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Home , Taal (instrument), Tilwada, Vande Mataram, Vibhag

PERFORMING ARTS (91 – 95)

Aims: 5. To develop a co-operative attitude through the organisation and participation associated with 1. To develop a perceptive, sensitive and critical music, dance and drama. response to music, dance and drama in its historical and cultural contexts. 6. To provide an appropriate body of knowledge with understanding, and to develop appropriate 2. To stimulate and develop an appreciation and skills as a basis for further study or leisure or enjoyment of music, dance and drama through both. active involvement. One of the following five syllabuses may be offered: 3. To balance the demands of disciplined skills and challenging standards in an environment of Hindustani Music (91) emotional, aesthetic, imaginative and creative (92) development. Western Music (93) 4. To develop performing skills, and so encourage a participation in the wide range of performance Indian Dance (94) activities likely to be found in the school and Drama (95) community. HINDUSTANI MUSIC (91) CLASS IX

There will be one paper of two hours carrying (b) Detailed topics: Swara (Shuddha and 100 marks and Internal Assessment of 100 marks. VikritSwars), Jati (Odava, Shadava, The syllabus is divided into three sections: Sampoorna), Laya (Vilambit, Madhya, Section A - Vocal Music Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Geet – Swaramalika, Section B - Instrumental Music Lakshangeet, Khayal (BadaKhayal and Section C - ChotaKhayal), . Candidates will be required to attempt five questions 2. Description of the five mentioned under in all, two questions from Section A and either three ‘practical’ – their , Jati, Vadi-Samvadi, questions from Section B or three questions from Swaras (Varjit and Vikrit), Aroha-Avaroha, Section C. Pakad, time of and similar raga. 3. Description of the five taals mentioned under PART 1: THEORY – 100 Marks ‘practical’; writing them in Thah and DugunTaal SECTION A: HINDUSTANI VOCAL MUSIC notation. THEORY 4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (Swara and -lipi); writing 1. (a) Non-detail terms: Sangeet; two main ChotaKhayal, Swarmalika and Lakshangeet, systems of Indian Music; Naad, Saptak; Dhrupad (only Sthayi and Antara) in musical Thaat; Alankar; Raga, Janak-Janya Ragas notation. and Ashraya raga; Vadi, Samvadi, Anuvadi, 5. Identification of ragas with the help of given Vivadi; Aroha, Avaroha, Pakad; Chal and short Swara-vistar. AchalSwara. 6. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande. Sthayi, Antara; Taan, Alaap; Matra, , Taal, Avartan, Sam, Tali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun.

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PRACTICAL 2. Description of the five ragas mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, 1. Singing and identifying Shuddha and Swaras (Varjit and Vikrit), Aroha-Avaroha, VikritSwaras. Pakad, time of raga and similar raga. 2. Idea of Laya; Vilambit, Madhya and Drutlayas. 3. Description of the five taals mentioned under 3. Singing of 10 alankars in Dugun and ‘practical’; writing them in Thah and Dugun in ChaugunLaya. Taal notation. 4. Yaman, , , , Alhaiya 4. Knowledge of musical notation system of Pt. Bilawal - Singing of one Madhya laya khayal V.N. Bhatkhande (swara and Taal-lipi); writing song in any three ragas as mentioned above Razakhani Gat (with Bols). (with alaaps and taans). Lakshangeet and 5. Identification of ragas with the help of given Swarmalika in the other two ragas, One Dhrupad short swara-vistar. Geet in any one raga (Only sthai and antara); National Anthem - and 6. Life and contribution in brief of Tansen and Pt. National Song - VandeMataram (notation is not V.N. Bhatkhande. required). 5. Padhant (Reciting) :Thekas of the following five PRACTICAL taals with Taali, Khali shown on hands: Teen 1. Handling of the instrument; correct posture and Taal, Keharwa, , Ektaal and Chartaal; their finger movement. Dugun also. 2. Playing of 10 alankars in Thah, Dugun and 6. Identification of ragas. Chaugun. SECTION B 3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal HINDUSTANI INSTRUMENTAL MUSIC – Playing of one Razakhani Gat in all the ragas as mentioned above (with alaaps and todas). (EXCLUDING TABLA) Dhun in any raga mentioned above. National THEORY Anthem - Jana Gana Mana and National Song – 1. (a) Non-detail terms : Sangeet; two main Vande Mataram (notation is required). systems of Indian Music; Naad, Saptak; 4. Padhant (Reciting) - Thekas of the following Thaat; Alankar; Raga, Janak-Janya Ragas five taals with Taali, Khali shown on hands: and Ashraya raga; Vadi, Samvadi, Anuvadi, Teen Taal, Keharwa, Dadra, Ektaal and Vivadi; Aroha, Avaroha, Pakad;Chal and Chartaal; their Dugun also. AchalSwar. 5. Identification of ragas. Chal and AchalThaat, Toda, Alaap; Matra, 6. Playing of simple Bols like Da Ra Da Ra, Da Ra Vibhag, Taal, Avartan, Sam, Taali, Khali, Dir Dir, Da Dir, Da Ra, etc. Theka; Thah (Barabar or Ekgun), Dugun, Chaugun. (b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit, Madhya, Drut), Varna (Sthai, Arohi, Avarohi,

Sanchari), Forms of Gat (Maseetkhani and Razakhani).

