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. (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 ; 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 ; Section C - Tabla Swaramalika, Lakshangeet, , , 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, ; 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. , Bhoopali, , , , Bhairava, ; one Dhrupad Geet in any PRACTICAL one raga; one song in Kaharwa Tala and one in 1. Handling of the instrument; correct posture and 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 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: , 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: , , , Section C – Tabla. , , Brindabani Sarang, Malkaus and ; 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, , 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 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. Methods of handling instruments; tuning of the PRACTICAL instrument. 1. Singing and identifying Shudha and Vikrit notes 3. Short history of the instrument. and combination of 2, 3, or 4 notes. 4. Complete description of all the sixteen ragas 2. Laya and Layakaris; Tigun layakaris as well. mentioned under ‘Practical’ in Classes IX and X. 3. Singing of a few more difficult alankaras; singing of easy alankaras in Teental, Dadra or Kaharwa. 180 5. Writing in the Tal notation, all the ten Talas learnt SECTION C in Classes IX and X, their Dugun; Tigun and Chaugun of easy talas. HINDUSTANI INSTRUMENTAL MUSIC (PERCUSSION, LIKE TABLA) 6. Writing in complete musical notation all the Vilambit and Drut Gats learnt with a few Tans or THEORY Toras; writing the notation of the national anthem Jana Gana Mana. 1. Elementary knowledge and explanation of the following: Laya and layakari; Tigun and 7. Identification of Ragas (a few note combinations Aar (vkM+ ) (3 matras in 2 matras, Derhgun); Paran; given) and Talas (a short portion given). Rela; Uthan; ten varnas; ten Prans; Tal Jati; Sala 8. Life and contribution in brief of Tansen, Vishnu and Sangat; Parhant; Lahra. Digambar Paluskar and Vishnu Narayan 2. Writing in Tal-notation, Thekas, in Thah, Dugun, Bhatkhande. Tigun and Chaugun, of all Tals learnt in Classes 9. Names of four national instrumentalists of the IX and X; writing their development as well. instrument concerned (present or of recent past). PRACTICAL PRACTICAL 1. Practice of counting numerals 1, 2, 3, etc, in Thah, 1. Playing of some more alankaras in different Dugun, Tigun and Chaugun, giving Tali on hands. layakaris and Talas. 2. Technique of producing bols on Tabla like Tirkit, Kran, etc.; ten varnas. 2. Identifying notes (Shudha as well as Vikrit) sung or played by the teacher and playing the notes as 3. Playing of Thekas of the following six talas with instructed. simple development: Rupak, Sooltal, Teevra, Deepchandi, Tilwara, and Jhumra. Simple 3. Playing of Razakhani Gat or Madhya Laya Gat in development may include Mohra, Mukhara, each of the following eight ragas: Bihag, Desh, Tukra, Paran, Tihai, Kismen, Kayada, Palta, Rela, Tilak Kamod, Bhimpalasi, Bageshri, Brindabani Uthan, etc. as suited to particular talas. Sarang, Malkaus and Jaunpuri; Alap and Tans or Toras and simple Jhalas in them; one simple tune 4. Singling of seven shuddha swaras should be (Dhun) in Jhaptal and one in Roopak Tal; playing continued. Tuning of Tabla to be attempted. of national song Sare Jahan Se Achha. 5. Reciting Thekas of all Tals of Classes IX and X with development mentioned in (3), giving Tali, 4. Playing of Maseet Khani Gat or Vilambit Gat with Khalki etc. by hands; thekas should also be recited simple Alap, Tans or Toras and Jhala in the in Dugun, Tigun and Chaugun in suitable Talas following (at least any four) ragas: Alhaiya (Parhant). Bilawal, Yaman, Bhupali Bihag, Bhimpalasi, Bageshri, Malkaus and Jaunpuri. 6. Playing on the Tabla to accompany singers and players of Sitar etc. should be attempted; mostly, 5. Reciting the Thekas of the following new Tals as simple Thekas and very simple development also those learnt in class IX in Dugun, Tigun and should be played during accompaniment. Chaugun, showing Tali, Khali and Matras on hands (Tigun in simple Tals only): Ektal, Roopak, PART 2: (To be assessed internally by the School in Soobtal, Teevra and Deepchandi (Chanchar). Class X). 6. Identification of ragas learnt in Classes IX and X. Practical Work in Music (Hindustani) - 100 Marks 7. Playing of more difficult bols and Kan, Meend or Course Work Soot and easy gamaks. 1. Candidates will be required to practice and perform singing or playing one or more musical instruments such as Tabla, Violin, etc. This practical and performance may be

