Performing Arts (91 – 95)

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 3. To balance the demands of disciplined skills offered: and challenging standards in an environment of emotional, aesthetic, imaginative and creative Hindustani Music (91) development. Carnatic Music (92) 4. To develop performing skills, and so encourage Western Music (93) a participation in the wide range of performance Indian Dance (94) activities likely to be found in the school and community. Drama (95) NOTE: For Class X, please refer to the Class X portion of the syllabuses for Hindustani Music and Carnatic Music. HINDUSTANI MUSIC (91) CLASS IX

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

PRACTICAL 4. Knowledge of musical notation system of Pt. 1. Singing and identifying Shuddha and V.N. Bhatkhande (swara and Taal-lipi); writing VikritSwaras. Razakhani Gat (with Bols). 2. Idea of Laya; Vilambit, Madhya and Drutlayas. 5. Identification of ragas with the help of given 3. Singing of 10 alankars in Dugun and Chaugun short swara-vistar. Laya. 6. Life and contribution in brief of Tansen and Pt. 4. Yaman, Khamaj, Kafi - Singing of one Madhya V.N. Bhatkhande. laya khayal song in above mentioned ragas PRACTICAL (with alaaps and taans). National Anthem - Jana Gana Mana and National Song – Vande 1. Handling of the instrument; correct posture and Mataram (notation is not required). finger movement. 5. Padhant (Reciting): Thekas of the following 2. Playing of 10 alankars in Thah, Dugun and three taals with Taali, Khali shown on hands: Chaugun. Teen Taal, Keharwa, Dadra and their Dugun 3. Yaman, Khamaj, Kafi - Playing of one also. Razakhani Gat in all the ragas as mentioned 6. Identification of ragas. above (with alaaps and todas). National Anthem-Jana Gana Mana and National Song – SECTION B Vande Mataram (notation is required). HINDUSTANI INSTRUMENTAL MUSIC 4. Padhant (Reciting) - Thekas of the following (EXCLUDING TABLA) three taals with Taali, Khali shown on hands: Teen Taal, Keharwa, Dadra, and their Dugun THEORY also. 5. Identification of ragas. 1. (a) Non-detail terms: Sangeet; two main 6. Playing of simple Bols like Da Ra Da Ra, Da systems of Indian Music; Naad, Saptak; Ra Dir Dir, Da Dir, Da Ra, etc. Thaat; Alankar; Raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, SECTION C Pakad;Chal and AchalSwar. Chal and AchalThaat, Toda, Alaap; Matra, HINDUSTANI INSTRUMENTAL MUSIC Vibhag, Taal, Avartan, Sam, Taali, Khali, (PERCUSSION - TABLA) Theka; Thah (Barabar or Ekgun), Dugun, THEORY Chaugun. (b) Detailed topics: Swara (Shuddha and 1. (a) Non-detail terms: Matra, Taal,Vibhag; VikritSwars), Jati (Odava, Shadava, Sam; Tali, Khali, Avartan, Theka, Kayada, Sampoorna), Laya (Vilambit, Madhya, Palta, Tihai, Tukda, Kismen (varieties of Drut), Forms of Gat (Maseetkhani and Theka) and Peshkara. Razakhani). (b) Detailed topic: Laya (Vilambit, Madhya 2. Description of the three ragas mentioned under and Drut), Layakari (Thah, Dugun, Tigun ‘practical’ – their Thaat, Jati, Vadi-Samvadi, and Chaugun). Swaras (Varjit and Vikrit), Aroha-Avaroha, 2. Writing in Taal-notation of the four Taals Pakad, time of raga and similar raga. mentioned under ‘practical’; with their simple 3. Description of the three taals mentioned under development; writing of Thekas in Thah, ‘practical’; writing them in Thah and Dugun in Dugun and Chaugun layakaris. Taal notation. 3. Basic knowledge of: Sangeet,Swara and Saptak,

