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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. 3. To balance the demands of disciplined skills and One of the following five syllabuses may be offered: 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 activities likely to be found in the school and Indian Dance (94) community. Drama (95) HINDUSTANI MUSIC (91) CLASS IX There will be one paper of two hours carrying raga; Jati (Odava, Shadava, Sampoorna); Vadi, 100 marks and Internal Assessment of 100 marks. Samvadi, Anuvadi, Vivadi swaras; Varjya The syllabus is divided into three sections: swara; Graha, Ansha, Nyas swaras; Vakra swaras; Pakar; Poorvang; Uttarang; Section A - Vocal Music Poorva Raga, Uttara Raga; relation between Section B - Instrumental Music Vadi swara and the time of singing ragas; Section C - Tabla Swaramalika, Lakshangeet, Khyal, Dhrupad, Sthayi, Antara, Sanchari, Abhog; Tan, Alap; Candidates will be required to attempt five questions Laya (Vilambit, Madhya, Drut); Matra, Vibhag, in all, two questions from Section A and either three Tala, Avartan, Sam, Tali, Khali, Theka; Thah questions from Section B or three questions from (Barabari or Ekgun), Devigun (Dugun), Section C. Chaugun. PART 1: THEORY – 100 Marks 2. Description of the eight ragas mentioned under ‘practical’ – their That, Swaras, Aroha-Avaroha, SECTION A Pakar, Jati, Vadi-Samvadi, time and simple Swara-Vistara (alap). HINDUSTANI VOCAL MUSIC 3. Description of the five talas mentioned under ‘practical’; writing them in Thah and Dugun in THEORY Tala notation. 1. Elementary knowledge of the following: 4. Knowledge of musical notation system (swara Sangeet; two main systems of Indian Music; and Tala-lipi); writing easy Khyal songs (only Nad, Shruti, Sthan, Swara, Shuddha and Vikrit Sthayi and Antara) in musical notation. swars; Saptak; That or Mela; Varna; Alankara; 5. Identification of ragas with the help of given Raga, Janak That, Janya Ragas and Ashraya short swara-vistara. 177 PRACTICAL Pakar, Jati, Vadi-Samvadi, time and simple Swara-Vistara (alap). 1. Singing and identifying Shuddha and Vikrit Swaras, especially the Shuddha ones. 3. Writing in Tala-notation, in Thah and Dugun, the five Talas mentioned under ‘practical’. 2. Idea of Laya; Vilambit, Madhya and Drut layas; 4. Writing Sthayi and Antara of simple Gats in Speaking and singing alankaras in Dugun and musical notation. Chaugun layakaris. 5. Identification of ragas with the help of given 3. Singing of ten alankaras. short swara-vistara. 4. Singing of one Madhya laya khyal song in each 6. Names of different parts (components) of the of the following eight ragas: Alhaiya Bilawal, instrument with the help of its simple sketch. Yaman, Bhoopali, Khamaj, Kafi, Asavari, Bhairava, Bhairavi; one Dhrupad Geet in any PRACTICAL one raga; one song in Kaharwa Tala and one in 1. Handling of the instrument; correct posture and Dadra Tala (folk or action or devotional or fingering. patriotic song); national anthems, Jana Gana Mana and Vande Mataram; easy development 2. Playing of ten alankaras in single (Thah) and through alaps and tans in Madhya laya Khyals double measure (Dugun). and Dugun and Chaugun in Dhrupad. 