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Performing Arts (91 – 95)

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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 Carnatic Music (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 - Tabla ChotaKhayal), Dhrupad. Candidates will be required to attempt five questions 2. Description of the five ragas mentioned under in all, two questions from Section A and either three ‘practical’ – their Thaat, Jati, Vadi-Samvadi, questions from Section B or three questions from Swaras (Varjit and Vikrit), Aroha-Avaroha, Section C. Pakad, time of raga 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 Taal-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, Vibhag, Taal, Avartan, Sam, Tali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun. 168 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, Khamaj, Kafi, Bhairavi, 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 - Jana Gana Mana 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, Dadra, 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). 169 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. 170 CLASS X The syllabus is divided into three sections: PRACTICAL Section A - Vocal Music 1. Singing of three alankars in Teental, Jhaptaal and Dadra each. Section B - Instrumental Music 2. Bhairav, Bhopaali, Desh, 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); Tarana 1. (a) Non-detail terms: Sound (Dhwani), Meend, (notation of Tarana is not required). Kan (Sparsha swar), Gamak, Khatka, Tigun, 3. Padhant (Reciting)-Thekas of the following new Tappa, Thumri, 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, Tilwada, 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 Tanpura 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. 171 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.
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    MUSIC Aims: One of the three following syllabuses may be offered: 1. To encourage creative expression in music. 2. To develop the powers of musical appreciation. (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASSES XI & XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total Candidates will be required to appear for both the performance in the Practical papers from one part only. Examination: accuracy of Shruti and Laya, confidence, posture, PAPER 1: THEORY (70 Marks) tonal quality and expression) In the Theory paper candidates will be required to • Evaluation by the Teacher: 5 Marks attempt five questions in all, two questions from Section A (General) and EITHER three questions (of work done by the candidate from Section B (Vocal or Instrumental) OR three during the year). questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. 266 CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, 1.
  • International Journal of Current Advan Urnal of Current Advanced Research

    International Journal of Current Advan Urnal of Current Advanced Research

    International Journal of Current Advanced Research ISSN: O: 2319-6475, ISSN: P: 2319-6505, Impact Factor: 6.614 Available Online at www.journalijcar.org Volume 8; Issue 11 (A); November 2019; Page No.20401-20402 DOI: http://dx.doi.org/10.24327/ijcar.2019.20402.3984 Research Article VARIATIONS IN TRANSLATIONS: VANDE MATARAM Debopam Raha Department English, Achhruram Memorial College, Jhalda, West Bengal, India ARTICLE INFO ABSTRACT Article History: Bengali novelist Bankim Chandra Chattopadhyay composed the song Vande Mataram Received 24th August, 2019 which was included in his famous novel Ananda Math. The song became inspiration for Received in revised form 19th generations of freedom fighters and the utterance “Vande Mataram” became a popular September, 2019 slogan and mantra among them. After independence the song was accepted as the National Accepted 25th October, 2019 Song. Different translators at different points of time have translated the song into English. Published online 28th November, 2019 Among these translations most common is by Aurobindo Ghosh or Sri Aurobindo, the freedom fighter turned spiritual leader. There is an anonymous translation which has later Key words: been incorporated by Basanta Koomar Roy in his translation of Ananda Math. More recently, Julius J. Lipner, a half-Czech and half-Indian Professor of Hinduism and the Aurobindo Ghosh, Basanta Koomar Roy, Julius Comparative Study of Religion, University of Cambridge, has translated the song as part of J. Lipner, Translation, Vande Mataram. his translation of the novel Ananda Math published last year from OUP. Done in different periods of political history, by translators of different identities and different objectives, these translations share similarities and differences.