PRACTICAL paltas with tihai in Teentaal, One tukda in each 1. Knowledge and practice of Vilambit, Madhya Jhaptaal, two kismen each in Dadra and and Drut layas as also of Thah, Dugun and Keharwa Taal. Chaugun, with the help of Tali, Khali and 4. Accompaniment (Sangat) in Taals (Dadra and matras on hands while reciting Thekas of Taals Keharwa). prescribed. 5. Padhant (Reciting) - Thekas in Thah and 2. Technique of producing main syllables of Tabla Dugun. Simple developments of Taals and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin, mentioned in para (3), showing Taali, Khali etc. Dhin, Tita etc. on hands. 3. Playing of Thekas of the following four Taals with development: two kaayadas and its four

CLASS X The syllabus is divided into three sections: hands: Rupak, Jhaptaal and Deepchandi Section A - Vocal Music (Chanchar). Section B - Instrumental Music 3. Identification of ragas learnt in Classes IX and X. Section C - Tabla. SECTION B PART 1: THEORY – 100 Marks HINDUSTANI INSTRUMENTAL MUSIC SECTION A: HINDUSTANI VOCAL MUSIC (EXCLUDING TABLA)

1. (a) Non-detail terms: Sound (Dhwani), Meend, THEORY Kan (Sparsha swar), Gamak, Tigun, Thumri, Poorvang, Uttarang, Poorva Raga and Uttar 1. (a) Non-detail terms: Sound (Dhwani); Kan; Raga. Meend; Zamzama; Gamak; Baj; Jhala; (b) Detailed topics: Nad, three qualities of Nad Tigun. (volume, pitch, timbre); Shruti and placement (b) Detailed topics: Nad; three qualities of Nad of 12 swaras; Dhrupad and Dhamar. (volume, pitch, timbre); Shruti and placement 2. Description of the 6 ragas of Classes IX and X of 12 swaras; Maseetkhani and Razakhani mentioned under ‘practical’ – their Thaat, Jati, Gat. Vadi-Samvadi, Swaras (Varjit and Vikrit), 2. Origin and the development of the instrument. Aroha-Avaroha, Pakad, time of raga and similar Methods of handling instruments; tuning of the raga. instrument with a labelled diagram. 3. Writing in the Taal notation, all the 6 Taals learnt 3. Complete description of all the 6 ragas in Classes IX and X, their Dugun; Tigun and mentioned under ‘Practical’ in Classes IX and X. Chaugun. 4. Writing in the Tal notation, all the 6 Taals learnt 4. Knowledge of musical notation system of in Classes IX and X their Dugun; Tigun and Pt. V.N. Bhatkhande (swara and Taal-lipi); Chaugun. writing ChotaKhayal, Swarmalika and 5. Writing in complete musical notation of the Lakshangeet. Razakhani Gats. 5. Identification of Ragas of Classes IX and X (a 6. Identification of Ragas (a few note combinations few note combinations given). given) of Classes IX and X. 6. Life and contribution in brief of Amir Khusro 7. Life and contribution in brief of Amir Khusro and Pt. Vishnu Digambar Paluskar. and Pt. Vishnu Digambar Paluskar. 7. Names of different parts (components) of the Tanpura with the help of a simple sketch. Tuning PRACTICAL and handling of the instrument. 1. Bhairav, Bhopaali, Malkauns – Playing of five PRACTICAL Razakhani Gat in all the above three mentioned 1. Bhairav, Bhopaali, Malkauns - Singing of ragas (with alaaps, toda and jhala). Chotakhayal song in any three ragas as 2. Padhant (Reciting) -Thekas of the following new mentioned above (with alaaps and taans). taals as also those learnt in Class IX in Dugun Lakshangeet and Swarmalika in the other two and Chaugun, showing Tali, Khali and Matras on ragas. hands: Rupak, Jhaptal and Deepchandi 2. Padhant (Reciting)-Thekas of the following new (Chanchar). taals as also those learnt in Class IX in Dugun 3. Identification of ragas learnt in Classes IX and X. and Chaugun, showing Tali, Khali and Matras on