3. Playing of Madhya laya (Gat) in each of the following eight ragas: Alhaiya Bilawal, Yaman, 5. Reciting the Thekas of the following five talas Bhoopali, Khamaj, Kafi, Asavari, Bhairava, with Tali, Khali shown on hands: Teen Tala, Bhairavi; Simple Alap in these ragas and a few Kaharwa, Dadra, Jhaptal and Chartal; their simple Tans or Toras in eight Gats; one simple Dugun also. tune (Dhun) each in Kaharwa and Dadra Tals; 6. Identification of ragas. playing of the national anthems, Jana Gana Mana and Vande Mataram. SECTION B 4. Reciting the Thekas of the following five talas with Tali, Khali shown on hands: Teen Tala, HINDUSTANI INSTRUMENTAL MUSIC Kaharwa, Dadra, Jhaptal and Chartal; their (EXCLUDING TABLA) Dugun also. THEORY 5. Identification of ragas. 1. Elementary knowledge of the following: 6. Playing of simple Bols like Da Ra Da Ra, Da Ra Sangeet; two main systems of Indian Music; Dir Dir, Da Dir, Da Ra, etc. Nad, Shruti, Sthan, Swara, Shuddha and Vikrit SECTION C swars; Saptak; That or Mela; Varna; Alankara; Raga, Janak That, Janya Ragas and Ashraya HINDUSTANI INSTRUMENTAL MUSIC raga; Jati (Odava, Shadava, Sampoorna); Vadi, (PERCUSSION, LIKE TABLA) Samvadi, Anuvadi, Vivadi swaras; Chal and Achal swaras; Chal and Achal That; Varjya THEORY swara; Graha, Ansha, Nyas swaras; Vakra 1. Elementary knowledge and explanation of the swaras; Pakar; Poorvang; Uttarang; Poorva following: Laya (Vilambit, Madhya and Drut), Raga, Uttara Raga; relation between Vadi swara Layakari – 2 matras in one matra (Dugun), 3 in and the time of playing ragas; Vilambit Gat, 1 (Tigun), 4 in 1 (Chaugun) etc.; Matra, Tala, Madhya Laya Gat and Drut Gat (Maseetkhani and Razakhani Gats); Laya, Matra, Vibhag, Vibhag; Sam; Tali, Khali, Avartan, Thah Tala, Sam, Tali, Khali, Theka; Thah (Barabari), (Barabari or Ekgun), Dugun; Chaugun, Theka Dugun, Chaugun; Avartan, Layakari. (Bol), Kayada, Palta, Tihai, Mohra, Mukhara, 2. Description of the eight ragas mentioned under Tukra, Kismen (varieties of Theka). ‘practical’ – their That, Swaras, Aroha-Avaroha, 178 2. Names of different parts (components) of Tabla 2. Technique of producing main syllables of Tabla and Bayan, with simple sketch or drawing of the and Bayan (Varnas) like Ta, Dha, Ge, Kaat, Tin, instrument. Dhin, Te Te (rs, Vs) etc. 3. Writing in Tala-notation of the six Talas 3. Playing of Thekas of the following six Tals on mentioned under ‘practical’; with their simple Tabla with simple development: Teental, development; writing of Thekas in Thah, Dugun Kaharwa, Dadra, Jhaptal, Chartal and Ektal. and Chaugun layakaris. Development suggested: in Teental – 4 Kayadas with 4 paltas in each, 2 Mohras, 2 Tihais and 2 4. Elementary knowledge of: Sangeet, Nad, Shruti, Tikras; in Jhaptal, Ektal and Chartal – 2 small Swara, Saptak, Shudha and Vikrit swaras, Achal Tikras; in Dadra and Kaharwa – some Kismen Swara. of their Thekas. PRACTICAL (FOR r - TA AND FOR V - TA) 4. Singing of the seven shudha swaras of the Saptak (this will enable students to tune Tabla 1. Knowledge and practice of Vilambit, Madhya later). and Drut layas as also of Thah, Dugun and Chaugun, with the help of Tali, Khali and matras 5. Reciting of the Thekas in Barabari and Dugun on hands while reciting Thekas of Talas and developments of Tals mentioned in (3), prescribed. showing Tali, Khali etc. on hands (Parhant). 