicts presented? (5 marks)
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The conclusion is dramatically satisfying and mostly realistic. Nabin's conversion is well prepared: he is shown as a music lover, not a tyrant; Leela's revelation about his own rebellion against his family of vocalists gives him a believable inner reason to soften; and he changes his mind only after personally watching the rehearsal, not through a sentimental speech. The parents' quiet entry, Nabin's foot-tapping and furious applause are convincing details. However, a critic might say the resolution arrives a little too quickly and smoothly — one performance dissolves years of firmly "iterated" conviction, and the pain of Shruti's secrecy is settled with a single hug. On balance, though, the ending feels earned because the playwright plants the seeds of change early, and the reconciliation models honest communication — making it both effective and credible for its young audience.
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126. Q6. Assess how well the role of cultural diversity contributes to the storyline of the play. (5 marks)
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Cultural diversity is the play's engine. The fusion group itself is a small canvas of diversity: the flute (deeply Indian, and Iqbal's room honours flute maestros Pandit Hariprasad Chaurasia and Shashank Subramanyam), the tabla, the Western keyboard, and the violin — an instrument once foreign to Indian classical music — blend into one "beautiful Indo-Western fusion piece". The conflict arises when one culture's purist view (Nabin's classical tradition) meets another's openness (the children's fusion). The resolution celebrates diversity's deeper truth: fusion does not erase tradition but carries it forward — Shruti's raga notes remain intact within Western sound. Even the family history adds to this diversity, as Nabin's vocalists' lineage absorbed the once-foreign violin. The play thus argues that cultures grow by meeting, not by walls — making diversity not decoration, but the very substance of the plot. *Q7. 'Honest and open communication is the best way to resolve family conflicts.' Discuss this statement with reference to Twin Melodies. (5 marks)* The play repeatedly proves that secrets damage relationships while honesty repairs them. Shruti's secrecy — joining the fusion group and attending "practice classes" without her father's knowledge — breeds anxiety and fear; her distress is visible even when the newspaper praises her. Matters worsen because Nabin learns of the concert as a shock, and his wounded pride hardens his refusal. The turn towards resolution begins the moment truth is spoken: Shruti gathers courage, "bites the bullet", and confesses at dinner; she later promises her mother, "won't hide from you again". Equally, the parents communicate — they attend the rehearsal unannounced, and Leela gently opens Nabin's eyes by reminding him of his own past instead of confronting him. The final hug shows a family reunited by honesty on both sides. Mitra Phukan thus shows that open, respectful conversation — not concealment or force — is what truly resolves conflict.
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127. 8. Peter asked Shruti to tell her parents that practice was held from 4 to 5. (True)
IV. Match the characters in Column A with their descriptions in Column B
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1–(b), 2–(e), 3–(d), 4–(a), 5–(c), 6–(f) V. Sequence the events Arrange the following events of the play in the correct order (1–6): A. Nabin offers the children the music room of Sangeetika Music School. B. Iqbal reads out the newspaper report praising Shruti. C. Shruti gathers courage and brings up the concert at dinner. D. Nabin declares "No is the answer" and leaves angrily. E. Shruti's parents watch the rehearsal unnoticed and are moved. F. Leela reminds Nabin of his own struggle to become a violinist. B → C → D → E → F → A VI. Match the music-related words with their meanings 1–(iii), 2–(iv), 3–(i), 4–(v), 5–(ii), 6–(vii), 7–(vi) VII. Value-based / Competency Questions (4 marks each)
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128. 1. Shruti finally chose honesty over hiding things from her parents. What values does this choice teach us, and what might have been the consequence of continued secrecy?
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Shruti's choice teaches courage, honesty and respect for trust within a family. Though terrified, she "bites the bullet" and brings up the concert at dinner, and later promises her mother, "won't hide from you again". Secrecy had already bred anxiety, guilt and misunderstanding — her father learned of the concert as a shock, which worsened his reaction. Continued hiding might have destroyed the family's trust and forced Shruti to give up music altogether. Honesty, though painful at first, opened the door to understanding.
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129. 2. "I don't want papa to feel that I don't care about his opinions, because I do." What does this line tell us about balancing respect for elders with one's own dreams?
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The line shows that pursuing one's dreams need not mean disrespecting elders. Shruti's dilemma is not rebellion against her father but a search for a "right way" to be both a dutiful daughter and an independent artist. The play models the ideal balance: the younger generation communicates openly and honours the elder's experience, while the elder learns to trust and support rather than dictate. When both sides bend — Shruti's honesty and Nabin's openness — tradition and individuality flourish together.
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130. 3. Leela resolves the family conflict not by taking sides but by making Nabin remember his own past. What does this teach us about handling disagreements in families?