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SECTION C PRACTICAL HINDUSTANI INSTRUMENTAL MUSIC 1. Knowledge and practice of Vilambit, Madhya and Drut layas as also of Thah, Dugun and (PERCUSSION - TABLA) Chaugun, with the help of Tali, Khali and matras THEORY on hands while reciting Thekas of Taals 1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam; prescribed. Tali, Khali, Avartan, Theka, Kayada, Palta, 2. Technique of producing main syllables of Tabla Tihai, Mohra, Mukhada, Tukda, Kismen and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin, (varieties of Theka) and Peshkara. Dhin, Tita etc. (b) Detailed topic: Laya (Vilambit, Madhya and 3. Playing of Thekas of the following six Taals Drut), Layakari (Thah, Dugun, Tigun and with development: two kaayadas and its four Chaugun), Origin and development of paltas with tihai in Teentaal, One tukda in each Tabla. Jhaptaal and Ektaal, one paran in chaartaal, two kismen each in Dadra and KeharwaTaal. 2. Writing in Taal-notation of the six Taals mentioned under ‘practical’; with their simple 4. Accompaniment (Sangat) in Taals (Dadra and development; writing of Thekas in Thah, Dugun Keharwa). and Chaugun layakaris. 5. Padhant (Reciting) - Thekas in Thah and Dugun. 3. Basic knowledge of: Sangeet, Swara and Saptak, Simple developments of Taals mentioned in para (3), showing Taali, Khali etc. on hands.

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CLASS X The syllabus is divided into three sections: PRACTICAL Section A - Vocal Music 1. Singing of three alankars in , Jhaptaal and Dadra each. Section B - Instrumental Music 2. , Bhopaali, , Bageshwari, Malkauns - Section C – Tabla. Singing of Chotakhayal song in any three ragas as SECTION A mentioned above (with alaaps and taans). HINDUSTANI VOCAL MUSIC Lakshangeet and Swarmalika in the other two ragas, One Badakhayal in any one of the above THEORY mentioned ragas (Only sthai and antara); 1. (a) Non-detail terms: Sound (Dhwani), , (notation of Tarana is not required). Kan (Sparsha swar), Gamak, Khatka, Tigun, 3. Padhant (Reciting)-Thekas of the following new , , Poorvang, Uttarang, Poorva taals as also those learnt in Class IX in Dugun and Raga and Uttar Raga. Chaugun, showing Tali, Khali and Matras on (b) Detailed topics: Nad, three qualities of Nad hands: Rupak,Jhaptaal, , Dhamar and (volume, pitch, timbre); Shruti and placement Deepchandi (Chanchar). of 12 swaras; Dhrupad and Dhamar; 4. Identification of ragas learnt in Classes IX and X. relationship between Vadi Swar and time of singing raga. SECTION B 2. Description of the 10 ragas of Classes IX and X HINDUSTANI INSTRUMENTAL MUSIC mentioned under ‘practical’ – their Thaat, Jati, (EXCLUDING TABLA) Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha- THEORY Avaroha, Pakad, time of raga and similar raga. 1. (a) Non-detail terms: Sound (Dhwani); Kan; 3. Writing in the Taal notation, all the 10 Taals Meend, Soot; Zamzama; Gamak; Baj; Khatka; learnt in Classes IX and X, their Dugun; Tigun Jhala; Tigun. and Chaugun. (b) Detailed topics: Nad; three qualities of Nad 4. Knowledge of musical notation system of Pt. V.N. (volume, pitch, timbre); Shruti and placement Bhatkhande (swara and Taal-lipi); writing of 12 swaras; Maseetkhani and Razakhani ChotaKhayal, BadaKhayal, Swarmalika and Gat; Relationship between Vadi Swar and Lakshangeet. time of playing Raga. 5. Identification of Ragas of Classes IX and X (a few 2. Origin and the development of the instrument. note combinations given). Methods of handling instruments; tuning of the 6. Life and contribution in brief of Amir Khusro and instrument with a labelled diagram. Pt.Vishnu Digambar Paluskar. 3. Complete description of all the 10 ragas 7. A brief description of 4 eminent vocalists mentioned under ‘Practical’ in Classes IX and X. (present or recent past). 4. Writing in the Tal notation, all the 10 Taals learnt 8. Names of different parts (components) of the in Classes IX and X, their Dugun; Tigun and with the help of a simple sketch. Tuning Chaugun. and handling of the instrument. 5. Writing in complete musical notation of the Maseetkhani and Razakhani Gats. 6. Identification of Ragas (a few note combinations given) of Classes IX and X.