179 CLASS X The syllabus is divided into three sections: 4. Singing of one Madhya-laya Khyal song in each Section A - Vocal Music of the following eight ragas, with self-made extempore Alaps and Tans also, besides some Section B - Instrumental Music sample fixed ones: Bihag, Desh, Tilak Kamod, Section C – Tabla. Bhimpalasi, Bageshri, Brindabani Sarang, Malkaus and Jaunpuri; two Dhrupad Geets in any SECTION A two of these ragas; with Dugun, Tigun and Chaugun; one song in Jhaptal and one in Roopak HINDUSTANI VOCAL MUSIC (action or folk or devotional or patriotic song); the national song Sare Jahan Se Achha. THEORY 5. Singing of Vilambit Khyals with very simple 1. Definition, explanation and illustration where alaps and tans in at least any four of the following necessary of the following: Sound (Dhwani), eight ragas: Alhaiya Bilawal, Yaman, Bhupali, Production of sound; vibration, frequency; Nad, Bihag, Bhimpalasi, Bageshri, Malkaus and three qualities of Nad (volume, pitch, timbre); Jaunpuri. Nad and Shruti; Forms of Geet (Barakhyal, 6. Reciting the Thekas of the following new tals as Chhota Khyal, Dhupad, Dhamar, Tappa, Thumri, also those learnt in Class IX in Dugun, Tigun and Lakshan Geet, Swaramalika – Sargan – detailed Chaugun, showing Tali, Khali and Matras on description not required); Meend, Kan (sparsha hands (Tigun only in simple Tals): Ektal, Rupak, swar), Tigun. Sooltal, Teevra and Deepchandi (Chanchar). 2. Complete description of all the sixteen ragas 7. Identification of ragas learnt in Classes IX and X. mentioned under ‘Practical’ in Classes IX and X. 8. Tuning of Tanpura – initial attempt; playing the 3. Writing in the Tal notation, all the ten Talas learnt four strings. in Classes IX and X, their Dugun; Tigun and Chaugun of easy talas. SECTION B 4. Writing in complete musical notation all the HINDUSTANI INSTRUMENTAL MUSIC Vilambit and Drut Khyals learnt with a few Tans (EXCLUDING TABLA) and Dhrupads with their Dugun, Tigun and Chaugun; writing the national anthem Jana Gana THEORY Mana in musical notation. 1. Definition, explanation and illustration where 5. Identification of Ragas (a few note combinations given) and Talas (a short portion given). necessary of the following: Sound (Dhwani), Production of sound; vibration, frequency; Nad, 6. Life and contribution in brief of Tansen, Vishnu three qualities of Nad (volume, pitch, timbre); Digambar Paluskar and Vishnu Narayan Nad and Shruti; Gat, Forms of Gat (Maseetkhani Bhatkhande. and Razakhani); Kan; Meend, Soot; Chal and 7. Names of 4 national vocalists (present or of recent Achal That; Zamzama; Jhala; Gamak, Baj, Tigun. past). 2. 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    CARNATIC MUSIC (VOCAL) THEORY (Code No. 031) Syllabus for Class - IX Periods : 135 Marks : 25 I. Brief history of Carnatic Music with special reference to Saint Purandara dasa, Annamacharya, Bhadrachala Ramadasa, Saint Tyagaraja, Muthuswamy Dikshitar, Syama Shastry and Swati Tirunal. II. Definition of the following terms : Sangeetam, Nada, raga, laya, tala, dhatu, Mathu, Sruti, Alankara, Arohana, Avarohana, Graha (Sama, Atita, Anagata), Svara - Prakruti & Vikriti Svaras, Poorvanga & Uttaranga, Sthayi, vadi, Samvadi, Anuvadi & Vivadi Svara - Amsa, Nyasa and Jeeva. III. Brief raga lakshanas