181 undertaken in connection with the topics 2. The following aspects of practice and suggested below. The practical work of performance should be taken into consideration: candidates will be assessed by the teacher as (i) Musical performance, Expression, Diction, course work. The teacher is free to assess the Tonal quality, Breath control; (ii) Accuracy; course work either on the basis of continuous (iii) Style and interpretation. assessment or on the basis of periodical tests. 3. The External Examiner may be a teacher 2. Suggested topics for practical work: nominated by the Head of the school, who could (i) Individual performances, (ii) Practice for be from the faculty, but not teaching the subject school functions, (iii) performance in a group in the section/class. For example, a teacher of of either players or singers, not necessarily in Music of Class VIII may be deputed to be an school, (iv) Making a musical instrument. External Examiner for Class X, Music Projects. 3. In addition to the course work the candidates The Internal Examiner and the External Examiner will be tested in singing or playing one will assess the assignments independently. instrument by an External Examiner. Where a candidate has chosen to make a musical Award of Marks instrument, the instrument may be put up for inspection by the External Examiner. Where Subject Teacher (Internal Examiner) 50 marks a candidate has personally taken part in External Examiner 50 marks performances, tape recorded evidence may be The total marks obtained out of 100 are to be sent to submitted for assessment by the External the Council by the Head of the school. Examiner. The Head of the school will be responsible for the Assessment entry of marks on the mark sheets provided by the Council. 1. The teacher and the External Examiner will assess the practice and performance of candidates.

182 INTERNAL ASSESSMENT IN HINDUSTANI 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 each part 8 impeccable sense of rhythms, its speed and and with appropriate presentation reveals a presentation of melody and marks pitch and note variations. Can build a solid feeling. Moves within the thorough knowledge of raga rhythm. Accurate production is foundation for musical confines of the 'tal' attributes and of the structure conception of pitch, correct similarly perfect. variation. structure. of the tala in general. identification of raga and tala. Grade II Has good total value Can maintain an even tempo Expresses great feeling but Presents well but betrays lack Pleasing rendition of melodic each part 6 but lacks note and is usually accurate in the is less than faithful to the of crucial theoretical inputs and rhythmic forms, a good marks perfection or vice use of 'layakari" or rhythmic grammar of raga or tala. like "Nyas" in the working knowledge of 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 each part 4 of pitch with a maintenance of the taal's in the most limited poor knowledge of concepts bookish presentation of marks satisfactory ability to speed. However somehow pathways. Has difficulty like 'alankara' and 'varna'. course material. Erratic project musical notes. strives to manage the laya. knowing his/her position 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 each part 2 musical quality in 'laya' foundation. Consistently only as a vague idea. Is backed by inner reference to basic required idioms of marks both tone and pitch increases or decreases the often out of rhythm and has Vadi Samvadi or Tali, Khali melody and rhythmic cycle. concepts. Sometimes speed and cannot perform even little knowledge of the 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 Has no idea of tune and its Correctly maintains the Presentation is confused with Has no semblance to musical each part 0 have any concept of relationship to melody. audiments of either of the poorly stated phrases, broken effect of any sort. Cannot marks pitch. Rendition is Cannot maintain the rhythm of two important elements. in pitch and rhythms. keep a tune or maintain off-key. simple melodies. tempo. No concept of raga or tala.