SECTION C course work. The teacher is free to assess the course work either on the basis of continuous HINDUSTANI INSTRUMENTAL MUSIC assessment or on the basis of periodical tests. (PERCUSSION - TABLA) 2. Suggested topics for practical work: THEORY (i) Individual performances, 1. (a) Non-detail terms: Names of 10 Pranas, Lehra (ii) Practice for school functions, (Nagma), Paran, Uthan, Chakkardar Tukda, (iii)Performance in a group of either players or Dumdar and Bedum Tihai, Padhant. singers, not necessarily in school, (b) Detailed topics: Origin and development of (iv)Prepare a Power Point presentation on an Tabla, Basic 10 Varnas (Syllables) of Tabla, eminent vocalist or instrumentalist. Solo and Sangat. (v) A visit to a sound recording studio. 2. Writing in Taal notation, Thekas, in Thah, 3. In addition to the course work the candidates will Dugun, Tigun and Chaugun, of all Taals learnt in be tested in singing or playing one instrument by Classes IX and X. an External Examiner. 3. Names of different parts (components) of the Assessment Tabla with the help of a simple sketch. Tuning of 1. The teacher and the External Examiner will the instrument. assess the practice and performance of 4. Identification of Taals (a few bol combinations candidates. given) of Classes IX and X. 2. The following aspects of practice and performance should be taken into consideration: PRACTICAL (i) Musical performance, Expression, Diction, 1. Technique of producing bols on Tabla like Tirkit, Tonal quality, Breath control; Kran, etc. (ii) Accuracy; 2. Development of following Taals: Teental – 1 (iii)Style and interpretation. uthan, 2 new kaydas and its 4 paltas with tihai, 3. The External Examiner may be a teacher 1 Chakardaar Tukda, 1 Damdar and Bedam nominated by the Head of the school, who could Tihai, Roopak – 1 Tihai, Teevra Taal – 1 Paran, be from the faculty, but not teaching the Deepchandi Taal. subject in the section/class. For example, a 3. Padhant (Reciting)- Thekas of all Taals of Class teacher of Music of Class VIII may be deputed to IX and X with development mentioned in para be an External Examiner for Class X, Music (2), giving Tali, Khali etc. by hands in Dugun Projects. and Chaugun. 4. Ability to accompany with vocalist and The Internal Examiner and the External Examiner instrumentalist with development. will assess the assignments independently.

PART 2: (To be assessed internally by the School in Award of Marks (100 Marks) Class X). Subject Teacher (Internal Examiner) 50 marks Practical Work in Music (Hindustani) - 100 External Examiner 50 marks Marks The total marks obtained out of 100 are to be sent to Course Work the Council by the Head of the school. 1. Candidates will be required to practice and The Head of the school will be responsible for the perform singing or playing. This performance online entry of marks on the Council’s CAREERS may be undertaken in connection with the topics portal by the due date. suggested below. The practical work of candidates will be assessed by the teacher as 5

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 Performance and Inspired, error free impeccable sense of rhythms, its speed and accurately and with presentation reveal a presentation of melody and each part 8 pitch and note variations. Can build a solid appropriate feeling. Moves thorough knowledge of raga rhythm. Accurate marks production is foundation for musical within the confines of the attributes and of the conception of pitch, correct similarly perfect. variation. 'taal' structure. structure of the taal in identification of raga and general. taal. 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 taal. 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 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 little knowledge of the of Raga and Taal. Poor concept of pitch, taal, goes off scale. even 'Dugun' in proper time. dynamics of taal. and raga.

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

CARNATIC MUSIC (92) CLASS IX There will be one written paper of two hours 4. Lakshanas of the following 11 ragas: duration carrying 100 marks and Practical/Internal Kharaharapriya; Kalyani; Sankarabharanam; Assessment of 100 marks. Shanmukhayriya; Kambhoji; Anandabhairavi; 1. The fundamental technical terms and their Bilahari; Saveri; Hindolam; Mohana; meanings. Hamsadhwani. 2. Principle of Sa, Re, Ga, Ma, notations - 5. Dasavidhagamakas. significance of symbols commonly used. 6. The scheme of 35 talas - Chaputala and its 3. Raga classification in Carnatic music - scheme of varieties - Desadi and Madhayaditalas - Kriya - 72 melakarthas - the names and syllabus of Anga - Laya - Gati - Matra (a detailed knowledge 12 chakras - katapayadi formula and its of any two) - Shadangas. application - 8 kinds of janyaragas - 7. Musical forms and their classification - An ragalakshana. advanced knowledge of the following musical forms: Gita, Tanavarna, Padavarna, Kriti.

