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A) Indian Music (Hindustani) (872 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, tonal PAPER 1: THEORY (70 Marks) 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 (of work done by the candidate Section A (General) and EITHER three questions during the year ) from Section B (Vocal or Instrumental) OR three questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) 5. Alankar - Palte, Aroha, Avroha. A. 1. Musical Sound - Nad, Shruti, Swar, Saptak 6. Tal - Matra, Sam, Tali, Khali, Bhag, Vibhag, (Mandra, Madhya, Tar) That, Rag, Jati. Theka, Avartan, Dugun, Chaugun. 2. Swars - Tivra, Komal, Shudha, Prakrat, Vikrit 7. Form of Composition - Khyal (Vilambit, Drut Vadi, Samvadi, Anuvadi, Vivadi, Varjya Khyal), Lakshan Geet, Sargam and their Vakra, Grah, Ansh, Nayas Swaras. division into Sthayee Antara, Sanchari, and Abhog. 3. Types of Ragas - Odava, Shadava, Sampoorna, Ashraya, Janak, Janya. B. 1. Complete theory of the following Ragas with 4. Varna - Sthayi, Arohi, Avrohi and Sanchari. special reference to their notes, Aroh, Avroh, 256 Pakar, Vadi, Samvadi, Vivadi time etc. and PAPER 2: PRACTICAL (30 Marks) specific emphasis on their Chalan, Ansh and 1. Demonstration of the following Ragas by singing Nayas Swaras: Khyal with complete improvisation with five (i) Rag Yaman (ii) Rag Bhoopali Tans: (iii) Rag Bilawal (iv)Rag Bhairva (i) Rag Yaman (ii) Rag Bhoopali (iii) Rag Bilawal (iv) Rag Bhairva. 2. General knowledge of the following additional Ragas: 2. Swar Vistar in the following additional Ragas: (i) Rag Brindabani Sarang (i) Rag Brindavani Sarang. (ii) Rag Desh (ii) Rag Desh. C. Notation of the following "Tals" with their Thekas 3. One "Bilambit Khyal" in any one Raga in Tali, Khali, Vivahag in dugun and chaugun laya. paragraph 1. (i) Teen Tal (ii) Dadra (iii) Roopak (iv) Ektal. 4. Identification and production of all the twelve D. Notation of note combinations, Songs with Alap notes individually or jointly in small note combinations with definite Matras of each. and Tans. (Any Indian System of notation can be adopted). 5. Recitation of the following Tals with Dugun of Chaugun Laya showing various divisions by Tali, E. Contribution of the following Musicians: Khali and Bhari, by hand beats: (i) Tansen (ii) Amir Khusroo (iii) Vishnu Narayan (i) Teen Tal Bhatkhande (iv) Vishnu Digambar Puluskar (v) Kesar Bai Kelkar (vi) Khalifa Nathu Khan (ii) Dadra Tal (vii) Biroo Mishra. (iii) Rupak Tal F. Essay of general or topical interest on musical and (iv) Ektal allied subjects. 6. Practice of rendering dugun and Chaugun Laya by Swara numericals or syllables. 7. Practice of singing Arohi, Avrohi of ten principal scales (Thats). PART 2: INSTRUMENTAL MUSIC PAPER 1: THEORY (70 Marks) B. 1. Complete theory of the following Ragas with special reference to their notes: Aroh, Avroh, A. 1. Musical Sound: Nad, Shruti, Swar, Septak Pakad, Vadi, Samvadi, Vivadi time etc. and (Mandra, Madhya- Tar) That, Rag, Jati. specific emphasis on their chalan, Ansh and 2. Swaras: Tivra, Komal, Shuddha, Prakrat, Nayas Swaras. Vikrit, Vadi, Samvadi, Vivadi, Vakra, Varjya, (i) Rag Yaman Grah, Ansh, Nayas. (ii) Rag Bhoopali 3. Types of Ragas: Odava, Shadava, Sampoorna, (iii) Rag Bhairva Ashraya, Janak, Janya. (iv) Rag Bilawal 4. Varna: Sthayee, Arohi, Avrohi and Sanchari. 2. General Knowledge of the following additional Ragas: 5. Alankaras: Palte, Aroha, Avroha. (i) Brindabani Sarang 6. Tal, Matra, Sam, Tali, Khali, Bhag, Vinhag, (ii) Rag Desh Theka, Avartan, Dugun, Chaugun. 257 C. Notation of the following Talas with their thekas, PAPER 2: PRACTICAL (30 Marks) Tali, Khali, Vibhag in Dugun and Chaugun Laya: A. Demonstration of following Ragas by playing Gat (i) Teen Tal (ii) Dadra (iii) Rupak (iv) Ektal. with improvisation: Five Toras. D. Notation of note combination with Gat and Alap (i) Rag Yaman Tora and Jhala. (ii) Rag Bhoopali E. Contribution of the following Musicians: (iii) Rag Bhairva (i) Tansen (ii) Amir Khusroo (iii) Vishnu Narayan (iv) Rag Bilawal Bhatkhande (iv) Vishnu Digambur Puluskar (v) B. Swar Vistar or Jod Alap in the following Kesar Bai Kelkar (vi) Khalifa Nathu Khan additional Ragas: (vii) Biroo Mishra. (i) Rag Brindabani Sarang F. Essay of general topical interest on Music and allied subjects. (ii) Rag Desh G. Manner of holding the instrument