183 CARNATIC MUSIC (92)

CLASS IX

There will be one written paper of two hours carrying Sankarabharanam; Shanmukhayriya; Amavardhini; 100 marks and Practical/Internal Assessment of 100 Chakravakam; ; Anandabhairavi; marks. Bilahari; Saveri; Kalyani; Hindolam; Mohana; Hamsadhwani. 1. The fundamental technical terms and their 5. Manodharma and its forms, Raga, Alapana meanings. pad-dhai - kalpanasvaras - Dasavidha gamakas. 2. Principle of Sa, Re, Ga, Ma, notations - 6. The scheme of 35 talas - Chapu tala and its significance of symbols commonly used. varieties - Desadi and Madhayadi talas - Kriya - 3. Raga classification in Carnatic music - scheme of Anga - Laya - Gati - Matra (a detailed knowledge 72 melakarthas - the names and syllabus of of any two) - Shadangas. 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 4. Lakshanas of the following 16 ragas: forms: Gita, Tanavarna, Padavarna, Kriti, ; Bhairavi; Kharaharapriya; Kalyani; Ragamalika, Padam, and Javali.

184 CLASS X

PART 1: There will be one written paper of assess the course work either on the basis of two hours - 100 marks continuous assessment or on the basis of 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. 1. History of Carnatic music with special reference (iii) Performance in a group of either players or to the following composers and theorists, singers, not necessarily in school, (iv) Making a including their biographies and their contribution musical instrument. 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) Syama be tested in singing or playing one instrument by Sastry, (3) Muthuswami Dikshitar, (4) Jayadeva, an External Examiner. Where a candidate has (5) Narayana Tirtha, (6) Venkatamakhi, chosen to make a musical instrument, the (7) Paidala Gurruthy Sastry, (8) Purandaradas, instrument may be put up for inspection by the (9) Somanadha, (10) Bhadrachala Ramadas, External Examiner. Where a candidate has (11) Kshetrajna, (12) Arunachala Kavirayar, personally taken part in performance, tape (13) Svati Tirunal, (14) Veena Kuppayyar, recorded evidence may be submitted for the (15) Patnam Subramaina Iyer, (16) Gopal Krishna assessment by the External Examiner. Bharati, (17) Subbarya Sastry, (18) Mysore Sadasiva Rao, (19) Pallavi Seshayyar, Assessment (20) Tallapaku Annamiah, (21) Kotiswara Iyer, (22) Muthiah Bhagavathar, (23) Mysore 1. The teacher and the External Examiner will assess Vasudevachar, (24) Papanasam Sivan, the practice and performance of candidates. (25) Suddhananda Bharati, (26) Balamurali Krishna, (27) Sadasiva Brahmendra. 2. The following aspect of practice and performance should be taken into consideration: (i) Musical 2. Classification of musical instruments into string, performance, Expression, Diction, Tonal quality, wind and percussion group. A general knowledge Breath control; (ii) Accuracy; (iii) Style and of Vina, Violin, Gottuvadyam, Tambura, Flute interpretation. and Mridangam - Training of human voice and 3. The External Examiner may be a teacher compass of the concert instruments in South India. nominated by the Head of the school, who could 3. Musical sound and voice - Pitch, intensity, and be from the faculty, but not teaching the subject timbre - Sympathetic vibration - Resonance - in the section/class. For example, a teacher of Echoes - Musical intervals - Modal shift of tonic Music of Class VIII may be deputed to be an i.e. Grahabhedam. External Examiner for Class X, Music Projects.

PART 2: (To be assessed internally by the School in The Internal Examiner and the External Examiner will Class X). assess the assignments independently. 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 practical and performance may be undertaken in The Head of the school will be responsible for the connection with the topics suggested below. The entry of marks on the mark sheets provided by the practical work of candidates will be assessed by Council. the teacher as course work. The teacher is free to