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Leela teaches that wise mediation means helping people see the truth themselves rather than lecturing them. She neither scolds Nabin nor dismisses Shruti's dream; instead, she takes him to the rehearsal and gently reminds him that he had once defied his father to play the violin. Empathy — making Nabin stand in Shruti's shoes — succeeds where argument would have failed. The lesson: in family disagreements, listen patiently, avoid taking sides, and lead people gently toward their own insights.
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131. 4. The fusion group shows how young people from different backgrounds can create something new together. What life skills does such collaboration build?
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The group — Iqbal, Avinash, Peter and Shruti — builds teamwork, mutual respect and creative confidence. Each player must listen to the others while holding his or her own line, exactly as in any collaboration. They also display emotional intelligence: they notice Shruti's distress, encourage her, respect her need for a private word with her parents, and celebrate together. Working across differences (of instrument, idiom and temperament) teaches tolerance, flexibility and the joy of co-creation — skills as valuable in life as in music. VIII. Grammar in Context A. Reported Speech — exclamatory sentences (convert as directed) The rule: use 'exclaimed' or 'exclaimed with (feeling)' instead of the reporting verb 'said'; remove interjections, exclamation marks and quotation marks; change pronouns and tenses.
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132. 1. "Oh, how much I enjoy performing this piece!" said Shruti.
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Shruti exclaimed with delight that she enjoyed performing that piece very much.
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133. 2. "Wah, how soulful! You all have done a wonderful job!" said Nabin.
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Nabin exclaimed with admiration that it was very soulful and that they had all done a wonderful job.
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134. 3. "Wow Shruti! You're a sensation!" suggested Avinash.
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Avinash exclaimed with wonder that Shruti was a great sensation.
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135. 4. "What an incredible achievement! I can't believe we pulled it off!" said Iqbal.
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Iqbal exclaimed that it was an incredible achievement and that he couldn't believe they had pulled it off.
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136. 5. "Bravo! Each note was executed perfectly, and the performance was flawless!" said Shruti's mother.
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Shruti's mother applauded that each note had been executed perfectly and that the performance had been flawless.
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137. 6. "That's incredible!" said Deepa.
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Deepa exclaimed that that was incredible. B. Report the following dialogue in indirect speech Asma: Wow! What a unique experience I had at the art studio today! Deepa: Tell me! I'm eager to hear! Asma: I accidentally spilled paint all over my canvas. Deepa: Oh, my goodness! What a pity! Asma: No worries! The painting now looks better than my original plan! Deepa: That's incredible! Asma exclaimed excitedly that 1. she had had a unique experience at the art studio that day. Deepa urged her to tell her as she was eager to hear. Asma said that 2. she had accidentally spilled paint all over her canvas. Deepa pitied Asma. However, Asma replied to her not to worry as 3. the painting then looked better than her original plan. Deepa exclaimed that 4. that was incredible. C. Phrasal verbs with 'move' — choose the correct meaning
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138. 1. Why do we not use inverted commas to convey the dialogues in a play?
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A play script is meant to be performed, not merely read. The speaker's name followed by a colon tells the actor directly who speaks each line, so inverted commas are unnecessary.
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139. 2. Where do we use colons in a play script?
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A colon is placed immediately after the speaker's name to introduce the words that the character speaks (e.g., Shruti: ...).
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140. 3. What is written within the brackets? What do these convey?
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Stage directions are written within brackets — e.g., (calmly but firmly), (picking up a newspaper from his desk), (very loudly). They convey the manner of delivery or the action to be performed. They function much like a reporting verb (e.g., 'he shouted') in prose, and the words in brackets are not uttered aloud.
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141. 4. How do brackets (stage directions) help the actors?
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They guide actors on how to speak and move — the tone, emotion, gesture or action required (e.g., 'warmly placing his hand on her shoulder'), ensuring the playwright's intended effect is achieved on stage. IX. Vocabulary in Context A. Match the words from the text with their meanings 1–(c), 2–(e), 3–(a), 4–(f), 5–(d), 6–(b), 7–(g), 8–(h) B. Explain the underlined phrases in your own words (1 mark each)
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142. 1. "When you follow trends without thinking, you drown your individual style."
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You suppress or destroy your own uniqueness by blindly imitating others.
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143. 2. "The pianist was appreciated for his sense of musicality."
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His natural talent for and sensitivity to music — the ability to create and appreciate musical beauty.
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144. 3. "They felt their practice would go down the drain."
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Their practice would be completely wasted. C. Non-lexical fillers — match the fillers with what they typically express Fillers such as 'Ahem ahem' and 'I … er…' are used in speech to fill gaps while speaking — to pause while gathering one's thoughts or transitioning between ideas. 1–(b), 2–(a), 3–(d), 4–(c), 5–(e)
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