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7. Life and contribution in brief of Amir Khusro and PRACTICAL Pt. Vishnu DigambarPaluskar. 1. Technique of producing bols on Tabla like Tirkit, 8. Brief description of four eminent instrumentalists Kran, etc. (present or recent past). 2. Development of following Taals: Teental – 1 PRACTICAL uthan, 2 new kaydas and its 4 paltas with tihai, 1 Rela, 1 Chakardaar Tukda, 1 Damdar and Bedam 1. Playing of three alankars in Teental, Jhaptaal and Tihai, Roopak – 1 Tihai, Sooltaal – 1 Tihai, Dadra each. Teevra Taal – 1 Paran, Deepchandi Taal, Tilwada 2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns – Taal (only Theka). Playing of five Razakhani Gat in all the above 3. Padhant (Reciting)- Thekas of all Taals of Class five mentioned Ragas and one Maseetkhani Gat in IX and X with development mentioned in para any one of the five ragas as mentioned above (2), giving Tali, Khali etc. by hands in Dugun and (with alaaps, toda and jhala). Dhun (notation of Chaugun. Dhun is not required). 4. Ability to accompany with vocalist and 3. Padhant (Reciting)-Thekas of the following new instrumentalist with development. taals as also those learnt in Class IX in Dugun and Chaugun, showing Tali, Khali and Matras on PART 2: (To be assessed internally by the School in hands: Rupak,, Tilwada, Dhamar and Class X). Deepchandi (Chanchar). Practical Work in Music (Hindustani) - 100 Marks 4. Identification of ragas learnt in Classes IX and X. Course Work SECTION C 1. Candidates will be required to practice and HINDUSTANI INSTRUMENTAL MUSIC perform singing or playing. This performance may be undertaken in connection (PERCUSSION - TABLA) with the topics suggested below. The practical THEORY work of candidates will be assessed by the teacher as course work. The teacher is free to 1. (a) Non-detail terms: Names of 10 Pranas, assess the course work either on the basis of AadiLaya (Only in Dadra and Keharwa), continuous assessment or on the basis of Lehra (Nagma), Paran, Uthan, Chakkardar periodical tests. Tukda, Dumdar and Bedum Tihai, Gat, Padhant, 2. Suggested topics for practical work: (i) Individual performances, (ii) Practice for (b) Detailed topics: Origin and development of school functions, (iii) performance in a group Tabla, Basic 10 Varnas (Syllables) of Tabla, of either players or singers, not necessarily in Taal Jaati System, Solo and Sangat. school,(iv) Prepare a Power Point presentation 2. Brief description of four eminent percussionist on an eminent vocalist or instrumentalist. (v) (present or recent past). A visit to a sound recording studio. 3. Writing in Taal notation, Thekas, in Thah, Dugun, 3. In addition to the course work the candidates Tigun and Chaugun, of all Taals learnt in Class IX will be tested in singing or playing one and X. instrument by an External Examiner. 4. Names of different parts (components) of the Tabla with the help of a simple sketch. Tuning of the instrument.

5. Identification of Taals (a few bol combinations

given) of Class IX and X.

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Assessment Award of Marks 1. The teacher and the External Examiner will assess Subject Teacher (Internal Examiner) 50 marks the practice and performance of candidates. External Examiner 50 marks 2. The following aspects of practice and The total marks obtained out of 100 are to be sent to performance should be taken into consideration: the Council by the Head of the school. (i) Musical performance, Expression, Diction, Tonal quality, Breath control; (ii) Accuracy; The Head of the school will be responsible for the (iii) Style and interpretation. entry of marks on the mark sheets provided by the Council. 3. The External Examiner may be a teacher nominated by the Head of the school, who could be from the faculty, but not teaching the subject in the section/class. For example, a teacher of Music of Class VIII may be deputed to be an External Examiner for Class X, Music Projects. The Internal Examiner and the External Examiner will assess the assignments independently.

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INTERNAL ASSESSMENT IN HINDUSTANI MUSIC - GUIDELINES FOR MARKING WITH GRADES Criteria Purity of Swar Laya Knowledge of raga/taal Ability to recall practical Overall effect or and theoretical concepts presentation Grade I Possesses an Has an accurate perception of Portrays the raga accurately Performance and Inspired, error free impeccable sense of rhythms, its speed and and with appropriate presentation reveals a presentation of melody and each part 8 pitch and note variations. Can build a solid feeling. Moves within the thorough knowledge of raga rhythm. Accurate marks production is foundation for musical confines of the 'taal' attributes and of the structure conception of pitch, correct similarly perfect. variation. structure. of the taal in general. identification of raga and taal. Grade II Has good total value Can maintain an even tempo Expresses great feeling but Presents well but betrays lack Pleasing rendition of melodic but lacks note and is usually accurate in the is less than faithful to the of crucial theoretical inputs and rhythmic forms, a good each part 6 perfection or vice use of 'layakari" or rhythmic grammar of raga or taal. like "Nyas" in the working knowledge of marks versa. variation. improvisation. various degrees of pitch, different ragas etc. Grade III Has a moderate sense Is somewhat erratic in the Can only express the raga Diligent and keen but shows Uninspiring, but adequate of pitch with a maintenance of the taal's in the most limited poor knowledge of concepts bookish presentation of each part 4 satisfactory ability to speed. However somehow pathways. Has difficulty like 'alankara' and 'varna'. course material. Erratic marks project musical notes. strives to manage the laya. knowing his/her position sense of pitch. Shaky vis-a-vis the taal. knowledge of raga and taal.