while C. One Masseet Khani Gat in any one Raga in playing it. paragraph 1. H. Explanation/Definition of the following Bols: D. Identification and production of all the twelve notes individually or jointly in small note (i) Akarsh (ii) Apkarsh Bols. combination with definite Matras of each. Gat Razakhani - Maseet Khani E. Playing Ten Alankars. I. Description of various parts of musical F. Recitation of the following Talas with Dugun and instruments. Chaugun speed showing various division by Tali, J. Classification of Indian musical instruments: Khali and Bhari by hand. (i) Tat (ii) Vitat (iii) Sushir (iv) Avnada. (i) Teen Tal (ii) Dadra (iii) Rupak (iv) Ektal. G. Practice of rendering Dugun and Chaugun speeds by Swaras, numericals or syllables. H. Practice of playing Arohi, Avrohi, of Ten Principal scales - That. PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA) PAPER 1: THEORY (70 Marks) D. Complete Tal notation of the following Tals with Dugun and Chaugun Layakaris: A. Contribution of the following Musicians: (i) Teen Tal (ii) Ektal (iii) Chartal (iv) Rupak (i) Tansen (ii) Amir Khusroo (iii) Vishnu Narayan (v) Tivra Bhatkhande (iv) Vishnu Digambar Puluskar E. Five Pranas of Tal and explanation thereof: (v) Biroo Mishra (vi) Kesar Bai Kelkar (vii) (i) Kal (ii) Marg (iii) Kriya Khalifa Nathu Khan (iv) Ang (v) Kala (vi) Laya B. Essay of general or topical interest on musical and F. Manner of holding the instrument while playing. allied subjects. G. Brief history and origin of Instrument. C. Explanation of the following: H. Classification of Indian Instruments: (i) Theka (ii) Avartan (iii) Kisam (iv) Tukda Tat, Vitat, Sushir, Ghan, Avnadha (v) Mukhada (vi) Mohra (vii) Uthan (viii) Paran I. Description of the various parts of the Instrument. (ix) Peshkara J. Technique of producing syllables on Tabla (Dayan and Bayan Both Sides) individually and jointly. 258 PAPER 2: PRACTICAL (30 Marks) 2. Keeping the wazen of the Tal intact, demonstration of the following: 1. Playing the following Tals on Tabla in Thah Dugun and Chaugun Laya Karies: (i) One Peshkara or Uthan for Kayadas and their Paltas in Teen Tal. (i) Teen Tal (ii) Four Kismes in Teen Tal. (ii) Ektal (iii) One Paran in Chartal or Ektal. (iii) Chartal (iv) One Tiha in Rupak or Tivra. (iv) Rupak 3. Identification and production of syllables on Tabla. (v) Tivra 4. Accompaniment of Tabla (only Thekas) with music played or sung. CLASS XII PART I: VOCAL MUSIC PAPER 1: THEORY (70 Marks) B. Complete theory of the following Ragas with: A. Explanation and definition of the following: 1. Special reference to their notes, Aroh, Avroh, Pakar Vadi, Samvadi, time etc. 1. Production, Transmission and reception of Sounds, Volume, Pitch, and Timbre. (i) Rag Asawari (ii) Rag Khamaj (iii) Rag Kafi (iv) Rag Bhairvi. Relation between frequency and length of 2. General Knowledge of the following Ragas: wire vis-a-vis wire tension. (i) Rag Bageshwari, (ii) Rag Malkauns 2. Type of Ragas: Purva, Uttar, Sandi-Prakash, 3. Notation of the following Talas in Dugun and Shudha, Chhayalag, Sankirana. Chaugun Laya: 3. Forms of composition: Dhrupad, Dhamar and (i) Chartal (ii) Tivra Tal (iii) Zhaptal their division in to Sathai, Antra, Alap, Tan, (iv) Kahrva. Meend, Andolan, Gamak, Kan. 4. Notation of note combinations, "Khyal" 4. Sangeet: with Alap & Tan (Any Indian system of notation can be adopted). (i) Two systems of Indian classical music. 5. Identification of Ragas by written note- (ii) Division of twenty two shruties among combination seven notes. 6. Comparison and contrast between Ragas. (iii) Formation of "That" out of Saptak. 7. Brief History of Indian Music. (iv) Classification of Ragas among "Thats". 8. Contribution of the following musicians: (v) Relationship between Vadi Swar and time (i) Adarang, (ii) Fiyaz Khan, (iii) Bade of Raga. Ghulam Ali Khan (iv) Dagar Brothers, (v) Inayat Khan, (vi) Allaudin Khan. (vi) Time Table of Raga. 9. Essay of general or topical interest on music 5. Laya: Drut, Vilambit and Madhya Laya. and allied subject. 259 PAPER 2: PRACTICAL (30 Marks) 5. Use of grace notes, Khatka, Murki, Sparsh. The practical work is to be assessed by the teacher and 6. Identification of all the Ragas by listening to their a Visiting Examiner appointed locally and approved main Alaps.
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