CARNATIC MUSIC (92) CLASS X PART 1: There will be one written paper of chosen to make a musical instrument, the two hours duration carrying 100 marks. instrument may be put up for inspection by the External Examiner. Where a candidate has Candidates will be required to attempt five questions personally taken part in performance, tape from a choice of eight questions. recorded evidence may be submitted for the 1. History of Carnatic music with special reference assessment by the External Examiner. to the following composers and theorists, Assessment including their biographies and their contribution to Carnatic music: 1,2,3 and any 5 of the other 9 1. The teacher and the External Examiner will must be known. (1) Thyagaraja, assess the practice and performance of (2) Syama Sastry, (3) Muthuswami Dikshitar, candidates. (4) Jayadeva, (5) Narayana Tirtha, 2. The following aspect of practice and performance (6) Purandaradas, (7) Bhadrachala should be taken into consideration: (i) Musical Ramadas, (8) Kshetrajna, (9) Arunachala performance, Expression, Diction, Tonal quality, Kavirayar, (10) Veena Kuppayyar,(11) Patnam Breath control; (ii) Accuracy; (iii) Style and Subramaina Iyer, (12) Gopal Krishna Bharati. interpretation. 2. Classification of musical instruments into string, 3. The External Examiner may be a teacher wind and percussion group. A general nominated by the Head of the school, who could knowledge of Vina, Violin, Tambura, Flute and be from the faculty, but not teaching the Mridangam. subject in the section/class. For example, a 3. Musical sound and voice - Pitch, intensity, and teacher of Music of Class VIII may be deputed to timbre - Sympathetic vibration - Modal shift of be an External Examiner for Class X, Music tonic i.e. Grahabhedam. Projects. PART 2: (To be assessed internally by the School in The Internal Examiner and the External Examiner Class X). will assess the assignments independently. Practical Work in Music (Carnatic) -- 100 Marks Award of Marks (100 Marks) Course Work Subject Teacher (Internal Examiner) 50 marks 1. Candidates will be required to practice and External Examiner 50 marks perform singing or playing one or more musical The total marks obtained out of 100 are to be sent to instruments such as Tabla, Violin, etc. This the Council by the Head of the school. practical and performance may be undertaken in connection with the topics suggested below. The The Head of the school will be responsible for the practical work of candidates will be assessed by online entry of marks on the Council’s CAREERS the teacher as course work. The teacher is free to portal by the due date. assess the course work either on the basis of continuous assessment or on the basis of periodical tests. 2. Suggested topics for practical work: (i) Individual performances, (ii) Practice for school functions. (iii) Performance in a group of either players or singers, not necessarily in school, (iv) Making a musical instrument. 3. In addition to the course work the candidates will be tested in singing or playing one instrument by an External Examiner. Where a candidate has 8

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 Performance and Inspired, error free impeccable sense of rhythms, its speed and accurately and with presentation reveals a presentation of melody and each part 8 pitch and note variations. Can build a solid appropriate feeling. Moves thorough knowledge of rhythm. Accurate marks production is foundation for musical within the confines of the raga attributes and of the conception of pitch, correct similarly perfect. variation. 'tal' 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 to VadiSamvadi or Tali, melody and rhythmic cycle. marks concepts. Sometimes speed and cannot perform has little knowledge of the Khali of Raga and Tala. Poor concept of pitch, tala, goes off scale. even 'Dugun' in proper time. dynamics of tala. and raga.