of Mohanam, Hamsadhvani, Malahari, Sankarabharanam, Mayamalavagoula, Bilahari, Khamas, Kharaharapriya, Kalyani, Abhogi & Hindolam. IV. Brief knowledge about the musical forms. Geetam, Svarajati, Svara Exercises, Alankaras, Varnam, Jatisvaram, Kirtana & Kriti. V. Description of following Talas : Adi - Single & Double Kalai, Roopakam, Chapu - Tisra, Misra & Khanda and Sooladi Sapta Talas. CARNATIC MUSIC (VOCAL) Theory (Code No. 031) Format of Written Examination for Class - IX 25 Marks 1. Long Answer (Essay) a. Biography 05 Marks b. Musical Forms 05 Marks Short Answers with Examples c. Writing of minimum three Raga-lakshana from prescribed list in the syllabus. 05 Marks d. Description of talas, illustrating with examples. 05 Marks e. Short notes of minimum 05 technical terms from the topic II. 05 Marks Note : Examiners should set atleas seven questions in total and the students should answer five questions from them, including two Essays, two short answer and short notes questions based on technical terms (topic-II) will be compulsory. Downloaded from: www.cbseportal.com Courtesy : CBSE 101 CARNATIC MUSIC (VOCAL) Practical (Code No. 031) Syllabus for Class - IX Periods : 405 Marks : 75 I. Vocal exercises - Svaravalis, Hechchu and Taggu Sthayi, Alankaras in three degrees of speed.
  • CARNATIC MUSIC (VOCAL) (Code No

    CARNATIC MUSIC (VOCAL) (Code No

    CARNATIC MUSIC (VOCAL) (code no. 031) Class IX (2020-21) Theory Marks: 30 Time: 2 Hours No. of periods I. Brief history of Carnatic Music with special reference to Saint 10 Purandara dasa, Annamacharya, Bhadrachala Ramadasa, Saint Tyagaraja, Muthuswamy Dikshitar, Syama Sastry and Swati Tirunal. II. Definition of the following terms: 12 Sangeetam, Nada, raga, laya, Tala, Dhatu, Mathu, Sruti, Alankara, Arohana, Avarohana, Graha (Sama, Atita, Anagata), Svara – Prakruti & Vikriti Svaras, Poorvanga & Uttaranga, Sthayi, vadi, Samvadi, Anuvadi & Vivadi Svara – Amsa, Nyasa and Jeeva. III. Brief raga lakshanas of Mohanam, Hamsadhvani, Malahari, 12 Sankarabharanam, Mayamalavagoula, Bilahari, khamas, Kharaharapriya, Kalyani, Abhogi & Hindolam. IV. Brief knowledge about the musical forms. 8 Geetam, Svarajati, Svara Exercises, Alankaras, Varnam, Jatisvaram, Kirtana & Kriti. V. Description of following Talas: 8 Adi – Single & Double Kalai, Roopakam, Chapu – Tisra, Misra & Khanda and Sooladi Sapta Talas. VI. Notation of Gitams in Roopaka and Triputa Tala 10 Total Periods 60 CARNATIC MUSIC (VOCAL) Format of written examination for class IX Theory Marks: 30 Time: 2 Hours 1 Section I Six MCQ based on all the above mentioned topic 6 Marks 2 Section II Notation of Gitams in above mentioned Tala 6 Marks Writing of minimum Two Raga-lakshana from prescribed list in 6 Marks the syllabus. 3 Section III 6 marks Biography Musical Forms 4 Section IV 6 marks Description of talas, illustrating with examples Short notes of minimum 05 technical terms from the topic II. Definition of any two from the following terms (Sangeetam, Nada, Raga,Sruti, Alankara, Svara) Total Marks 30 marks Note: - Examiners should set atleast seven questions in total and the students should answer five questions from them, including two Essays, two short answer and short notes questions based on technical terms will be compulsory.