Grade IV A bare semblance of Is unable to maintain an even The Raga is recognizable Moderate presentation not Barely scrapes through the musical quality in 'laya' foundation. Consistently only as a vague idea. Is backed by inner reference to basic required idioms of each part 2 both tone and pitch increases or decreases the often out of rhythm and has VadiSamvadi or Tali, Khali melody and rhythmic cycle. marks concepts. Sometimes speed and cannot perform even little knowledge of the of Raga and Taal. Poor concept of pitch, taal, goes off scale. 'Dugun' in proper time. dynamics of taal. and raga.

Grade V Does not seem to Has no idea of tune and its Correctly maintains the Presentation is confused with Has no semblance to musical have any concept of relationship to melody. audiments of either of the poorly stated phrases, broken effect of any sort. Cannot each part 0 pitch. Rendition is Cannot maintain the rhythm of two important elements. in pitch and rhythms. keep a tune or maintain marks off-key. simple melodies. tempo. No concept of raga or taal.

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CARNATIC MUSIC (92) CLASS IX There will be one written paper of two hours carrying Chakravakam; Kambhoji; Anandabhairavi; 100 marks and Practical/Internal Assessment of 100 Bilahari; Saveri; PoorviKalyani; Hindolam; marks. Mohana; Hamsadhwani. 1. The fundamental technical terms and their 5. Manodharmasangita and its forms, Raga, Alapana meanings. pad-dhai - kalpanasvaras - Dasavidhagamakas. 2. Principle of Sa, Re, Ga, Ma, notations - 6. The scheme of 35 talas - Chaputala and its varieties significance of symbols commonly used. - Desadi and Madhayaditalas - Kriya - Anga - Laya - Gati - Matra (a detailed knowledge of any two) - 3. Raga classification in Carnatic music - scheme of Shadangas. 72 melakarthas - the names and syllabus of 12 chakras - katapayadi formula and its 7. Musical forms and their classification - An application - 8 kinds of janyaragas - ragalakshana. advanced knowledge of the following musical forms: Gita, Tanavarna, Padavarna, Kriti, 4. Lakshanas of the following 16 ragas: Ragamalika, Padam, and Javali. ; Bhairavi; Kharaharapriya; Kalyani; Sankarabharanam; Shanmukhayriya; Amavardhini;

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CLASS X PART1: There will be one written paper of continuous assessment or on the basis of two hours - 100 marks periodical tests. Candidates will be required to attempt five questions 2. Suggested topics for practical work: (i) Individual from a choice of eight questions. performances, (ii) Practice for school functions. (iii) Performance in a group of either players or 1. History of Carnatic music with special reference singers, not necessarily in school, (iv) Making a to the following composers and theorists, musical instrument. including their biographies and their contribution to Carnatic music: 1,2,3 and any 10 of the other 3. In addition to the course work the candidates will 24 must be known. (1) Thyagaraja, (2) be tested in singing or playing one instrument by SyamaSastry, (3) MuthuswamiDikshitar, (4) an External Examiner. Where a candidate has Jayadeva, (5) Narayana Tirtha, (6) Venkatamakhi, chosen to make a musical instrument, the (7) PaidalaGurruthySastry, (8) Purandaradas, instrument may be put up for inspection by the (9) Somanadha, (10) BhadrachalaRamadas, External Examiner. Where a candidate has (11) Kshetrajna, (12) Arunachala Kavirayar, personally taken part in performance, tape (13) SvatiTirunal, (14) VeenaKuppayyar, recorded evidence may be submitted for the (15) PatnamSubramainaIyer, (16) Gopal Krishna assessment by the External Examiner. Bharati, (17) SubbaryaSastry, (18) Mysore Assessment Sadasiva Rao, (19) PallaviSeshayyar, (20) TallapakuAnnamiah, (21) KotiswaraIyer, 1. The teacher and the External Examiner will assess (22) MuthiahBhagavathar, (23) Mysore the practice and performance of candidates. Vasudevachar, (24) Papanasam Sivan, 2. The following aspect of practice and performance (25) SuddhanandaBharati, (26) Balamurali should be taken into consideration: (i) Musical Krishna, (27) SadasivaBrahmendra. performance, Expression, Diction, Tonal quality, 2. Classification of musical instruments into string, Breath control; (ii) Accuracy; (iii) Style and wind and percussion group. A general knowledge interpretation. ofVina, Violin, Gottuvadyam, Tambura, Flute and 3. The External Examiner may be a teacher - Training of human voice and nominated by the Head of the school, who could compass of the concert instruments in South . be from the faculty, but not teaching the subject in the section/class. For example, a teacher of 3. Musical sound and voice - Pitch, intensity, and Music of Class VIII may be deputed to be an timbre - Sympathetic vibration - Resonance - External Examiner for Class X, Music Projects. Echoes - Musical intervals - Modal shift of tonic i.e. Grahabhedam. The Internal Examiner and the External Examiner will assess the assignments independently. PART 2: (To be assessed internally by the School in Class X). Award of Marks Practical Work in Music (Carnatic) -- 100 Marks Subject Teacher (Internal Examiner) 50 marks Course Work External Examiner 50 marks 1. Candidates will be required to practise and The total marks obtained out of 100 are to be sent to perform singing or playing one or more musical the Council by the Head of the school. instruments such as Tabla, Violin, etc. This The Head of the school will be responsible for the practical and performance may be undertaken in entry of marks on the mark sheets provided by the connection with the topics suggested below. The Council. practical work of candidates will be assessed by the teacher as course work. The teacher is free to assess the course work either on the basis of