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

WESTERN MUSIC (93) CLASSES IX AND X There will be one paper of two hours duration SECTION B: FORMS AND ANALYSIS OF carrying 100 marks and Internal Assessment of MUSIC 100 marks. 2. Forms of Music PART 1: THEORY – (100 Marks) (a) Jazz The syllabus is divided into two Sections: Origin, characteristics, instrumentation, Genres of Jazz: New Orleans, Swing, Section A - Musical Instruments Bebop. Section B - Forms and Analysis of Music (b) Popular Music Candidates will be required to attempt nine Life, works, style and reasons for popular questions in all, five questions from Section A all of appeal of any solo artiste (vocal or which are compulsory and any four questions from instrumental) and / or band of the Section B. candidate’s choice. Genres of music may include but are not limited to: SECTION A: MUSICAL INSTRUMENTS Folk, Country, Gospel, Soul, Reggae, Pop, 1. Musical Instruments: Sound production and Rock, R&B, Hip Hop, Electronic Music. playing techniques of the following families of instruments: 3. Life and Works (a) Keyboard family: (a) Life and works and unique contribution of the following composers: Harpsichord, clavichord and acoustic pianoforte. J.S Bach, G.F Handel, W.A Mozart, L.van (b) Pipe Organ Beethoven, J. Brahms. (c) The String family: (b) Life, works and style of the following Violin, Viola, Violoncello, Double Bass. exponents of Jazz; Louis Armstrong, Duke Ellington, George Gershwin, Miles Davis. (d) The Guitar family:

Classical, Spanish, Hawaiian guitars. Note: (e) Woodwind family: Candidates are expected to write an essay of Flute, Piccolo, Oboe, Clarinet, Cor Anglais, approximately 500 words on the life, works and Bassoon, Saxophone. contribution of the composer/s and/or exponents mentioned above. (f) Brass Family: Trumpet, French Horn, Trombone, Tuba. 4. Technology in Music (g) Percussion family (a) Electronic Music Timpani (Kettle Drums), Bass Drum, Snare Definition and scope of Electronic Music; Drum, Tambourine, Tubular Bells, description of the Theremin and the Moog Xylophone, Glockenspiel. Synthesizer. Note: (b) Basic knowledge of the following genres • Candidates are expected to know the tuning Industrial, House Music, Drum & Bass, notes and clefs of the following: The String Dubstep, Electro House. family and The Guitar family. They will be (c) DAW (Digital Audio Workstation) expected to be able to write these on staff (i) Definition, basic features and notation, beginning with the lowest in pitch. They are expected to know the range of any one applications of any one Home Studio woodwind and any one brass instrument of their DAW of the candidate’s choice. choice. (ii) Definition and usage in a DAW of the • Any TWO Similarities and TWO differences following: audio samples, loops, live between members of the same family, for audio, plug-ins and Timeline. example e.g.: oboe & clarinet; flute & piccolo, (iii) Applications of DAWs in Electronic trombone & tuba, etc. Music, DJ music and new directions in music. 10

5. Personal Experience course work in Western Music. Candidates should be able to write an essay Final Test (approximately 500 words) about their personal The practical examination of the Associated Board experiences as a musician in any one of the of Royal School of Music, Grade 4, or a more following areas: advanced grade, or Grade 4 or a more advanced (a) As a solo singer or instrumentalist. Grade of Trinity College, London, Grade 4 or a (b) Member of the school choir or orchestra. more advanced grade of London College of (c) Part of a school Musical Theatre or any other Music (or an equivalent examination approved by production. the Council), will be taken in fulfillment of the final test for practical work in Western Music. Note: The topics should be interpreted as widely as possible. Candidates should listen to a variety of Assessment music within the category title. In answering The result of the practical examination issued by the questions, which require paragraph answers, Associated Board of Royal School of Music, Grade candidates should refer knowledgeably and by 4, or a more advanced grade, or Grade 4 or a more name, to the works to which they have listened. advanced grade of Trinity College, London, Grade 4 Questions will be framed so as to give all candidates or a more advanced grade of London College of a chance to show the following: (i) that they have Music (or an equivalent examination approved by heard works in a given category; (ii) that they know the Council) will be taken as the assessment of Part 2 of Western Music. the characteristics of a particular category or kind of music; (iii) that they are aware of the context of a particular category or kind of music; (iv) that they Suggested Readings: know the names of prominent composers and their contribution to a particular category or kind of - The Encyclopedia of Music: Max Wade- music. Mathews & Wendy Thompson - The Enjoyment of Music: published by W.W. PART 2: PRACTICAL WORK IN MUSIC Norton & Co. (WESTERN) - The History of Music; From the Cambridge - 100 Marks assignments in Music: Roy Bennett Candidates for the examination in Music (Western) - The Harvard Dictionary of Music: Don Michael will be required to have passed the Practical Randel. Examination of the Associated Board of Royal - The Oxford Dictionary of Music: Michael & School of Music, Grade 4, or a more advanced Joyce Kennedy & Tim Rutherford - Johnson. grade or Grade 4 or a more advanced Grade of Trinity College, London or Grade 4 or a more advanced grade of London College of Music (or an equivalent examination approved by the Council).