185 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 each part 8 impeccable sense of rhythms, its speed and and with appropriate presentation reveals a presentation of melody and marks pitch and note variations. Can build a solid feeling. Moves within the thorough knowledge of raga rhythm. Accurate 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 each part 6 but lacks note and is usually accurate in the is less than faithful to the lack of crucial theoretical melodic and rhythmic forms, marks perfection or vice use of 'layakari" or rhythmic grammar of raga or tala. inputs like "Nyas" in the a good working knowledge 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 each part 4 of pitch with a maintenance of the taal's in the most limited shows poor knowledge of bookish presentation of marks satisfactory ability to speed. However somehow pathways. Has difficulty concepts like 'alankara' and course material. Erratic 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 each part 2 musical quality in 'laya' foundation. Consistently only as a vague idea. Is backed by inner reference basic required idioms of marks both tone and pitch increases or decreases the often out of rhythm and has to Vadi Samvadi or Tali, melody and rhythmic cycle. 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 each part 0 any concept of pitch. relationship to melody. audiments of either of the of poorly stated phrases, effect of any sort. Cannot marks Rendition is off-key. Cannot maintain the rhythm of two important elements. broken in pitch and keep a tune or maintain simple melodies. rhythms. tempo. No concept of raga or tala.

186 WESTERN MUSIC (93)

CLASSES IX AND X

There will be one paper of two hours carrying ‘Jazz’ – to be studied as a distinct form of music – 100 marks and Internal Assessment of 100 marks. its origin and characteristics. Jazz dancing should be restricted to the variety used in concerts, PART 1: THEORY – (100 Marks) musicals like Westside Story, not the street variety like breakdancing. The syllabus is divided into two Sections: Section A - Musical Instruments, Section B - Different 2. The titles of the categories should be interpreted categories of music. as widely as possible. Candidates should listen to a variety of music within the category title. In Candidates will be required to attempt nine questions answering questions, which will require at least in all, five questions from Section A and four paragraph answers, candidates should refer questions from Section B. knowledgeably and by name, to the works to which they have listened. SECTION A: MUSICAL INSTRUMENTS Questions will be framed so as to give all candidates a chance to show the following: Five questions will be set in this part. Candidates will (i) that they have heard varied works in a given be required to answer all five questions. The questions category; (ii) that they can see the essential will cover the characteristics and music of the musical similarities and differences between one following families of instruments: work and another in the same category; (iii) that (a) Keyboard family and its music. they know the characteristics and what is typical of a particular category or kind of music; (b) String and guitar families and their music. (iv) that they are aware of the beginning and (c) Woodwind and brass families and their music. development of a particular category or kind of music; (v) that they know the names of prominent (d) Percussion family and its music. composers and their contribution to a particular 1. Candidates are expected to trace the origin and category or kind of music; (vi) that they are aware development of these categories of instruments. of modern development in a given field of music. 2. They must know the various ways of playing (a) Candidates must know the contribution made these instruments. to symphonic music by Beethoven, Schubert, Haydn, Mozart, Wagner, Tchaikovsky, 3. They must know how these instruments are tuned, Mahler and Dvarak. e.g.: the tuning notes of the string family and the range of these instruments, e.g.: trumpet. (b) They must know the structure of a concerto. Study one concerto by any one of the above 4. Differences between members of the same family, composers, e.g.: a violin or piano concerto by e.g.: oboe & clarinet; flute & piccolo, etc. Mozart or Beethoven. 3. Dance forms: Ballet, Modern, Jazz, Latino. SECTION B: DIFFERENT CATEGORIES OF MUSIC Candidates need to know the kind of dance these terms indicate – e.g. the rhythm pattern and style 1. Candidates will be required to attempt four or movements. Modern includes only the concert questions from this part, out of a choice of ten dance and not the ball-room dances. questions that will be set. The questions will cover the following categories of music: (a) Symphony ‘Latino’ should include only Tango, Cha-Cha- (b) Concerto (c) Music for the dance (d) Jazz Cha, Rumba, Samba and Salsa. (e) Popular music since 1950. 187 4. Origin and characteristics of Jazz. Course Work Contributions made by Duke Ellington, Louis The Practical work of candidates in Western Music in Armstrong, Gershwin, Miles Davis. preparation for the practical examination of: - The Associated Board of Royal School of Music: 5. Contemporary rock, pop and Country Grade 4, or a more advanced grade, music – singers and their contributions to or contemporary music, reasons for popularity, - Trinity College, London: Grade 4 or a more their repertoire, use of electronics. advanced grade, (NOTE: Students should know one pop singer, one (or an equivalent examination approved by the Council), will be taken as the requirement for course rock band, one country musician or band. They should work in Western Music. be able to write a page on any one of the above. No Final Test specific band or singer will be asked about in the examination.) The practical examination of the Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced Grade of Trinity PART 2: Practical Work in Music (Western) College, London (or an equivalent examination - 100 marks approved by the Council), will be taken in fulfillment of the final test for practical work in Western Music. Candidates for the examination in Music (Western) Assessment will be required to have passed the Practical The result of the practical examination issued by the Examination of the Associated Board of Royal School Associated Board of Royal School of Music, Grade 4, of Music, Grade 4, or a more advanced grade or Grade or a more advanced grade, or Grade 4 or a more 4 or a more advanced Grade of Trinity College, advanced grade of Trinity College, London (or equivalent examination approved by the Council) will London (or an equivalent examination approved by be taken as the assessment of Part 2 of Western the Council). Music.