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INTERNAL ASSESSMENT IN CARNATIC MUSIC GUIDELINES FOR MARKING WITH GRADES Criteria Purity of Swar Laya Knowledge of raga/tala Ability to recall practical Overall effect or and theoretical concepts presentation Grade I Possesses an Has an accurate perception of Portrays the raga accurately Performance and Inspired, error free impeccable sense of rhythms, its speed and and with appropriate presentation reveals a presentation of melody and each part 8 pitch and note variations. Can build a solid feeling. Moves within the thorough knowledge of raga rhythm. Accurate marks production is similarly foundation for musical confines of the 'tal' attributes and of the conception of pitch, correct perfect. variation. structure. structure of the tala in identification of raga and general. tala.

Grade II Has good total value Can maintain an even tempo Expresses great feeling but Presents well but betrays Pleasing rendition of but lacks note and is usually accurate in the is less than faithful to the lack of crucial theoretical melodic and rhythmic forms, each part 6 perfection or vice use of 'layakari" or rhythmic grammar of raga or tala. inputs like "Nyas" in the a good working knowledge marks versa. variation. improvisation. of various degrees of pitch, different ragas etc. Grade III Has a moderate sense Is somewhat erratic in the Can only express the raga Diligent and keen but Uninspiring, but adequate of pitch with a maintenance of the taal's in the most limited shows poor knowledge of bookish presentation of each part 4 satisfactory ability to speed. However somehow pathways. Has difficulty concepts like 'alankara' and course material. Erratic marks project musical notes. strives to manage the laya. knowing his/her position 'varna'. sense of pitch. Shaky vis-a-vis the tal. knowledge of raga and tala.

Grade IV A bare semblance of Is unable to maintain an even The Raga is recognizable Moderate presentation not Barely scrapes through the musical quality in 'laya' foundation. Consistently only as a vague idea. Is backed by inner reference basic required idioms of each part 2 both tone and pitch increases or decreases the often out of rhythm and has to VadiSamvadi or Tali, melody and rhythmic cycle. marks concepts. Sometimes speed and cannot perform even little knowledge of the Khali of Raga and Tala. Poor concept of pitch, tala, goes off scale. 'Dugun' in proper time. dynamics of tala. and raga.

Grade V Does not seem to have Has no idea of tune and its Correctly maintains the Presentation is a hotchpotch Has no semblance to musical any concept of pitch. relationship to melody. audiments of either of the of poorly stated phrases, effect of any sort. Cannot each part 0 Rendition is off-key. Cannot maintain the rhythm of two important elements. broken in pitch and keep a tune or maintain marks simple melodies. rhythms. tempo. No concept of raga or tala.

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WESTERN MUSIC (93) CLASSES IX AND X

There will be one paper of two hours carrying • Any TWO Similarities and TWO 100 marks and Internal Assessment of 100 marks. differences between members of the same family, for example e.g.: oboe & clarinet; PART 1: THEORY – (100 Marks) flute & piccolo, trombone & tuba, etc.

The syllabus is divided into two Sections: Section A - Musical Instruments, Section B - Forms and SECTION B: FORMS AND ANALYSIS OF Analysis of Music. MUSIC Candidates will be required to attempt nine 2. Forms of Music questions in all, five questions from Section A all of (a) Symphony which are compulsory and any four questions from Definition, structure (form), Sonata Form; Section B. Analysis of any one symphony of the candidate’s choice. (*format for analysis for SECTION A: MUSICAL INSTRUMENTS symphony given at the end of the syllabus.) 1. Musical Instruments: Sound production and (b) Concerto playing techniques of the following families of Definition, structure (form); Analysis of any instruments: one Concerto (of the Classical or Romantic period) of the candidate’s choice. (*format (a) Keyboard family: for analysis for Concerto given at the end of Harpsichord, clavichord and acoustic the syllabus.) pianoforte. (c) Jazz (b) Pipe Organ Origin, characteristics, instrumentation, (c) The String family: Genres of Jazz: New Orleans, Swing, Violin, Viola, Violoncello, Double Bass. Bebop. (d) The Guitar family: (d) Popular Music Classical, Spanish, Hawaiian guitars. Life, works, style and reasons for popular (e) Woodwind family: appeal of any solo artiste (vocal or Flute, Piccolo, Oboe, Clarinet, Cor Anglais, instrumental) and / or band of the Bassoon, Saxophone. candidate’s choice. Genres of music may (f) Brass Family: include but are not limited to: Trumpet, French Horn, Trombone, Tuba. Folk, Country, Gospel, Soul, Reggae, Pop, Rock, R&B, Hip Hop, Electronic Music. (g) Percussion family (Kettle ), Bass , Snare 3. Life and Works Drum, , Tubular Bells, (a) Life and works and unique contribution of the , . following composers: J.S Bach, G.F Handel, Note: J. Haydn, W.A Mozart, L.van Beethoven, F. • Candidates are expected to know the tuning Schubert, P.I Tchaikovsky, J. Brahms, A. notes and clefs of the following: The String Dvořák. family and The Guitar family. They will be (b) Life, works and style of the following expected to be able to write these on staff exponents of Jazz; Louis Armstrong, Duke notation, beginning with the lowest in pitch. Ellington, George Gershwin, Miles Davis. They are expected to know the range of any one woodwind and any one brass instrument Note: Candidates are expected to write an essay of of their choice. approximately 500 words on the life, works and contribution of the composer/s and/or exponents mentioned above.