Course Work The Practical work of candidates in Western Music in preparation for the practical examination of: The Associated Board of Royal School of

Music: Grade 4, or a more advanced grade, or Trinity College, London: Grade 4 or a more advanced grade, or London College of Music: Grade 4 or a more advanced grade (or an equivalent examination approved by the Council), will be taken as the requirement for

INDIAN DANCE (94) CLASSES IX AND X executed in the 3 speeds of slow, medium There will be one paper of two hours duration and fast. carrying 100 marks and Internal Assessment of (iii) An understanding of the different rhythms 100 marks. (Tal) and the ability to perform a particular Candidates will be required to select one dance Tal in a passage of dance. style from the following: Bharatanatyam, Kathak, (iv) Recitation of the Bols (syllables) and the Odissi, Kuchipudi, Manipuri and Kathakali. The ability to present the spoken syllables in course work and assessment for the Internal dance. Assessment shall focus solely on the dance style (v) Individual presentation of a short Nritya selected by the candidate. An overview of classical item. dance in India may be required, along with simple comparative studies between the different dance 2. Abhinaya styles, for the written Theory paper. (i) Knowledge of the Asamyuta (single hand gestures) and Samyuta (double hand PART 1: Theory – (100 Marks) gestures) used in Abhinaya. Candidates will be required to attempt five (ii) The Deva Hastas (Brahma, Vishnu, Shiva, questions out of eight questions. Krishna, Ganesh, etc.) with their attributes. 1. Identification of different classical dance styles (iii) The DasavatarHastas (gestures depicting in India. The aesthetic appeal of each, the 10 avatars of Vishnu). highlighting the distinctiveness of the individual styles, namely Bharatanatyam, Assessment Kathak, Odissi, Kuchipudi, Manipuri and 1. The teacher and the External Examiner will Kathakali. assess the practice and performance of 2. An appreciation of the myths surrounding the candidates. lives of Ganesh, Krishna, Shiva, Vishnu, etc. 2. The External Examiner may be a teacher nominated by the Head of the school, who 3. The sociological development of dance – its could be from the faculty, but not teaching the history, roots, growth and revival. subject in the section/class. For example, a 4. Prominent exponents of the various different teacher of Indian Dance of Class VIII may be classical dance styles listed above. deputed to be an External Examiner for Class 5. An understanding of the dance repertoire and X, Indian Dance Projects. musical accompaniment (for the chosen dance The Internal Examiner and the External Examiner style only). will assess the assignments independently. 6. The relevance of dance in today’s world and the modern developments in dance. Award of Marks (100 Marks) Subject Teacher (Internal Examiner) 50 marks PART 2: To be assessed internally by the School. External Examiner 50 marks Practical Work in Indian Dance - 100 Marks The total marks obtained out of 100 are to be sent Course Work to the Council by the Head of the school. The practical section is divided into two parts: The Head of the school will be responsible for the 1) Nritya online entry of marks on the Council’s CAREERS 2) Abhinaya portal by the due date.

1. Nritya (i) The basic body stances and positions, the neck and eye movements of the chosen dance style. (ii) A minimum of 15 steps in Nritya to be 12

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

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

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

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