  • Ragamala World Music 2017 Program Book

    Ragamala World Music 2017 Program Book

    RAGAMALA 2017: WELCOME SCHEDULE Ragamala 2017 A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE For the 5th year, spanning 15 hours and featuring dozens of performers, Ragamala offers a FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts jaw-dropping assortment of Indian classical music from some of its greatest and emerging Ragamala: A Celebration of Indian Classical Music + Dance A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE practitioners. Ragamala functions as the perfect, immersive introduction to the classical music Chicago Cultural Center, Preston Bradley Hall FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 of India. Not only are both the music of the north (Hindustani) and the south (Carnatic) + Millennium Park, Great Lawn FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 - 6:30PM-10AM Chicago Cultural Center represented, but listeners will also get the rare chance to hear ragas performed at the time of 78 E. Washington Street, 3rd Floor Preston Bradley Hall, 3rd Floor day they were originally composed for—a facet of the tradition lost in the west. 6:30pm-10am 78 E Washington Street Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts 6:30pm-6:30am The word “raga” has a Sanskrit origin, meaning "coloring or dyeing". The term also connotes an Evolution of Songs from Indian Films: 1930-2017 emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly 6:30-7:30pm SATURDAY, SEPTEMBER 9 related to passion, love, or sympathy for a subject or something. In the context of ancient Anjali Ray, vocals with Rishi Thakkar, tabla and Anis Chandnani, harmonium Yoga + Gong Meditation Indian music it is often devotional and used as a prayer.
  • Raga Bhoopali

    Raga Bhoopali

    Intermediate Bansuri Course: Level - I Raga Bhoopali Aaroha: s r g p qsuw ed su Avaroha: su d p g r,.qsw edl s Vadi: “Ga”, Samvadi: “Dha” , Varjita Swaras: “Ma & NI” Jati: Audav - Audav, Thaat: Kalyan, Time: 6 - 9 pm (1st quarter of the Night) " ! The Mystic Bamboo Raga Alankaras: 1.pldlsr gpdsu rugupugu rusudp grsdl pldls- 2 rsdlpl grsdl pgrs dpgr sudpg rusudp gurusud pugurusu dpgr - - - sdlpldl s 3 pldlsr grsdl,dlsrg pgrs,srgp dpgr,rgpd sudpg, gpdsu rusudp,pdsuru gurusud,dsurugu pugurusu,rusudp grs- The Mystic Bamboo The Mystic Bamboo - Study Material. Only For Personal Use © Himanshu Nanda - 2018, www.themysticbamboo.com Composition in Teen Taal x 2 0 3 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 DHA DHIN DHIN DHA DHA DHIN DHIN DHA DHA TIN TIN TA TA DHIN DHIN DHA su d @susu d p g r s r (2 Times) g - g r g p Thed Mystic- Bamboo su g p d su ru su d p (2 Times) g p d p g r s - Repeat Sthayi 1st Line: 2 Times Antara g g r g p - d p su (2 Times) su - su su ru dThe su Mystic- Bamboo p gu ru gu su ru d su (2 Times) g p d p g r s - Repeat Sthayi 1st Line: 2 Times + 2nd Line: 2 Times + 1st Line: 2 Times The Mystic Bamboo - Study Material. Only For Personal Use © Himanshu Nanda - 2018, www.themysticbamboo.com Sthayi Taans: 8 beats su d @susu d p g r s r @sr @gp @gp @gp @gp @dp @gr @s- su d @susu d p g r s r @sr @gp @dsu @dp @gp @dp @gr @s- su The Mystic d Bamboo @susu d p g r s r @rg @pd @sud @pg @rusu @dp @gr @s- su d @susu d p g r s r @sr @g- @rg @p- @gp @d- @pd @su- su d @susu d p g r s r @pldl @sr @gp @dsu @dp @gr @sdl @s- Repeat Sthayi 1st Line: 2 Times + Antara 1st Line 2 times Antara Taans: 8 beats The Mystic Bamboo g g r g p - d p @sr @gp @dsu @rugu @rusu @dp @gp @su- g g r g p - d p @gr @g- @dp @d- @guru @gu- @sud @su- The Mystic Bamboo - Study Material.