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

189 (iv) A basic knowledge of the Nava Rasas (nine 2. The External Examiner may be a teacher emotions) used in dance, namely: nominated by the Head of the school, who could (a) Shringar – love be from the faculty, but not teaching the subject in the section/class. For example, a (b) Hasya – mirth teacher of Indian Dance of Class VIII may be (c) Karuna – compassion deputed to be an External Examiner for Class X, (d) Rondra – anger Indian Dance Projects. (e) Veera – strength The Internal Examiner and the External Examiner will (f) Bhayanaka – fear assess the assignments independently. (g) Bhibatsa – disgust (h) Adbuta – wonder Award of Marks (i) Shantam – peace Subject Teacher (Internal Examiner) 50 marks External Examiner 50 marks (v) Individual presentation of a short item of Abhinaya. The total marks obtained out of 100 are to be sent to the Council by the Head of the school. Assessment The Head of the school will be responsible for the 1. The teacher and the External Examiner will assess entry of marks on the mark sheets provided by the the practice and performance of candidates. Council.

190 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 - each part 8 punctual. graceful and highly natural. graceful and highly natural. catching and highly natural. marks

Grade II Participates regularly but is not Mostly appropriate, mostly Mostly graceful, mostly Mostly appropriate,, mostly eye - each part 6 punctual. graceful and mostly natural. appropriate, mostly natural. catching and mostly natural. marks

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

191 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.

PART 1: THEORY – (100 Marks) Four questions shall be set in this Section. Candidates 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 Candidates will be required to attempt five questions basis for technical design – candidates will be in all, three questions from Section A and two permitted to use sketches, notes and diagrams as part questions from Section B. of their answers.

SECTION A Candidates will be expected to have an appreciation of the following elements: Six questions shall be set in this Section. Candidates 1. Use of the stage and emphasis through set design, will be required to evaluate and analyse material as positions, compositions and movement; Blocking part of a drama process. Resource material would be and its relation to the composition. provided in each question in the form of extracted pieces from plays, themes, situations or printed visual 2. The production process; Rehearsals. sequences. The resource materials are expected to 3. Equipment - from auditorium to backstage; Sets form stimuli that would be used by candidates to (including parts of stage equipment used in a set); answer the question. Answers can be in the form of a 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 audience and to other actors; Turns and gestures; Movement and approaches; Entering and exiting; Practical Work in Drama - 100 Marks Handling of properties), body, voice and role. Course Work 4. The stage – its various parts and different types of staging (proscenium arch theatre, central staging, The practical section is divided into two parts - Acting street theatre, folk theatre, puppetry). and Stagecraft – both of which must be studied by 5. Composition, picturisation, movement, rhythm, candidates. dramatisation. 1. Acting: Candidates will be required to practise 6. Literature: no specific texts are prescribed, but and perform as actors. This practical and candidates need to have studied some extracted performance may be undertaken either as acting pieces as examples, which may include an original piece, or acting a piece/extract from Pygmalion, Galileo, A Doll’s House, Antigone a play. The practical work of candidates and improvise. will be assessed by the teacher as course work.

192 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- up, (iii) Stage design including sets, (iv) Lighting, Award of Marks (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.

193 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, each part 8 and is punctual. eye-catching and highly eye-catching, highly distinct, highly effective. highly appropriate to the marks natural. natural. occasion.

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

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

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

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

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