178 4. Technology in Music PART 2: PRACTICAL WORK IN MUSIC (a) Electronic Music (WESTERN) Definition and scope of Electronic - 100 marks Music; description of the Theremin and the Moog Synthesizer. Candidates for the examination in Music (Western) will be required to have passed the Practical (b) Basic knowledge of the following Examination of the Associated Board of Royal genres: School of Music, Grade 4, or a more advanced grade Industrial, House Music, Drum & Bass, or Grade 4 or a more advanced Grade of Trinity Dubstep, Electro House. College, London (or an equivalent examination approved by the Council). (c) DAW (Digital Audio Workstation) Course Work (i) Definition, basic features and The Practical work of candidates in Western Music applications of any one Home in preparation for the practical examination of: Studio DAW of the candidate’s ­ The Associated Board of Royal School of choice. Music: Grade 4, or a more advanced grade, (ii) Definition and usage in a DAW of or the following: audio samples, loops, ­ Trinity College, London: Grade 4 or a more live audio, plug-ins and Timeline. advanced grade, (iii) Applications of DAWs in Electronic (or an equivalent examination approved by the Music, DJ music and new directions Council), will be taken as the requirement for course in music. work in Western Music. Final Test 5. Personal Experience The practical examination of the Associated Board Candidates should be able to write an essay of Royal School of Music, Grade 4, or a more (approximately 500 words) about their advanced grade, or Grade 4 or a more advanced personal experiences as a musician in any Grade of Trinity College, London (or an equivalent one of the following areas: examination approved by the Council), will be taken in fulfillment of the final test for practical work in (a) As a solo singer or instrumentalist. Western Music. (b) Member of the school choir or orchestra. Assessment (c) Part of a school Musical Theatre or any The result of the practical examination issued by the other production. Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced grade of Trinity College, London (or Note: The topics should be interpreted as widely as equivalent examination approved by the Council) possible. Candidates should listen to a variety of will be taken as the assessment of Part 2 of Western Music. music within the category title. In answering questions, which require paragraph answers, (*)TEMPLATE FOR ANALYSIS OF SYMPHONY candidates should refer knowledgeably and by name, to the works to which they have listened. - Name of the Symphony - Key Questions will be framed so as to give all candidates - Composer a chance to show the following: (i) that they have - Instruments used heard works in a given category; (ii) that they know First movement: key, time signature, tempo the characteristics of a particular category or kind of direction music; (iii) that they are aware of the context of a Exposition: both themes, closing theme/coda. Brief particular category or kind of music; (iv) that they description of motifs, important modulations and melody/harmony/rhythm. know the names of prominent composers and their contribution to a particular category or kind of music. 179 Development: modulations and treatment of themes Suggested Reading: Recapitulation: Keys used, second subject remains - The Encyclopedia of Music: Max Wade- in tonic key, bridging passage, closing theme. Mathews & Wendy Thompson Second movement: key, time signature, tempo - The Enjoyment of Music: published by W.W. direction Instrumentation used Norton & Co. Themes, motifs, all important points of harmony, - The History of Music; From the Cambridge melody and orchestration assignments in Music: Roy Bennett Third & Fourth movements (the symphony may - The Harvard Dictionary of Music: Don Michael have less than three or more than four movements) Randel. as given in the above movements. All symphonic - The Oxford Dictionary of Music: Michael & forms such as Sonata Form, Theme and Variations, Minuet and Trio, Scherzo, Sonata-Rondo, where Joyce Kennedy & Tim Rutherford – Johnson. applicable, must be described clearly.

(*)TEMPLATE FOR ANALYSIS OF CONCERTO

- Definition, origin - Name of the Concerto - Key - Composer

- Instruments and solo instruments used

First movement: key, time signature, tempo direction Description of melodic and harmonic progression, key modulations, role of solo instrument, cadenza (if used), and Sonata Form (if used). Note: the cadenza format should be defined.

Second Movement: key, time signature, tempo direction Description of melodic and harmonic progression, key modulations, role of solo instrument. Third Movement: key, time signature, tempo direction

Description of melodic and harmonic progression, key modulations, role of solo instrument, cadenza (if used), and Sonata Form (if used).

180

INDIAN DANCE (94)

CLASSES IX AND X

There will be one paper of two hours carrying 7. The relevance of dance in today’s world and the 100 marks and Internal Assessment of 100 marks. modern developments in dance. Candidates will be required to select one dance style PART 2: To be assessed internally by the School. from the following: , Kathak, Odissi, Practical Work in Indian Dance - 100 Marks , Manipuri, and . The course work and assessment for the Internal Assessment shall Course Work focus solely on the dance style selected by the The practical section is divided into two parts: candidate. An overview of classical dance in India may be required, along with simple comparative 1) Nritya studies between the different dance styles, for the 2) Abhinaya written Theory paper. 1. Nritya PART 1: Theory – (100 Marks) (i) The basic body stances and positions, the Candidates will be required to attempt five questions neck and eye movements of the chosen dance out of eight questions. style. 1. Identification of different classical dance styles in (ii) A minimum of 15 steps in Nritya to be India. The aesthetic appeal of each, highlighting executed in the 3 speeds of slow, medium and the distinctiveness of the individual styles, namely fast. Bharatanatyam, Kathak, Odissi, Kuchipudi, Manipuri and Kathakali. (iii) An understanding of the different rhythms (Tal) and the ability to perform a particular 2. The mythological evolution of dance and an Tal in a passage of dance. elementary understanding of important texts like the Natya Shastra, and story lines associated with (iv) Recitation of the Bols (syllables) and the classical dance in India. Also, an appreciation of ability to present the spoken syllables in the myths surrounding the lives of Ganesh, dance. Krishna, Shiva, Vishnu, etc. (v) Individual presentation of a short Nritya item. 3. The sociological development of dance – its 2. Abhinaya history, roots, growth and revival. (i) Knowledge of the Asamyuta (single hand 4. An understanding of the guru-shishyaparampara gestures) and Samyuta (double hand gestures) (including the tradition and lineage associated used in Abhinaya. with the chosen dance form only). (ii) The Deva Hastas (, Vishnu, Shiva, 5. Prominent exponents of the various different Krishna, Ganesh, etc.) with their attributes. classical dance styles listed above. (iii) The DasavatarHastas (gestures depicting the 6. An understanding of the dance repertoire and 10 avatars of Vishnu). musical accompaniment (for the chosen dance style only).

181 (iv) A basic knowledge of the Nava Rasas (nine Assessment emotions) used in dance, namely: 1. The teacher and the External Examiner will assess (a) Shringar – love the practice and performance of candidates. (b) Hasya – mirth 2. The External Examiner may be a teacher (c) Karuna – compassion nominated by the Head of the school, who could be from the faculty, but not teaching the (d) Rondra – anger subject in the section/class. For example, a (e) Veera – strength teacher of Indian Dance of Class VIII may be deputed to be an External Examiner for Class X, (f) Bhayanaka – fear Indian Dance Projects. (g) Bhibatsa – disgust The Internal Examiner and the External Examiner will (h) Adbuta – wonder assess the assignments independently. (i) Shantam – peace Award of Marks (v) Individual presentation of a short item of Subject Teacher (Internal Examiner) 50 marks Abhinaya. External Examiner 50 marks

The total marks obtained out of 100 are to be sent to the Council by the Head of the school.

The Head of the school will be responsible for the entry of marks on the mark sheets provided by the Council.

182 INTERNAL ASSESSMENT IN DANCE - GUIDELINES FOR MARKING WITH GRADES Criteria Regularity & Punctuality Movements Facial Expressions Make -Up Grade I Participates regularly and is Highly appropriate, highly Highly appropriate, highly Highly appropriate, highly eye - punctual. graceful and highly natural. graceful and highly natural. catching and highly natural. each part 8 marks

Grade II Participates regularly but is not Mostly appropriate, mostly Mostly graceful, mostly Mostly appropriate,, mostly eye - punctual. graceful and mostly natural. appropriate, mostly natural. catching and mostly natural. each part 6 marks Grade III Participates very often but is Partially appropriate, somewhat Partially and somewhat natural. Partially appropriate, somewhat neither regular nor punctual. graceful and natural. eye - catching and somewhat each part 4 natural. marks Grade IV Rarely participates. Rarely appropriate and rarely Rarely appropriate and rarely Mostly inappropriate, does not graceful. natural. catch the eye and mostly each part 2 unnatural. marks Grade V Never participates. Inappropriate, artificial and lacks Inappropriate and unnatural. Inappropriate, not at all eye - grace. catching and unnatural. each part 0 marks

183 DRAMA (95) CLASSES IX AND X There will be one paper of two hours carrying 100 SECTION B marks and Internal Assessment of 100 marks. Four questions shall be set in this Section. Candidates PART 1: THEORY – (100 Marks) will be expected to have working knowledge of the The syllabus is divided into two Sections: technical skills used by directors, actors, and designers Section A – Drama as Art, Section B – Technical (sets, costumes, make-up, lighting and sound). aspects of drama. Questions will be set using resource material as a basis for technical design – candidates will be Candidates will be required to attempt five questions permitted to use sketches, notes and diagrams as part in all, three questions from Section A and two of their answers. questions from Section B. Candidates will be expected to have an appreciation of SECTION A the following elements: Six questions shall be set in this Section. Candidates will be required to evaluate and analyse material as 1. Use of the stage and emphasis through set design, part of a drama process. Resource material would be positions, compositions and movement; Blocking provided in each question in the form of extracted and its relation to the composition. pieces from plays, themes, situations or printed visual 2. The production process; Rehearsals. sequences. The resource materials are expected to form stimuli that would be used by candidates to 3. Equipment - from auditorium to backstage; Sets answer the question. Answers can be in the form of a (including parts of stage equipment used in a set); written commentary and may be accompanied by Properties. sketches, diagrams and notes as required. Candidates 4. Lighting and sound – equipment and design. would be permitted to creatively add dialogue to the stimuli provided for each question. 5. Costumes and make-up (including design). Candidates will be expected to have an appreciation of 6. Stage management. the following elements: 7. Different types of staging (as given in Section A) 1. Use of people, space and conflict in drama. and their effect on technical aspects of a 2. The function of the director. production. 3. The actor – basic technique (Stage positions; PART 2: To be assessed internally by the School. Body positions used by actors - in relation to the Practical Work in Drama - 100 Marks audience and to other actors; Turns and gestures; Movement and approaches; Entering and exiting; Course Work Handling of properties), body, voice and role. The practical section is divided into two parts - Acting 4. The stage – its various parts and different types of and Stagecraft – both of which must be studied by staging (proscenium arch theatre, central staging, candidates. street theatre, folk theatre, puppetry). 1. Acting: Candidates will be required to practise 5. Composition, picturisation, movement, rhythm, and perform as actors. This practical and dramatisation. performance may be undertaken either as acting 6. Literature: no specific texts are prescribed, but an original piece, or acting a piece/extract from candidates need to have studied some extracted a play. The practical work of candidates pieces as examples, which may include will be assessed by the teacher as course work. Pygmalion, Galileo, A Doll’s House, Antigone and improvise.

184 The teacher is free to assess the course work Assessment either on the basis of continuous assessment or on 1. The teacher and the External Examiner will assess the basis of periodical tests. Where a candidate the practice and performance of candidates. has personally taken part in performance, video 2. The External Examiner may be a teacher recorded evidence and reviews may be submitted nominated by the Head of the school, who could for the assessment by the External Examiner. be from the faculty, but not teaching the subject in the section/class. For example, a teacher of 2. Stagecraft: In addition to the course work on Drama of Class VIII may be deputed to be an Acting, the candidates will be tested in one External Examiner for Class X Drama Projects. element of stagecraft by the teacher and by an The Internal Examiner and the External Examiner will External Examiner. Candidates will be required assess the assignments independently. to choose one area from (i) Costumes, (ii) Make- Award of Marks up, (iii) Stage design including sets, (iv) Lighting, (v) Sound. Candidates should present designs Subject Teacher (Internal Examiner) 50 marks prepared based on a play that has been developed External Examiner 50 marks as coursework during the year. Photographs, The total marks obtained out of 100 are to be sent to designs and video tapes may be submitted for the the Council by the Principal of the school. assessment by the External Examiner where the The Head of the school will be responsible for the candidate has prepared a design for a entry of marks on the mark sheets provided by the performance. Council.

185 INTERNAL ASSESSMENT IN DRAMATICS - GUIDELINES FOR MARKING WITH GRADES Criteria Regularity & Make - Up Acting Dialogue Emotional Appeal Punctuality Grade I Participates regularly Highly appropriate, highly Highly graceful, highly Highly correct, very Highly adequate intensity, and is punctual. eye-catching and highly eye-catching, highly distinct, highly effective. highly appropriate to the each part 8 natural. natural. occasion. marks

Grade II Participates regularly Mostly appropriate, mostly Mostly graceful, mostly Mostly correct, mostly Mostly adequate intensity, but is not punctual. eye - catching and mostly appropriate, mostly distinct, mostly effective. mostly appropriate to the each part 6 natural. natural. occasion and role. marks

Grade III Participates very often Appropriate, eye catching, Partially graceful, mostly Partially correct, partially Partially adequate intensity and but is neither regular nor somewhat natural. appropriate, mostly distinct, partially rarely appropriate to the each part 4 punctual. natural. effective. occasion and role. marks

Grade IV Rarely participates. Partially appropriate and Needs frequent guidance. Rarely appropriate, rarely Rarely adequate intensity and partially eye-catching. distinct, rarely effective. rarely appropriate to the each part 2 occasion and role. marks

Grade V Never participates. Inappropriate, not eye- Inappropriate and Inappropriate, distinct, Inadequate intensity and catching and unnatural. unnatural. and ineffective. inappropriate to the occasion each part 0 and role. marks

186